Cannes 2007
Interview by Rebecca O'Meara
Writer/Director, Michael Attardi
ONCE UPON A CHRISTMAS VILLAGE ANIMATION SHORT
1st Runner-Up in Moving Picture Magazine Cannes Competition
HUGE SUCCESS AT THE 2007 FESTIVAL DE CANNES
Michael, How did find yourself here at the Festival de Cannes?
Our short animation film has been fortunate to win 6 out 6 festivals in the United States. We were contacted by Moving Pictures Magazine to submit our film for their Cannes Competition. One thing lead to another and Moving Pictures chose our film to be shown here in Cannes at the Short Corner Festival.
We were the first runner ups in Cannes and I am extremely excited for my animation team who has worked so hard to reinvent a new style of animation that is getting so much attention.
What was the animation tone at Festival de Cannes?
Historically the animation projects that are shown in Cannes
are of a political or controversial nature and this trend is not going away. Having a Disney type of project that deals with the old traditional way of telling a story through music and character development, has been grossly out of place here at the festival De Cannes.
What was the response by the audience for your film?
I was overwhelmed to learn that so many people had wanted this type of animation format back in the mainstream of feature film making. Everyone was asking when the feature film is going to be finished. I also had a lot of questions about how we made the film since it looked completely different from the traditional 3-D animation that is out in today's market.
How different is your film when we talk about technology and style?
We used motion capture technology with CGI 3-D characters behind all live background sets that were shot with a Boris scope lens on a HD format. This effect gave our animation film a very colorful and aesthetic look that many of our viewers really liked.
Our style was to make all the plastic villagers really look plastic and not like toys. So we had to invent a texture that highlights those features. This effect kept the audience glued to this magical world that is located under a Christmas tree.
How did the international market in Cannes accept your film?
With open arms. It has been a long time since a musical animation has been showcased in this type of festival in a very long time.
I have found that many foreigners gravitated to the nostalgic feeling of story, story, and story - three of the most important aspects of any great animation. Walt Disney was famous for this and in a very humble way the audience expressed that same sentiment towards Once upon a Christmas Village. I have found that the more detail and emotions you give to an animation film the more the audience becomes a part of the story.
Have you walked the red carpet?
I did at the Quintin Tarrontino movie Death Proof”. I am a Hugh fan of Quintin and his way of movie making. He is not afraid of taking chances and expressing his artistic values. Believe it or not, I think we have a lot in common with regard to how important our vision and execution reflects our art.
If Cannes is political and in your words edgy, how do you think your film made it?
I am fully convinced that humanity needs a tremendous balance between good old fashion happy storytelling and the controversial animation projects that make for a good movie making. The only thing that I have noticed that has been one sided here in Cannes, is that only 3 out of 16 animation short films have been family films that could someday be made into a feature.
What makes your film a family film compared to other animated films?
Our film has a traditional type of love story that is surrounded by timeless music and deep characters. What I mean by timeless music, is music that will have meaning generation after generation like a good old Broadway show tune. One of the most important aspects of the story is getting those characters as real as possible with emotions that everyone can relate to. The music drives the story into a magical adventure that will captivate all ages.
Michael, I am curious, did the story come first or the music?
For me, I always hear the music first. I am a Hugh fan of Alan Menken and Howard Ashman. These are the two who were the masterminds behind the “little Mermaid”, “Beauty and The Beast”, Aladdin, etc., during that great Disney era. My writing partner, Dani Donadi is such an amazing talent who has transformed my music and lyrics into the most enchanted scores. If you like Menken and Ashman's style, then you will gravitate towards Attardi and Donadi's musical approach.
When we went into developing the short, the music was the first thing to be written. The reason why was because I wanted to stay on a course that showcased the mood, tone, color and feel of the film. And I believe that music does that just that. It can take you away to another world.
Michael, in your character Development, who was your first character?
I approached Paul Stolen, my art director with the character of Sir Evil, the villain. Villains are some of my favorite characters. They have a way to be evil and comical at the same time. And when you have that combination, I think it draws a balance that is seen in everyday life. Art reflects life.
Paul designed such an incredible character that it inspired me to pursue the actor Tim Curry. Tim is such an amazing talent and true inspiration that made me feel as comfortable as a first time director. His excitement and passion for the song and the character came through in this film.
Why animation as a medium to tell your stories?
I have been always intrigued by animation every since I was a little boy and I had the opportunity to watch all the classic cartoons such as Tom and Jerry, Bugs Bunny, and the many Disney animation features. I knew that one day I wanted to tell my stories with an animation format.
Michael, who are your animation mentor?
It is not that hard since I have mentioned him several times already to express the inspiration and admiration that I have had for Walt Disney. Disney was a pioneer in innovation as well as animation filmmaking. My father once told me that if a person could live on after they have died then that person was a great one. This is why Walt has a legacy.
You are the director, the writer and producer for Once Upon A Christmas Village. Which gives you the most fulfillments?
That's a hard question to answer. I love all three aspects of creating. Creativity has been in my blood since my grandfather was a stunt double for Charlie Chaplin. One of my favorite things to do is to lock myself up and write. After that process, my other favorite thing to do is to direct what I have written. Then most rewarding of all is taking these elements and bringing them to life through animation.
Will the short, Once Upon a Christmas Village be developed into a feature length film?
I am very happy to say that the short is going to be made into a feature animation film. In fact, we start production on October 1st and storyboarding during the next 4 - 6 weeks.
My Executive Producer, John Hadity has organized an incredible financing package that has attracted many investors who have the same love for family entertainment.
My investors really understand and get what we are doing and that is 99% of this business.
Cannes is a memorable experience for any filmmaker. What have you taken away from this is experience?
I have found that the French are gracious hosts and they have respect and desire for great filmmaking. My first experience at the festival de Cannes will be one that I will always remember. I am only with my wife and my children had the opportunity to experience this wonderful celebration of art. This will only inspire me to take them all here again someday.
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