Is there an issue? Send a MessageReason:
None
Changed line(s) 4 (click to see context) from:
** He wasn't too happy with his breakout series ''Animation/{{Gustavus}}'', as the shorts' DarkHumor targeted everyday people rather than those in power. His proposal to make Gustav a high-ranking boss for one short was even shot down. He also began to grow disenchanted from the series when one of his acquaintances called it dumb nonsense, and began looking into making more serious and artistic stuff from then on.
to:
** He wasn't too happy with his breakout series ''Animation/{{Gustavus}}'', as the shorts' DarkHumor targeted everyday people rather than those in power. His proposal to make Gustav a high-ranking boss for one short was even shot down. He also began to grow got even more disenchanted from the series when one of his acquaintances called it dumb nonsense, and began looking into making more serious and artistic stuff from then on.
Is there an issue? Send a MessageReason:
None
Changed line(s) 21 (click to see context) from:
** The ''Air India'' commercial, the work that introduced Jankovics's trademark "metaphorical metamorphosis" animation style, was originally to be directed by fellow avant-garde animator György Kovásznai. When he turned the offer down, Jankovics stepped in and the rest is history.
to:
** The ''Air India'' commercial, the work that introduced Jankovics's trademark "metaphorical metamorphosis" animation style, was originally to be directed by fellow avant-garde animator György Kovásznai. When he turned the offer down, Jankovics stepped in and the rest is history.history.
** ''Johnny Corncob'''s director was chosen via a studio-contest in which he had teamed up with two other directors who both happened to share his basic ideas. Though they won together, the other two decided to step back immediately, allowing Jankovics greater freedom to expand his style and make the film his way.
** ''Johnny Corncob'''s director was chosen via a studio-contest in which he had teamed up with two other directors who both happened to share his basic ideas. Though they won together, the other two decided to step back immediately, allowing Jankovics greater freedom to expand his style and make the film his way.
Is there an issue? Send a MessageReason:
None
Changed line(s) 20 (click to see context) from:
** He was once offered a position in the communist party, which might have given him more freedom over his own art and more leverage against censors. Jankovics declined the offer, in part because the state's politics went straight against his own Christian, right-leaning ideology.
to:
** He was once offered a position in the communist party, which might have given him more freedom over his own art and more leverage against censors. Jankovics declined the offer, in part because the state's politics went straight against his own Christian, right-leaning ideology.ideology.
** The ''Air India'' commercial, the work that introduced Jankovics's trademark "metaphorical metamorphosis" animation style, was originally to be directed by fellow avant-garde animator György Kovásznai. When he turned the offer down, Jankovics stepped in and the rest is history.
** The ''Air India'' commercial, the work that introduced Jankovics's trademark "metaphorical metamorphosis" animation style, was originally to be directed by fellow avant-garde animator György Kovásznai. When he turned the offer down, Jankovics stepped in and the rest is history.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
** ''Son of the White Mare'' was meant to be a retelling of every classic folk tale trope, carrying a message of history's and culture's repetition, under the title ''A tetejetlen fa'' ("''The Tree Without a Top''"). The finished film's 12-headed dragon was also meant to be a walking criticism of modern urbanization, but Communist censors demanded such themes be toned down, thus the creature appears as a mix between a living city and a digital computer entity.
to:
** ''Son of the White Mare'' was meant to be a retelling of every classic folk tale trope, carrying a message of history's and culture's repetition, under the title ''A tetejetlen fa'' ("''The Tree Without a Top''"). The finished film's 12-headed dragon was also meant to be a walking criticism of modern urbanization, but Communist censors demanded such themes be toned down, thus the creature appears as a mix between a living city and a digital computer entity.entity.
** He was once offered a position in the communist party, which might have given him more freedom over his own art and more leverage against censors. Jankovics declined the offer, in part because the state's politics went straight against his own Christian, right-leaning ideology.
** He was once offered a position in the communist party, which might have given him more freedom over his own art and more leverage against censors. Jankovics declined the offer, in part because the state's politics went straight against his own Christian, right-leaning ideology.
Is there an issue? Send a MessageReason:
None
Changed line(s) 6 (click to see context) from:
** Initially he outright claimed to dislike watching ''Animation/SonOfTheWhiteHorse'' because of its arduous production and since the end product was far too removed from his original plans. Given the chance, he'd scrap and redo one third of the entire thing. Still, he always though the film was good and these days he considers it the high point of all his films.
to:
** Initially he outright claimed to dislike watching ''Animation/SonOfTheWhiteHorse'' because of its arduous production and since the end product was far too removed from his original plans. Given the chance, he'd scrap and redo one third of the entire thing. Still, he always though thought the film was good and these days he considers it the high point of all his films.
Is there an issue? Send a MessageReason:
None
Changed line(s) 3 (click to see context) from:
* CreatorBacklash: Jankovics generally has a critical view of his projects and is always ready to point out their flaws, as well as offer an explanation for them.
to:
* CreatorBacklash: Jankovics He generally has a critical view of his projects and is always ready to point out their flaws, as well as offer an explanation for them.
Changed line(s) 11 (click to see context) from:
* SavedFromDevelopmentHell: Spent 28 years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while the rest went into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011. In 2015, he also managed to salvage the opening scene of a never fully realized cartoon retelling of ''Literature/TheBible Bible''.
to:
* SavedFromDevelopmentHell: Spent 28 years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while with the rest went going into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011. In 2015, he also managed to salvage the opening scene of a never fully realized cartoon retelling of ''Literature/TheBible Bible''.''Literature/TheBible'', which was incidentally the project that had evolved into ''Tragedy''.
Changed line(s) 17 (click to see context) from:
* WhatCouldHaveBeen:
to:
* WhatCouldHaveBeen:WhatCouldHaveBeen: As one of his oft-repeated quotes go, "if he had made all which he didn't make, he couldn't have made all which he did make". Jankovics argues he would have needed two lifetimes to realize his abandoned ambitions.
Is there an issue? Send a MessageReason:
None
Added line(s) 2 (click to see context) :
* ApprovalOfGod: Jankovics has spoken approvingly of {{fanvid}}s that sync up his films with music, even if he doesn't personally care for the songs or their genres. He believes this shows his works have a wide appeal.
Changed line(s) 2 (click to see context) from:
* CreatorBacklash: Jankovics generally has a critical view of his projects and is always ready to point out their flaws and offer an explanation for them.
to:
* CreatorBacklash: Jankovics generally has a critical view of his projects and is always ready to point out their flaws and flaws, as well as offer an explanation for them.
Added line(s) 8 (click to see context) :
** Jankovics was generally relieved ''Animation/TheTragedyOfMan'' got made at all, but he reckons that the first scene to be completed, in which the Biblical Adam rejects {{transhuman}}ism and space travel (a TakeThat against the ''Franchise/StarWars'' franchise Jankovics has always openly hated), seems antiquated in retrospect, as modern sci-fi has long outgrown the style of clunky, old-school space craft design seen therein.
* CreatorBreakdown: Most of his films put him on the verge of one. ''Johnny Corncob'''s production was so tiresome that Jankovics fueled his pent-up frustration into animating (and performing the painful grunts for) his Oscar-nominated short ''[[https://vimeo.com/357543627 Sisyphus]]''. Later, he was glad just to be done with ''Son of the White Mare'' and immediately shifted attention to some other work to just to keep his sanity. That [[Animation/TheTragedyOfMan other work]] ended up taking up over a third of his life, and he was relieved he got to see it through to the end.
* CreatorBreakdown: Most of his films put him on the verge of one. ''Johnny Corncob'''s production was so tiresome that Jankovics fueled his pent-up frustration into animating (and performing the painful grunts for) his Oscar-nominated short ''[[https://vimeo.com/357543627 Sisyphus]]''. Later, he was glad just to be done with ''Son of the White Mare'' and immediately shifted attention to some other work to just to keep his sanity. That [[Animation/TheTragedyOfMan other work]] ended up taking up over a third of his life, and he was relieved he got to see it through to the end.
Changed line(s) 8 (click to see context) from:
* SavedFromDevelopmentHell: Spent 20+ years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while the rest went into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011.
to:
* SavedFromDevelopmentHell: Spent 20+ 28 years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while the rest went into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011. In 2015, he also managed to salvage the opening scene of a never fully realized cartoon retelling of ''Literature/TheBible Bible''.
* TroubledProduction: One of his career's constants. Generally, most directors doing big productions at Creator/PannoniaFilmStudio had to put up with bad working conditions. Supplies, technical equipment and mere space were scarce or of low quality, concept art and painted animation cels literally littered the floor as there was no way to archive them. Very, very few pieces of original production art survived as a result.
** Jankovics basing his absurdist short ''Sisyphus'' on ''Johnny Corncob'''s production says everything about how he had felt about it.
** ''Son of the White Mare'', for starters, is not the film Jankovics wanted to make, it was the only one his bosses ''let'' him do when his original proposal was deemed anti-Marxist. Years went by for research and numerous script treatments, until the director almost forgot his goal. Work was done in a crummy shack-like construction, with bad materials that rendered whole scenes unusable, and under-talented animators, who at one point staged a protest for a pay-raise due to the film's overwhelming artistic demands. One of them genuinely cried under the work stress, so the director and other staff members had to jump in to animate. The crew even had to apply for extra jobs to buy more animation tools that the studio couldn't afford.
** ''The Tragedy of Man'' went south straight from the get-go. Originally an in depth ''[[Literature/TheBible Bible]]'' adaptation to be co-produced by a North American partner in the early '80s, the financiers stepped down after years of pre-production. Jankovics reconfigured the project into a Hungarian literary adaptation of a story long considered neigh un-adaptable. Communism and Hungary's traditional studio system collapsed right as animation was about to get started, leaving Jankovics with no staff or funding. The film's scenes were created out of order, with years passing between each as he desperately tried to get money and animators. At one point, even Creator/TheBBC rejected him, arguing his movie was "too Hungarian" despite featuring no scenes set in Hungary. The director made an entirely new film in the meantime (''Song of the Miraculous Hind''), went back to do some work on the aborted ''Bible'' series, and even had a brief and unfruitful stint at Disney, until General Motors licensing his ''Sisyphus'' short for their 2008 Super Bowl commercial finally got him in the clear money-wise. After 26 years, the movie was complete at last, but the voice work begged for a redo, which prolonged production for another two years. The film's message about humanity's struggle over the ages is just as much a reflection on his own career.
** The aforementioned ''Bible'' animated film from the '80s never saw the light of day, but he did cobble together a sort of test scene and release it in 2015. He claims the 26 minute episode was finished "relatively fast", which in Jankovics's timescale means eight years.
* WhatCouldHaveBeen:
** His unproduced '80s ''Bible'' film. After having spent years writing scripts and devising thousands of character designs and scene layouts, the project's co-backer disappeared. All that's left of it is an elusive 26 minute "{{pilot}}" called ''Genesis'' or ''Creation'' (not to be confused with the Genesis scene from ''The Tragedy of Man''), released as a pack-in bonus DVD in Jankovics's self-illustrated ''Bible'' book and never officially released anywhere else apart from festival screenings. The book itself, which adapts the ''Bible'' all the way up to the ''Literature/BooksOfKings'', was made using Jankovics's old layouts, but plans for a continuation were shut down due his other works.
** ''Son of the White Mare'' was meant to be a retelling of every classic folk tale trope, carrying a message of history's and culture's repetition, under the title ''A tetejetlen fa'' ("''The Tree Without a Top''"). The finished film's 12-headed dragon was also meant to be a walking criticism of modern urbanization, but Communist censors demanded such themes be toned down, thus the creature appears as a mix between a living city and a digital computer entity.
* TroubledProduction: One of his career's constants. Generally, most directors doing big productions at Creator/PannoniaFilmStudio had to put up with bad working conditions. Supplies, technical equipment and mere space were scarce or of low quality, concept art and painted animation cels literally littered the floor as there was no way to archive them. Very, very few pieces of original production art survived as a result.
** Jankovics basing his absurdist short ''Sisyphus'' on ''Johnny Corncob'''s production says everything about how he had felt about it.
** ''Son of the White Mare'', for starters, is not the film Jankovics wanted to make, it was the only one his bosses ''let'' him do when his original proposal was deemed anti-Marxist. Years went by for research and numerous script treatments, until the director almost forgot his goal. Work was done in a crummy shack-like construction, with bad materials that rendered whole scenes unusable, and under-talented animators, who at one point staged a protest for a pay-raise due to the film's overwhelming artistic demands. One of them genuinely cried under the work stress, so the director and other staff members had to jump in to animate. The crew even had to apply for extra jobs to buy more animation tools that the studio couldn't afford.
** ''The Tragedy of Man'' went south straight from the get-go. Originally an in depth ''[[Literature/TheBible Bible]]'' adaptation to be co-produced by a North American partner in the early '80s, the financiers stepped down after years of pre-production. Jankovics reconfigured the project into a Hungarian literary adaptation of a story long considered neigh un-adaptable. Communism and Hungary's traditional studio system collapsed right as animation was about to get started, leaving Jankovics with no staff or funding. The film's scenes were created out of order, with years passing between each as he desperately tried to get money and animators. At one point, even Creator/TheBBC rejected him, arguing his movie was "too Hungarian" despite featuring no scenes set in Hungary. The director made an entirely new film in the meantime (''Song of the Miraculous Hind''), went back to do some work on the aborted ''Bible'' series, and even had a brief and unfruitful stint at Disney, until General Motors licensing his ''Sisyphus'' short for their 2008 Super Bowl commercial finally got him in the clear money-wise. After 26 years, the movie was complete at last, but the voice work begged for a redo, which prolonged production for another two years. The film's message about humanity's struggle over the ages is just as much a reflection on his own career.
** The aforementioned ''Bible'' animated film from the '80s never saw the light of day, but he did cobble together a sort of test scene and release it in 2015. He claims the 26 minute episode was finished "relatively fast", which in Jankovics's timescale means eight years.
* WhatCouldHaveBeen:
** His unproduced '80s ''Bible'' film. After having spent years writing scripts and devising thousands of character designs and scene layouts, the project's co-backer disappeared. All that's left of it is an elusive 26 minute "{{pilot}}" called ''Genesis'' or ''Creation'' (not to be confused with the Genesis scene from ''The Tragedy of Man''), released as a pack-in bonus DVD in Jankovics's self-illustrated ''Bible'' book and never officially released anywhere else apart from festival screenings. The book itself, which adapts the ''Bible'' all the way up to the ''Literature/BooksOfKings'', was made using Jankovics's old layouts, but plans for a continuation were shut down due his other works.
** ''Son of the White Mare'' was meant to be a retelling of every classic folk tale trope, carrying a message of history's and culture's repetition, under the title ''A tetejetlen fa'' ("''The Tree Without a Top''"). The finished film's 12-headed dragon was also meant to be a walking criticism of modern urbanization, but Communist censors demanded such themes be toned down, thus the creature appears as a mix between a living city and a digital computer entity.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* BoxOfficeBomb: When ''Animation/SonOfTheWhiteHorse'' brought in only half of the expected viewers, Jankovics's directorial career took something of a hit as Creator/PannoniaFilmStudio began concentrating on more marketable, general-appeal cartoons.
* CreatorBacklash: Jankovics generally has a critical view of his projects and is always ready to point out their flaws and offer an explanation for them.
** He wasn't too happy with his breakout series ''Animation/{{Gustavus}}'', as the shorts' DarkHumor targeted everyday people rather than those in power. His proposal to make Gustav a high-ranking boss for one short was even shot down. He also began to grow disenchanted from the series when one of his acquaintances called it dumb nonsense, and began looking into making more serious and artistic stuff from then on.
** Of ''Animation/JohnnyCorncob'', his first theatrical feature, Jankovics admitted he should have downplayed the surreal fairy tail elements in the plot's somewhat more realistic first half, instead of carrying the same dreamlike styling through the entire film. He also confessed to not putting enough research into the movie's folk symbolism, though he happily noted that he accidentally got some of the symbols right.
** Initially he outright claimed to dislike watching ''Animation/SonOfTheWhiteHorse'' because of its arduous production and since the end product was far too removed from his original plans. Given the chance, he'd scrap and redo one third of the entire thing. Still, he always though the film was good and these days he considers it the high point of all his films.
** Unsurprisingly, since the completed film has nothing to do with the early proposal he had signed on for, he hates ''WesternAnimation/TheEmperorsNewGroove''. Originally called ''Kingdom of the Sun'', the film was conceived as a serious mythological drama along the lines of ''Johnny Corncob'', until Creator/{{Disney}} rebooted the project from the ground up and made it into, in his words, "a horrible Las Vegas comedy show".
* ExecutiveMeddling: Hit practically all his shows and movies, but ''Son of the White Mare'' suffered the most. Jankovics aimed to make a film that presents the "essence" of every folk and fairy tale and showcases [[HistoryRepeats the circularity of time]]. Unfortunately, Hungary's Communist regime thought this went against [[Creator/KarlMarx Marxist]] ideology, forcing him to rethink the project from scratch. His original message was preserved in a more subdued form, but this is one idea he couldn't fully explore.
* SavedFromDevelopmentHell: Spent 20+ years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while the rest went into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011.
* CreatorBacklash: Jankovics generally has a critical view of his projects and is always ready to point out their flaws and offer an explanation for them.
** He wasn't too happy with his breakout series ''Animation/{{Gustavus}}'', as the shorts' DarkHumor targeted everyday people rather than those in power. His proposal to make Gustav a high-ranking boss for one short was even shot down. He also began to grow disenchanted from the series when one of his acquaintances called it dumb nonsense, and began looking into making more serious and artistic stuff from then on.
** Of ''Animation/JohnnyCorncob'', his first theatrical feature, Jankovics admitted he should have downplayed the surreal fairy tail elements in the plot's somewhat more realistic first half, instead of carrying the same dreamlike styling through the entire film. He also confessed to not putting enough research into the movie's folk symbolism, though he happily noted that he accidentally got some of the symbols right.
** Initially he outright claimed to dislike watching ''Animation/SonOfTheWhiteHorse'' because of its arduous production and since the end product was far too removed from his original plans. Given the chance, he'd scrap and redo one third of the entire thing. Still, he always though the film was good and these days he considers it the high point of all his films.
** Unsurprisingly, since the completed film has nothing to do with the early proposal he had signed on for, he hates ''WesternAnimation/TheEmperorsNewGroove''. Originally called ''Kingdom of the Sun'', the film was conceived as a serious mythological drama along the lines of ''Johnny Corncob'', until Creator/{{Disney}} rebooted the project from the ground up and made it into, in his words, "a horrible Las Vegas comedy show".
* ExecutiveMeddling: Hit practically all his shows and movies, but ''Son of the White Mare'' suffered the most. Jankovics aimed to make a film that presents the "essence" of every folk and fairy tale and showcases [[HistoryRepeats the circularity of time]]. Unfortunately, Hungary's Communist regime thought this went against [[Creator/KarlMarx Marxist]] ideology, forcing him to rethink the project from scratch. His original message was preserved in a more subdued form, but this is one idea he couldn't fully explore.
* SavedFromDevelopmentHell: Spent 20+ years toiling away on ''Animation/TheTragedyOfMan'' bit by bit, six of which was actually spent working on it, while the rest went into collecting funds and promotion. The film, which went into pre-production in the early '80s (as a different project, no less), hit screens in 2011.
