The whole work was more about problems of the modelling and the animation of characters than a question of realism or an attempt to produce an exercise in style. I was inspired by - among other things - traditional puppet animation in films, which is similar to computer animation as it uses a three-dimensional space and realistic lighting.

I did the modelling and the animation on my own, as for the rendering, I owe thanks to Christophe Delamare for his cooperation. I worked on the film more or less intensely from September through December 1991, and -admittedly - I was lucky to be able to complete the film without anyone claiming any right to supervise its form or contents.
I did not write a definitive scenario, nor did I want to work out a formal script. I live in Metz and the animation was made in Nancy. I always took the train when travelling between these two cities in Eastern France - 45 minutes in the morning, and the same back in the evening. So I actually used this travel time to work out the scenario and do the editting and thus I found the rhythm of the film. (Mario Martin Buendia)

Technical Background

HW / SW: SGI Iris 4D/25, Explore/TDI

Mario Martin Buendia (F), born 1956, studied at the Ecole des Beaux Arts in Metz, France. Since 1982 author of cartoons, he founded “Images et Communication” in 1986. Conceptions for printed matter and videos (Graph 9); animated cartoons for TV; participation in Imagina ’87 and Parigraph ’87. Since 1989 audiovisual works in 2D and 3D as well as interactive simulations. Free-lance since 1992.