The role of creativity in Mexican animation

Carlos Carrera´s El Héroe winner of the Palme D’Or at Cannes

By Clara Sánchez.

In a conversation with the Mexican filmmakers Rene Castillo, multiple award-winner for his short film Hasta los huesos, which earned him, amongst others, an Ariel, a FIPRESCI and a Golden Dancer at Huesca; Enrique Navarrete, who has participated in important animated feature films such as The Prince of Egypt, Toy Story, Shrek and Madagascar; Lourdes Villagomez, producer of the short film by Carlos Carrera, De Raiz, which earned the prize for Best Animation in the 2nd edition of the FICM; as well as Miguel Anaya and Carolina Pavia, directors of De la vista nace el amor, winner of the 2nd Latin American Short Film Festival in Venezuela; the state of animation in Mexico was discussed with the major conclusion that creativity is the most powerful tool that the artists’ possess.

A bit of history
From the first steps of learning to its fulfillment, Mexican animation has been essentially independent. A small number of films support this claim, the first of which date back to the 1930’s, when Salvador Pruneda directed the first Mexican animated short film, Don Catarino y su apreciable familia (1934).
From then onward, animation was mainly used in advertisement. It was not until 1976 that the first feature-length animation, Los tres reyes magos was released by Fernando Ruiz, followed, a decade later, by Las aventuras de Oliver Twist.
A total of 56 animated films were made from 1934 to 1994. In 1994 Carlos Carrera won the Palm d’Or at Cannes for his short animation El Héroe, an event proved to be a turning point for animation in Mexico. Carrera became a success, earning the 2005 José Cuervo Traditional Award at the FICM’s third edition, and led the way to a growing number of followers such as René Castillo.

Between technique and technology
Technology remains the limiting factor in the production of high quality films, according to these Mexican animators.
In Lourdes Villagomez’s opinion, Mexican filmmakers have adequate knowledge of animation software, but limited experience with technique: “I think things would greatly improve if 3D animators had more of an education in traditional animation because they could become dependent on machines. When you work on paper you have to think the process through carefully”. Navarrete mentions that there are a growing number of animation courses, but they are too software-focused: “the TEC of Monterrey has just opened up a program, but it is based on theory; animation is best learned through practice”.
According to Villagomez, the majority of Mexican animators remain self-taught, “that was what Carlos Carrera and René Castillo did”.
Animators can also leave Mexico to work and study abroad, which is what Enrique Navarrete did: “I studied in Canada, and only after working in the United States did I find employment in Mexico, where Fernando Ruíz gave me an opportunity.”
René Castillo thinks that the fact that new courses on animation are being taught is a good sign: “on the one hand, there are people who would like to become animators and digital artists, and on the other there are institutions that are fulfilling this need”.

The multirewarded Rene Castillo´s Hasta los huesos

Animation firms, the best way to learn
Villagómez and Navarrete agree that: “the best way to learn animation, even 2D, is through someone who works at an animation firm; first as an assistant then as a color technician and finally as an animator”.
Villagómez stresses that obtaining experience outside of Mexico is important: “to young people that aspire to be animators I suggest university studies in communications, design or acting with good performance so that they can then obtain a scholarship for further study in the USA, Canada, England or France”.
Navarrete points out that in his advertising firm, Los hijos de su madre, “we don’t specifically look for people who have studied outside of Mexico, we are interested in people with talent; once we have talent, we can teach the rest. Also, we don’t work our people to death, a common occurrence in other firms”.

Current trends
Navarrete thinks that in Mexico: “there are not enough animators to set a real trend; most work is done in flash and Motion Graphics”.
Villagómez highlights the driving force that technology has become for animation: “ten years ago there were very few people who had the capability to animate, in the last 6 years growth has been incredible, especially due to user friendly 3D computer animation programs. Before, a film would remain in your computer and it was impossible to edit or convert to another format; now anyone with a computer and a handheld camera can animate and burn to DVD, which makes distribution easier. The time will come when feature film animations will be homemade”.
Miguel Anaya states that the new trends combine handcraft with digital cameras in stop motion and 3D. Castillo perceives equal progress of all three areas.

Carlos Carrera´s De Raíz Best Animation at II FICM

Creativity vs. Technology
It took Anaya more than ten years for his project to take off. He considers that Mexico is today where other countries were six years ago: “we [in Mexico] have a good position, but to become competitive we have to take a different approach. Those that are able to compete with the United States, such as Japan, Germany, and France blend American techniques with a local cultural influence. This is what Mexico needs to do to succeed”.
Pavia agrees: “we should be proud of what we are, without necessarily submerging ourselves in folklore or prehispanic culture, we are a mixture of narratives, same as other countries.”
Castillo is of the same mind: “the biggest asset that we have in Mexico is creativity. I have been involved in discussions about what we need to support first, animation or infrastructure, but I believe that original ideas are the solution and where we have the possibility of standing out. There are numerous courses in animation around the world with much more experience than we have in Mexico. And although we can purchase the same computer and software, we probably would not gain an advantage; however in areas of creativity we can have an edge.”
This filmmaker from Jalisco, who has been courted by Dreamworks and Armand, advises to act based on instinct “on the one hand there is technique, which is learned with lessons and experience; on the other is the artistic and emotional aspect, your message. In a team it is as important to have members with ideas as those with technical abilities.”

The universality of the feature vs the character of the short film
Navarrete states that in short films, local culture is showcased, where as feature films must be universal: “we need to create stories that will be understood at a worldwide level.”
“A Mexican film such as Una película de huevos, became a huge success in Mexico, but has no hope to be understood elsewhere due to the local character of the humor.” Local films become economically limited, “ we need stories that someone from Rumania will identify with as well as anyone from Latin America.”
Castillo affirms that the advantage of the feature film is that it can be translated into any language: “in stead of one movie, you have as many movies as languages to which it is translated.”
He states that feature films are more expensive but have more room for economic earnings in addition to the movie theatres such as the rights, toys, DVDs.
“When I come up with a project, I try to forget about the costs, otherwise I am overwhelmed. Short films have taught me that there are many ways to solve problems and you have to find your own way, in which the recourses you have will last; but it has to be done with creativity. The point is to surprise people. In 3D a plain scene costs as much as great one”.

Shrek, animated by Enrique Navarrete

The power is in the story
Navarrete believes that the power of a film lies in its story, which must be carefully constructed: “one of the issues that feature film programs in Mexico have is that the writing of the screenplay occurs at the same time as the animation. Such films lack cohesive flow. This is what happened in Magos y gigantes, a 2003 feature film which I had anxiously awaited, but I could not understand, as it had no structure”.

In search of sponsorship
Mexican animation has survived due to its role as a creative outlet. There is a conspicuous lack of infrastructure and commercial backing.
EL IMCINE has started to fund some projects such as the 2006 feature film Una pelicula de huevos as well as short films such as Leopoldo Aguilar’s De como los niños pueden volar and Karla Castañeda’s Jacinta. This year, three short films were funded: Miguel Anaya’s El armadillo fronterizo; Manuel Moreno Ramos’ Relato de San Brenan and Juan José Medina Dávalos’ Revelaciones.
Villagómez states that there is no education in Mexico for animation producers. “I am trying to be received by the Morelialab this year, as it is an ideal space from which to launch animation.”
René Castillo adds that animation in Mexico is in its infancy with notable exceptions such as El Héroe: “there is no industry; there are serious firms that employ animation for commercials, but that is not an industry. There is yet to be a short film culture; however this genre is becoming important elsewhere and spaces for it are being provided in festivals”.

The wager on the feature film
Having tasted success with short film, René Castillo and Carlos Carrera have decided to give feature films a try.
René Castillo is working on Poncho balón, a film that was originally made for television, but is now going to start off at the theaters. “I love Sponge Bob; Poncho balón is as naïve as Bob and as politically incorrect as Homer Simpson. I think this cartoon is a great opportunity; I have great fun with this character, he has lots of personality and I enjoy devising predicaments for him. We want this to be a family film, with layers of understanding for children, teenagers and adults”.
Carlos Carrera and Enrique Navarrete, on the other hand, are about to

begin Ana, a 3D film by Pablo Baskt and are trying for a comic sense that will appeal viewers of all ages. “In this movie drama, humor, action and horror will be artfully combined” Navarrete revealed.