Conversation #4: Anatomy Of A Work In Progress
In Conversation with Marianne “Abby” Bravo and Anndrew “Drew” Herbohn
Abby and Drew are heading up a team that is nearly finished an absolutely beautifully conceived and executed new film titled GLASSHOUSE HEART. It is a film with a range of complexities and challenges woven into its fabric.
The physical space that the film is almost entirely situated within has to be expressed and understood by the audience without revealing its existence to the female protagonist that sits at the heart of what amounts to a potent fairytale carrying quiet but deep rumblings of issues we face as a society. The guide through this story and the world it inhabits is an invisible but satiny narrator who the directors have chosen to imbue with a script that lifts many of its cadences from the world of theatre. And the visuality of the film suggests that Pixar hired some Rembrandt scholars.
Like any film GLASSHOUSE HEART did not emerge fully formed. Ideas were tabled, accepted, adapted or discarded. Characters evolved and a complex world full of real things, imagined things and thin air had to be created out of – well – thin air. The joy of crafting superbly animated sequences has been tempered by the tedium of slaving over endless animatic tweaks and scripting updates. But as this beautiful film nears its completion – and before the pain of its creation is lost to the sands of time – let’s take a ‘behind the scenes’ look at what it takes to make an animated film from scratch.
This session is classified: Unclassified (M) Mature, not recommended for viewers under 15 years.
Please note that Backlot is NOT fully accessible. There are stairs with handrails, but no lift to the second floor where the cinema is located.