He world of animated cinema is living a real golden age. There are increasingly more risky projects, using different animation techniques (there we have the 'Spider-Man: Crossing the Multiverse' films or the 'Arcane' series), and also giving space to countries and studios that can compete with the almighty Hollywood or Japanese anime.
And precisely this style of animation is what surrounds the film 'The Glass Artist', directed by Usman Riaz, with a script by Moya O'Shea. But the interesting thing is that It is the first Pakistani anime in history. In fact, Pakistan's first traditionally animated (i.e. hand-drawn) film, made by Mano Animation Studios, Pakistan's first traditional animation studio.
“Hand-drawn films are a rarity. That's because it's very intense work, plus CGI animation has taken off in style. Both hand drawing and CGI have their own complexities, in no case will I say that hand drawn animation is more difficult. It's just different,” explained its director in a recent interview, making it clear why they chose to make a film with this technique. “I love Studio Ghibli films and Disney's works of yesteryear. “They were both HUGE inspirations for this project.”
Manuel Cristóbal, winner of four Goya Awards for Best Animated Film.telecinco.es
On the occasion of its premiere in Spain this past November, We have had the opportunity to chat with its producer Manuel Cristóbal, winner of four Goya Awards for Best Animated Filmor at the Annecy International Festival thanks to 'Buñuel in the Turtle Labyrinth'. Cristóbal has been dedicated to the world of production for years, and in recent years he has also combined it with his work as an Audiovisual Industries Advisor in the Department of Culture and Tourism of the Community of Madrid or, currently, as the director of the European Festival of Seville.
Manuel Cristóbal embarked on a complex and difficult project such as producing the first Pakistani anime in history, and it was not an easy process. In fact, The project has taken almost a decade to complete. And on the Mano Animation Studios YouTube channel, you can see a documentary divided into twelve mini-episodes that tell the entire story behind a milestone in Pakistani cinema.
Question: What are the biggest difficulties you have encountered when producing a Pakistani film?
Answer: The project is a personal endeavor of its Pakistani director Usman Riaz. It not only involved producing the film but also building a studio in Karachi to make it. That meant a lot of work, yes, but work that was worthwhile and done by a very young team.
Q: How did the collaboration with Usman Riaz come about?
R: I studied in the United Kingdom with people from all over the world. One of those people was my Pakistani friend Rashna Abdi and she was the one who called me to tell me about the project. What I thought was going to be a routine conversation eventually turned into a film that I am very proud to have produced. Usman Riaz is contagiously enthusiastic and a great worker, as is Khizer Riaz, producer of the film and another great professional.
Q: What can we find in 'The Glass Artist'?
R: A story of love, magic and war. A 'Doctor Zhivago' with Pakistani touches and a love letter to Japanese animation.
Manuel Cristóbal is the new director of the Seville European Festival.SEVILLE FESTIVAL
Q: At what point is Spanish animation? Is the sector still viewed with condescension?
R: I see that everything has focused on attracting filming and it seems that it is better to produce abroad than to make Spanish films. Atomization is encouraged and too many films are made that go nowhere, both in live action and in animation. There is still a lack of family animation films for the international market, but making those films Spanish is very complex. And, above all, doing so is a risk that is sometimes unaffordable in our country. There are directors who, unless a streaming platform buys their film, cannot afford to make a Spanish film.
P: There is a great debate about adapting animated films to live action, as is happening with 'How to Train Your Dragon'. Do you think these decisions diminish animated films? Do you think people still see it as something minor?
R: Watching the live-action trailer for 'How to Train Your Dragon' makes you realize how wonderful the animation is. [Hacer películas de acción real] It is a decision to extend the life of IP's that, for example, worked for Disney at a certain time but that produce films that are far inferior to the originals in animation. Narratively, animation is the most advanced thing there is and proof of this are directors like Alberto Mielgo (Madrid director who won an Oscar for Best Animated Short with 'The Cleaner').
Q: What animated film would you have liked to produce if you had the opportunity?
R: None in particular. There are some that I have rejected and that have ended up being made, and the script was just as bad at its premiere as when I read it, so there is no shame in not having made them. What I do have is a small list of films that I have not yet been able to produce and that would be wonderful in animation.
Q: 'The Glass Artist' has been compared to the animation style of Studio Ghibli, and has the spirit of Miyazaki's works. Was he one of the references when creating the story?
R: Obviously this is a love letter to Miyazaki and Studio Ghibli from a new generation, and proof that anime is more than just the movies made in Japan.
