After 30 years, Phil Tippett’s stop-motion opus… | Little White Lies

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After 30 years, Phil Tippett’s stop-motion opus Mad God is final­ly complete

28 Jul 2021

Words by Charles Bramesco

Dark silhouetted figures climbing on rocky cave formations.
Dark silhouetted figures climbing on rocky cave formations.
The animator’s long-await­ed fusion of hand­made sci-fi and hor­ror will pre­mière at the Locarno Film Festival.

There’s no labor of love quite like that of stop-motion ani­ma­tion, requir­ing a painstak­ing amount of time and effort to pose and pho­to­graph each indi­vid­ual frame. As such, these projects often take a long time to fin­ish, but thir­ty years is still an extreme­ly long time rel­a­tive to the indus­try standard.

That’s how long it’s tak­en mas­ter ani­ma­tor (and one-time col­lab­o­ra­tor on Star Wars and dinosaur super­vi­sor for Juras­sic Park) Phil Tip­pett to com­plete his mag­num opus Mad God, a three-decade strug­gle now ready for its pre­mière next month at the Locarno Film Fes­ti­val. A trail­er appeared online just last night to offer a dizzy­ing tour through the creepy world Tip­pett has labo­ri­ous­ly con­struct­ed by hand, as daz­zling and detailed as could be expect­ed from an artist of his stature.

The clip below eschews plot and dia­logue for pure imagery, show­ing off a vor­tex of skulls, mutant beasts, and Boschi­an hellscapes. The most salient infor­ma­tion comes from the film’s Locarno page, where it’s described as being set in a world of mon­sters, mad sci­en­tists and war pigs.” The syn­op­sis con­tin­ues: A cor­rod­ed div­ing bell descends amidst a ruined city and the Assas­sin emerges from it to explore a labyrinth of bizarre land­scapes inhab­it­ed by freak­ish denizens.”

Through dank caves and fiery waste­lands, this menagerie of strange and fright­en­ing crea­tures crawl, slith­er, and per­am­bu­late unen­cum­bered by dia­logue. There’s a whiff of evil in the air, but also a sense of rev­er­ent won­der, as in the shot of a ptero­dactyl (per­haps a nod to his past in the Juras­sic-verse) glid­ing over­head a ground-lev­el perspective.

Between the creator’s pedi­gree, the astound­ing visu­als on dis­play, and the co-sign from con­nois­seur of the weird Guiller­mo del Toro, this will be on the radar for genre enthu­si­asts through the rest of the year; a slot in Toronto’s still-to-be-announced Mid­night Mad­ness sec­tion is all but assured.

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