The story takes place in the 70s, and judging from the number of 70s posters you bought for our old apartment, I can tell you are a big fan of that era. We could do that, but for some reason we were just doing it on our own. We were like cavemen in a cave inventing a wheel when there are people driving around in Porsches.

We had absolutely no animation experience. I was spending entire days drawing and doing 20 frames, and with ten frames a second, it’s only two seconds. Neil: You saw when we were living together the amount of time that goes into that shit. There are a bunch of different animation styles for the film, but it’s mostly hand-drawn and hand-colored drawings. It’s something that we can both do and be consistent, and you wouldn’t necessarily be able to look at it and say, “This person drew this, this person drew that.” In video class we’d pass drawings back and forth and make each other laugh. Neil: It’s a hybrid of my drawing style and Fraser’s drawing style. He was just crying with laughter and I was like, Who is this fucking kid? I guess he thought this was funny, so we started sitting together in video class.īetween your previous film, Vaseline and Pepper, and The Chaperone, you guys have managed to develop and maintain a consistent and very distinct hand-drawn style.

And I just went “uggh” and Fraser started dying with laughter. There were slow moving shots that came close to these wrinkled bodies moving in the water. We were watching a slow artistic video about old people doing water aerobics in a pool. Neil Rathbone: Fraser and I met in video class. I met with Neil and his partner, Fraser Munden, to talk about the film, blaxploitation, their experience at TIFF, and David Arquette’s obsession with their puppets.

3d comic the chaperon