08 · 21 · 07

The role of creativity in Mexican animation

Clara Sánchez/Translated by Paulina Suárez

[imagen]In a conversation with the Mexican filmmakers Rene Castillo, multiple award-winner for his short film Hasta los huesos, which earned him, amongst others, an Ariel, a FIPRESCI and a Golden Dancer at Huesca; Enrique Navarrete, who has participated in important animated feature films such as The Prince of Egypt, Toy Story, Shrek and Madagascar; Lourdes Villagomez, producer of the short film by Carlos Carrera, De Raiz, which earned the prize for Best Animation in the 2nd edition of the FICM; as well as Miguel Anaya and Carolina Pavia, directors of De la vista nace el amor, winner of the 2nd Latin American Short Film Festival in Venezuela; the state of animation in Mexico was discussed with the major conclusion that creativity is the most powerful tool that the artists’ possess.

A bit of history
From the first steps of learning to its fulfillment, Mexican animation has been essentially independent. A small number of films support this claim, the first of which date back to the 1930’s, when Salvador Pruneda directed the first Mexican animated short film, Don Catarino y su apreciable familia (1934).
From then onward, animation was mainly used in advertisement. It was not until 1976 that the first feature-length animation, Los tres reyes magos was released by Fernando Ruiz, followed, a decade later, by Las aventuras de Oliver Twist.
A total of 56 animated films were made from 1934 to 1994. In 1994 Carlos Carrera won the Palm d’Or at Cannes for his short animation El Héroe, an event proved to be a turning point for animation in Mexico. Carrera became a success, earning the 2005 José Cuervo Traditional Award at the FICM’s third edition, and led the way to a growing number of followers such as René Castillo.

Between technique and technology
Technology remains the limiting factor in the production of high quality films, according to these Mexican animators.
In Lourdes Villagomez’s opinion, Mexican filmmakers have adequate knowledge of animation software, but limited experience with technique: “I think things would greatly improve if 3D animators had more of an education in traditional animation because they could become dependent on machines. When you work on paper you have to think the process through carefully”. Navarrete mentions that there are a growing number of animation courses, but they are too software-focused: “the TEC of Monterrey has just opened up a program, but it is based on theory; animation is best learned through practice”.
According to Villagomez, the majority of Mexican animators remain self-taught, “that was what Carlos Carrera and René Castillo did”.
Animators can also leave Mexico to work and study abroad, which is what Enrique Navarrete did: “I studied in Canada, and only after working in the United States did I find employment in Mexico, where Fernando Ruíz gave me an opportunity.”
René Castillo thinks that the fact that new courses on animation are being taught is a good sign: “on the one hand, there are people who would like to become animators and digital artists, and on the other there are institutions that are fulfilling this need”.

[imagen]Animation firms, the best way to learn
Villagómez and Navarrete agree that: “the best way to learn animation, even 2D, is through someone who works at an animation firm; first as an assistant then as a color technician and finally as an animator”.
Villagómez stresses that obtaining experience outside of Mexico is important: “to young people that aspire to be animators I suggest university studies in communications, design or acting with good performance so that they can the