I remember asking a friend what his favourite music was. “Indie,” he replied.
He was expressing a political preference rather than a genre, because the fact of being independently produced is in itself a defiance of established norms, but at the time I was perplexed. How can anyone so broadly say “Indie” as a genre.
Then I knew someone who listened to a lot of different indie artists and sure enough, I knew what he’d meant: ‘indie music’ has a certain feel to it. My knowledge of music isn’t strong enough to encapsulate exactly what that is, but I’ll go with ‘complaining male voice almost drowned out by instrumentals’ and you might get a sense of it.
Have you seen Pixar’s short animated film The Blue Umbrella yet? I haven’t, but I’m looking forward to catching it sooner or later because unlike a lot of the most recent animated films, that sounds original and the screenshots look stunning.
Here’s what the creator says, remembering his pitch to the two guys at the head of Pixar:
“They are the strongest proponents of ‘animation is not a specific look.’ It feels like animated movies have a certain style, but there is no reason for that. Animation nowadays can be whatever it wants to be. With the first Toy Story, you could only do plastic, metal, stone, but you couldn’t do people. It took until The Incredibles—the first time there were humans in digital animation. Now you don’t really have that barrier anymore, it’s just that everyone got used to what animation looks like. Everyone [here at Pixar] really likes the idea of pushing animation into areas no one has thought of yet, at least in mainstream animation.”
And here are a couple of animated movies which have caught my eye lately. Unfortunately, they’re not always that easy to get a hold of here, but I have these on my to-watch list simply because they look animated in a completely original kind of way:
A CAT IN PARIS
THE TRIPLETS OF BELLEVILLE
Related: It’s not déjà vu. Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. It’s as if a mad scientist has discovered a secret process for making a perfect, or at least perfectly conventional, summer blockbuster, from Hollywood and Blake Snyder at Slate
We could argue that all movies are ‘animation’, but yeah, let’s not do that. Life is already confusing.