The only reason why the animators went beyond [Exclusive]

The critical reception of the new functionality of the legend of animation Genndy Tartakovsky, “fixed”, is decidedly mixed, but if there is one thing that everyone agrees, it is that 2D animation is really phenomenal. Netflix had a year’s hell in his animation department, “Kpop Demon Hunters” becoming a feeling of head and an early buzz surrounding the next version “in your dreams” proving that the Streaming juggernaut has become a legitimate competitor in the animation space. As a creator of revolutionary series like “Dexter’s Laboratory”, “Samurai Jack”, and his Magnum Opus, “Primal”, Tartakovsky is the kind of creative that should be given virgin checks to do with everything it likes – even if it is a film featuring dogs that speak and about 100 jokes on the testicles. Regarding animation styles, he really did everything, and when it was a question of “repairing”, he knew that the story needed a classic and familiar look.

As he told me during our interview for the Podcast Weekly, “the story requires a certain style of animation, right? And that is just calling me, and this particular style is the style I love most.” The animation of “Fixed” recalls the cartoons that made you fall in love with the medium in the first place. “He’s the one who connected me much more than Disney or Don Bluth or anything,” explains Genndy. “It is this style Tex Avery / Warner Brothers without the big Googly eyes.” The style adds a little subversion to the film, juxtaposing vulgarity with a feeling of nostalgic entertainment.

But it is not only the style of “fixed” that deserves to be underlined, but the execution. Even with a relatively low budget for an animated feature film, “Fix” is animated at a level generally reserved for theatrical outings. According to Tartakovsky, the animators worked at this level because they were delighted. After years of work only in CGI animation or children’s dishes, the chance to work on something in 2D and for adults no longer made them enthusiastic.

Genndy Tartakovsky said he had a list of people he loved and wanted to work on the film, and that he ended up hiring around 80% of this list. “I never thought that we were going to reach it at this level because we are a little budget […] But then all of a sudden, they started to animate it, as at the theatrical level, then they started to see the scenes and they started to go up, “said Tartakovsky.” And they say to themselves: “Oh wow, this person does that. [so] I’m going to push myself stronger to do it even better, “and all of a sudden, we had this incredible quality of animation. It improved humor, he gave this incredible classic nostalgic style, but with this narration and this contemporary subject, he did something very unique.”

And it’s not just This 2D animation has become increasingly rare in the landscape of the feature film. Despite the fact that animation is not only for children, the dishes adapted to families certainly have a workforce on the medium. This means that the majority of animators spend most of their entertainment days of children’s entertainment (a necessity, for the record!). Obtaining the opportunity to work on something for adults, even if it means animaling the dogs that made it “in human style”, was welcomed with eager excitement. “They were like an animator of” Roger Rabbit “and former Disney animators, and they simply exploded because they are never able to work on this type of subject,” explains Tartakovsky. “So they said to themselves:” Whoa, I can do that “and they were right.”

And went there, they did it, and you can see the results in “fix”, now in difficulty on Netflix. To hear our full interview with Genndy Tartakovsky, see the latest episode of Weekly Film: