Recently I took an interview from an illustrator and animator Dmitri Zimin. Dmitri started his artistic journey of self discovery reasonably long time ago, but the reason why I decided to take an interview now, is that at this point he began his breakthrough into the professional world of art. Recently he has started working for a company that commissioned him a series of animations, which are between one and three minutes long. When I was discussing this project with him, he mentioned that he gets around six days to animate an episode, and as a person who just starts in animation, I found this astonishing. He works alongside an illustrator, who provides backgrounds as well as he gets help with the sound-effects, but even so, in my opinion it is a stressful commission with a tight deadline.
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I must admit, that I did not take an interview about his experience on this animation project, as I am more interested in his personal aspects of creativity and private projects.
R.S.: Which painters or illustrators you are especially interested in?
D.Z.: My main source of inspiration lays in music. Without a doubt people like Yasushi Ishii, Akira Yamaoka, collectives like Muse and many others inspire me. I am impressed by Surrealist classics like Dali, but my respect is not related only to the quality of his work, which is obviously impressive, but the way he approached it. What I mean is that before he began creating Surrealist paintings and generated “his style”, he established himself within the traditional painting techniques.
R.S.: Which animation films do you find more interesting and which their qualities would you like to see within your present and future projects?
D.Z.: I doubt that I will be able to mention any examples from the more recent animation films. Many of them are created by the narrow-minded approach of contemporary dramaturgy and the industry of show business. Sequels and blockbusters, this is the boring part of the contemporary animation. The more out of the ordinary things, could be seen during the festivals of short animation films. Though from the bigger projects, I would like to bring up the Belleville Randevous. From my point of view, works like this are for gourmets.
Majority of stories tell us about love or the lack of it, and my work is not an exception. My subject of choice is feelings. Love. But every time I would like to blow it up like a balloon, and fill it of it up with the dark, magical smoke and in that kind of way show it to the viewer. A little bit of insanity newer stood in the way of real feelings.
R.S.: Do you use music for the stimulation of the imagination?
D.Z.: Of course! Music is not separate from the animation. Great composer heard their symphonies in their minds, before they were put on paper. They heard every note, every instrument and in the same way animators should not separate music and sound effects from the scenes when they are creating them in their heads.
Everything depends on the mood, theme and tempo. I listen to everything that can help me create.
R.S.: would you please tell us about one of your personal projects, the one that takes the most of your personal time at the moment.
D.Z.: It seems to me that this project is going to be with me through all of my life. I can talk about it for ages, and that is why, I better not even begin. If in short, then it is a story about a Mime, “demon” if you like, a being that is woven out of our thoughts and fears, who materialise in a shape of a street artist who tries to understand the surrounding world ,in the same way to you and me.
R.S.: What is the reason that motivated you to create art in the first place and is it any different from what it is now?
D.Z.: If someone can clearly answer this question, I would definitely like to her the answer. I was often drawing during my childhood, but later my interests changed and I became interested in the literature and started writing. My other interest was music, and I managed to receive certain level of education in this form of art. I was a singer and a song writer, but soon I understood that I can’t devote enough attention to all of these subjects, and I decided to go into animation. So here I am: 1/3 of a writer, painter and a musician. Who would have thought that that out of this combination would come out an animator?
Before one will stand on the stage in front of the public, he or she should be completely sure whether they have anything to cay. Something important, something beyond personal fears and worries, because there isn’t anything worse than seeing only author himself, in his work.Character development - Position experimentation.
Character development : The Doctor
Character Development: The Gunslinger
This character was inspired by music and by music alone. The image was developed while under the impression from Max Raabe, just have a listen and you will understand.
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