The Long-Overdue Michel Gagne Interview
version 2.0 (w/bonus material previously unrealeased!!!)
Now living in Southern California, Michel
Gagne's talent has led him to international fame as one of the most uniquely
gifted artist / designers the world has laid eyes on. Originally from Quebec,
Canada, he studied animation at Sheridan College School of Visual Arts in
Ontario, Canada.
His resume reads like an endless stream of high
profile projects (his most recent contributions can be seen in 'Osmosis Jones,'
'The Iron Giant,' and 'The PowerpuffGirls Movie.' The knowledge of his craft has
also led to speak at numerous lectures and symposiums that have been held in
Anney, France, UCLA, and the Columbus College of Art and Design in Columbus,
Ohio. If by chance, you're unfamiliar with his work, I recommend visiting
his official website before commencing
with the rest of this piece.
One of his first projects, the now classic,
'Prelude to Eden,' is still regarded as one of the most impressive pieces of
animation ever made, and is still heralded as a breakthrough piece in animation
design/production.
I was lucky enough to meet Michel at the San Diego
Comic Con this year and even luckier to be able to catch up with him a couple
weeks after the Convention to discuss his amazing career and some of the
things that make him tick.
-This is extremely exciting! I've been a huge Mark for your work
for like a bazillion years. At what point in your life did you decide that
art was going to be your profession?
MG: I really believe that I
was born to be an artist. For all I know, I was probably drawing in the womb.
You know, as far as I can remember, I was always doing creative stuff. I drew,
sculpted and built weird contraptions. I remember my parents would always get
pissed off at me because I wouldn’t play with my brother. I’d rather sit at the
table with papers and pencils and draw all day. I was pretty introverted as a
child and I didn’t mind being by myself. I’d read comics and watch sci-fi shows
on TV and lived in this total fantasy world. I knew that I wasn’t gonna
grow up to be a lawyer like my dad. That looked so boring.
A big
turning point was when I saw the original Star Wars back in 76. I was 11 years
old. I knew then, I was gonna work in movies somehow. Then, I saw Lady and the
Tramp when I was 16 and that’s when I decided to become an animator. Animation
seemed to combine my love for movie making, fantasy and
drawing.
-So then has art always been a big
part of your life?
MG: Yeah, always.
It’s what keeps me going.
-But your work is
so originally brilliant. Do you ever find it tough to remain so incredibly
creative? Is there ever a down time for Michel
Gagne?
MG: Sure, I have periods of
dryness. I usually freak out when nothing comes out for more then a few days
though. I have this weird internal guilt that comes up if I‘m not constantly
creating. I’m very hard on myself. I always feel like I’ve got only so many
years on this planet and I have to make the most of it. So I push myself pretty
hard.
-So
what fuels your creative process then?
MG: Everything and
nothing. My wife, my dogs, a good CD… I don’t know for sure. I’m a complete
retard at a lot of things but when it comes to art, it just comes
out.
-I'm gonna hop in the time-warp
machine back to 1995. Was 'Prelude to Eden' something that you'd planned
for years? Or was it just something that gelled together on its
own?
MG: I didn’t plan
Prelude to Eden, it just sort of happened. I started the film in 1991
after coming back to America from a 4-year stint in Ireland. I was pretty
depressed at the time and I was looking for an outlet to give some
kind of meaning to my life. Some people join churches and organizations, me, I
just immersed myself into this project for 4 ½ years.
-Was that your first attempt at
animation?
MG: No, I had done a couple of short films while attending Sheridan College and got in the animation industry as a pro in 1985. At the time I started Prelude, I’d been working for Bluth for about 4 ½ years and although being there was a tremendous learning experience, I wasn’t that thrilled with the kind of animation I was doing. The Bluth style is fine, but what I really wanted to do was the Gagné style, or at least find out what the Gagné style was. Prelude to Eden was the film that helped me find my own sense of timing, motion and design. It was total artistic masturbation. I was trying to “wow” myself.
-I
feel it's still an amazing piece of work. How many hours went into the
actual design/storyboard process?
MG: I’ve no clue. Like I said, the whole process took 4 ½ years. I started the animation before I even had a story or any boards done. Then, after animating the first 10 seconds, I boarded the film. Then, half way through, I discarded the boards and started improvising again. The whole process was totally organic. I just went with my gut and followed my instinct. You could never make a feature that way, that’d be insane. The film took a lot longer because, to me, it was more about the process. I didn’t care how long it took. I just wanted it to be my un-compromised work of art.
*Originally to be posted as a two-part serial, here for the first time is the 'bonus material' fully integrated into the end of the piece (just like a DVD!).
-And
then you did all the animation yourself?
MG: I did most of the
animation, although I can’t claim the full credit. Back in 91 or 92, some of my
animator friends saw the pencil test of what I’d done, and they offered to
contribute some animation for it. Those guys volunteered their time and I’m very
grateful for it. I think their input has definitely contributed to make the
animation of Prelude to Eden more powerful. I re-timed, cleaned up and
reworked, all the scenes into my style to make everything fit into a cohesive
whole.
-So do
you ever go back and re-watch 'Prelude,' and is there anything in there that
you'd like to rework in the film?
MG: By the time I wrapped up
Prelude, I was sick of it. I wanted it out of my life. I immediately
moved on to other things and never looked back. When I look at it now, I enjoy
it for what it is. It represents a point in my artistic growth and I’m very
proud of it. I never think about it in terms of “I should have done
this or that”. It’s done, and it is what it is. I wouldn’t want to make
Prelude to Eden again. I’ve grown as an artist and I don’t have the same
sensibilities anymore.
-How much involvement does the computer play in your artwork these
days?
MG: I still draw everything on paper and I use the computer to color or enhance the art. For example, I’m currently doing a Batman project for DC Comics. I do the penciling and inking on Bristol boards, then I scan the artwork in the computer and do all the coloring and special effect in Photoshop. Once that’s done, I prep the pages for the printer in Quark X Press. When I did animation work at Warner Brothers, I animated everything on paper then used the Animo software to composite my effects into the scenes. I started using the computer for my art back in 1994 when I was putting Prelude to Eden together, and since then, it’s very often been a part of my work.
-Is
it standard practice in today's animation to use computers to a
degree?
MG: Yeah, pretty much. The last feature project that I worked on that didn’t use computers was The Swan Princess, which came out in 1994. Since then, all the studios have upgraded with technology to stay competitive. Heck, if you don’t know the computer these days it’s pretty hard to get a job in the industry.
-So
do you see computers as a blessing or a curse?
MG: It’s like asking if a pencil is a curse or a blessing. The computer is just a tool. In the hands of a master it will help create wonders. But it won’t make up for the lack of talent. If someone doesn’t have a clue, it won’t make that person a great artist. That’s why there’s a lot of nicely rendered crap out there.
-And what about the Internet? Do you
see it as unlimited potential or a highway to hell?
MG: I think the internet is great. I’m not sure what shape it will take in the future, but I definitely see the potential. It helps me a lot to get the word out about my stuff.
-Earlier you mentioned that music can influence your creative
process. What's in your CD player these days?
MG: Right now I’ve got
Warriors of the World by Manowar in my stereo. It’s been there for
about two months and I play it pretty much on a daily basis. That CD kicks major
ass. I also like bands like Therion, Alan Parson,
Supertramp, ACDC, Beatles etc… and once in a while, I’ll
throw in a classical, opera or jazz CD.
When I
worked for the big Hollywood studios, I always had the music on. It was the only
way I could focus on my job. I’d put the headphones on and just get in the zone.
I used the music as a wall to shield myself from the environment and the
distractions. That was kinda weird since I was in some kind of supervisor
position for many years. Now that I work full time at home, it’s a much more
serene environment. I don’t feel like I have to constantly bombard myself with
noise. I listen to music maybe a couple of hours a day and that does the trick.
-Do
comic books fuel your creative process at all?
MG: Oh yeah. I read comics
almost every night before going to bed. It’s part of my unwinding regiment. My
wife reads novels and I read comics. As a matter of fact, I’m gonna read
Dragon Ball Z volume 7 tonight before hitting
slumberland.
-How did the 'Zed' project come about?
MG: I initially
thought of Zed as an animated show. The idea came to me when I was
working on Osmosis Jones. At that point though, I was getting pretty sick
of working for studios. When I thought of the logistics of putting an animated
show together, it made me kinda sick. I just didn’t want to deal with a bunch of
suits telling me what I should do with my story and my characters. That’s when I
decided to go the comics route. I could have complete control over the whole
thing since I would be publishing it myself. No executive to make everything
politically correct. You know, I have a very rebellious way of looking at art. I
don’t want to prostitute myself, and that’s why I do what I do. I believe in my
vision and I want to keep it as pure as I can. …I hope I don’t sound like a
total egomaniac.
-And, finally... Why rabbits?
MG: I dunno. I’ve always had some weird attraction to rabbits. My favorite book growing up was Watership Down, which is a novel about rabbits. I must’ve read it at least 6 times. My 3rd year student film was about a rabbit. Then, there’s the Insanely Twisted Rabbits book. Rabbits are so innocent looking, I love distorting them and making them scary. It’s a nice contrast. You take something sweet and you turn it into something grotesque. Demented cuteness. It’s just fun to play with that concept.
You can check out more
'Insanely Twisted Rabbits' at his official
site. While you're there, please take time out to read 'Search for a
Meaning,' which is available online to read from cover to cover!
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