We caught a change recently to throw some questions at Sony animator Mark Pullyblank (formerly at Weta), who worked on such films as Avatar, Watchmen, and the is working on the upcoming Tintin adaptation.
What we got back were very interesting answers and great insights about not just animation but creativity in general. Here we go:
Can you tell us a bit about your background? How did you get started? What was your big break into studio work?
I was a touring musician for most of the 90′s. When I decided to start a family I needed a career that didn’t involve so much traveling. I loved to draw so I put together a portfolio and applied to Vanarts in Vancouver. The hardest job I’ve ever had is ‘looking for a job’. I spent months after school doing everything I could think of to break into the industry, and it wasn’t until I seriously worked on my craft that I got some attention. My first job was at Rainmaker animating on the first Garfield movie.
What advice would he give animators starting their careers?
The best way to be successful in this industry is to be really good at our craft. The good news is that ability is one of the few things we’re actually in control of. I always tell my students, “Those who do it the most, do it the best”.
What do you think about the whole 2D vs 3D ordeal? And how about mocap vs purist non-mocap animation?
I’m not a blind purist by any means. I’ve seen mocap do some really impressive things, but there are certain performances that just can’t be captured. It’s really all about what tool is best for the job. Sometimes it’s a mocap stage, sometimes it’s animation software, sometimes it’s pencil and paper.
What is the biggest challenge in animation nowadays?
I think the biggest challenge is keeping things fresh. There’s now a strong industry standard that most studios are reluctant to push past. We can always use innovation, James Cameron pushed technical boundaries with Avatar, but how about some artistic boundaries? How about a film utilizing some of the methods we see in short films on youtube for example.
Do you use, or have used, any commercially available software on your work? Even if not, what’s your favourite commercial software?
I don’t really have a favorite software. I always joke that my least favorite software is usually the one I’m currently using.
What is the movie your most proud working on? And favourite character worked on so far?
I don’t really have a favorite film in terms of the work because regardless of the film, the process is usually the same so I never really get a feel one way or the other for the film itself. My fondest memories are centered around the people I’ve worked with and not the work itself.
When working on 3D (stereo) films, do you have particular concerns or changes in what you do?
3D doesn’t really change what an animator does other than to be conscious of how close things are to the camera. We might push certain poses depending on what we’re trying to get out of a 3D gag.
About Previz, can you tell us a bit more on that, the challenges, how it is useful, etc
I find Previz both extremely challenging and rewarding. Challenging because you are on the front lines of a directors vision which is usually a moving target with many moving parts. But on the other hand, I really like the story telling aspect when it all comes together.
Your credit on Avatar is Senior Technical Layout Director (as is on Tintin), can you explain what does it mean exactly? 
In Layout on Avatar, we were responsible for taking all of James Cameron’s previz scenes and assets and converting them to high rez assets, fixing broken cameras, and building forests with over a billion poly count so we could send them down the Weta pipeline. We were the people that took the heat whenever a scene was broken, didn’t render, etc. It’s more of a technical job then I’m accustomed to but it’s good to stretch that muscle once in a while.
How was it working in one of the most popular and talked about films in recent history?
I actually don’t really get too excited about the project itself. Like I said earlier, I like to concentrate on the shots in front of me and not what the final film is all about because I don’t have any control on how the film will be perceived, only how well I animate my shots. I try to make the shot in front of me as good as I can possibly make it regardless of the project. That said, Weta is in the business of winning Oscar’s so it was interesting to work inside their process and see just how picky they are. That’s really what sets them apart, it’s not the software or any magical artistry, it’s more the tenacity not to give up on a shot until it looks amazing. I’ll credit James Cameron for elevating everyone’s game.
And Tintin, I know you probably can’t talk much about it, but just tell us were you already familiar with the material? A fan?
I wasn’t really a fan of Tintin but I’m a big fan of the animation director, Jamie Beard. Jamie taught me more in 3 months than I’ve learned in the past 7 years. I’m still processing that experience.
ED: here’s the one of the first stills from Tintin that was the cover of this month’s UK Empire magazine
Interestingly, you also have a credit in IMDb as composer, is that a hobby of yours or you’re serious about it?
Years ago I was a working musician and had recorded some songs. Long after, one of my cd’s got passed around through friends and ended up in the hands of a musical director for a tv program. He liked one of the songs and tracked me down. It’s funny how these things happen. Another example of the importance of putting yourself out there.
Finally, what are your plans for the future?
Hmmm….well, I’m peddling a feature script and looking to shoot a live action short in the new year. Other than that, I’ve just adopted two kids to go along with the two I’ve already got so I’ll be busy for a while.
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Alright that’s it! We’d like to thank Mark for his time and wish him the best with his work and future projects.
EDIT: earlier today we published Mark Pullyblank was with Weta – while he used to, he’s now at Sony. Sorry for the misinformation!