DREAM WITH ANIMATION | Pengpeng Du
Pengpeng Du (Dupp) is an artist working in the film/ television/ advertising industry. He is an animation director, storyboard artist, concept artist, illustrator, and mural artist. His personal film CAGE won several awards and nominations in over 30 international animation festivals including Oscar - 43rd Student Academy Awards finalist nomination, 48th ASIFA-EAST top award winner and the BEST IN SHOW 2017.
Why did you start learning animation?
Because when I was a child, I loved watching animation. Then I became curious as to how the different aspects of it moved. I was born in 1986, and at that time, domestic animation development was slow, unlike in the United States and Japan. I remember seeing an animation in elementary school called Flander’s dog, adapted from a German novel. It made me hide under my bed at night, crying. I think this form of animation is particularly attractive. Not only was it entertaining, but also very touching. As a child, I also really like sketching, so when I discovered animations, I thought it was very appealing as I can use it to express a story.
How did being an animator/ illustrator change your life?
My animations are very meaningful to my life. When I was in undergraduate studies, I wanted to combine bits and pieces of everything together to better tell a story. However, later I felt like I wanted to do something more related to my mood and how I feel. My university was in Beijing, and my family was in Nanjing. That being said, I hardly ever went home because it was far away. Growing up, I lived with my grandparents, and they would always record the things I did. However, during their own time, they didn’t have things to record their life. This made me think of making animations from my memories. When I was finished, I was very touched by it. Showing it to my family, they were also very moved. After some years, I went home again and found out that my grandfather passes away. My family didn’t tell me. At that time, I looked back at my animation of my family, and it all made sense to me. I can make my grandparents “live” through my work.
What are some things that inspire you to continue working in this industry?
I’ve been working in this industry for a long time. I think it is a great way to communicate, since in person, I am usually very straight forward and blunt. It is easy to hurt people’s feelings. But animations are different. I can make it say the things I want to express by designing different people and objects whether it matches reality or not. An example would be how I can make my grandparents “live” in my work.
Secondly, I really like Hayao Miyazaki. There is a very pure feeling to his animations.
Also, I think China lacks the spirit of this craft. I really like doing this and wish to continue. I don’t know if I will ever become rich, famous, or have my own studio because of it, but I like how it makes me feel. I think China’s animations are developing, but it’s still not very good, so I will pay more attention to that market as it is still considered really young.
Do you have any suggestions?
Express your initial thoughts and keep things authentic. Don’t try to do too much. It is always better to recognize who you are and stay true to yourself. Animation is an industry that tell stories, both rational and emotional. Some people are young and dreamy. I think the thing is, the work really has to touch you, and you have to like it. Don’t learn animation just to learn it. You must be able to actually get in touch with the industry. There are also many parts to it, not just being a director, such as a compositor, original painter, etc. Even Disney’s famous animators aren’t all necessarily directors but they’re still respected.
杜鹏鹏（dupp），毕业于清华大学美术学院信息系－动画方向，5年前他来到美国继续了自己在“动画”上的新旅途，毕业于Pratt Institute，主修 Animation&Motion Art。现在的他主要从事着Animation Director, Storyboard Artist, Concept Artist, Illustrator & Mural artist等工作方向。“动画”这两个字在他生命中已经存在了20几年，从小时候看动画到长大了后做动画，这两个字已经变成了他生命中的一部分。作品“CAGE’折枝”曾经获得"Finalist"/Nomination, 43rd Student Academy Awards (Oscar), 2016，"Finalist", 12th BLOW-UP International Arthouse Film Festival以及BEST IN SHOW / Top Award Winner, 48th ASIFA-EAST, 2017等奖项。除了动画之外，大家无论是去Time Square 附近的“小笼包”，还是去East Village 的“元”也都能在店内看到他的作品。
为什么会开始学习动画?
因为首先，我小时候特别喜欢看动画，然后我就很好奇这个东西是怎么动起来的，我是86年出生的，那时候国内动画发展很慢，大部分引进美国日本的动画。我记得在我小学三年级的时候，看到一个动画，那个动画叫做：弗兰德斯的狗，一个德国小说改编的。我晚上一个人躲在被窝里面看，看完我就哭了。我就觉得动画这种形式特别有魅力，本来以为是个娱乐的东西，后来觉得很感人。小时候喜欢乱涂乱画，但是后来发现，动画这个形式，动起来的这种表现，表达一个完整的故事，非常有感染力。首先感染到我自己，也可以感染到别人，之后就想学这个，关注各种动画，以后有可能的话就可以学习这种方式的艺术表达。
动画／插画改变了你生活的哪些部分？有没有改变你的生活?
我觉得对我生活特别有意义，就拿本科的毕业设计来说，本来想题材想了很久，考虑了特别多。做艺术有时候想跟这个结合，想跟那个结合，让作品更好被宣传。做的比较商业，或者fashion等。后来我心里面我觉得，应该表现跟心情真正有关系的的东西。我大学在北京，很少回家，很想家人。小时候跟爷爷奶奶一起长大的，然后我就想是不是该做些事情吧他们记录在里面。爷爷奶奶那个年代没有什么可以记录他们的生活，我可不可以做一个动画片，通过我的回忆。爷爷奶奶在南京，我大学在北京。内容主要是我的回忆和想像以及爸爸给我的口述的一些内容。我在把它设计，创作，还原一下。从我小学一直讲到我去北京上大学，出现了爷爷奶奶，爸爸，还有一些亲人。那时候的样貌都有一些记录。做完之后了我自己很感动，给他们看，他们也很感动。过了很多年再次回家，发现爷爷去世了，家人没有跟我说。我就拿出当时那个动画，觉得非常有意义。我可以让我的爷爷奶奶一直“活”在我的动画里。
为什么还在持续做着插画（人／事激励着你继续从事这个行业)?
我一直在做动画这个事情，首先我是一个平时说话很直的人，容易伤人，有些人跟我聊着聊着就不理我了。但做动画不同，我可以把很多事情都放在里面去说。我可以设计很多人，事情，现实里发生的或者没有发生的，把他们都映射到动画里。把所有想说的放在动画里面表达。去感染人。比如我可以让我的爷爷奶奶一直“活”在我的动画里。
其次我很喜欢宫崎骏，我觉得他一直在坚持，说退出然后又复出了。他的动画里面一直又一种特别纯净的情怀。故事都很纯真，围绕小女孩，梦想和飞行。基本上都是这个样。
还有我觉得中国缺少这种比较匠人的精神。我也不知道以后我会怎么样。我喜欢就一直坚持着，有这样的感觉就行了，这样的感觉是我要的。我不知道以后会不会赚钱，出名，有自己的工作室。但我喜欢这样的感觉。一直坚持自己喜欢的事情。比如日本寿司之神的儿子一直在烤海苔。我觉得中国也在发展动画吗，但是可能特别好的不多，但我觉得慢慢会重视这个行业了。不单单把它当作是一个低龄化的东西了。为什么喜欢宫崎骏，大人看了有收获，小孩看了也喜欢，这个是我想要的，也是中国缺少的。
建议?
表达初心，最初的想法，就去表达最真的这一面。不不要太多添加的东西。比较适合认清自己。动画是个需要讲故事，既感性，又理性的行业。小时候看动画，跟我朋友讲动画的时候，聊某个角色，这个角色为什么这样，这样的话带来什么情绪，以后就要做这样的人，这样的人又青春，梦想的。首先这个东西需要真的能感动到你，你才能喜欢。不要为了学动画而学动画。很多人以动画导演作为目标。但动画可以细分成很多，比如合成师。绑定师，原画师等等。希望年轻人可以明确行业分工的。能尽早接触到行业的咨询，对于未来的道路有清晰的规划。迪士尼出名的动画大师，不见得必须是导演，但依然受到很多的尊敬。