Music: American animator Jeanette Lee borrowed the shapes of Tokyo’s Nakagin Capsule Tower to produce a science-fiction urban landscape for Dewy Sinatra’s In My Bubble music video.
The film opens on an anonymous landscape of skyscrapers, as their lights flip on in rhythm to the London musician’s track.
Although made to be an ambiguous futuristic location, Lee informed Dezeen she borrowed on Chinese and Japanese architectural factors, as properly as referencing sci-fi films including Blade Runner and Ghost in the Shell.
A bubble-shaped automobile is noticed driving down the road carrying a sad-looking puppy character, which joins a lane of other identical automobiles.
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“I wanted the canine to basically be a bubble – aimlessly moving all around right up until eventually floating away, albeit with a lunch break in among,” Lee told Dezeen.
“The bubble does not burst simply because there’s a momentum of isolation, the puppy goes from becoming amid other dogs to voluntarily currently being completely alone. Solitude is the ultimate bubble.”
The film cuts to a tower with spherical windows reminiscent of Tokyo’s Nakagin Capsule Tower – a 1972 block by architect Kisho Kurokawa, with cubic sections featuring single porthole windows.
“For a whilst I kept considering about bubbles, AKA circles and enclosed spaces,” Lee explained.
“Enter Nakagin. It just fit so well. Otherwise that was the only distinct creating I looked at. But I truly studied architecture for my undergraduate degree before switching more than to animation, so it’ll constantly be a significant source of influence and inspiration.”
A related puppy character is revealed behind every of the windows, before the film moves to a nightclub also featuring circular speakers and doors.
The major dog character is shown by way of a round window consuming ramen noodles, just before returning home previous the flashing lights of the city – once a lot more in his bubble automobile.
Production on the film took two and a half months, with backgrounds manufactured in Photoshop prior to getting animated in Toon Boom Harmony and composited in Premiere.
Lee told Dezeen the film doesn’t have a certain narrative, but the repeated circular motifs are deliberate.
“The complete idea of absolutely everyone moving about in their bubbles is extremely relatable, and also quite isolating,” Lee commented.
“So that grew to become the jumping off level for my brainstorming – every person alone with each other. As for the style, the repetition inside the song translated into the repetition of visual components.”
