An Interview with Auden Lincoln-vogel
What has been a real high point point for you in creating this film? What excites you about your submission to the FilmOneFest?
Animation is a notoriously time-consuming medium and, in my experience, every animation has its own ratio between time spent making and time spent viewing. Of the ten or so hand-made animations that I have worked on, this project was by far the most skewed towards the making side of this equation. There are only about 120 frames in the entire film, but each frame took about two hours to collage and draw over. It’s nerve-wracking to work on a project like this, in which you really have no idea if anything will look even remotely okay until you have already sunk at least a few weeks’ work into it. The high point of this project (and also the moment of greatest relief) was when I finally got my hands on a new copy of After Effects and was able to successfully compile the raw animation and watch my six months of work whiz before my eyes at 30 frames per second.
A questions about “One Minute” films: As you think about one minute films, what kinds of possibilities are there for this medium? What does it mean to you particularly?
The super-short film cannot be considered by the same criteria as a longer film, in which the viewer becomes completely immersed in a closed cinematic world, replete with complex plots and three-dimensional characters. Super-short films are an entirely different sort of viewing experience: one that tantalizes rather than sates, grabs rather than holds. It drops its viewers before they can become too comfortable. A film that is only a minute long has a sort of preciousness, an aura that is almost holy. It commands the undivided attention of the viewer, who, always in a state of budding cinematic seduction, never dares to blink. Unable to explain itself entirely, the super-short film finds its power in its ability to leave one reflecting only after the fact.
Talk a little about your influences: If you think about the gifts and skills you bring to film-making, what do you find energizes you most? What inspires you or compels you in your art form, and in what ways are you inspired?
There are two things that inspire me as an animator: direct sensory experience and the other animators I work with. With respect to the first, I am fascinated with representing what I see as a broad gray area between mind and body, an area comprised of sense perceptions, unconscious judgments and emotions all mixed together. To me, animation is the perfect medium for visually reproducing subjective experience, whether surreal and fantastical, or lucid and banal. With respect to my second source of inspiration, other animators, I am always excited about working with other people, not only on projects that are planned out, but especially on open-ended projects that are guided only by a loose set of rules for collaboration. I have worked on animations in which the animators switch off drawing every frame, and animations in which interacting characters are drawn by different animators with different drawing styles. Collaboration is perhaps the best way to prevent animation from becoming stale and solipsistic and I have never felt uninspired while working with another animator.