That’s not to say Corbin felt fully comfortable in the director’s chair. “I did some concept artwork but I wanted the chance to direct a character designer, so I told her what I like-older cartoons and New Yorker and Charles Schulz comics-and she was amazing in how she translated it.” “I wanted to take full advantage of being the director,” she says. When Corbin was invited to direct her first short through Pixar’s SparkShorts Program, people suggested she design the film herself. “We worked our tails off, so it makes sense, but we’re still so lucky.” - Stuart Miller “We did expect to be here eventually,” Justin adds. Their success derives from their work ethic and skill but also a confluence of “blessing and timing,” Chris says. “We’ve respected each other’s lanes from the jump, and we want to be part of each other’s journey.” (For the record, they both say that if something goes wrong, Chris would be the one to tell their mom.) And as a team, Chris says there’s no rivalry. When they worked separately, they’d talk “constantly” about what they learned. Since arriving in Los Angeles in 2009 the two have fulfilled their dreams to an astonishing degree: between them, they’ve directed and produced animation for Warner Bros., DreamWorks, Disney and Cartoon Network, and are developing a feature film together for DWA inspired by their childhood in Chicago. His epiphany came when he’d show his portfolio to people at comic conventions and they’d say, “You have a real animated style, your drawings look like cartoons,” he says. But Chris always wanted to draw and developed into the superior artist. Justin drew comics because he didn’t have real film equipment. When he learned that “E.T.” wasn’t real but that someone made it, he says, “I knew that’s what I wanted to do.”Īfter that, his brother Chris recalls, “We couldn’t play a game of tag without this fool walking around with a broken-ass camcorder like he was filming it.” When Justin Copeland was young he thought movies were real, until one day his mom, watching him playing with Hot Wheels - and clearly directing the action - said, “You’re just like Steven Spielberg.” “Kipo and the Age of Wonderbeasts,” “Wonder Woman: Bloodlines” Image Credit: Courtesy of Chris and Justin Copeland So, we sort of have been thinking, we can make our own South American Walt Disney version of that. “And when you think about it, Walt Disney was sort of the big film version of all that. “But we also admire the German, French and English fairy tales,” adds Cociña. “We’re trying to build up, you could say, our own South American contemporary fairy tales, because, of course, we grew up here.” “We love these traditional fairy tales and, this sounds pretentious, but we have big goals,” says León. Cociña and León are next set to create animated sequences for Aster’s upcoming feature. Their latest, “The Bones,” which was exec produced by Ari Aster and again plumbs themes of death and nightmarish horror, took the best short film prize at this year’s Venice Film Festival. Madre.” In 2018, the duo’s debut feature, “The Wolf House,” a dark, gothic-like drama about a young woman who escapes a German cult and takes refuge in a house in southern Chile, won a spate of awards, including feature film at Annecy and animated film from the Boston Society of Film Critics. Their inaugural collaboration was the experimental short film “Lucia” in 2007, followed by short films such as “Luis,” “The Arc” and “Padre. And he said, ‘Would you like to work with me? We can work together with your drawings.’ So we started working together.” And, basically, Cristóbal came one day to an art show opening of my big charcoal drawings. Chilean stop-motion animators Cociña and León, who met while studying art and design at Universidad Católica de Chile, have always considered themselves “visual artists.”
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