Sep 15, 2014 8 Questions with: Chris Romano/Toonlets Animation
I knew Chris Romano in college way back in the ’80s and then ran into him a few years ago at a Kings hockey game. I’ve discovered that since then, he has gone on to become a director and visual effects artist. He has directed such high-profile pieces as the ArcLight 50th Anniversary opener and in-theater live opening segment, but of course I wanted to ask him 8 Questions as they relate to his newest labor of love, ¡Monstro!, for Side Effects Software.
Tell me about ¡Monstro!
¡Monstro! is my latest work. It’s an original 10-minute animated short film. I’ve been calling it “A love story. A horror story. A ribald comedy.” It’s an homage to The Creature from the Black Lagoon, and I think of it as my love letter to stop motion.
I created a number of shorts over the last 10+ years, but most are mainly commercial length. I found myself at a point where I wanted to make another film and I wanted to tell a story with a beginning, a middle, and an end. But then I had a little girl and my time was totally disrupted. I knew I couldn’t make a film alone.
The stars aligned and I saw an opportunity to pitch a film to Side Effects Software. I called up Kim Davidson, friend and CEO, proposed teaming up, and he went for it: A short film using Houdini software and Side Effects interns.
Then I sat down and started writing.
What has it been like taking it on the film festival circuit?
The festival circuit is an interesting experience and I’ve already changed a lot because of it. I’ve learned a lot.
Each festival is run by its own group of people with their own likes and opinions and agendas. It’s their party and I’m just crashing it. There really is no second-guessing why something gets accepted or rejected. I just try to roll with it as best I can.
With stars in my eyes after first completing ¡Monstro!, I wanted to shoot for an Academy Award. I wanted to aim really high and see how far I could get.
There are two ways to qualify for Academy consideration. You can rent a theater in Los Angeles for a couple of weeks, play two shows a day, and charge admission. Or you can win “best film” or whatever at particular, pre-qualifying festivals.
¡Monstro! has been very well received at comedy and horror festivals, which is really great. I am excited to play anywhere and everywhere, and I enjoy meeting enthusiastic people. But the film has been categorically rejected at every Academy-related festival that’s reported. I can’t even get past the bouncer!
So, you know, my expectations have forcibly changed. I’m probably not getting my shiny trophy. It’s a terrible injustice.
Did you want to be an animator when you were a kid?
When I was a kid, all I wanted to do was eat Entenmann’s cookies and play video games.
I grew up on Looney Toons and Tom and Jerry, and my first real want was to be a painter. Like James Rosenquist or Ed Ruscha. I studied fine art at both UCLA and then Art Center in Pasadena, and much of my work was rooted in pop art and comic books.
After college, I fell into computer animation by chance, and when I soon realized I could make my own movies using computers, I changed focus. Looking back, I kind of wish I went to CalArts instead.
Making my own films is not unlike being a painter. I’m still making my own work. Films are a lot harder than paintings. But they take up far less space in the garage.
You’ve seen the art form and scene change a lot since the Spike & Mike era. Anything you miss about the old days?
You know what… No. I mean, the old days that I might miss were way before I was born. The original Tom and Jerry is amazing. Violent, absurd, hilarious, no dialog, action-packed, and top quality. I miss that. Like Wile E. Coyote, to a lesser extent.
Things have only improved since Dreamboy played Spike & Mike. Plus, I’m not a 2D animator… 2D is a whole other world and I’m more like watching it all happen from the outside.
When Kricfalusi’s Ren & Stimpy first aired, I think he reset the bar and cartoons have been getting better and more interesting ever since. I watch Regular Show. I watch Bravest Warriors. I still watch random anime. I sat down and watched every episode of The Mighty B with my daughter and I really like it. It’s too bad it only had two seasons.
That’s probably the best change… On demand. I get to re-watch a lot of older material with Milla. She’s seeing it for the first time, and I get to enjoy it all over again with her.
As a random shout out, because you and I have daughters that are about the same age: I showed Milla Oban Star Racers. It’s not well known. It’s like Star Wars pod racing (but much better) with a female lead, and Milla absolutely loves it. It’s a finite story filled with drama, action, and romance. Totally under-rated.
Everyone knows how much painstaking time it takes to animate. Any awesome aspects that no one thinks about?
Well, it was wonderful getting the chance to work with a group of enthusiastic talent. The animators from Side Effects were fantastic, and it was wonderful getting their contributions. I made a point of opening myself up to the ideas and suggestions of the team, and there was a lot of great feedback from them. Fabian Johnston is awesome. Cinthia Fujii is awesome.
On the last leg of the film, Sarah You was like my right arm, helping me get everything buttoned up and ready for the big screen. When the film was done and her internship and visa ended, she got shipped back to Seoul and it was really a bit of a shock. It felt like heartbreak. She worked tirelessly on my silly film for over a year of her life and now it’s all done and she’s gone. It was awesome getting to work with someone like that. Our friendship was a very unlikely one.
Outside animation, where do you find inspiration?
The morning sunrise in Topanga Canyon. And I pay attention to what Milla and her friends are in to. I’m a big people watcher. I like deconstructing everything and looking for hidden meaning. I follow a lot of people on tumblr.
Are you reading anything cool at the moment?
I was on a pretty good run and read Metro 2033 and Roadside Panic. But then I made the mistake of reading The Road, which was riveting, but so fucking depressing I almost lost sleep over it. And like a deranged masochist, I started watching the film and all of those bad feelings came rushing back. I had to stop. Now I’ve got Bryan Lee O’Malley’s Seconds and a Satoshi Kon’s Tropic of the Sea waiting for me. Hopefully one of them will make me feel better.
What’s your favorite post-work destination?
Aw man. What does “post work” mean?
Well, what is it you’re looking to do next?
Well, obviously, I’m looking to do more. More films. More creative. ¡Monstro! is my latest, elaborate calling card and I’m always pursuing more director work. I want everyone to know about Toonlets Animation and the look and style and process I put together. I promised myself I’d focus on promoting ¡Monstro! for about 8 months straight, but spending that precious time promoting versus writing and drawing is a hard one for me. I need to get back to the drawing board.
I’ve got a handful of projects on deck. Some web cartoon stuff (maybe crowd-funding?). A show I’ve been developing for a few years. Feature material. I just finished a few bumpers for a client and I’m budgeting out another small commercial. There’s so much to do and so many distractions. With elbows out, I need to barrel my way through the mosh pit of creative competition, keeping my head up and eyes open for the best route. It’s too easy to lose focus and just get lost and get trampled.
Upcoming screenings of ¡Monstro! include:
September 20-21: Golden Orchid International Animation Festival (Pennysylvania State University)
October 2-5: Feratum Festival Internacional de Cine Fantastico, Terror Y Sci-Fi (Tlalpujahua, Mexico)
October 9-18: Spooky Fest 2014 (Washington, D.C.)
October 10-12: Sunscreen Film Festival West (Los Angeles, CA)
October 14-23: Screamfest (Los Angeles, CA)
October 16-18: PollyGrind Film Festival (Las Vegas, NV)
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