What I'm instantly struck with is that his work has a great sense of freedom: he seems liberated from realism and as a result the films are full of fun and creative moments like the sun rising from an ocean horizon and then wringing itself dry in The Water People. I think this is great... after all this is animation so why should we be restricted by the limitations that exist in real life? I'm not sure how much of this sort of thing I could get away with in my film (as I imagine it right now) but it would be nice to inject a bit of this freedom somehow, and celebrate the fact that this is animation.
Driessen's use of panels in some of his films (The End of the World in Four Seasons and On the Land, at Sea and in the Air) is also of interest to me... this would obviously be a fairly literal use of elements of comic strip art which is something that I have previously cited as inspiration. If I'm going to, at points, split my film into panels in this manner I want to do it as a beneficial narrative device that helps tell the story in some way rather than just "'cos I like comics yeah?!". I think that I have actually already managed to justify this to a degree in my sequence of key images where I have split the 16:9 'frames', used in most of the images, into 3 or 4 individual panels where separate things could play out simultaneously (see below). Unlike in Driessen's films, however, where the panels are used to show different places/scenarios at the same time, I have used them to show the same place/scenario at different times (which I suppose is usually how panels of a comic strip function: they are windows through time and less often function as windows through space which Driessen's are).
Anyway, some things to think about... thanks Neil!
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