I couldn’t have a cartoon-like woman getting nude. And visually we wanted to have a mystery piece. They are almost alien-looking with weird proportions. When you see our paintings in The Witness they look very rich, but when you see them from up close, they’re actually extremely simplified. In Pixar films they tend to render absolutely everything, but there are a lot of things that are not actually needed. This is something that I was saying to my painters, and we were basically trying to depict realism but in a graphic way. And that’s something that I always follow when I do any art and this is what I was saying to the animators. The description of impressionism is very simple, that is, it’s whatever the eye can catch with just a glance. My main rule when I do painting or when I do any kind of art is always impressionism. It’s just things that I do without trying to fit anywhere. I couldn’t say that this is Disney or Pixar. I never try to copy any existing animation style. It did grow a little bit in terms of the style and basically the world itself.ī&a: How would describe the style of The Witness? Can you give a name or description to your visuals?Īlberto Mielgo: For me, my main reference comes from cinema and paintings, not necessarily animation. That was very much what I pitched to them. It didn’t evolve at all from the original pitch. And they ended up going with The Witness. I pitched them several scripts, and they liked them. This is something that I always dreamed to do, I always wanted to do. Those ingredients were very much anything that is far away from mainstream animation, so it could include violence, it could include sex, it could include horror – anything that is not soft or family-friendly. They called me to see if I had some ideas or if I wanted to pitch something, with the ingredients that they were looking for. Get exclusive content, join the befores & afters Patreon communityī&a: How did you come on board Love, Death & Robots?Īlberto Mielgo: I was approached by Gabriele Pennacchioli.

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