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Comment by Strider on September 3, 2012 at 6:54pm

heh.. well ok - for a while I was pissed... 

I got over it and gradually came to a more mature understanding. Especially because - how could I be pissed when I had just done it to him? But I'm glad it worked out the way it did - hey - I'm making a movie with Radke heads!!  

Comment by Bernardo Marinho on September 3, 2012 at 2:34pm

. So I'm not angry or anything that he "used my idea" - actually I'm kind of tickled - it's gratifying to think he liked it that much. 

 

That is why you are a good person.. I would be pissed! And I would think "Look at this Condescending Pr*ck! Telling me NOT to AND THEN doing it!!! MOTH*R FU***R! From now to eternity I'LL COPY EVERYTHING and I'll sell it for half the price he does!!!"

I would at least think like that... doing it would be hard cause i'm always procrastinating!

Comment by Strider on September 3, 2012 at 12:50pm

lol yeah - it's really impossible to do anything completely original - by now everything has been done in some way or other. The thing is to find some fresh way to do it. 

There's a difference in my copying Scott's style blatantly and him being inspired by an idea I freely shared with him in email - 

For one he's a working freelance artist who is well known for his particular style, and it's easy to tell when somebody is riding on his coat tails - though he does work in a certain field where other artists do similar things (like Chris Sickles of Red Nose for instance - but you can easily tell their work apart). They're similar in the way different Impressionist artists' work looks similar - you can still definitely tell who did which piece. 

But using an idea you heard somewhere is a different thing. I don't have any claim to the idea of a creature (sea or otherwise) with a human face - even a face identical to a human character in the same movie. Now, if I had produced something using that idea in a particular way that's identifiably mine, then it would be different if he (or anyone) copied my own style. 

What he did is really quite different from my original idea anyway - I envisioned a small fat-bodied whale, and he hasn't done anything like that (that I've seen anyway). So I'm not angry or anything that he "used my idea" - actually I'm kind of tickled - it's gratifying to think he liked it that much. 

Comment by Bernardo Marinho on September 3, 2012 at 7:54am

Pablo Picasso said "Good artists copy, GREAT artists STEAL!" 

 

Immediately after that Scott started sculpting sea creatures with human faces and then switched to other kinds of animals with human faces (well - to use the term human rather loosely - I suppose they're some sort of Radke mutants loosely based on human).

Comment by Strider on September 3, 2012 at 7:23am

Sounds like Studio Ghibli's Ponyo 

Really? Ok, now I want to see it. I seriously doubt it's remotely like my idea though. I've never seen anything like it before. But I've since abandoned that one along with dozens of other ideas I've worked up that don't fit the bill for various reasons. 

So, how far along is Cosmo's? I remember you saying (to everyone's astoundment) you were only a month or two away from finishing, but that was a while ago  Or should I not ask... 

Lol I've actually been thinking that for a long time now, but keep running into various roadblocks. I suppose thinking 'only a little longer now' keeps me going. 

My most recent roadblock is that I keep ruining windows. I've now made 5 or 6 replacement windows for the set because I keep finding different ways to destroy them - usually involving the hair gel I'm using for raindrops. I eventually stopped using plastic and switched to glass because I can scrape it clean with a razor blade without scratching it - but I gotta tell you, it's really heartbreaking to do this shot over and over and over and each time end up destroying another window and have to start over. 

Last night I finally did the devinitive version of the shot - and it looks great, but I cut it together with the rest of the shots I've got for my opening montage and it doesn't work. There's no visual rhythm to it - I think I need to go back and re-do all of it. Plus I suddenly realized that any other shot that shows the window would also need raindrops streaming down it, and I don't know how I could accomplish that in a shot that also involves puppet animation - it would take too long to do the character work and the drops will have moved too far. As great as it looks - and as hard as I've worked to finally perfect it - I might need to abandon the trickling raindrops idea. 

So - short answer - I have no idea. But I'll post no film before it's time. And it's time is whener I manage to develop my skills to the point where I can do it justice, as many re-tries and learning experiences as that takes. 

Comment by Dean B on September 3, 2012 at 6:25am

 I mentioned an idea I had for a surreal project involving a human child finding a sea creature with his face on it.

Sounds like Studio Ghibli's Ponyo 

So, how far along is Cosmo's? I remember you saying (to everyone's astoundment) you were only a month or two away from finishing, but that was a while ago  Or should I not ask... 

Comment by Strider on September 3, 2012 at 5:44am

I'm not sure what Scott's influences might be, but what I've noticed about his work is this - there seems to be a mixture of certain elements. Frequently there's a hint of clown makeup, sometimes very understated - dog lips and dog noses, and of course he likes to widely separate the eyes and place them all askew - in fact he places all the features very askew. 

This refers mostly to his earliest work, the stuff he was already doing when I discovered his site. Most of them also wore hats or helmets that seemed to be organically growing on their heads and had a strong emo or similar aesthetic. Each eye often has a very different expression. 

When he contacted me to begin our collaboration he had just changed from that style to something a little different - the hats and helmets were gone now and the creatures were looking a bit less mutant and more human. He had just finished his biggest sculpture to date, and the heads he then made for me were his smallest. He said it was really hard getting used to working so small, and in fact they are a bit bigger than I was hoping, but that worked out fine because I ended up making them puppets with extra-big heads, and I like the way it turned out. 

During our very brief email contact I mentioned an idea I had for a surreal project involving a human child finding a sea creature with his face on it. Immediately after that Scott started sculpting sea creatures with human faces and then switched to other kinds of animals with human faces (well - to use the term human rather loosely - I suppose they're some sort of Radke mutants loosely based on human).

So the cross-pollination has gone both ways. 

Comment by Dave Jones on September 3, 2012 at 3:02am

This looks pretty good. I had always assumed the models were designed by you...and Ive just now spent the last while checking out Scott Radke's back-catalog. What a great body of work. Like Chris Riddle's stuff (and even Amanda Louise Spayd who made "the Maker" puppets) it does have an eastern european feel. Why is that exactly? Its very much the opposite of the whole translucent puppet thing in that other thread I suppose. Ive got a lot of time for both schools of puppet design I guess. And what youve done with the puppets completely does justice to the designs, the lighting and the sets, the depth of field. Im excited to see this all come together.

Comment by vitriol on September 3, 2012 at 12:19am

Thanks for the insight!

Amazing! Always assumed it was a straight up commission. 

Such a good idea for renown or established sculptors to collaborate with Stop-Motion Animators. Love to see similar from the likes of Alex CF, Marc Petit or Olivier de Sagazan

Comment by Strider on September 2, 2012 at 8:25pm

Ah - I guess the 818 includes the black bars top and bottom. 

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