PBS: Director Kireet Khurana talks about his film Toonpur Ka Superrhero

Kireet Khurana animation director of Toonpur Ka Superhero, has a deep connection with animation. Being the son of the man who brought animation to India, Bhimsain Khurana; it was only obvious that he was to follow in his father’s footsteps. He has directed a plethora of short films, animation series and Public Service films like, Read More">Read More

Kireet Khurana animation director of Toonpur Ka Superhero, has a deep connection with animation. Being the son of the man who brought animation to India, Bhimsain Khurana; it was only obvious that he was to follow in his father's footsteps. He has directed a plethora of short films, animation series and Public Service films like, Rights From The Heart for UNICEF, Adventures of Chhota Birbal for Cartoon Network and Laadli' for the Children's Film Society of India. Kireet also founded 2nz animation, which boasts of doing over 400 AD films for leading brands in the country.

Bhimsain brought animation to India with, 'Ek Chidiya Anek Chidiya' which aired on the Doordarshan channel in the 70's. He is also a veteran of avant-garde parallel cinema who won an unprecedented 16 President's National Awards, and has directed and produced award-winning feature films like Gharaonda and Doooriyan.

What's an animation director? An animation director overlooks all technical and aesthetical aspects of the animation production. It's crucial that they posses the capabilities to infuse the animated characters with just the right amount of psychological and emotional depth that will appeal to audiences. They must posses a sound perception of animation principles, body mechanics, style and continuity.

In this exclusive 'People Behind the Scenes' series, BollywoodHungama brings to you a no holds barred conversation with animation director of Toonpur Ka Superhero, Kireet Khurana, on the film and the fate behind the Indian animation industry and the evils of animation institutes.

A message for aspiring filmmakers and animators…. Focus on art, creativity, on story telling, filmmaking; you should get involved in the whole process no matter what you specialize in, Read More">even though you’re involved in a miniscule process of a film. One should think about the scheme of things and where would certain assets fit inRead More

A message for aspiring filmmakers and animators....
Focus on art, creativity, on story telling, filmmaking; you should get involved in the whole process no matter what you specialize in, even though you're involved in a miniscule process of a film. One should think about the scheme of things and where would certain assets fit in a film, in terms of the story and visualization. Whatever you're doing is going to be a part of a larger picture, always keep that picture in your mind. If you understand the story you understand the performance and the nuances of the story, this improves an artist and an individual.

What’s your take on Indian animation filmmaking and the mythological trend that’s occurring this year? My take is simple, there are no bad stories only bad story telling. Someone asked my to do a mythological film a while back, Read More">I refused only because I would like to have my own story. Ramayana and Mahabharata areRead More

What's your take on Indian animation filmmaking and the mythological trend that's occurring this year?
My take is simple, there are no bad stories only bad story telling. Someone asked my to do a mythological film a while back, I refused only because I would like to have my own story. Ramayana and Mahabharata are one of the most brilliant stories ever told in the history of mankind. I feel you'd want to watch Arjuna the film because the promos are exciting. This is purely someone's interpretation of the film, the story is the same but the storytelling has been changed completely.

In Ramayana and My Friend Ganesha 3, I thought the storytelling procedure was weak when it comes to facial animation. I see that we stumble upon this recurring problem every time. For the films we've added a very flexible facial rig, so our characters are quite emotive and are pretty extensive. To get the expressions right we've meticulously planned out the facial rigs.

We do mythological films because I believe that, producers don't want to take risks by introducing new characters. We are conservative in commissioning films that are unique in it, this is what I assume. A producer's angle takes over this decision.

Where do you think we stand on the global animation map today, do you see India churning out quality like Pixar animation? India has a strong hub as far as outsourcing is concerned, it’s not like we don’t have creative talent here. The animation market here in India is almost non-existent because, Read More">we’re not ableRead More

Where do you think we stand on the global animation map today, do you see India churning out quality like Pixar animation?
India has a strong hub as far as outsourcing is concerned, it's not like we don't have creative talent here. The animation market here in India is almost non-existent because, we're not able to portray and tell our own stories efficiently. We lack the ability to conceptualize and visualize stories here therefore; we need a lot of creative help from overseas. It's a matter of projects going wrong in this country, but internationally DreamWorks is said to be executing its next movie in India. As far as quality is concerned, good quality work is already happening, a large chuck of work for The Golden Compass was done at R&H studios here in India as well as Night in the Museum.

What makes a good animated film according to you?
The basis of any film has to have a great story, which is the most important element. The film will succeed even if its animation is average. There should be a strong emotional connect with the audiences; they have to empathize with the character. This is essentially the ingredients that make for a good film. The audiences will be forgiving even if you falter in the execution because they engage with the story. But if the story is not engaging enough and the film has great animation, success will fail to deliver it.

What motivated you in choosing ‘the classical style of animation’ for your film? Toonpur has a lot of cartoony snappy timing to it, It’s about jaw dropping, eye popping, Read More">body breaking in parts with a loony timing to it. Therefore we chose a classical animation style for the 3D film. What do you think studiosRead More

What motivated you in choosing 'the classical style of animation' for your film?
Toonpur has a lot of cartoony snappy timing to it, It's about jaw dropping, eye popping, body breaking in parts with a loony timing to it. Therefore we chose a classical animation style for the 3D film.

What do you think studios and animators lack in our country?
The first thing that I notice is that when I've made something, people ask me what softwares have I used. This I think is the biggest fallacy and misconception people have, because the computer just offers an extension of your mind's eye. In fact, it places greater creative challenges, iterations and good quality. The demand gets more when the computer offers you more. I always emphasize on focusing on the art and the creative processes of the work. The biggest factor that I feel that we need to surmount here is that, most of the people go through software training institutes and there are no laws to stop them. The government should formulate laws to stop them from marketing their institutes as animation training institutes because they're software training institutes. They mainly talk about the technicalities of the software. For example, Photoshop can be learnt in 2 weeks, but to learn how to paint takes a lifetime.

I feel people who have grown from JJ school of arts or Raheja who've done courses that extend up to five years should be taught Photoshop that would have a greater impact aesthetically and technically. Animation is an expensive medium and in India our finances are restricted in making expensive animated films. With the turnovers that we're witnessing we're caught up with very limited bandwidth with which we have to make a movie. The least we could do is to hope that we recover what we've invested in with half million dollars, this is where things are coming from.