Special report. TVC 21. Dimitri Buimistru

Who is Simpalovsky Michelangelo, why is Death not so terrible when it is painted, and what is the most expensive thing in cartoons?

-Death isn’t as scary as it looks.  And when they make a cartoon with death, it is not scary at all, but even funny. Today we will tell you how to make this cartoon, all its stages, from the beginning to the end. Let’s go. Here. I think you can really help me. What’s your name?

– It’s Arthur.

– Arthur, who are you in this company?

– In this company, I’m the writer.

– This is the assistant director. Arthur, why don’t you walk us through the world of animation? I can tell by the cup that you’ve taken…

– This is from our second cartoon. I’ll show you how we create these most famous cartoons about G.

-Well, in Moldova they’re the most famous. I don’t know how in the world, but I think you will try and they will be the most famous in the world. Yes?

-We’re doing our best.

-That’s it, show me.

– It all starts here.  In this wonderful office, this is where the story begins.  This is my desk where I write all sorts of scripts, ideas. When the script is finally ready, what do we do? We go to our artist, to our Serdar, a talented storyboardist, who does our storyboards. What is a storyboard?  It’s a sequence of shots on which we can see the cartoon. 

-It’s unique, exclusive footage. 

– Yes, and these very storyboards, by the way, were invented by Walt Disney, incidentally, he put them into practice. And here we have our local Walt Disney, Serdar, absolutely similar.  Just like Mr. Disney. Mr. Disney!  He always listens to music when he’s working. Here’s our resident Walt Disney.  He’s giving us a storyboard.


-I tell you what and how you draw us beautifully. Look how he does it.

– The man’s not important, take your hand off.

-How is it not important? -It’s not important. 

-That’s what’s important, it’s the hand that’s important. -That’s it. This hand has drawn, what, 35 awards. 

-I draw what the screenwriters and our directors come up with.

-Do you think it’s an important job that you do? -Yes.

– I do. I’m the chain, I mean, I’m the link in the chain. Of course.

– Well, there you go.  After Serdar draws us our story, we go to our wonderful talented artists. They do what. They paint us our beautiful world in color, in its full glory, as it were. And so we move on to Grisha.  To our sculptor.  Who, as a matter of fact, brings them to life. Look how wonderfully he sculpts them. Now he is working on…

-Simpalovsky Michelangelo.

– He is.  Now he is working on the wolves, in our next project. These models are made to feel the character in its entirety. And to the end to approve it.  That yes, he will be exactly like this, this size, this character.

-After the character is drawn, I like to mold it, so there were no questions from the person who will be it in 3d modeling. 

-Aaah means, after Grisha moulded us a character, we go to our modeler.  And on the basis of this, what we got, our modeler is modeling here model. So that it could move, has for animators in the future, in a special program. See how it turns out. So, after modeling we go to the most interesting, the most interesting part of our process is to animation. So, we take those characters that we modeled there…

-Molded, made, drawn.

-Yes. We send it to Zhenya, our talented animator, and what does he do with it?  He brings it to life.  He animates him with his mouse, keyboard and monitor.

-I say, “Dude, dance!”

And as a result, what we have, we have a character and he voila, he dances.  Here, in one simple movement. 

– Once we animated all the characters, all moved according to our ideas, we move on to our next step. 

-In a nutshell. Compotizing is the final part of the production of cartoons, as well as movies. It is the adding up of all the pictures together. You see, very many layers are superimposed at first. Just the sea, and then waves are added, then splashes, and then splashes. That is, it is quite a painstaking work to make it all fit together and become a single picture.

-Of course a huge number of people are involved in this process. The whole team and we all are very good, they all do a very good job, but there is the main character, the main critic of critics, the director of all the directors, the screenwriter – it’s our Dmitry Voloshin.

-Today we have Dmitry Voloshin, who will tell us… I was immediately attracted to that statuette.

– No wonder.

– No wonder. It’s the most expensive. I don’t even know what you’re looking at, but I’m sure it’s the gold Oscar shit.

-It’s beautiful. Background, please. How did you get it and for which cartoon?

-We send cartoons to different festivals, at one of the festivals in America, we won and we were sent this wonderful thing.

-Can I hold it in my hands, yours?

-I thought you wanted to take it away. -Not at all, but to hold it. I understand they made it, you know, to look like an Oscar, to humiliate the ego of the festival participants. It’s like, “Ooh. Look at my shit.”

By the way, some of the papers said we got a mini Oscar, and some said we got an Oscar. Honestly, it’s our dream dash to get on the short list for the Oscars. Even if not to win first prize, to get at least in the top three or the top five.

-What does it take to get there?

-to make a great cartoon.  Here’s hoping to get closer with the wolf cartoon so we can get on the short list.

– Secret information about the wolves, or can you tell me what the plot is? 

-I can tell you the plot. -Well, we wanted to, we’re a little bit away from the basic concept on which we did the previous cartoon. We want to show the inner world of our death. Not just, here it comes, it does not work, all collapse and survive. And we want to say that inside it has a great human heart. 

-That’s it.

-Yes. And that he is not just unlucky, but sometimes he makes the decision not to take the soul of an innocent child himself. And he decides to let him live, even to his own detriment. Because, you know, he’ll be kicked in the teeth for it. But he decides that it’s not fair, that he’s too young. Everything can be the opposite in life. And that death can be kind, it can be even more human than people.  And our whole script is based on the fact that death teaches humanity, but not the other way around. That is, it’s always interesting to watch stories that turn upside down the conditions we are used to. We do not do it for the money, we do not do it to order, we do it from the heart and we do it as long as it takes to get a good quality product.  We are not limited to unlimited resources, no one is paying us, no one orders. And you better go and take pictures of my team.

-We will.

– That’s the most important thing! Because I’m like me, prizes like prizes, these are the people who create these cartoons. They’re the ones who hold everything together.


-They’re the coolest.

-Okay. Good luck, everybody.

-Good luck. 


Mentioned projects:
Simpals Studio
Veranda. Jurnal TV

Veranda. Jurnal TV

Chicago. Marathon in the concrete jungle

Chicago. Marathon in the concrete jungle

Do you need a GPS navigator in a stone jungle? Can beans be mirrored? What for do doctors suck the blood out of runners? Chi-pizza or what does it mean “a delicious pizza”?