French animator discusses the serious art of cartoons
Print Edition
JACQUES-RéMY Girerd is a French director and producer known for animated films such as “Aunt Hilda!” and “A Cat in Paris.”
Born in 1952, Girerd graduated from the National School of Fine Arts in Lyon. In 1978, he finished his first animated short film, “4000 Images Fœtales,” which was followed by a series of shorts over the next few years.
In 1984, Girerd founded his own animation studio, Folimage, which produces high-quality original films in Drôme, France.
The studio won the Best Short Film prize at the 1986 César Awards for “The Little Circus and Other Tales.”
Girerd also founded an animation film school, La Poudrière.
Between October 24 and 28, Girerd was in town for a film event hosted by SH 7ème Art at Shanghai Normal University and the French Consulate-General in Shanghai.
During his stay, Shanghai Daily caught up with Girerd to discuss his career and the serious work that goes into making great cartoons.
Q: Can an animated film educate adults? What is the secret of making a film that can entertain both children and adults?
A: To make a film, one must have the foundation and content. The content can sometimes be negative ... but it should have significance. We’ve done educational TV series on different topics such as health, hospitals and the environment. These films are fun, interesting and educational at the same time. But I think when making long, feature animated films, the educational significance extends to a more philosophical level.
Q: You use traditional animated techniques, such as hand-drawing, instead of new technologies and CGI. What are the advantages of 2D animation?
A: 2D animation is more versatile artistically. It’s also related to our studio’s history. Everyone involved with Folimage loves 2D animation and we do what we are most familiar with. But for 3D animation, the doors are not closed.
Q: Why did you establish your own animation studio?
A: When I first started, there were few animation companies in France — and none in southern France. Under these circumstance we had to either make our own films or run our own company.
Q: Why do Folimage films approach more realistic topics and themes?
A: Animation films are the imagined truth and imagined reality. I prefer poetic realism.
Q: What do you think about Disney animated films?
A: I like some of the old Disney movies like “The Jungle Book.” What I don’t like is how America is aggressive culturally and economically.
Q: What’s your advice to young animation filmmakers?
A: Don’t give yourself away to the authority of big production companies. You need to be loyal to yourself. Do your best to make a unique film with real meaning, and always be curious about what’s happening around you. You also need to understand that being a director is also being a witness to your own era.
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