I think that if you want to do animation for adults, you need to be wild
and you need to be extreme.
JIBARO is like a brutal disaster.
What I wanted to do first of all
is a story that has no heroes, no good characters,
and it's just a tragedy.
I wanted to talk about
the most toxic relationship that you can imagine.
I think that both characters are very much myself.
Like many times I go for that thing that feels extremely dangerous...
full of red flags everywhere.
It's kind of challenging and cool to talk about yourself,
especially when
it's so intimate and so private.
I love animation over anything,
it's been my passion forever.
That's what I always wanted to do.
And being able to explore the narrative worlds
it's extremely satisfying.
the animation looks pretty rich and real
because it's actually shot with real characters.
in my films, we do work with actors to actually see their emotions,
to record their acting in their faces,
and obviously their body mechanics.
We got a choreographer,
Sara Silkin, incredible.
And then we have a number of
really incredible dancers.
They were able to own their body and control their body.
And I'm very obsessed with animation
and human movement in general.
And I like to keep working this way.
The intensive work that you have to do in order to create just
15 minutes of animation, which is nuts.
We were 72 people.
You need to create a work from scratch.
You need to design it, you need to model i
There is a huge amount of process.
I also wanted to do a homage to nature.
The sounds and the colors.
In order to do that, I rent a van and I got inside of the forest
and I live basically inside of the forest for two weeks.
This is something that I usually do.
I like to go on vacation and find the right shots.
When I was there, I saw that nature is so raw and so beautiful
and the colors, they were just perfect.
I was very much also reinventing what a
Renaissance parade of knights can look like.
It was a pretty cool opportunity to explore color and to explore
how color reflects on these armors as well
In 3D, we have the advantage that we don't need to have a body underneath.
We don't need to have a man kind of complaining or an actor saying like,
"Oh my God, this doesn't move well."
For the woman, I was very much basing
all these beautiful jewelry and head pieces
from Western Europe, Russia, India, and north of Africa.
I just wanted to create a world that is rich and beautiful.
There's just a lot of sound in nature, actually.
It can be very chill and very quiet,
but when you are full on inside of a forest,
it's very rich in sound,
versus what a deaf person might hear.
And I did my own interpretation of what this can be.
This film is very much about listening
it’s not so much about hearing
even though we have a deaf character, it's about listening.
Listening in terms of red flags,
not putting attention to red flags or signals.
In the case of the woman,
she can actually have everything else but she cannot have that
person because he cannot hear her.
It is true that there is a theme
that is actually going through all my stor
which is kind of relationships and love.
I am very interested on losers, more than
in heroes or in superheroes. I find that a super loser
is more interesting, in my opinion, for the stories that I want to tell.
There is still a little bit of a stigma
of what is animation, at least in mainstream.
Most important is to explore cinema rather than
the technique itself of the animation.
I would like that we actually break that barrier.
Working in this anthology, Love, Death & Robots,
I personally feel really free in terms of
ideas, exploring new narratives.
They were trying something very radical.
You can have violence, you can have thriller,
horror, nudity, anything that is adult.
And that's something that I really appreciate
as an artist.