Screen Magazine - Index

Screen Magazine - Screen Magazine: Vol. 29, Issue 19 - Index

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CALABASH ANIMATION’S “BOTNIK” ILLUSTRATES
THE IMPORTANCE OF INVENTION
This is no ordinary war between man and
machine. A desperate wannabe artist
battles the lazy beatnik robot he built to
produce trendy hipster art. Letting out
a Munch-style scream, the artist bops
Botnik on the head, emitting Van Goghstyle
stars. The spontaneity of their fight
ends up creating better art
than any mechanical process
ever could.
Welcome to the world of
“Botnik,” the latest short
subject from Calabash
Animation studio in Chicago.
Led by executive producer
Sean Henry and creative
director Wayne Brejcha, the
award-winning commercial
studio has brought various
advertising icons to life, such
as the Trix Rabbit and the Jolly Green Giant. In 2001, the studio
began an internal film program to produce short films that would
allow for creative expansion. Their first short, “Stubble Trouble,” was
nominated for an Academy Award in 2002.
“The business hook for us is to have something on the reel that
doesn’t look like anything else we’ve got on the reel,” Brejcha said.
“It turns into some R and D, exploring new styles and new ways to
use the equipment and artistry that we have. It’s also a really good
way for the artists here to try out different positions, too.”
Staff animator Jacqueline Smessaert Brennan became the writer
and director of “Botnik,” the studio’s fifth short feature and their
most ambitious project to date. It was first developed as an idea
by Calabash founders Edward Newman and Monica Kendall,
Compiled By Matt Fagerholm, Kevin Jeong and Amy Wilschke
and Brennan based the film’s
visual style on the flat art of
’50s jazz record companies
and graphic designers like
Shag Hennessey and Jim
Flora. Brejcha says the film’s
abstract look was born out
of Picasso and the Cubist
revolution.
“Invention is tremendously
important,” Brejcha said. “You
don’t have to worry about the inertia
and the weight and the perspective.
You’re playing with all of that, and it’s
much more about the design of how
these shapes relate to one another.”
Aside from being Calabash’s longest film, clocking in at around 10
minutes, the cell/digitally animated “Botnik” is also the studio’s first
effort that is primarily driven by its music. Brennan was so intent on
using the retro lounge jazz of the Italian group Montefiori Cocktail
that she learned Italian in order to communicate with them. The
band was flattered and remixed their music specifically for the
project, allowing Calabash to license some of their songs.