Aloha, Make + Robots is back on Netflix for its third wave of new shorts, and most of the shorts are being maintained by both executives and producers! Love, Death + Robots became famous as an animated anthology story when many of these shorts were chosen for some popular gifts. Some of these selections received full -blown wins such as the first single, “The Witness,” which won a Primetime Creative Arts Emmy Awards for the amount of excitement over her first work. Now the producer is back after a while for the latest sound.
Alberto Mielgo, who wrote, designed and began his directing career with “The Witness” in the first season of Love, Death + Robots, and won an Academy Award for Best Animated Short Film for his work with “The Return is now back to the Wiper Windshield Aloha, Make + Robotsthe third voice of the episode with the mesmerizing short, “Jbaro.” Fortunately, ComicBook.com had a brief chat with Mielgo about returning to the anthology.
Speaking of coming back for a third voice after gaining more knowledge as a leader, it is more difficult to cultivate the short, and the problems in the short. showing his black love, Mielgo is open about innovation! Read on for our full conversation with Alberto Mielgo (edited for clarity) and tell us what you think! Did you look at Jibaro? Where is it among your favorite audio shorts? Tell us all you think about it in comments! You can call me directly about animated content and other fun stuff @Valdezology on Twitter!
Returning for Volume 3
ComicBook.com: You made a decision in time [Love, Death + Robots Volume 1] with The Witness, and you return to Volume 3 with Jibaro. What is the process of the second time compared to the first time?
Alberto Mielgo: Yes, I think I got more experience in making a movie with my own studio. For The Witness, I’ve been building an office since time immemorial. It was the first time I really pointed to anything. Then between the two projects, I do a business project and then I finish another project, a personal project. Then I started right away, so I got a little bit … Okay and more information. So it’s not easy because it’s clear what the technology is, it’s harder than it is, but at least the third of my lead or the fourth of my lead time. So, that way, I knew what I was doing.
CB: Speaking of that complexity, “Jbaro” has a lot of high energy movement and a strong dance, so how do you develop those features?
Mielgo: What we did, I wanted to do, was record the instructions. So, in this case, I want to work with the composer because I want to use dance as a means of communication. I think dancers can communicate ideas with just movements, without words. That’s what we’ve seen in ballet for a very long time. And I wanted to create something new and simple, so we teamed up with this composer Sarah Silk.
He did an amazing job and he brought in amazing dancers, men and women, and we were shooting the instructions. We didn’t catch the movement, we shot with different angles and then we were amazed by the movement. Then, next, we have to give the lyrics, do the whole shadings and do the final compositing, which is the big deal, of course.
Difficulties in Getting the Main Duo
CB: Jibaro has a deafness in the center of the production, so what was the motivation behind the choice to look at the same style and the problems of the film?
Mielgo: What’s the sound? I think, because he’s kind of underwater, I’m thinking the way … Because he’s, or more, that’s what he’s going to do. and heard that it was like being under water. So when he heals the hearing, it’s like you came out. So the basic idea is to create one, two ways they are not for each other.
Therefore, it is a humorous thing to make people laugh because of their singing, falling in love, or having a sense of humor, feeling like they can’t have it. That’s the only thing he can’t have because he’s deaf. So I think it’s interesting, to make pictures that make each other like each other for the wrong reasons.