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That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group.
Alex Abreu
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Alex Abreu
Age: 33
Born: 1991
Born: August 14
Baseball Player
Basketball Player
Bayamón
Puerto Rico
Alex Abreu
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More quotes by Alex Abreu
Airgela is Alegria backwards and Alegria means Joy or Happiness. This is a fundamental word in this film. It's very important. Symbolically Alegria is crucial word in the creation of this project. Although it wasn't present from the beginning, as we were working on the music it became symbolic.
Alex Abreu
I'm being sincere and I'm being human. I'm making mistakes or I'm doing things correctly, but I'm being human regardless. I'm talking about my pain and my joy, and I'm not saying it with words but mainly with colors and shapes. That's what I tried to do with the utmost sincerity and humility of a child.
Alex Abreu
Making a film from the point of view of a young boy's eyes opened the door to another universe with lots of freedom and to explore a new dimension. This was achieved as I started doing things that were close to what exists in a child's universe.
Alex Abreu
The entire time I was following the feelings experienced by children, so the feeling of not understanding what adults say was very important to put the audience in this frequency to understand the world through his eyes.
Alex Abreu
Films are born from screenplays and they are guided by words. They are born very limited and there is no space for real creation: graphic creation, pictorial creation, or audiovisual creation. If we really want to use the art of animation with all its strength, we have to rethink the processes by which it's made because the medium is the message.
Alex Abreu
It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.
Alex Abreu
We were breaking away from anything that linked us to this world, but by doing that those ideas remained even stronger. Fables represent the basis for what I wanted to say about human beings.
Alex Abreu
I draw things on the paper very freely but believing there is meaning to them already. There is already meaning in the colors, I don't need to be guided by words. I draw them and the meaning comes after. Every time we would start a new sequence we would change everything.
Alex Abreu
A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted.
Alex Abreu
They didn't need to be specifically South American or Latin American. Instead we discovered we were talking about human beings in general. We realized that these are not issues only pertinent to Latin America: poverty, misery, consumerism, etc.
Alex Abreu
Director and producers have to take all the risks they can. We developed this film with the possibility to create departing from a blank page and to discover things as the process went along and as we understood the things that at first we couldn't understand in words.
Alex Abreu
During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, This is what children are going to think or This is what adults will understand.
Alex Abreu
I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I'm drawing is real or strange.
Alex Abreu
I built the film [Boy and the World] this way. I gathered all the tools I usually use such as brushes, color pencils, crayons, watercolors, and everything else I found in my studio, and I put them on top of a table. I had this feeling of freedom and possibility like if I was this boy. I was using the boy's freedom to create this film.
Alex Abreu
We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.
Alex Abreu
Is as if the music is another character or as if it was a part of this great opera. I also through about this project as a structure or as a sculpture made out of colors, rhythm, characters, and brush strokes, but with every single one of these always supporting one another.
Alex Abreu
The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas.
Alex Abreu
Looking through a child's eyes and knowing this was another planet, we decided to design the machines with eyes and bodies like animals, we also decided that this planet has two moons, and we decided that anything else we wanted to do was allowed. It was a new perspective to make the film.
Alex Abreu
From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, It's probably very easy to make a film with those textures, but it's much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.
Alex Abreu
I always told my team, You have to believe that you are not in front of a computer, but that your canvas is a piece of paper. You have to believe this even if you have a computer in front of you.
Alex Abreu
