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Masterclass 1 – In the Trenches of the Storyboard – Ennio Torresan
Sweat, anxiety and sleepless nights make up the daily life of those who inhabit the trenches of the storyboard. From rudimental drafts to final versions, the storyboard involves an intense polishing process. Ennio Torresan has a deep knowledge of the challenges involved in the construction of a story, from his experience as a storyboard artist at Dreamworks, where he was a crewmember in films such as Madagascar and Kung Fu Panda. According to him: “In an animation, the screenplay is never final. During the two years of production of Madagascar 2, we worked together with the screenwriters, reworking the narrative in the storyboard, until everything fit together. The secret behind animation becoming such a successful genre is precisely in the attention to each detail.”
With a degree in Fine Arts, in Rio de Janeiro, Torresan began his career in animation during the 1980s, influenced by comic books and by the works of artists such as Francis Bacon and Gerhard Richter. In 1993, he directed the short El Macho (1993), awarded by the festivals of Gramado and Annecy. He is currently living in Los Angeles, where he directed episodes for the SpongeBob SquarePants television series, for Nickelodeon, and Teacher’s Pet, for Disney, before joining Dreamworks.
In the Masterclass 1, Torresan will share with the audience the secrets behind the creation process of a good story, based on the screening of excerpts from films such as Madagascar, Kung Fu Panda, Megamind, and the most recent Dreamworks production, Turbo.
Masterclass 2 – From Stone to Pixel – Regina Pessoa
The Portuguese animator Regina Pessoa, awarded for films like A Noite (The Night, 1999), História Trágica com Final Feliz (Tragic Story With a Happy Ending, 2005), and Kali (2012), has developed special techniques and tools, such as engraving in plaster plates and digital engraving, to create her films. Her preference for the technique of engraving in plaster might have resulted from her childhood, growing up in a small village close to Coimbra, where an uncle allowed the children to draw on the doors and whitewashed walls of her grandmother’s house, using coal taken from the fireplace. According to Pessoa: “We didn’t own a television set, which was really boring then. But, when I think about it today, this might have saved me. During our free time, we thought, read and listened to the older folks telling their stories.”
In the Masterclass 2, Pessoa will share with the audience her experience in the creation of unique animation techniques, which can translate the wide range of feelings that originate from childhood experiences.
Masterclass 3 – Drawing the Future – Andrew Probert
Fans of science fiction films often collect miniature replicas of their favorite spaceships, characters and props. The existence of these elements is only possible due to the work of concept artists. Andrew Probert is a specialist in this art, having worked as a concept artist in big cinematographic productions. He is responsible for designs that have become classics, such as the Enterprise spaceship from Star Trek: the Motion Picture (1979), and details from the DeLorean – the time machine from the blockbuster Back to the Future (1985).
Probert has also worked as a storyboard artist and production illustration during the last 20 years, as well as a toy and Disneyland ride designer. With a degree in Industrial Design, his love for science fiction dates back to his childhood, when he enjoyed watching the television series Space Patrol. He usually begins a project by collecting information on what he needs to illustrate, and later develops the project based on functions that the prop or vehicle must have: “I develop the design based on practical use, on the way it functions, on how one gets in and out of the vehicle.”
In the Masterclass 3, Probert will make a presentation about concept design, highlighting its importance in cinematographic productions.