First I was given the script with notations for where Miguel Arteta and Michael Cera wanted animated sequences.
Then I presented proposals on how to approach each segment.
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Its a terrific opening for the film that youve put together.
Can you take us through what was involved, and how you had to shape and mould it together?
They shot the live action first and we matched the camera move with motion control on our fabricated set.
Since the key actors were already introduced, the shift to animation puppets was even more interesting.
Where in the production process did you come in?
Presumably you needed the tone and direction of the characters absolutely locked down before you could get to work?
Initially there were more animation sequences but things were trimmed as the script developed.
How long did it take to do the work?
How closely did you work with Miguel Arteta on the film?
I worked on the project sporadically for well over a year with several months of intensely focused production.
There were sequences you did that are on the disc that didnt make the final cut.
When did you find out they hadnt made the cut, and were you okay with that?
Thats disappointing, of course, but inevitable on a feature, it seems.
I was especially disappointed that the heart attack sequence, where we pixellated Zach Galifianakis was cut.
Do you find stop-motion the purest and most rewarding form of animation?
Its the medium I enjoy working in but I wouldnt call it pure or the purest.
Do you have ambitions to make a full-length feature of your own?
Finally, of which of your work are you proudest?
Thats way too hard to answer, especially since it always changes.
Hopefully its whatever Im working on at the moment.Youth In Revoltdefinitely stands out as one of my favourites.
Thank you, Peter Sluszka.
Youth In Revolt is released on Blu-ray and DVD on 12 July from Momentum Pictures.
you might find lots of Peters work righthere.
