Brice Dublé

A look back at your years at ESMA

WHAT WAS YOUR CURRICULUM BEFORE JOINING ESMA? AND YOUR PATH AT ESMA?

I’ve been drawing since I was a child. I found drawings dating back to kindergarten. When I was very young, I also watched a lot of cartoons, like Disney. But I didn’t see myself making my career in this field. It was a hobby! So I didn’t focus my studies in that direction. However, I continued to draw recurring characters like the Zorillas of Corcal and Deth. I put these characters in many situations, I drew in class.

I undertook studies directed towards the trade, science technology of the management. Then I did a BTS in sales force. During this BTS, a friend told me “Brice, you draw really well, you should work for Pixar or others”. It clicked! I didn’t really like my commercial studies. So I looked into it and discovered ESMA in Toulouse, my city.

I made a portfolio to apply except that there was a problem, it was the cost. So I worked in fast food to finance my studies. I was then able to consider joining ESMA by starting with the MANAA. Revelation: it was the first time I did homework that I enjoyed so much. Making sketchbooks was the best homework I’ve ever done in my life (sic).

WHY DID YOU CHOOSE TO DO A 3D ANIMATION COURSE? HOW DID YOU FEEL ABOUT THE STUDY CYCLE?

During the MANAA, I had the idea to join the 3D section. I told myself that since I was a kid I always liked it, so why not do it as a profession? It was a dream. I hardly considered it as a job since it was obviously a passion. A bit like a musician!

At the time, the 3D curriculum was three years long. It was very hard at first. I am not a big fan of computers. A friend, Nicolas Jacomet, lent me his computer, without him I wouldn’t be where I am today. The teachers allowed me to master the software in two years. After a while, the technique disappears, everything becomes automatic and the artistic side emerges. The projects proposed by the teachers were very stimulating, each one could bring his artistic touch.

WHAT ABOUT YOUR GRADUATION FILM?

We started with my group (editor’s note: Maxime Guerry, Robin Cioffi, Stanislas Gruenais, Lamia Akhabbar, Alexia Portal) on the question “what happens to the socks that disappear? An idea of Robin Cioffi with the parallel observation that there is the same bacteria on the feet as on the cheese. We came up with the story in 20 minutes on a table outside during the break. We connected the cheese with mice that squeeze the juice from socks. We had our idea! The film is called Made in France.

This film was an enriching experience, in production conditions as if we were in a studio. We managed all aspects: script, storyboard, character creation, animation, rendering. My team members were the best for me. We had no artistic differences. It’s very challenging intellectually and physically. You give it your best shot. I was always working in parallel, I had to manage my time well, I had to think about being efficient because I had less availability. I know that our film has won several awards at international festivals.

HOW DID YOUR PROFESSIONAL IMMERSION GO AFTER GRADUATING FROM ESMA? WHAT DID YOU HOPE TO DO AFTER YOUR STUDIES?

When you graduate from ESMA, you are ready to enter the world of work but you have to adapt to the studios’ criteria. For me, I had a precise idea: I wanted to work for Illumination Mac Guff.

After graduation, the next day during the job fair (editor’s note: recruitment time organized by ESMA between the studios that come to the jury and the students), I showed my work to the representatives of Illumination Mac Guff. At first sight, they were not interested.

A month later, Mac Guff organized a recruitment evening, it was October 4, 2017, I remember. I was not invited but I went anyway with Nicolas Jacomet. I got in on the act. As a result, I was able to show my work to some recruiters who gave us an extra month to send a more accomplished demo tape. Finally, I was recruited! I started on December 4, 2017 as a background animator (crowd) in Paris.

And today I’m still at Illumination Mac Guff!

Your professional background

TELL US ABOUT THE DIFFERENT PROJECTS YOU HAVE WORKED ON ?

I started on the movie The Grinch. After that, I worked for two months in marketing. I didn’t stay because I didn’t have the level expected for this department. At the same time, they reduced the teams and finally I was called back to work on The Minions 2. At the end of this project, I was offered in-house training to be able to work on the main characters.

I was promoted, I worked on Sing 2 (Tous en scène 2). I had loved Sing 1 when I was a student. It was great! I’m currently working on some projects that I can’t tell you the name of, I’m under exclusive contract.

CAN YOU TELL US ABOUT YOUR JOB? WHAT DOES IT CONSIST OF AND WHAT DO YOU LIKE ABOUT IT?

I like to use the example of puppets. Basically, you bring something to life that is inanimate. We scroll images and the brain has the impression that it is something continuous, so the puppet moves in space. It is alive. For that, you have to respect certain principles of weight, timing, etc. My role, in the end, once the character has been delivered by the previous departments, is to make it move at different moments while respecting a soundtrack. All this in accordance with the specifications.

We have a limited creativity but not in the bad sense of the word. That is to say that we can make the character play as we wish while respecting the emotional state at such and such a moment of the story. One evolves freely within rules pre-established by supervisors who themselves refer to the animation directors. Homogeneity, fluidity, are essential. All in all, I enjoy it!

WHAT IS YOUR SPECIALIZATION?

I work more on feature films. When I see the effect produced in the cinema, it’s great!

WITH WHAT STATUS ?

I am a casual worker! I’m on a contract of employment. Sometimes it’s not easy to find accommodation, for example. The advantage of being in a big studio is that it works on a just-in-time basis and there are few lean periods. In five years, I’ve had few interruptions.

HOW HAVE YOU EXPERIENCED THE EVOLUTION OF YOUR INDUSTRY SINCE YOU GRADUATED? AND HOW DO YOU SEE IT EVOLVING IN THE YEARS TO COME ?

In my field, not much has changed. Just a remark, there are very practical tools, specific, dedicated to each trade. This saves time. The principles laid down by the so-called Nine Wise Men of Disney are still valid with the “Twelve Basic Principles of Animation”. These are the rules that directors and animators follow, even today, to make an animated film. A very specific medium.

WHAT ARE THE QUALITIES YOU NEED TO SHOW IN YOUR WORK?

You have to have a good sense of observation. For example, when you watch Marc

To conclude

AND IN 5 YEARS, WHERE WILL YOU BE ? ANY ULTIMATE AMBITION IN THE MEDIUM OR LONG TERM ?

I still hope to be at Illumination Mac Guff! Directing my own short film, that would be nice. From A to Z, develop everything. My partner and I have been thinking about some things. She is a former ESMA student, Melissa Roussilhe, she did motion design and graphic design.

ADVICE FOR FUTURE STUDENTS…

I would take the example of the Rocky saga, for the basic message: always follow your dreams. In Rocky Balboa (sixth movie of the series), Rocky says “you, me, anybody, nobody hits as hard as life, it’s not being a good puncher that counts, the important thing is to get punched and still go forward, it’s to be able to take it without ever, ever giving up. That’s how you win.” That’s the simple, effective and rather fine message in my opinion. Many think it’s gruff (sic), it’s far from it!

Speaking of fighting, I must say that during my studies at ESMA, I practiced MMA, twice a week, to relieve the pressure. Physical activity is not negligible!

Image credits: Brice Dublé & Illumination Mac Guff