I'm a big fan of anything that's
minimalistic like you can just draw two
or three lines and it expressed
something really strong and you can do
that with animation it's like you take
everything you love in real life and you
just reinterpret it with only the
essential things that's what I love the
most and lesson 16 is about the story of
Big Bear and the young Mouse they want
to befriend but their own society
refused them to be friends because bears
and mice can't live together it's like
Romeo and Juliet but we've not love but
with friendship police are still looking
for the two suspects Ernest and
Celestine until they were sent to
justice they're gonna find us it's a
series of books published between 1980
and 2000 by a Belgian offer Gabriel
Vincent it's really nice and tender and
slow-paced ah scary I was not the one
who wanted to make the film it came from
my producer di Bona with a very famous
producer in France 20 years ago he was
telling the book to his daughter and 20
years later he finally could make the
film to me what can we do to make this
move I told him okay I'm going to do my
best and I did some clips of animation
and my idea was to be very spontaneous
like Gabe Ellison was in the books that
means I was trying to draw animation but
never correct things I wanted to do
animation like you're sketching
he's so it a nice day okay that's
exactly what we need
I told DDI I can make the coffee on this
him I don't care I just want to roll on
this film and he told me okay you can do
director I was not expecting that that
okay let's do it
I directed a short film in school I
never worked with the whole team and
working in factors and things like that
at first that really frightening because
of all the pressure but at some point I
realized that all the artistic team was
giving a lot to the film so it was more
like having five six directors working
together to make the best impossible
the first thing I asked to the producer
it was having all the animation in only
one place all the backgrounds made in
only one place so there would be an
unity of work I wanted to be with the
animators and giving them my intentions
directly
we made the backgrounds with watercolor
because we needed to have this feeling
of paper so this we couldn't make on
computer I wanted the backgrounds to
have accident and the problem with
computers if you make an accident you
tend to correct it and I didn't want it
that's the almost the opposite of the
animation we made the animation on
computer on a software called flash and
the fact of doing it on computer you can
immediately see what you're doing I mean
in term of your animation if it's
working on logic I like this spontaneity
in the world and we use tablets so it's
Android animation made on computer to be
honest I really love tablets because you
don't have your hands I mean what you're
drawing it then it goes through a
software that makes a watercolor effect
it's a software that was created from
the film
there's a lot of steps in CGI animation
and if you don't have money to do all
these steps you can really easily look
really cheap on to the animation it's
more like you're painting drawing as
long as you find the right ideas you can
do whatever you want and it won't look
cheap yeah as a scene where they run
after buy a lot of mice in the script it
felt like we can't do that it's too many
you find solution so we made like a big
weird amount of mouse it becomes one
character it's really impressive because
it's only one that it's moving really
fast in a strange way so this is the
kind of solution you can find for this
kind of budget it was our guideline for
the whole movie like having this
pleasure and spontaneity in the drone
you