Tippett is a self-avowed misanthrope, and that also carries through in his film: every figure in the film is disposable, faceless, often brutally, casually disposed of by some passing monstrosity or piece of machinery. Turns out stop-motion is absurdly exacting and difficult, and so I, being a child, gave it up very quickly and moved on to consuming surrealist and stop-motion art, rather than creating it. I pored over books about ILM-where I first read Tippett’s name-and sketched out monsters I wanted to create in clay and eventual Harryhausen quasi-life. When I was a child, I wanted to be a stop-motion artist-I begged my parents for a camera, armature models, polymer clay. It’s pure surrealism, and not in the defanged sense of “something incongruous in a familiar environment,” but in the sense of dissolving meaning and structure in service of scrutinizing why we create meaning and structure. It shows: every single frame, every new level of necrosystem, every squelching, belching creature has been carefully crafted for maximum impact. Tippett, a legend of the art form who worked on Return of the Jedi, Jurassic Park, Robocop, and Starship Troopers, raised funds for the film in Kickstarter back in 2012 and worked on this final iteration of the idea for a solid five years.
#Mud blood glory kickstarter full#
I was full of the sort of washed-out serenity you get when you hang out in the sun and devour watermelon in the shallow end, so we decided to pop on Phil Tippett’s Mad God, a stop-motion film on Shudder that’s been in the works in some capacity since the early nineties.
Last Sunday, I had what was essentially the perfect day: my best friend was in town, and we got sushi and slammed some Pioneer (Greasefang versus Cat/Oven) before hanging out in the pool all evening, tossing a Frisbee and cracking hop waters until twilight drove us out at nine o’clock.
0 kommentar(er)
