Skip to main content

Indie Animation in a Corporate World: A Conversation with Animator Benjamin Goldman on Pretty Much Pop: A Culture Podcast #88

In the perennial conflict between art and our corporate entertainment machine, animation seems designed to be mechanized, given how labor-intensive it is, and yes, most of our animation comes aimed at children (or naughty adults) from a few behemoths (like, say, Disney).

Your hosts Mark Linsenmayer, Erica Spyres, and Brian Hirt are joined by Benjamin Goldman to discuss doing animation on your own, with only faint hope of “the cavalry” (e.g. Netfilx money or the Pixar fleet of animators) coming to help you realize (and distribute and generate revenue from) your vision. As an adult viewer, what are we looking for from this medium?

We talk about what exactly constitutes “indie,” shorts vs. features, how the image relates to the narration, realism or its avoidance, and more. Watch Benjamin’s film with Daniel Gamburg, “Eight Nights.”

Some of our other examples include Jérémy Clapin’s I Lost My Body and Skhizein, World of Tomorrow, If Anything Happens I Love You, The Opposites Game, Windup, Fritz the Cat, Spike & Mike’s Sick and Twisted Festival of Animation, and Image Union.

Hear a few lists and comments about this independent animation:

Follow Benjamin on Instagram @bgpictures. Here’s something he did for a major film studio that you might recognize, from the film version of A Series of Unfortunate Events:

Hear more of this podcast at prettymuchpop.com. This episode includes bonus discussion that you can access by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

Indie Animation in a Corporate World: A Conversation with Animator Benjamin Goldman on Pretty Much Pop: A Culture Podcast #88 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3wIX7Ii
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca