Ed Hooks on Avatar

Ed Hooks is the author of Acting for Animators. While his own background is not in animation, he's identified many things that animators need to be thinking about while doing their work.

One point that he's made is that the quality of a performance is based on the script supplying the necessary foundation for building a character. In his February 2010 newsletter (scroll down for the relevant material), he talks about the shortcomings of Avatar's script from an acting standpoint.
Zoe Saldana is Neytiri, the Na’vi female lead. She has been raised in a kind of New Age Garden of Eden. The Na’vi spend a lot of time tuning into trees, plants and their spiritual vibes. But what are Neytiri's personal values? The script really doesn’t say. In her first scenes, she's helping chase off those pesky humans. But then, in the second act of the script, she befriends the fake Jake avatar and gets romantic. And, at the very end of the story, she slays the dragon, Col Quaritch. You look through the script again and again, searching for clues about Neytiri's values, childhood, former love life…anything at all that might help. Not much there. She’s a Na’vi princess, that’s all, and she does what Na’vi princesses do. She is reactive to the events that happen to her. It is difficult to find her objectives. The transitions in her character don’t really work.
I found this essay particularly interesting in light of James Cameron's complaints that the actors in Avatar were passed over for Oscar nominations. Cameron specifically mentioned Zoe Saldana as being ignored. Cameron's view was that the technology involved was somehow seen as cheating, but as Hooks points out, the problem was not the technology, it was the script.

Hooks criteria could, and should, be applied to recent animated features, many of which suffer from the same shortcomings. While animation artists are constantly asserting "story, story, story!" the truth is that their understanding of story is lacking. Too many animated films have a disconnect between personality and plot, where characters do things based on the needs of the plot rather than the needs of the character.

Comments

Post a Comment

Popular posts from this blog

Dumbo Part 11

Image
How many elephants in a pyramid? In shot 1, there are eight elephants standing around the ringmaster. In shot 4, there are seven around the ringmaster. In shot 23, the pyramid consists of six elephants. In shot 40.1, there are eight elephants in the pyramid. In shot 41.1, there are seven, as there are in shot 51.1. All of this takes place before they trip over Dumbo and scatter, so the number should be consistent. Hugh Fraser does excellent work in this sequence. He manages to capture the drawing and the personalities of the elephants in a manner consistent with Bill Tytla's work. He does that while dealing with multiple characters whose weight must be animated believably or the sequence loses its effectiveness. Shot 10.2. gets even more complicated with one of the elephants being swung towards and away from the camera, adding a size change to the rest of the difficulties. While Fraser has Tytla's work as a template, the animation challenges here are possibly great...
Read more

What Does A HOME, Mean To You?

By  Richard Brody   Most of us, have heard, the expression, A house, is not, a home, but, we often, pay far too little attention, to that, before we commit to purchasing a particular house. Wouldn't it make sense, if, we spent, a little more time, and effort, considering, what would make us, consider it, to be, a HOME, and what emotional, family, and personal considerations, and necessities, might differentiate between, simply living in some house, and truly, making it, a home, of our own? With that in mind, this article will attempt to briefly, review, consider, and discuss, using the mnemonic approach, some of the key components, involved, etc. 1. Human; humane; heart; heals; houses: A key difference, to consider, in advance, is beginning the process, by delving deeply, into our personal needs, etc, realistically, and based on our real, human priorities, including, whether, it will fulfill some of our humane - needs, such as how it might, address, family needs and consid...
Read more

Dumbo Part 7

Image
Once again, the principle of contrast is front and center here. The first half of the sequence is relaxed and heartwarming while the later half is tense and frightening. The bath section is really a musical sequence, though there are no lyrics. The animation has been tied tightly to the beat and melody of the music. Certainly that was a specialty of sequence director Wilfred Jackson. Animator Bill Tytla, himself the parent of a young son at the time, perfectly captures how a parent and child tease each other and play games, both secure in their loving relationship. One thing that makes their relationship obvious to the audience is the use of touch. Touch is a powerful way of communicating in life and on film. A caress, a pat on the back or a punch in the nose all communicate clearly. Mrs. Jumbo's trunk is there to wash her child, lift her child or caress it. Dumbo pulls on his mother's tail. The willing physical connection between the two makes their feelings for each ...
Read more