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10 animation filmmakers respond to the challenges and opportunities the new online reality brings.

How do you navigate a world of altogether digital content as an animation professional? What are the opportunities and the mishaps that are awaiting for you in this all-inclusive, ever-penetrating online world? These were some of the questions that initiated the Indie Online 2020 Research project, headed by Michelle Kranot, and supported by The Animation Workshop / VIA University College, Center for Animation, Visualization and Digital Storytelling, Denmark. A more comprehensive overview of animation professionals and their attitude towards this during the (March) lockdown, their aspirations and decisions were also sought and recorded -before being qualified and quantified.

Within the framework of the project, Zippy Frames conducted a series of eight interviews with ten participants, both acclaimed and emerging animation directors.


Anca Damian:

It is a huge danger that art stays only as entertainment. I remember seeing this Facebook profile frame "support art workers" that a lot of artists put in their profile. Art is more than work, art is creation. It is a vision, it is thinking why we are alive. And we have to protect the films that celebrate those ideas this kind of film will disappear if we don't give them a chance.Anca Damian

RIkke Planeta & Philip Piaget:

Rikke Planeta: It's a kind of recognition to get selected and your film part of the festival. So, it would feel a bit sad if it were just YouTube channels for short films.

Philip Piaget: I would be definitely more inclined to watch shorter than longer formats online. I don't know what the process would be for feature films. These VOD releases make more sense than watching a feature film through a festival. Perhaps it would make more sense to highlight short format artists. VR projects would be hit by this.

Nikita Diakur

In the online world, you have a platform for everything basically, which is YouTube. You can still put your stuff on YouTube and coexist with other stuff, and you can find your niche audience there.  The only thing is the mechanism of earning money, which for short films it's not really happening. I'm not sure how this can be solved,

Julie Baltzer

I wouldn't want everything to look like Netflix. In the physical days, festivals would get away with this online thing, because you would arrive there and the atmosphere was great, the vibes amazing, and great people and the volunteers etc. But now when you have to put your festival online and keep the vibe, a Netflix rip-off would probably not do

Flóra Anna Buda

Even a film is online, I still decide what I want to see. So I didn't feel like I have to watch it because it's available. But It really does matter to have a nice curation and programmes which somehow fit each other. You can't put every short film next to each other.

Simon Rouby:

I remember when I finished Adama, I needed to go on the road with the film; I needed to see the reactions of the people. You work for 6 or 7 years for something; and when it's over, you need to read into people's eyes what they saw in your film.

Ana Nedeljković & Nikola Majdak Jr

AN: Nowadays, Internet is the biggest garbage bin that ever existed. And it is so chaotic and unorganized that it becomes frightening. That's my biggest problem with the online content. /NM: What also frightens me is that this Internet content is privately owned. All content regulators are private, corporate companies.

(still to appear)

  • Joseph Wallace


Directors' interviews are part of the Indie Online 2020 research project, headed by Michelle Kranot and supported by The Animation Workshop / VIA University College, Center for Animation, Visualization and Digital Storytelling, Denmark.Viborg,

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