New videos are up!

With the new Myspace channel up in full swing we’ll be taking the next few weeks to work out some kinks and properly get all our artist info in place. It seemed appropriate to start our interviews off this week with NY animator Pat Smith since Pat has a very cool one-man shop opening Tuesday (September 18th) called “Configurations”. The show kicks off at CVZ Contemporary Art Gallery in SoHo (446 Broadway, 5th Floor, New York, NY, 10013). Here’s the flyer for more info.

Animation writer/historian Taylor Jessen caught up with Pat a week or so ago to discuss Pat’s music video “Moving Along”.

Patrick Smith
Moving Along

What was the design kernel for the visuals? Where do your cloth golems come from? The images from Moving Along came from my sketchbook. The label let me pretty much animate anything that came to mind, and I wanted to do something with these cool guys. The idea of a sewn-up entity, carrying the world on its back, marching in sync with others, offers tons of symbolic meaning, perfect for the lyrics of the song.

What were your duties on the short – animation, character modeling, direction, art direction, editing, other?
I did everything involving drawing. My studio has one assistant and a team of interns that handle color and composite effects.

Talk about some artists that have influenced your design style.
There’s a ton. There’s a Dutch animator by the name of Hisko Hulsing who I really admire. Ralph Bakshi brought me into the idea that animation isn’t for kids. Movies like Pink Floyd The Wall. And of course the Disney masters, who brought the art form to such a high level that generations upon generations will study what they did, and probably never come close.

What found materials did you surround yourself with for inspiration?
My sketchbook. Comic art sometimes, like Jamie Hewlett or Humberto Ramos. And most importantly for a project like this, I listen to the music and get the imagery from there. It’s surprising how visual music is!

How long did the production take from start to finish?
This music video took about eight months.

Were you test-driving any new skills or technology here? Or working with anyone for the first time?
Kind of – it was a rare opportunity to use imagery that had been swimming around in my heaad with no home.

What were the unique challenges involved in getting this short made?
Keeping everything the same vibe as the music. I never animated to music before – I usually do the animation first. But on this gig, the music was boss.

Talk about your scholastic background and your professional background. What led you to animation?
I’m self-taught. I’ve been rejected by almost every major art school that offered animation. Bastards.

What’s your latest project?
Another independent short called Masks. And I’ve been working on a longer-format film for several years now. Also, I have a gallery show coming up this Fall.

Blog? Personal Website? Company Website? Other?
All that: www.blendfilms.com

How’d you hook up with the Planets? Was it a collaboration or did they turn all the visuals over to you?
The Executive Producer, Matt Reeve (Christopher Reeve’s son) knew my by my film Drink, which he showed to the band, who actually just wanted to use that directly – putting the music over that film. I convinced them to up the budget a bit, and create a new project, hence the similarity between the two animations.

For the DVD, was this your first time dealing with the magical world of music rights for home video? Was it easier because of your MTV background, or is it basically a purgatorial experience for indie animators across the board?
Nothing fancy here. I always obtain non-exclusive rights for my work. I never ask for too much, and always point out that in most cases, the more the film is out there, the better for everyone. Spike and Mike taught me that. They always buy things on a non-exclusive basis.

Were the NYC animator salons going on by this time, or did that come later? Has getting supportive critiques from your peers helped your shorts?
Yes. My animation crew here in NYC is very helpful. We meet and talk about projects all the time, even commercial projects. Sometimes you and your studio get too close to a film, and you really need some outside opinions.

Was this harder or easier than the shorts that came after? How and why?
I think it was easier. I had the freedom to work away from a narrative. And as I said, the music kind of draws the imagery by itself. You just have to sit back and listen, then translate.