We interviewed Jose Luis Agreda, art director of Robot Dreams, recently nominated for an Oscar

Robot Dreams, a feature film directed by Pablo Berger, has become one of the most relevant animation proposals in the industry thanks to its successful premiere at the Cannes Film Festival, winner at Annecy, Sitges or the Goya Awards and recently for its Oscar nomination in the category of best animated film.

Based on Sara Varon's popular graphic novel of the same name, it tells the story of DOG, a lonely dog living in Manhattan. One day he decides to build himself a robot, a friend. Their friendship grows, until they become inseparable, to the rhythm of the New York of the eighties. One summer night, Dog, with great sorrow, is forced to abandon ROBOT on the beach. Will they meet again?

We talked with José Luis Agreda, Art Director of Robot Dreams, about his work process and everything that surrounded this animated adventure.

How did you meet Pablo Berger and why did you decide to get involved in this project?

During the premiere of the film Buñuel in the Labyrinth of the Turtles, in which I also worked as Art Director, Pablo called me for an interview, taking advantage of the fact that he knew I was in Madrid. He was looking for an Art Director for a new project and wanted to see if we could fit in. The interview went very well, and the film as Pablo described it looked incredible. I was already predisposed because I have a lot of admiration for him as a director and screenwriter.

At that time I was about to leave for Kilkenny (Ireland) to work at Cartoon Saloon, but we agreed to collaborate and when they managed to get the project off the ground I went back to Spain to assemble the team.

Were you previously familiar with Sara Varon's work? What was it about Robot Dreams that hooked you the most?

I didn't know the book. In fact, Pablo gave me the script and the book, but he asked me to read the script first so I could have my own ideas and not be initially conditioned by the aesthetics of Sara's book.

The story of Robot Dreams is human, simple, intimate, and complex. The style is cartoonish, very comic. All of that grabbed me. And Pablo's script was absolutely seductive.

Tell us what it's like to work based on the art of a graphic novel; how much freedom did you have to reimagine the characters in Robot Dreams?

The novel was the starting point for both the story and the style, but Pablo's vision went much further in terms of complexity on both counts. We wanted to stick fairly close to the main characters, Robot and Dog, and that clean line aesthetic with the power of ink and flat colors. That helped us to set the tone. But up to that point, because what we were looking for was a more detailed and concrete development of the city and the characters, we were making a period film that required a lot of documentation, a much more sophisticated camera planning, and a more narrative and dramatic color and lighting work.

So there was a lot of room to develop the style of the film, always respecting the original work. Sara's generosity was also wonderful, she always gave us freedom and support.

We know that the pre-production of this film happened right at the beginning of the confinement, did this alter the work process in any way?

The development phase and creation of the initial teaser, was during the confinement, making everything more complicated, because communication is always more difficult. Especially for coordinators and supervisors, it is exhausting. But fortunately at that time we were a very small team and the situation was manageable. Later, when the artists started to come, although following the anti-COVID protocols, we were able to set up the studios in Madrid and Pamplona and really work hand in hand. That is always much more efficient and contributes to team building. And what a team! Fortunately, our Dream Team made the work always enjoyable, creative and positive, even in the hardest moments of the production.

As an Art Director on an animated film, what is your role?

There are several phases. The initial one is to find the aesthetics of the film that best suits what the director is looking for. First style decisions for backgrounds and characters, light and color. There are many conversations and working hand in hand with the director for a long time, to know what needs he has as a director and what tools my team can bring in to develop his goals.

In my case, I also created the storyboard with thumbnails with him, so from that moment on I knew first hand what Pablo was looking for in each case, both in the locations and in the characters or in the composition of shots.

Later, when the team is already assembled, there is a task of coordination and supervision, here also by the hand of Production, to meet the objectives and deadlines. The Art Director would be the bridge between the director and the art team and between the director and production as far as the department is concerned.

How important do you consider festivals and awards? Being nominated for an Oscar, does it make a difference?

Of course, it changes everything for the film. The visibility of having received some awards is tremendous. Especially the Goya and the Oscars, which everyone knows and values. Being there is a showcase that otherwise we would not have. It helps to bring the film closer to the public, which is the ultimate goal of what we do, to show our work.

On a personal level, the recognition is positive, of course, and it also helps to communicate and disseminate your own work better.

Do you know if, after the nomination, there are plans to re-release the film in theaters outside Spain? Is it possible to watch the film on a streaming platform?

The film has not stopped being in Spanish theaters since its release on December 6, although it is true that it has less and less presence. But for us, that is already a great achievement. It is true that the nominations have helped to give it a new push and copies have been distributed again and the number of screenings has increased because it has generated a new interest in it. Many people had not had the opportunity to see it and will be able to go to the theaters to enjoy it.

As for outside Spain, the truth is that the film was lucky enough to sell internationally right away. At the Cannes market it was sold all over the world and little by little it will be released according to the distributors in each country. I think that by spring it will have been released all over the world.

Tell us a little more about the new project you are working on, the animated film Decorado by director Alberto Vazquez

Alberto's new film, after Unicorn Wars, is based on a previous short film of his with the same title. It is again produced by Uniko and Abano Producións. It is a more intimate film than the previous one, with a lot of humor, but without losing Alberto's black and complex universe. In terms of style, there will be a continuity with his other work, the visual seal of the director, but we are also trying to give a special personality to this film.

We would like for you to recommend a couple of animated films and short films, which are your favorites?

Well, from European cinema I would recommend Ernest and Celestine, beautiful script and aesthetics.

Internationally, practically everything Miyazaki and Takahata. And as for short films, for current events and personal closeness, I would recommend To Bird or Not to Bird, by Martín Romero, partner in Decorado, where aesthetics and content also merge and work together.

Has this article inspired you? Here are some links that may interest you:

- The best online illustration courses
- Illustration, Climax and Denouement, a course by Jose Luis Agreda
- What is Art Direction?