miércoles, 6 de abril de 2016

A Goya to produce full length art

Pedro Rivero and Alberto Vázquez are breaking the schemes of animated films with “Psiconautas”

Pedro Rivero and Alverto Vázquez collaborated to adapt the “Psiconautas” graphic novel into an animated full length feature film. The transferring process from strip to screen is directed and written by Rivero, while Vázquez made the original work and is also helping with the animation. The film breaks every scheme of current animation and is making a name for both artists alongside the short films “Birdboy” and “Unicorn Blood”.

Before they met, Rivero’s career began with movies he calls “irregular” thanks to friendships and coincidences. He liked to write since he was young and it didn’t professionalized until the first Basque animated films and TV shows. His first personal project was planned on 1999 and resulted into the first Spanish movie ever made on Flash: “The Carnivorous Crisis”.

The idea came on 1990 for comic strips, but it was developed for 2D animation until Rivero couldn’t finance it and had to be made with Flash. After seven years in the making, he calls the result “irregular” and undesirable. On the other hand, Psiconautas is more explicit than his previous projects and underlines emotions and sensibility. That’s why it nods some Eastern animation and David Lynch.

Psiconautas is inspired by the 80’s Spanish crisis after the naval industry fell, the country became part of Europe and drugs took the streets. Winning the Goya for Birdboy changed Rivero and Vázquez’s careers and let them adapting the full story into a film. Alberto Vázquez received the prize almost ironically and took it as bait for new financers. The ground was ready for the movie and changes were made from the original source to make it darker and more depressing without falling into clichés.

A Spanish animator with background

After screenwriting for an animated film about San Ignacio de Loyola, Pedro Rivero adapted the Goomer comic-book into a cartoon. Canal+ ordered to the producer Gregorio Muro to make it until Filmax bought the rights and changed it to a feature film. They contacted with the writers of the strips and the result was an “irregular” movie with plenty of similarities to Planet 51.

Rivero criticizes current Spanish animated films because they just reenact North American stereotypes like adventurer archeologists and astronauts. He calls it cultural colonization and blames the producers for thinking they are saving Spanish cinema when they are actually condemning it.

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