“There has been tremendous improvement in both the hardware and the software enabling us to push the boundaries of what is possible to do with a computer.” – ベンスタッセン
映画監督, Producer and Screenwriter Ben Stassen is Belgian. His films include Devil’s Mine, エイリアンアドベンチャー, 三次元での出会い, お化け城, とフライミートゥザムーン. Stassen also produced and directed Wild Safari 3D, the first 3-D wildlife film for the giant screen in 2005.
His latest film, BigFootファミリー, is a 3D animated feature film and is based upon an original story by Stassen. It was written by Bob Barlen and Cal BrunkerIt. The film is the sequel to Son of Bigfoot that was released internationally in 2017 and grossed more than $50 million worldwide. BigFootファミリー was featured in Annecy’s online film festival earlier this year.
教育のためのグローバル検索 is pleased to welcome Ben Stassen.
“The key to our success is that we have owned everything we produce from the very beginning.” – ベンスタッセン
Why do you think BigFootファミリー resonates so strongly with a broad global audience?
We knew from our first Bigfoot film that audiences liked the main characters and personally, my favorite characters were Trapper, the raccoon, and Wilbur, the bear. My attachment to these two characters was one of my main motivations to do another Bigfoot film. Trapper and Wilbur have much broader roles in the new film and they bring tremendous humor to the story. We did not want to create a traditional sequel, a follow-up to the original story. Bigfoot Family stands alone as a brand new story audiences will be able to enjoy even if they have not seen the first film.
How has the animation process changed since your first feature film in 2008? What role has technology played?
The animation process has not changed that much since Fly Me To The Moon. There has been tremendous improvement in both the hardware and the software enabling us to push the boundaries of what is possible to do with a computer. We have developed a whole array of tools to improve our production pipeline, but overall the process has not changed that much for the last 10 年.
“The digital revolution has given us the tools to compete with the best and biggest studios anywhere in the world.” – ベンスタッセン
Your company, nWave, has been able to make some extraordinary larger than life films and attraction films. What’s the secret behind the success? What lessons have you learned in the process that you’re able to share?
The key to our success is that we have owned everything we produce from the very beginning. By owning the copyright to all of our films, we have been able to build a substantial library that keeps on generating revenues year after year. This is true for the specialty films we distribute ourselves and for the feature films released by third-party distributors. Without that stream of revenues, we would not have been able to survive financially, or at the very least we would not have been able to maintain our independence.
COVID19 has affected films and filmmakers everywhere. What are the personal challenges you have faced with regards to the creative process and the marketing process?
The pandemic has spared our digital studio to a certain extent. Contrary to live-action film producers, we have been able to keep our production going with teleworking to a great extent. We met our delivery deadline on Bigfoot Family and we have not lost too much time on the production of our next project. So on the production side, we are OK. But I am quite nervous as far as the release of the film is concerned. Will the public return to the cinemas? I believe that the typical film audience, インクルード 15 へ 25 year old, will be the first to return. As for the families…? We just don’t know at this stage.
“Choosing a company where an animator will be able to progress and grow is the key to success.” – ベンスタッセン
The world of film has changed. What advice do you have for young filmmakers who are starting out today?
The digital revolution has given us the tools to compete with the best and biggest studios anywhere in the world. Whether you are in Los Angeles, Brussels, or a South Pacific island, we now have the tools to create great content at a reasonable cost. As importantly, the digital revolution is also making it possible to distribute your content in ways that were unthinkable 10 または 20 数年前. But the technology has become more and more sophisticated. So my first advice would be to get a good education. When we started 30 数年前, a lot of animators were self-taught. This is no longer possible. Then it is all a question of making the right career choice, at the right time. It is tough to run an animation studio – very few survive over the long run. Choosing a company where an animator will be able to progress and grow is the key to success.
(Photos are courtesy of ©nWave Pictures, ©Octopolis)
C.M. ルービンとベンスタッセン
私たちにありがとう 800 プラス グローバル貢献, アーティスト, 教師, 起業家, 研究者, ビジネスリーダー, 学習の未来とのあなたの視点を共有するためのすべてのドメインからの学生と思想的指導者 教育のためのグローバル検索 毎月.
C言語. M. ルービン (キャシー) CMRubinWorldの創設者であります, オンライン出版社は、世界的な学習の未来に焦点を当てました, そして惑星教室の共同創設者. 彼女は3ベストセラー本や2つの広く読まオンラインシリーズの著者であります. ルービンは、受信しました 3 以下のためのアプトン・シンクレア賞「教育のためのグローバル検索。」シリーズ, これは青少年のための提唱, で発売されました 2010 そして国が直面している重要な教育問題を探求するために世界中から著名な思想的指導者を結集.
Cに従ってください. M. Twitterでルビン: www.twitter.com/@cmrubinworld
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