Stash Magazine Liars Need Good Memory - Short Film
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📃 Оригинальное описание:
School: RINGLING COLLEGE OF ART AND DESIGN
Director: JAMES HEREDIA
Animation: JAMES HEREDIA
Director, James Heredia in Sarasota, Florida: “’Liars Need Good Memory’ stems from personal experiences growing up in Miami. This piece illustrates my struggle navigating through belonging, loss, and identity.
“I grew up in a very traditional Latin household. I went to church every Sunday. I prayed before every meal, and before going to sleep. Despite the staunch traditionalism in which I was raised, I was able to find my niche through the influence of my uncle, who helped make me the person I am today.
“He taught me how to skateboard and introduced me to bands like Sabbath and Zeppelin. So naturally I gravitated towards a similar crowd at school, who needless to say weren’t the type of company my parents had hoped for me.
“Though I’d like to believe that I made the right decisions at the time, I felt as if I led a periphery existence - not a complete outsider, but not in the center of the action either. We all want to feel as if we belong, but people are constantly watching to see if we measure up to society’s expectations. There is a strong attraction to those who just allow you to be yourself, without judging. Things can have value, without having to be evaluated.
“I’ve always had a hard time trying to fit in with the ’right’ crowd, so the notion of crafting an image to appease to the ’right’ audience was a re-occurring theme in my creative work. I took a writing class in college and chose to write about the concept of ’fitting in’ and the idea of how we actually benefit from lying. I proposed that lying is a positive, intrinsic form of creativity.
“Growing up I used lying as a tool to boost my confidence, and to make life a bit more interesting and special. I used lying to maintain a sense of harmony around me. I eventually had to catalog my lies and had to keep track of what I said, and to whom. That’s how the title ’Liars Need Good Memory’ came to be.
“One of my biggest creative challenges when developing this animation was debating whether to reveal the complete narrative or to keep it ambiguous.
“Leaving it open ended would, hopefully, generate different interpretations from the audience. I wanted to focus more on the emotional impact of the piece: the poignancy that comes from learning a small portion of what might have happened but not answer every question.
“The development of the audio track was a challenging process as it would determine the layout and structure of the edit for the entire animation. After a couple of glasses of wine, I recorded myself reiterating the story the way I remembered it. I felt it was necessary to follow a stream of consciousness in order to keep the emotions as authentic and raw as possible.
“I employed a similar approach when it came to visual stylizations, as it needed to reflect the hand of the artist. The authenticity of embracing mistakes is what kept the feel visceral.
“When arranging elements, I always considered the visual weight that each element carried, or the density of the detail or texture. Balance and visual contrast were very important. I was creating an animation that was constantly building, so I worked hard to maintain an appealing visual hierarchy.
“Some of my influences were the work of David Carson, Adam Gault, and the editing and emotional impact in Eliot Rausch’s work. I researched and referenced a lot of old punk rock posters and old skate videos like Public Domain and the influence of Craig Stecyk’s work on the Powell Peralta advertising.“
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