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This picture of me “painting” the blue character is from my short film based on Joe Grant’s concept, LORENZO which came out in 2004 attached to a live action Disney film called Raising Helen. This must have been 2003 or maybe early ‘04. I made it while in room 3136 up on the third floor of the Mickey Hat bldg. I actually painted all the backgrounds and character set ups for the cg artists to match my style so although I am “faking” painting that Lorenzo image I actually did do all the analogue painting that was used in the film’s bgs, character pose set ups etc..—so in that way, it is not fake. That is a genuine authentic Disneyland Frontierland poster behind me that I have had for a long time. My blue paint splattered it’s frame but Lorenzo was a messy project—in certain ways.

I had been taken off my Sweating Bullets (the pre-release name of Home on the Range) as director and left to flounder until they could get me out of my contract or off the books if at all possible. In the meantime, good ol Don Hahn asked if I would consider playing around with Joe’s Lorenzo idea as a tango piece for his unofficial slowly evolving Musical Fantasia-like folk music feature project. I said, YEAH! And good “ol” Pam Coats actually let me keep making it, since they had to do something with me besides directing features. I was never more fulfilled doing that little cat film because I considered it my CALARTS film, since I never went to CALARTS.

It was a time to do what I wanted and how I wanted it. I was so lucky to have been given that project at that time because it re-instilled in me the feeling that I do have something to offer creatively to the industry no matter who questions or belittles your work, the artist must never cease to believe that if it is honest it is worthy of creating. Only the dishonest work should cease. And I owe it all to a fat cat named Lorenzo.

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Posted by admin at 6.19 AM | 2 Comments
Labels: 2003, 2004 Lorenzo, Directors

Comments

  1. Colin Stimpson (April 25th, 2008, 10.27 am)

    I absolutely love LORENZO, it’s the most successful mix of 2D and CG that I have seen. It would be great to see a feature with such a bold simple style. When I first saw the movie it confirmed my long held view of how important it is to let artists do what they do. Sweating Bullets would have been equalling stunning if Mike had been left alone to produce the film he wanted.

  2. admin (April 27th, 2008, 2.25 am)

    From Ed Ghertner:
    I supervised layout and co-designed the sets with Mike Gabriel as well as set-up and animate the maya scenes with Cindy Goode as a scene planner. I also did 3 or 4 of the final shots. I took the 2d animation into Maya and animated curves to match the 2d animation then attached paint strokes to the curves to create the final dry brushed look of the piece.

    I really enjoyed collaborating with Mike and the rest of the crew on something fun and innovative. It was really hard at first to get the process working but we knew in the end the final product would be very cool, and it was!!!

    A great experience.

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