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Animation<br />
is the<br />
Loneliest<br />
Genre You’ll<br />
Ever Do<br />
<strong>2016</strong> has been a great year for <strong>Hungarian</strong><br />
animation: Sundance had ‘Limbo Limbo Travel’,<br />
Berlinale premiered Oscar-shortlisted Réka<br />
Bucsi’s brand new piece ‘Love’, and now <strong>Cannes</strong><br />
has announced its choice: Nadja Andrasev and<br />
Luca Tóth.<br />
Ten years ago neither of them would have<br />
imagined they would be preparing for their<br />
<strong>Cannes</strong> premiere. Animation was not their first<br />
choice: Nadja wanted to be an ethologist, and<br />
Luca had thought of becoming an actress or<br />
a traveller of some kind. “Classic choices for<br />
children! When I started acting at the age of 16,<br />
it turned out I really hated performing, but at the<br />
same time I really enjoyed the empathy in the<br />
process. I’ve always liked drawing, so animation<br />
felt like the right direction to go in. It all seemed<br />
so free to me as there are so many aspects to the<br />
work: you can be an actor, an illustrator, a painter<br />
or a sound designer.” As a child, Nadja attended<br />
the summer camp run by the famous <strong>Hungarian</strong><br />
animation studio Pannónia <strong>Film</strong>stúdió. “I enjoyed<br />
it very much, and when I came back to Hungary<br />
after living in the United States I began to work<br />
in the film industry as an assisant director,<br />
almost by accident. It was filmmaking, so it felt<br />
pretty close to animation. I had never learned<br />
how to draw professionally and working 12 hours<br />
a day meant that I didn’t even have the time<br />
to, so getting into MOME was not something I<br />
thought could ever be possible.”<br />
Nadja Andrasev<br />
Directors in animation tend to be afraid of working<br />
with large groups of filmmakers. “<strong>The</strong>re are many<br />
introverted people among us who want to work<br />
alone”, says Luca. “We have big plans, but we also<br />
have difficulty communicating our vision. We don’t<br />
want to work with everyone in an actual moment,<br />
like on a set. We work all the time, by ourselves,<br />
secretly and concentrated, so it’s a much more<br />
intimate process. <strong>The</strong> work and the result are too.”<br />
32<br />
HUNGARIAN FILM MAGAZINE
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