![]() Onto his role as director, MacLean noted that a director isn’t typically the top creative, but Saldanha’s knack for storytelling placed him quite close to his projects. There was a newfound market that demanded the content, and the industry answered the call. Disney and Pixar, Dreamworks and PDI, and Fox and Blue Sky Studios are notable examples. “The animation community was cherishing every single second of that movie because we knew that that was a breakthrough for us, that would open up doors for every other studio that wanted to make animation,” Saldanha relayed.Įxpanding on that thought, he recalled the emergence of large studios working together, investing in feature-length animation. Perhaps never so apparent than when “Toy Story” came out. While they feel its presence, and the competition is often stiff, creators tend to leave their egos at the door in favor of championing their contemporaries. While other industries use the time to compete, Saldanha and MacLean find the animation market is quite the opposite. Time allows for that and seems to have always favored Saldanha. Time, in this case, always seemed to mean ever-chasing perfection, getting as close to relaying his dynamic vision as possible. It all relies on the time that you have to prepare, the time that you have to construct a story, and the time that you have to use the technology the best way possible to get your vision across and tell a story.” Short of taking any credit at all, he humbly stated, “It was very different times, but a lot of things remained the same. MacLean then asked Saldanha if he believed he was a part of creating this new animation market. ![]() He went on to add, “Because all of the research and development that had been going into computer graphics was not really necessarily pointed at the entertainment market because that software was originally developed by the military.” and Europe and as I traveled to events like Sidgraph, you had this interesting merging of two quite separate industries.” “What was interesting from the market, or industrial point-of-view, was that in that period, certainly in the U.K. “Things take time, no matter what, they take time,” he said.Īs the industry advanced, MacLean noted the mingling of industries, animation, and high-tech software development. He recollected the eight years it took his boss, Wedge, to finish his Academy Award Winning short film, “Bunny.” His short films allowed him to ease his way, earnestly, onto the festival circuit. Feature films were out of reach from a budget, time, and resource perspective. Saldanha credits short films for allowing him to sate his desire to create content. Saldanha remembered that “three of Blue Sky’s guys worked at school to make ends meet, in order to actually get a salary because Blue Sky wasn’t making any money.” Like a sheriff in a one-horse town, however, everyone wore multiple hats. Passion was at the fore and eventually, they found they had an advantage thanks to their tech team who produced unique software that only they had access to. Paired with his computer science background, this bit of academia would allow him to work closely with nascent tech to fine-tune his vision and storytelling capabilities.īlue Sky Studios had a modest origin story, often lacking resources as the industry wasn’t quite an industry yet. Pondering adding fuel to his creative fires, Saldanha had followed his burgeoning passion to the NY School of Visual Arts. That question would kick off a friendly discussion that revolved around the early days of his career at Blue Sky Studios with Chris Wedge, coming up on the cusp of new tech in animated filmmaking. ![]() The dialogue began as Saldanha quipped, “How do we work from the present and see the future?”
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |