And an advert made by Againstallodds - sweden animation studio based in Stockholm.
Really great ! (thanks David

Sadly, Paul, I just watched an interview with the famous stop motion animator Ray Harryhausen, who passed away at the age of 92 some days ago, and he said that this was exactly the case. He said young audiences were brainwashed by television and they expect an explosion every five minutes or so. Worse still, he said that in the 1980's! That's why he chose to retire back then...Paul Fierlinger wrote:From a very personal point of view, I admire much in this little piece but all those sentiments are overshadowed by an overwhelming thought that this is such a waste of talent and good works! Is there really what seems to be an endless and sustained appetite among audiences for all this volatile and nonsensical megalomania? Looking at the long list of credits I have to wonder how so many undoubtedly young people can get together and agree that they will put all their best efforts into making the millionth pathological audio and visual noise maker around.
As to speak about Gobelins specifically, in the past couple of years I have realized, that most of the students, despite being superb talented animators, they all work in exactly the same standard "gobelins" style with no variety or understanding whatsoever of this wider diversion that animation can offer. All their personal short films look exactly the same, and you can't even tell one talent from another - all you see is "gobelins". It looks more like they are being prepared for one type of commercial work, and that's it... After those years of training in a school like that, I guess, they, unconsciously, can't even think differently and probably can't easily break out of this cage in later years. I think this would answer your question about how and why do all those talented young people come together to make such films... I must say though, that I still do love some of their shorts.Paul Fierlinger wrote:In addition I would like to note my observation that too many films made by young and talented animators with good skills stemming from good training, too often succumb to a common cheat: if you make everything move at breakneck speeds with lots of bangs and thunderous SFX to accentuate dynamism while keeping the lengths of clips to a bear minimum of frames, you won't have to work as hard to make an impression.