Alberto Milgo talks about the return of the third volume, new challenges and more

Love, Death + Robots It’s finally back on Netflix with the third wave of new short films, and many short films are being tackled by returning directors and creators! Love, Death + Robots has quite made a name for itself as an early animated anthology series for many of these short films was nominated for some of the most prestigious awards. Some of those nominations led to full wins like the first short, “The Witness,” which won some Primetime Creative Arts Emmy Awards for how surprising it was when it debuted. Now the creator behind the short is back for the latest volume.

Alberto Milgo, who wrote, designed, and made his directorial debut with “The Witness” on the first season of Love, Death + Robots, and has since won the Academy Award for Best Animated Short Film for his work with “The Windshield Wiper,” is now back at Love, Death + Robots“The third volume of episodes of the wonderful short series ‘Jibaro.’ Fortunately, had the opportunity to have a short chat with Mielgo about getting back into the anthology.

Talking about returning for the third volume after gaining more experience as a director, tougher challenges in short animation, and challenges in portraying a dark romance, Mielgo opened up about new work! Read on for our full conversation with Alberto Mielgo (edited for clarity) and let us know what you think! Have you checked out Jibaro? Where is it ranked among your favorite short films of size? Let us know all your thoughts on this topic in the comments! You can also contact me directly about all the moving stuff and other cool stuff Valdezology on Twitter!

Back to volume 3

(Photo: Netflix) You made an impact while [Love, Death + Robots Volume 1] With The Witness, and now she’s back in Volume 3 with Jibaro. What is the process the second time compared to the first time?

Alberto Milgo: Well, I think I obviously have more experience in terms of making a movie with my studio. For The Witness, I built a studio from scratch. This was the first time I had ever pulled something out. And then in between the two projects, I was doing a business and then I was finishing another one, a personal one. Then all of a sudden it started, so I had a little… well, more experience. In that sense, it wasn’t the easiest because the technique was obviously more complicated than difficult, but at least it was the third time I went out or out for the fourth time. In that sense, I knew what I was doing a little more.


motion activation

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(Photo: Netflix)

CB: Speaking of this difficulty, “Jibaro” has a lot of high-energy moves and energetic dance, so how were those scenes developed in particular?

Mielgo: What we do technically, what I like to do, is record the reference. So in this case, I wanted to work with a choreographer because I wanted to use dance as a means of communication. I feel that dancers can actually communicate feelings with movements only, without the need for words. That’s what we’ve seen in ballet for the longest time. And I wanted to do something modern and sophisticated, so we caught up with this choreographer, Sarah Silk.

She did a great job and brought on great dancers, both male and female, and we were shooting the ref. We didn’t capture the motion, we shot with different camera angles and then did the animation based on those motions. Then, later we need to render the characters and create all the shadows and do the final makeup, which is a lot of work of course.


Challenges in filming the main duo

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(Photo: Netflix)

CB: Jibaro has a deaf personality at the center of the action, so what was the inspiration behind choosing to focus on a character like this and the challenges of filming?

Mielgo: What is the sound? I would imagine, since she’s an underwater character, I’d imagine a way… for him, more or less, what he might hear was something that could be similar to what’s underwater. So when your hearing recovers, it’s almost like when you go out. So the original idea was to create a person, two characters who are basically not for each other.

So it’s ironic that a person who sings and attracts people because of singing, falls in love, or perhaps is obsessed with a character that you can’t have. He’s the only one you can’t have because he’s a deaf character. So, I felt this was interesting, to create characters who might like each other for the wrong reasons.


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