Ten Ques­tions For Frank Ternier

Animation Magazine - - Final Shot -

Film­maker graphic artist and an­i­ma­tor Frank Ternier first made a splash with his an­i­mated short 8 Bul­lets in 2014. His new short, Riot, about the mur­der of a young black man, made its North Amer­i­can pre­miere at the Ottawa In­ter­na­tional An­i­ma­tion Fes­ti­val last month. We thought it was a good time to catch up with the tal­ented French­man. First of all, con­grat­u­la­tions on the suc­cess of Riot. Can you tell us a lit­tle bit about how you were in­spired to make it? I’d been want­ing to make this film for a few years. Twenty-five years have passed since the Rod­ney King af­fair, and yet the num­ber of sim­i­lar in­ci­dents, or tragedies, is again on the rise in the United States and France. In light of these tragedies and feel­ings of in­jus­tice, I wanted to tackle the ques­tion of how to speak about vi­o­lence. A film thus be­comes a so­cial man­i­festo…So the ques­tion I wanted to ask was: How should we re­act to this in­jus­tice? What do you love about work­ing in your spe­cific an­i­ma­tion medium? I love us­ing sev­eral tech­niques—pho­tog­ra­phy, tra­di­tional an­i­ma­tion, live ac­tion—to cre­ate a lot of dif­fer­ent sen­sa­tions in my work. An­i­ma­tion medium gives me a very free form of ex­pres­sion, and pro­vides my story and the sense of nar­ra­tion with a great deal of ma­te­ri­als. To make this film, I im­me­di­ately asked my­self the ques­tion of the in­car­na­tion of vi­o­lence. Krump­ing or ur­ban dance was an ob­vi­ous way to ex­press body ten­sion, and that’s why I wanted to What tools did you use to cre­ate this an­i­ma­tion? The tools used are quite clas­sic: Pho­to­shop, Dragon­frame and Adobe Af­ter Ef­fects. I make tex­tur­ing and pat­terns on dif­fer­ent pa­pers with ink and paint. With my small team, we use the 3D tools (3DS max) and video to cre­ate an­i­ma­tion ref­er­ences. Then, I edit and record the voices. In the process, I’m try­ing to work si­mul­ta­ne­ously on an­i­ma­tion, mu­sic, sound de­sign, edit­ing and graphic cre­ation, with the goal that every el­e­ment can in­flu­ence each other. We ap­prox­i­mately worked on it for five to six months. It cost about 80,000 eu­ros (about $95,100). Why do you think au­di­ences are re­spond­ing to your short? We have seen that we are in liv­ing in a pe­riod of con­sid­er­able un­cer­tainty: Life is very dif­fi­cult for the poor, while the wealth­i­est are al­ways do­ing well. I don’t know if au­di­ences will like my film. I would like to see Riot act like a man­i­festo knock­out, so that au­di­ences ask ques­tions about vi­o­lence as well as the power of words and body, about our power to ex­press our­selves. Who are your fa­vorite an­i­ma­tion he­roes? What TV shows or movies in­spire you? The film that marked my youth is di­rec­tor Adrian Lyne’s Ja­cob’s Lad­der. Some of my he­roes in­clude David Cro­nen­berg, Kim Ki-duk and Lars von Trier. I also love the work of David OReilly and Réka Bucsi in an­i­ma­tion and ad­mire the What was the big­gest chal­lenge for you as you were mak­ing Riot? The big­gest chal­lenge for me was find­ing the right bal­ance be­tween an­i­ma­tion and the live ac­tion…I wanted to make Riot as a man­i­festo, pow­er­ful as a piece of rap mu­sic with sen­si­tiv­ity in ad­di­tion. What do you think of the an­i­ma­tion scene in 2017? I have seen some strong and sen­si­tive shorts: Pépé le Morse by Lu­crèce An­dreae and the pow­er­ful Blind Vaysha di­rected by Theodore Ushev have made me re­joice. What are you work­ing on next? I am work­ing on an an­i­mated film about ado­les­cence ti­tled An­ton. I think I will de­velop my work as a mix of live-ac­tion and an­i­ma­tion. I also have two short-fic­tion projects Call Me Yumi and Party An­i­mal. The body will play an im­por­tant part in them. What kind of advice can you give up-and­com­ing an­i­ma­tors? In­te­grate a team, and col­lab­o­rate on an­i­ma­tion with dif­fer­ent work­flows. My ex­pe­ri­ence has taught me that to make a film, you must be cu­ri­ous, write and ques­tion your­self fre­quently. Doubt­ing acts as a mo­tor for me! For more info about Frank and his art col­lec­tive, visit ide­al­crash.fr.

Riot

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