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Production Team

Once the possibility of the first “Suba” film had emerged,along with the outline of a story predicated by the shape of the music, I asked ZORAN JANJETOV if he would design one of the two robots Who are the leading characters in the film,and if he could suggest an artist
from Croatia ,( an opposing force to Serbia in the recent Yugoslavian civil war ), who might design the other robot.He suggested GORAN SUDZUKA who turned out to be a perfect choice.

As the two of them scribbled away in the Balkans,I was talking to an old colleague with whom I’d worked on an early computer game called “Drowned God” in the mid-90’s. PHILIP DOBREE was now running a computer animation company in London, JELLYFISH PICTURES, and they agreed to animate the robots in 3D. As luck Would have it, Phil had just employed a freelance animator, LARRY RUPPEL from the U.S.,who was skilled in both traditional, drawn animation, and in 3D computer technology……..the perfect fit for the role of Animation Director.

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I was designing the backgrounds and secondary characters but we needed a 2D animator who could also add special effects and pull the whole concoction together. TOM JACKSON had worked With Phil and I on “Drowned God” and had stayed in touch as his skills matured. Tom was ready.

My son Toby had edited the original music to give us our working track, but we needed VINCENT KENIS from CRAMMED DISCS, Brussels, Suba’s record company, to give us the final version with its looped ending.

So there was the team, suitably multi-national given the Serbo-Brazilian nature of the music that had inspired us. It still gives me a buzz to think of this little production starting in Sao Paulo, growing in Brussels, and taking further wing in Leamington Spa, in Novi Sad and Zagreb, in London, Hove, and New York.