On Tuesday afternoon, the Annecy International Animation Film Festival streamed a candid, hour-long conversation between four of the key minds behind Netflix’s second season of “Love, Death & R…
and visual effects supervisor Jerome Denjean from France’s Blur Studio engaged in an unmoderated conversation about the adult animation series, from its origins to its upcoming third season.
Netflix, at the time that ‘Love, Death & Robots’ was commissioned, was all about data and numbers, according to Miller. Meaning that a pitch as unique and unprecedented as his had them a bit stumped. “There was really nothing like this, if there was anthology it was live action, and more often than not it didn’t work. Certainly, there was no anthology adult animation. Luckily for us they were like, ‘Alright we’ll take a risk on this.
She explained that “The barrier to making this stuff was the worry that people weren’t actually gonna watch. And the fact that people did watch made the whole gamble pay off.” According to Yuh Nelson, the nature of the series’ format was the ideal way to build that communal sandbox. “With anthology you can let each director come in with their specialty, the thing they do beautifully, and try to match a story with them.”
Looking ahead to a post-COVID world, Miller explained that he worries about the industry moving too far towards a more isolated, WFH model.
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