slater threatens a radical overhaul will become treason media but a government agency said to take control of the whole industry and there have been a marked lie of all those protesting. and right now aussies plays host to art directed to me tree run and show her explains why america's most successful cartoons including the simpsons but have a bit of a russian accent. hello again and welcome to the spotlight show and party i'll bring out and today my guest is. the simpsons has become so popular in the united states

it made it to the big screen but only few people know that this typical american family actually has aggression roots so are several other super popular animated show in the u.s. how could this happen are the russians still coming or are they already there we're asking the simpsons are there. was a part of the award winning any missions to year called pilot but after the fall of the soviet union he moved to america only to help create the country's best animated cartoons he joined his friend and colleague david going off another tale of russian and the classic animation studio together they created one of the most successful animated could to help the ninety's called rug rats the movie dream has also been a director for the simpsons movie and the television serious the simpsons.

and she was into the show thank you thank you very much for being with us well first of all he in russia as we just heard you worked in the best cartoon studio that's that we had at that time and maybe maybe the best still is so why did you decide to move and start working in the u.s. for economic reasons for for political reasons certainly not political ones. probably economical reasons at the time at ninety four i was out of a job for probably more than a year by those three it was already when dealing economically so when i got the invitation from the president of klasky chip. and definitely eager corrado of insisted. on having me over there so i gladly accepted his

invitation and at that time it was just invitation to come over for a year probably two and to see if i like it or not and we'll go from there that was the decision and we went to los angeles and one year passed another one and i'm still there well. it makes make stuff which is pretty different from what you were making when you were working here in russia and they knew that so why do you think if you have an opinion on this matter what do you think they decided to invite you they wanted they wanted you to somehow change and the the the the image of the face of the. american cartoons and what. i believe the reason was that since. i and his wife eileen claussen they started their own studio basically in the bedroom of their apartment that's how they started the series. so probably.

business model was to. i have a studio which is not like any other studio so he wanted the constant addition of the president of the fresh blood and him being an artist himself he really liked what igor did and what they saw that animation. he was a huge fan of it so all he constantly infused fresh blood from western europe i believe that was the reason and at that time and that was pretty successful. later his policy changed he lost a little bit of interest in the mission itself. and the studio started to stall a little bit technical it official it still exists but it's out of the business well let's take a look at some of the recent russian animation of success stories and the report by

spotlights in the demeter. impressionist painting this morning that's how one exam their patrols cartoons are often described the artist is drawn when released fingertips on gloss the technique brought him international recognition and the highest possible award an oscar russian cartoons have lately been more often nominated for the cademy awards than russian movies the latest nominee was a simplistic black man why denham ation my constantine bronze eat and although the ski team then runs against to boast of at least twenty international awards for his cartoons what might make russian animation particular interest into western audiences is that their idea of techniques in which cartoons are done during the times of the soviet union the russian animation industry enjoyed substantial state support which allowed for creativity and the russian petunias had to go through

harsh adaptation to market economy their creativity survived it was demonstrated to the full in the ninety nine. days when the most cool animations to do christmas did the series known as then they made it shakespeare for the b.b.c. half hour adaptations of shakespeare's plays produced using different animation dick nixon enjoyed international success precious biggest commercial success in animation so far is the series called smi shari the popularity of the little round bellied characters is so huge that it is susan was made to distribute the good to an international but still the real pride of russian animation a non commercial project real works of art like the recently released harry bard in stop motion the ugly duckling with tchaikovsky's music as the soundtrack only why you should make use of money are currently being made at the old is trying to make a new company so use more film. and i think you will have

the best people to ask what's the main difference between russian and american approaches to. well all the examples what we just saw. we can talk about success when. those aren't really deeply individual pieces been made by great artists and. targeted towards. you know mass production of the same episode of the same kind of episode like week after week after week and better examination is really great and it is great only and mainly because of that he does what he feels he has to do and exactly the way. he feels it has to be done i can easily imagine that if it was. really

on a production level new episode every several waves would have been so much different so of course. authors first of all kind of animation is way much different from. the animation which is done for cartoon network's there's so many of them i've talked to a number of people working working in animation and this is strange they usually not the not the people working in the movies but people working in cartoons in russia say here they have more freedom then they would have had in their colleagues have the people like you who work for big studios in the west do you agree. probably probably again it really depends on the project because there are projects. where certain level of freedom is really welcomed but again only a certain level when. we talk about russian animators working on their

own which may be not targeted directly to bring commercial success so you're listening to more freedom is that what you try well that's always the you know necessity is mother of invention so yeah when you. i have a lot of limitations you really have to be extremely in with inventive so that really pushes you to wards more and more creativity you said you said if he petrov had to do an episode every week yes are you envious to people that who don't have to do an episode every week would you prefer to work this way rather than doing commercially successful. i i had a chance to compare working on the mass production. animation and on like really individual. festival oriented this is

a by. of course from creative standpoint it's much more interesting and. there are really no boundaries for creativity on the project the problem is that they happen like once every five years. they last for six months they do not pay much. so. well you know if project like was happening every other month i would be ecstatic about that but it just cannot happen will we will we are of the same generation you remember like in the seventy's i think in the series union. periods but cartoons for the adults like me feel middle of the garden for adults and this was something new do you think this is adequate to have cartoons for children for help for snow white and the seven dwarfs i watched it the other day i think it's for absolutely for adults and only for the kids love it. good animation of course you know if it's all the edges. i i

really don't like this approach when sometimes a lot of corners been caught because there's all expression this is for kids it has to be simple it has to be. maybe not that much you know creative and again it could be extremely simple because kids are rather stupid and they don't understand the difference between good and really good so it can be simple i don't buy into this theory so if. animation piece is done for kids but. it's done with a great effort and creativity everybody's going to like it because like in america it is extremely important even when the project is oriented towards the kids kids not going to go to the theater by themselves they're going to go with parents so it is very important so that the parents not going to get bored in the first fifteen

minutes and want to walk out of the theater so they wouldn't want to have those parents stay throughout the movie so it has to have some elements which will be of interest of interest to parents as well at last i have somebody who understands me because i have to go to the movies with my side and when i have to well when i have to go i have to go and watch with them movies like avatar and he he's ecstatic about it i mean i mean i can't stand this is too much for me but the only thing i agree that there are great for kids and edible edible for adults and this is this i think right ok we're talking to dimitri milan and she just reminded he's the i'd our director of the simpsons movie spotlight will be back shortly we'll talk more about his work in a minute after a break so then god. will

. bring you the latest in science and technology from the ground. we've got the future covered. welcome back to spotlight i'm going of in just reminded of my guest in the studio today is dimitri milan each of the our director of the simpsons movie and also he worked on the rug rats yes that's true yes well. what you made the simpsons the series you made it into a full science widescreen movie what was the hardest part of more on working on that because we all we all are used to simpsons being like

a series like like like little nothing like a smile that said but what what was it was it really hot it was really hard because two main challenges were about first of all of course translate the format which is familiar to majority of the audience been seen or not like twenty inch screen and then you have to splash it over a hundred feet of screen in a movie theater and if you will just. projected on such a huge screen it's not going to hold up to the. just even physics of the human vision because way too much of yellow color and it's going to look is terribly flat lined all because also the technique that it's the technique that you're drawing it so years ago is are all their attention is going to be visible so. you have to use a lot of enhanced moments to. basically fill out that it was up to us as another director

to get ideas but the second challenge which pretty much cancels out the first challenge was to make it in such a way so that nobody would notice it again simpsons is such an icon in american culture are you do not treat it with such a freedom so that it changes its look and starts to look like something different that was the main goal of the creators of the more the not to make it like a one huge extended episode it had to state the t.v. series and what about another thing did you did ask yourself a question is anybody going to go to the movies and buy a ticket to watch this for two hours now that they now had i had no down there no i had no doubt at all. the biggest challenge was you know knowing that expectations were so high is what the expectation is is not to disappointed not to

go again the biggest fear was that it would look just as overly extended t.v. episode and. we just you know had no right to make that mistake so the stakes were really high. and this year expect the rate of success you got to be aware when the movie. well it wasn't just it was just not disillusioning people in the disappointed but it was real success was that yes i was serious i was certainly hoping for that i was surprised quite a bit that it's over. i have read in one of the interviews that you've gone to one of the american papers that you work so hard and you were so much occupied. when you worked in that movie that you were sort of a depressed after it all finished after the work was terminated is that true well

not depressed probably is not the right word. it's human nature you're getting used to an extremely high pressure pretty much you know because your. way of life the way of thinking you start in yellow. so when the whole thing stops it really is a very abrupt and bizarre feeling because the world goes on and on this and this piece you describe you have as working under restrictive conditions being very restrictive wildish are one of those that was mostly in the very beginning of the project because of course we started working on a project and the script was not still there it was changing it changing pretty much on a daily basis and creators they didn't quite know what the visuals of the movie

it was not their main concern at the point so they wanted something by they didn't quite know what they want at some point the consensus on that it's probably going to be safer just to go with what we used to have for the t.v. see anything because again we start tampering with it and we lose some authenticity of the show and might lose something it's not going to be quite the same as it used to be. and that was a little bit. dance for quite some time. later. actually they were busy with the visuals and that was really a blessing in disguise because they just forgot even to think about the way the movie is going to look so at that time i was pretty much free to come up with

solutions that i in the end offered to them and they were really happy about that but lots of russians work in movies in the united states lots of russians in hollywood. but we never see them working as a teen i mean as a russian teen. it occurred to me when i when i read about these scientists the guys are good nobel prize in physics to see if they have a russian floor like a whole whole floor or all the rooms they're all russians were there oh this is the russian flyer but it doesn't happen in movies in the united states why russians represent a great school of cinematography why don't you flock together why don't you work as a team because because you quit it you wanted to do it to make american movies in america or because the producers try to keep your point and not that she was not like your blind eye but i wouldn't say that there is there is an attempt to really

spread people around depending on their it new city actually at the class there was some moment where a group of three or four maybe five russians were working together as a team but. i don't know it's just my observation probably it's not very welcome to have people of the same cultural group be in a locked out from from the rest because in animation and i guess that in live action movies it's the same communication is the key it's extremely important to communicate with all the other people and when the people start being locked out and being isolated in a small group of their own something goes wrong communication wise that usually is a really bad science so you think that that you have to keep keep it multicultural and this we're getting back to cartoons nickelodeon a great channel a great a great. market for for for a cartoon do you think russia needs

a channel like nickelodeon absolutely absolutely and. of course from my not indicated standpoint that russia desperately needs an image that we do have the content do we all know that that's the problem because there's tons of content like imported content. nickelodeon d.n.a. and there's thousands of projects which could easily fill out the space on the such channels i strongly believe that russia needs its own content and nickelodeon has a very very strict requirements for animators for example they don't allow cartoon events of the past is that is that true why that used to be published i don't know because it's.