PC: It’s funny, because it’s where I started. A lot of people know me for my work on “Aeon Flux” and think of my work as being targeted for adults, but I started doing stuff for a younger audience. So for me, it’s not strange for me to be doing something like this at all. In this specific instance, I would say, it’s very satisfying now to sit with an audience and watch the movie and just have them respond very spontaneously and emotionally. And thinking a lot about how to do that, because for a long time, I was really trying to engage the audience on a cerebral level with “Aeon Flux” and with “The Animatrix” and some of the other things like “Tomb Raider,” and be a little more ironic or a little bit more self-referential, whereas this, I think, is just more of a classically told story. … [In "Aeon Flux"] I’d self-imposed all of these restrictions: no family, no personal ties, all the stuff which, to me, makes telling an emotional story a whole lot easier. I didn’t want those easy methods in the case of “Aeon Flux.” In the case of “Firebreather,” I mean the story, [relationships are] so intrinsic to the character, that it was kind of liberating to be able to make use of all of that. … When I was doing “Aeon Flux,” it was like I had this huge handicap that I’d imposed on myself. It’s like you’re training, and you’re running races with a pack of weights on your back, then suddenly you’re able to take them off, and you can run wild, and that’s a little what it felt like working on “Firebreather.”
Firebreather Animated Movie
Comments