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The Art of Marco Pagot |
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| 08/12/2008 |
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The subject of a retrospective that is part of the Mini Noir section, Marco Pagot met with some of the festival’s youngest audiences. We spoke with him knowing full well that a career as successful as his cannot be summed up in just a few words. Which is yet another reason to celebrate the publication of the book The Art of Pagot (edited by Fulvio Fiori and Pagot), on the history of Pagot Studio, on the occasion of the cenetary of the birth of Nino Pagot [Marco’s father]. The work is a must-have for anyone who wants to learn about the art of the first Italian family of animation.
The beginnings
I’ve been working in animation since 1970, made my directorial debut in 1977 and made my first big international project in 1979.
The present
Today, animation must decide what it wants to do when it “grows up.” Disney is experimenting with new films but we’re in a transition stage. I don’t think that all of the paths that have been take are interesting or of value. There is mania for 3D but we shouldn’t forget that it’s just a means for telling a story. The results with Ratatouille and Finding Nemo are excellent because the stories are excellent, they have a sense of rhythm. Other popular products are based on fun gags, sure, but give the sense of being isolated scenes, which exist in and of themselves. I still love the Disney films that focused on design, on sketches. This seems to have been lost on the wayside.
Italy
Italy was an example and point of reference for many foreigners. In the past, competition and numerous buyers created a productive cycle. Today, the situation is not a happy one. In terms of television and the past, we are witnessing a decrease of animation programs. And when the channels are few and production very limited, we run the risk of giving up on creativity.
Pessimism vs. realism
I don’t like giving false illusions. My advice for anyone who wants to works seriously is to move to France of Japan. Otherwise, if you stay in Italy, you end up playing a game the rules of which are dictated by the few. It’s not that I’m pessimistic, I’m realistic.
Serious cinema!
Festivals and many critics consider animation a sub-product. I remember once after getting a prize a journalist asked me, “So when are you going to start making serious cinema?” But I do make serious cinema!
Collective work
The costs of a making an animated film have increased. A 30-minute episode can cost 300,000 euros. This money is justified by the fact that to make something like, for example, Carnaby Street, you need a studio with hundreds of people.
Big people and little people
Our studio has two product lines: one for little people and one for big people. Children are not treated like idiots. You just have to be careful and tell stories without causing traumas. Which means you must keep in mind that many past and present films and some television products were thought up for children accompanied by their parents. This was meant to create a bond between parents and children, when the latter were, for example, scared by Snow White and sought comfort from their mothers and fathers. Today, children watch television by themselves and this has inevitable consequences. I always keep in mind which audiences will see my work.
The book
The Art of Pagot covers the history of Studio Pagot. The book came out recently but will have a series of important presentations starting next year. It is full of images, curiosity – in other words, is a historical and artistic document on decades of work: from the magazines of the 1930s, to the film and television creations and productions, to the work with Hanna & Barbera and all of the biggest artists on the international scene.
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