A Jaunt Through the Fractured Psyche or the Rotoscoped Real World?
Published 11/27/2024
Written by: Kevin Nickelson
Filmmaking technology and the horror fantasy realm go hand in hand. Mostly due to the longevity of the genre that has allowed such advances as in the moving camera and animation. Of special note is the technique of Rotoscope, in essence tracing over live action footage to create animated sequences. It was first explored by pioneering Polish-American animator Max Fleischer in 1915. To use the professional vernacular, it is the process of creating a matte for an element on a live-action plate so it can be used as a composite on another background.
The practice of using two or more images or video streams for compositing is done in post-production and is called a Chroma Key. For fantasy and chiller lovers, it’s utilization offers an extra level of visceral awe for the eyes and an air of bizarre imagery for the senses. Doing it wrong can make it visually distracting for the viewer and somewhat off-putting, drawing attention away from the project. When it is handled with skill, the movie-goer is led into a world where the director can then place you square into the adventure. In this instance, the skilled artist at the helm is Ansel Faraj, and the feature is the wildly garish, psychedelic ride that is 2023’s Todd Tarantula.
Todd Tarantula is the definition of a drug-addicted anti-hero who has been beaten in a
twelve round boxing match by life. Completely disconnected emotionally and communicatively from his wealthy businessman father, Todd shambles through existence on one snort of cocaine or one illegal pill at a time. A coping mechanism that warps his view of the human journey. In his world we get to see the characters who both leech on the suffering of others and those victims in their wake. In the blink of an eye, Todd’s beloved motorcycle is stolen from a parking garage in LA. The mysterious Lucifer Grey, a rival to the Tarantula empire, takes Todd under his wing to search for it.
Todd Tarantula is the definition of a drug-addicted anti-hero who has been beaten in a twelve round boxing match by life.
Ulterior motives abound and nothing is what it seems, making for an unhinged acid trip of twists and turns. The keys for success with this work lie in three areas. First, there is Faraj’s ability to maintain the stunning visual magnetics of the piece while not having it bury the narrative. Story remains the focus even surrounded by eye-peeling wonders. The tracings of the locations and players never distract from the central actions of all involved. Crucial, as there are copious amounts of pungent dialogue that would be missed easily if the viewer was not paying fervent attention.
This is a tale that presents many a layer of subtext beyond the surface events. There’s dysfunction between son and dad. Todd’s inner turmoil and self-destruction have caused relationship fallout between his ex-girlfriend, friends and himself. The self-bitterness in what Tarantula feels he has done to destroy his world and those in it.
Ulterior motives abound and nothing is what it seems, making for an unhinged acid trip of twists and turns.
Secondly, committed performances from the cast are sorely needed to get the audience to buy in. Veterans David Selby (of Falcon Crest fame and many other credits in a long career), Douglas Eames, Nathan Wilson, Kelly Erin Decker, Emma West and Brittany Hoza all sparkle in their roles and give a sense of diving in wholeheartedly to the plot. Selby is especially oily and leering as the antagonist Lucifer Grey.
Finally, the tech processes used to paint the landscape cannot look fake, as most CGI usage is want to do. Initially, the Rotoscope process took months to do, not unlike stop-motion animation from pioneer Willis O’Brien or his protege Ray Harryhausen. How long did it take in the new digital age? I went to the source, Ansel Faraj, for the answer. “It took awhile. I Had to do a few tests two years before making the movie (using Will & Liz and Detective Adam Sera footage). After that, it was a few months. Like October to December. Different sequences and scenes required different textures. I wanted the 1850s sequence to look more watercolor and current day stuff to be more rough like a French graphic novel from the 70s, replete with deep saturation and thick black outlines.”
You can watch Todd Tarantula on Tubi right now!
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