Together with Marko A. Kovačič, he directed three animated short films featuring the Plastos Civilization. In 2009 he realized a short puppet animated film entitled Kiddo – slingshot as director, co-writer and co-producer. But his most notable production was an animated series Koyaa that has been broadcasted on the Slovenian national television throughout 2005 season. And while Koyaa patiently waits to appear in an upcoming 2011 sequel short animated film titled Koyaa the Extraordinary we took the opportunity to talk with his creator.

What is the role of stop motion animation in contemporary movie industry, powered by “CGI”?
Lately we saw quite a few stop motion feature films (i.e.: Mr. Fox, Wollace and Gromit, Corpse Bride, Coraline …). This shows that this art form did not fade away and I also believe that it never will. There are also some original stop motion movies at various festivals. But it is true that CGI dominates, nevertheless to make a good movie one needs the same amount of work, time and finance. I see stop motion as an authentic author approach. The investors, the audience and other users mostly want a good story and good picture quality, no matter what method is used.

Compared to computer animation the stop motion method requires a long and painstaking process. Do you see the additional work as a kind of nostalgia and keeping the film making legacy alive, some kind of Zen -Buddhist approach to self control training and patience or as a form of added value to the art form?
Stop motion movies are demanding mostly due to the fact that the process of animation requires the animator to move the puppet in a linear way. That means that every move has to be perfect. In example in computer or classic drawings the main animator does only the main phases and the remaining work goes to the assistant. If there is a move in computer or hand drawn animation that is not satisfactory there is always the option to manipulate it inside the actual shot, which is not possible with the stop motion method. But I see our method mostly as a tool and a form of expression, although it is possible that the legacy of the “vintage” method used gives it an element of nostalgia. What I like about “polished” stop motion movie versions is the small mistakes and the recognition of organic materials.

Your animated movies are meant essentially for the youngest audience – children. How do they perceive stop motion animated movies?
In the beginning of my career I used to work in a small crew, alone or with Marko Kovačič. Those movies were mostly meant for the adult audience. During that period I mostly got to know the method of storytelling, because there were not a lot of authors in that field in Slovenia and also the internet did not give many information on the subject at that time. But that has changed substantially during the last years. The latest movies are meant mostly for the younger audience or the latest animated Koyaa The Extraordinary I see as a movie meant for a wider audience. The story itself is very simple, dialogue free and therefore meant to be viewable for children around the globe. I believe that kids do not ask about technique or methods used, they focus on the story. But I am sure that with stop motion method they recognize the space dimension more and can identify with the image more easily.

In one interview F. F. Coppola quoted Napoleon about the inventiveness of directors: “Use the weapon at hand.” What is the “arsenal” of animated movies?
Find your own way the best as you can.

Do you think that the flood of stop-motion videos which can be seen on the internet could be attributed to the overall excitement of the “hipster” generation over the retro legacy or could there be another sociological mechanism behind it?
Most of all a lot of these feature films were made with the stop motion method over the last few years. In the amateur movie “league” with the first experiments you will get an effect in stop motion much faster then you would with dealing with complex computer animation software. Above all what you need is skillful hands. That is why a lot of stop motion movies are produced by students of fine arts universities. It becomes complicated with all the techniques, when you go deeper in touch with professional production standards. Surely the flood can be attributed to the accessibility of data on the internet: how to make a stop motion movie, many workshops for kids and youth on the subject are taking place, the Lego brand made a software for stop motion so a lot of kids will animate their Legos.

You were a part of a unique experience – the making of a feature film that was awarded the worlds most prestigious award (No man’s land) – The Oscar. What do you think the artist’s biggest obstacle is?
The artist himself.

How to overcome it?
Fight, win. Lose, rise up again. Keep on fighting.

Plastic Bag Monster from Kongresni trg spreads its plastic tentacles through the streets of Ljubljana. It symbolizes the spreading of the consumerism and waste segregation. The monster itself has adjusted to the environment and therefore survived. It is supplanting us from the food chain. It just might succeed and it’s all up to us. It is reproducing with inconceivable speed and knows no mercy. It feeds on individuals’ sloth and irresponsibility.

The Miha Artnak

Lovka na lovce / The Tackle of the Tentacle
Kongresni trg, Ljubljana, November, 2010

BTC, Ljubljana, April, 2011

Europese commissie, Brussels, May, 2011

Luka Koper, June, 2011

While setting up the installation the passers-by were invited to make a wish. Everyone could add their wish, which could be about the equipment in the public space, the programme, development, infrastructure and so on. A wish could apply to the whole fifth district or to a single location of the district. Every wish and the location was also balloon marked on the rug. As the wish list grew, passers-by could daily notice how many ideas were being collected on the rug.

Already at the opening the project had a big effect and feedback from the passers-by. The kids instantly adopted the surface full of balloons and turned it into a playground. The parents were happy to join them. Without any warning all of the visitors took of their shoes when stepping on the rug. All week the local population and passers-by gathered around the installation. Kids were having fun chasing balloons as the parents discussed the environment they live in. Some of the kids even actively joined the happening. They helped at giving out flyers, tying balloons, cleaning the carpet and other activities.

In a week we saw almost 400 wishes being gathered. From that an approximate third were very utopic, a third had to do with things over which the city had no direct influence or control, and a third of the wishes were very clear and doable. Based on the words of the mayor of the fifth district the last doable third of wishes could be done by the city in a single mandate. On the last day the mayor of Margareten district declared the chosen wish he would like to fulfil. The decision was made – on the Siebenbrunnenplatz Square he intends to put a drinkable water fountain. That was the wish of most of the inhabitants. The wish itself is connected to the history of the district and the name itself states that the first water infrastructure for the whole town of Vienna used to run through this district. The huge amount of positive response and clear proposals from the wishes were a pleasant surprise for the organizers and the city itself.

ProstoRož proved once again with the project that even in a limited amount of time, within one week, it is possible to gather meaningful proposals from the inhabitants. The promise that one wish will be granted and made reality without a doubt helped to even better motivation and results. The inhabitants of the district themselves realized that they can actively participate in planning and co-creating the space within which they live in and further develop it in a playful manner.