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AI Animator And Storyteller Jesse Weglein Releases The Short Film Roar · Arroe Collins Like It's Live

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Speaker 1: So we've created this podcast network. It's called arrow dot
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Speaker 1: net a r r oe dot net. Twenty different podcasts
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Speaker 1: to choose from daily. One of the biggest plays on
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Speaker 1: there right now is called something our parents would say.
0:13
Speaker 1: Come on, we all said it, and it had to
0:15
Speaker 1: start somewhere, and it usually came from your parents, your grandparents,
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Speaker 1: your great grandparents. What is the history of what people say?
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Speaker 1: You'll find it on erro dot net aar r oe
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Speaker 1: dot net. Enjoy your exploration, dude, I gotta tell you
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Speaker 1: something I've experienced this, Jesse. You should be very proud
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Speaker 1: of yourself. I hope you are, and I hope your
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Speaker 1: team is celebrating in victory.
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Speaker 2: Thank you so much.
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Speaker 1: We are it. You know the this is all I've
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Speaker 1: heard about AI technology. It has no emotion. There's no
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Speaker 1: way that it can captivate the human you know what.
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Speaker 1: I don't know what you found in this, but my god,
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Speaker 1: you captivated my attention and you got my emotion. Of course,
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Speaker 1: I cried and I kept telling my wife, how is
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Speaker 1: this happening? It's AI?
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Speaker 2: I think you You're absolutely right. I think that is
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Speaker 2: a challenge. That is one of the biggest challenges for
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Speaker 2: me as a director is how do you take something
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Speaker 2: that is inherently absent of understanding of human emotion, the
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Speaker 2: complexity of our feelings, and have it translate what I
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Speaker 2: am visioning and what my art is saying into an
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Speaker 2: emotional way. How does the end result resonate with people
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Speaker 2: when the AI doesn't have a clue what we're talking about.
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Speaker 2: That is a huge challenge right now for everyone who's
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Speaker 2: in this space, and you fall back on not allowing
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Speaker 2: the AI to be in the driver's seat. The humans,
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Speaker 2: the directors, the artists have to be the ones that
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Speaker 2: are pushing this the narratives and pushing the connection because
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Speaker 2: only it's our gut instinct as artists that allow us
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Speaker 2: to know when it's good and AI will give you schlop,
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Speaker 2: It will give you something that's a pure goal. It
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Speaker 2: has no idea to differentiate the too. So as individuals,
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Speaker 2: as artists, as human beings, we have to be in
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Speaker 2: the driver's seat of this technology in order to create
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Speaker 2: meaningful works of art.
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Speaker 1: Do you think that part of the connection and why
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Speaker 1: we feel so much emotion is because the way that
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Speaker 1: you use the yard are you put our imaginations and
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Speaker 1: our hearts in places that we could identify with like
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Speaker 1: the touching of the hands, the embrace, the smiles, the eyes,
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Speaker 1: and it was almost like we either want that or
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Speaker 1: we've had that. Give it to me one more time,
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Speaker 1: I think.
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Speaker 2: So I think to be a good filmmaker, to be
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Speaker 2: a good director, is to really to observe, to observe
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Speaker 2: real people. And as a father, as a husband, I'm
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Speaker 2: constantly observing my children and members of our community and friends,
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Speaker 2: and I think that makes you a good artist first
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Speaker 2: and foremost. To be a good arts you really have
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Speaker 2: to observe life. And so I always am observing how
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Speaker 2: people are communicating, especially nonverbal communication, and that is what
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Speaker 2: this film is primarily about. Is this little girl, Tora,
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Speaker 2: who has does not have the ability just speak, and
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Speaker 2: yet she has so much to say. The film is
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Speaker 2: titled Roar, and her name, Tora in Japanese is tiger.
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Speaker 2: So this idea that a tiger has no voice to
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Speaker 2: roar is it kind of at the essence of this film.
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Speaker 2: And so it's this idea that she has so much
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Speaker 2: to say she cannot not in a verbal way, but
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Speaker 2: and yet her family is moving, which is traumatic, is
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Speaker 2: very traumatic. It is being uprooted from what you know,
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Speaker 2: especially with someone who's on the spectrum where routine is essential,
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Speaker 2: being uprooted into a new land, into a new place,
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Speaker 2: a new environment and alter and having all these uncertainties.
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Speaker 2: So in her on her headsets, she's listening to a song,
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Speaker 2: and what you begin to realize is that song is
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Speaker 2: her inner monologue, that is her thoughts, and it's being
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Speaker 2: portrayed in this K pop inspired way.
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Speaker 1: Jesse, I know what my thoughts are saying twenty four
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Speaker 1: to seven. I want a K pop song up there
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Speaker 1: in that melon man, because I'm telling you I need
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Speaker 1: I need some K pop right now.
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Speaker 2: That's hilarious, I think we So I wrote the lyrics
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Speaker 2: to the song, and it was something that my wife
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Speaker 2: and I she helped a lot with. My wife was
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Speaker 2: Japanese and so she was able to help with a
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Speaker 2: lot of the you know, the specific language that with
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Speaker 2: that culture and bringing those things to kind of this
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Speaker 2: authentic you know. So it felt like something that would
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Speaker 2: be on the radio, and so we wrote the song.
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Speaker 2: We wanted to be fun and uplifting and vibrant, and
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Speaker 2: we wanted the visuals to be fun, uplifting and vibrant
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Speaker 2: because what was going on with this little girl was
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Speaker 2: not fun and uplifting. She she's, you know, in this
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Speaker 2: this uncertainty and so emotionally it's kind of this valley.
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Speaker 2: But on one side you have the vibrancy of the
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Speaker 2: of the visuals, and then you have the vibrancy of
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Speaker 2: the song. But she's stuck in the middle of this
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Speaker 2: this two things, and it's showing that she's trying to
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Speaker 2: lift herself out of that valley, and the dancing is
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Speaker 2: is part of that. So she sees a woman who's
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Speaker 2: on roller skates that's doing this little turl. She's spinning
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Speaker 2: and she's happy, and she's right by this rainbow picture
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Speaker 2: of this woman that's holding a rainbow. So that becomes
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Speaker 2: this like theme, you know, war chant that she wants
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Speaker 2: to be like the rainbow girl. She wants to dance
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Speaker 2: and she wants to be happy. So at the end
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Speaker 2: of the animation, she actually performs enough courage that she's
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Speaker 2: able to do that too. She's she spins and she
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Speaker 2: dances and and it's this beautiful kind of full circle
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Speaker 2: moment where she she becomes you know, she she rises
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Speaker 2: to the occasion and she's able to communicate that way.
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Speaker 1: Let's talk about the Golden Gate Bridge because I see
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Speaker 1: it in the distance and I have to ask you,
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Speaker 1: from one creative mind to another, I am more in
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Speaker 1: love with that bridge from the distance, and I have
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Speaker 1: to ask you if you felt the same thing, because
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Speaker 1: once I got on the bridge, it was like, oh,
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Speaker 1: it's a bridge, but but what what what did you
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Speaker 1: feel in this? Because it does play an integral part
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Speaker 1: of this journey.
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Speaker 2: Yeah, so the bridge represents it's the physical location obviously
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Speaker 2: of San Francis, but it's also this idea of a
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Speaker 2: bridge between worlds and or her you know, entering into
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Speaker 2: San Francisco from Japan. She's she's crossing a bridge, an
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Speaker 2: emotional bridge. So that's why that we picture it so prominently.
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Speaker 2: And there's also the torrent of the water crashing upon
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Speaker 2: the rocks, so she wants to be able to experience
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Speaker 2: this and war like the waves. So and there's there's
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Speaker 2: there's lyrics in the song about that, about the water
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Speaker 2: splashing and you know, crashing against the stones. So yeah,
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Speaker 2: So we live in San Francisco, you know, it is
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Speaker 2: our home. I'm raising children there and it is such
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Speaker 2: an iconic landscape. And but to your point, when you're
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Speaker 2: on the bridge, you feel different. You can see the
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Speaker 2: vast landscape of the city and you know, you can
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Speaker 2: see the ocean, the bay, and when you're looking at
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Speaker 2: it though it's you can see the scale of it.
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Speaker 2: It's it's a very different experience. And not to mention,
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Speaker 2: there's just there's so much wind on that on the
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Speaker 2: Golden Gate Bridge, you're constantly blinging and blown. So it's
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Speaker 2: like turbulent. It's a very turbulent place. But from the
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Speaker 2: afar it's beautiful, it's picturesque, but when you're there, there's
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Speaker 2: a lot of turbulence. So maybe that's the emotional part
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Speaker 2: that I'm trying to capture as well.
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Speaker 1: All right, we got to come clean only because I
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Speaker 1: study Native American spirituality and animal totems and the use
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Speaker 1: of the whale. I mean, I had to do the
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Speaker 1: research in this express yourself through the voice by singing, humming, chanting.
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Speaker 1: It is especially time for creative time and it immerses
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Speaker 1: yourself into the process and enjoy the art of expression.
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Speaker 1: My god, you nailed it. You freaking nailed it, did you.
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Speaker 1: I mean you had to have known that that whale
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Speaker 1: had to be a part of this journey.
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Speaker 2: Yes, so I think for us, I wanted to capture
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Speaker 2: something that is absolutely would be the most amazing thing
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Speaker 2: for this little girl I see. I jumped to see
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Speaker 2: that the whale breached out of the water. It got
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Speaker 2: her out of herself, right. She expresses this huge smile
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Speaker 2: and her mother is there to kind of hold her
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Speaker 2: and to tell her it's pretty amazing. And it's also saying,
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Speaker 2: you know what, San Francisco is pretty amazing. We're going
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Speaker 2: to be okay here. And so there was this moment
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Speaker 2: where as a character, she is also breaching. She's breaching
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Speaker 2: out of herself and she's starting to embrace this new place.
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Speaker 2: And but yeah, when my children saw that for the
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Speaker 2: first time, they just jumped out of their seat.
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Speaker 1: We loved it. So how did you learn the fine
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Speaker 1: art of living in the presence of now? Because that's
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Speaker 1: what I see this as is that you're taking us
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Speaker 1: away from this crazy world that we're living in and
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Speaker 1: you put us into a moment. And that's and I
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Speaker 1: will use it as a tool when people say I
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Speaker 1: don't understand when living in the now is all about, Well,
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Speaker 1: you need to go see Ror, because I'm gonna tell you,
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Speaker 1: Ror puts you in the moment of now.
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Speaker 2: Thank you. I think that's something that as a filmmaker
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Speaker 2: we strive for. We strive to be a tool that
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Speaker 2: allows people to be transported into our world that we're
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Speaker 2: trying to tell them. You know, it's part of it
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Speaker 2: is distraction, you know, being distracted from the norm and
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Speaker 2: others is going on this journey with us. You know.
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Speaker 2: We hope that it's the film resonates with people in
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Speaker 2: a way that they really forget about what they're doing
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Speaker 2: that time. And certainly I hope that they forget, they
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Speaker 2: forget how we were making things that I want them
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Speaker 2: to focus on the story, on the characters. When individuals say, oh,
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Speaker 2: I loved it, but then I found out that a
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Speaker 2: part of this was being made with AI and now
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Speaker 2: I hate it that. As a filmmaker, I'm disappointed because
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Speaker 2: that means I have to strive harder to tell a
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Speaker 2: story that is so strong and captivating that they they
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Speaker 2: the how is not as important as what, And for
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Speaker 2: for us, this film is really important. It's it's an
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Speaker 2: important call to a community that that feels underrepresented, and
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Speaker 2: for us, it's it's this beautiful, beautiful story about characters.
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Speaker 2: At the end, it's it's a very human emotion.
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Speaker 1: Hey, please don't move. There's more with Jesse coming up next.
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Speaker 1: The short film is raw. Hey, thanks for coming back
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Speaker 1: to the conversation. Let's get back into the director and
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Speaker 1: the writer of Roar. Speaking of making things. Oh, you
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Speaker 1: make it all right, lunch? How about that beans and
10:10
Speaker 1: rice and cheese and salsa and Georgia and a cheese pizza.
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Speaker 1: How do you make it? Seriously? I got to ask you,
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Speaker 1: how do you make it look so real? Because I
10:18
Speaker 1: sat there and I thought I can get up and
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Speaker 1: have something to eat right now. No, this is a
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Speaker 1: short film. Hold on, tiger, dude, do not send out
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Speaker 1: your roar. You don't have one, Dude.
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Speaker 2: That's hilarious. So I think, for me, I have a
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Speaker 2: beautiful camera. I have an SLR and I go around
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Speaker 2: and I do prep the same way that whenever you
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Speaker 2: make a film, you go around in and you take photos.
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Speaker 2: So sure enough, you know, I went through the Castro,
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Speaker 2: I went through mission. All these different beautiful neighborhoods are
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Speaker 2: rich in culture and diversity, and I took photos of
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Speaker 2: these places, and sure enough, someone was making an absolutely
10:53
Speaker 2: phenomenal burrito, and I just I took lots of photos
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Speaker 2: and then you know I created I created it in
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Speaker 2: Photoshop and I you know, I wanted to capture that
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Speaker 2: essence of it. I think it came across. It comes
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Speaker 2: like I was really very real. And that's just you know,
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Speaker 2: being very very being able to capture that moment, and
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Speaker 2: you know, using three D graphics, using lighting, everything that
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Speaker 2: I learned at almost sixteen years that Pixar, You know,
11:18
Speaker 2: Pixar has afforded me such an education on how to
11:22
Speaker 2: do it right. They are an incredible place full of
11:25
Speaker 2: the best minds, and I was very, very fortunate to
11:28
Speaker 2: spend any time at all there, let alone almost sixteen years.
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Speaker 2: So I've taken all that knowledge and ported it over
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Speaker 2: to this new studio of mine and I want to
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Speaker 2: continue telling these amusing, amazing, beautiful little stories, but using
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Speaker 2: the highest bar possible. Now.
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Speaker 1: One of the things I mean, because I know how
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Speaker 1: a creative mind works, and I understand the time that
11:48
Speaker 1: that has to be committed, or just why even step
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Speaker 1: into the project. The time for you to get into
11:54
Speaker 1: this new age of making movies. I mean, this puts
11:56
Speaker 1: you up there in pioneer status. But something tells me
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Speaker 1: inside my heart, you didn't think like that, you thought
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Speaker 1: about reaching people in now?
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Speaker 2: Yes, yeah, absolutely, So the film took about a year.
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Speaker 2: So from the the initial you know, first drawings of
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Speaker 2: the children, the child Torah and the mother. We have
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Speaker 2: a father as well, but he's not featured in this short.
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Speaker 2: But the whole backstory. What does their house look like
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Speaker 2: in Japan? Where are they from in Japan?
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Speaker 1: All these things?
12:26
Speaker 2: What does the house look like in San Francisco, What
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Speaker 2: neighborhood is that, the presidio, what area? So I do
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Speaker 2: a whole backstory on these characters so that I know
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Speaker 2: how to write for them. And speaking of writing, when
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Speaker 2: you're making a film that one of the characters of
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Speaker 2: the two is nonverbal, how do you write dialogue between them?
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Speaker 2: And it's the challenge of that. So there's a whole
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Speaker 2: set of things, location scouting, it's it's a long process.
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Speaker 2: Everything that goes into typical filmmaking is done in this film.
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Speaker 2: So yeah, it took about a year, even though it's
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Speaker 2: about three you know, it's three minutes and forty seconds
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Speaker 2: or so, but it's it's it's jam packed with content
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Speaker 2: and that was that's a challenge in itself and to
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Speaker 2: put it to music, so that it is essentially kind
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Speaker 2: of a music video in a way.
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Speaker 1: Well, I was going to say part part of the
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Speaker 1: tempo of this, I mean you got to look at
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Speaker 1: the speed of that train as well, because that train
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Speaker 1: is such it is a mind bender, that train, because
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Speaker 1: it takes you. I mean, it's it's almost like in
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Speaker 1: its own subliminal way saying we're going for a ride.
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Speaker 1: Get out of your moment of where you are, because
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Speaker 1: we're going. We're going to go, and it's going to
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Speaker 1: go pretty swiftly.
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Speaker 2: Yes, yeah, absolutely, And that's that's that was really hard
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Speaker 2: to be honest, really to get to be able to
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Speaker 2: capture people's attentions immediately, and we're such an instantaneous gratification society.
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Speaker 2: How do you get people's attention? How do you capture
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Speaker 2: immediately without them wanting to click into the next thing,
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Speaker 2: And so right from the get go, understanding the pacing,
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Speaker 2: the editing, how do you choose the right color palette
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Speaker 2: to capture individuals attentions and then take them for this
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Speaker 2: journey over the next few minutes, so that that you
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Speaker 2: have the introduction to these characters in a beautiful way
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Speaker 2: where you want to know more about them.
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Speaker 1: Yeah. Well you speaking of getting attention, you got my
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Speaker 1: attention being from Montana. That makes me a professional skywatcher.
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Speaker 1: You nailed it, dude. Oh my god. Even being here
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Speaker 1: in Carolina, I look at the sky inside of this,
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Speaker 1: inside this short film, and I'm going You've got to
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Speaker 1: be kidding me, because he captures why we are in
14:27
Speaker 1: love with the sky.
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Speaker 2: Thank you again. It's just coming down to being an
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Speaker 2: artist first, an artist, an observer taking lots of reference photos,
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Speaker 2: integrating those photos into art, and then using the AI
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Speaker 2: to then do the animation between frames for the characters.
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Speaker 2: But always those rounds are driven by reality. It's driven,
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Speaker 2: it's stylized reality, don't get me wrong. Because we didn't
14:53
Speaker 2: want to bridge into that uncanny valley of absolute realism,
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Speaker 2: so we take a step towar or's believability, but then
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Speaker 2: we curtail it back so that it's still animation.
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Speaker 1: Wise man. So now let me ask you this question,
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Speaker 1: only because I use AI and the one thing that
15:09
Speaker 1: I'm taking note of AI, it's amazing ability to start
15:13
Speaker 1: making things look the same. How did you get beyond that?
15:17
Speaker 1: And how did you have to take control of AI
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Speaker 1: to say I'm not going with your thought. I'm going
15:22
Speaker 1: with my thought because I am the.
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Speaker 2: Artist, Yes, and that is inherently a challenge. Yeah, I'll
15:29
Speaker 2: be absolutely you know, completely honest. AI, as your rightfully
15:34
Speaker 2: mention is, isn't a great assimilator, right is? It accumulates,
15:38
Speaker 2: it assimilates, and it averages and then it spits out.
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Speaker 2: So how do you break what it's the best at doing.
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Speaker 2: You have to understand, Okay, this is what AI can
15:47
Speaker 2: do really well, this is what it cannot do at all,
15:49
Speaker 2: this is what it's pretty poor at, and using it
15:51
Speaker 2: selectively to tell your story as a director as an
15:55
Speaker 2: artist and not the other way around. It will happily
15:58
Speaker 2: tell its own story the way it wants to, but
16:01
Speaker 2: most of the time that's pretty horrible. So allowing it
16:04
Speaker 2: to only facilitate your ideas in a way that you
16:07
Speaker 2: ask it to do. You have to keep the reins
16:10
Speaker 2: pretty tight on it because it is very, very powerful
16:12
Speaker 2: as an engine. But it's allowing it to have its
16:17
Speaker 2: moment but under the most specific of criteria and only
16:21
Speaker 2: feeding it. The way we do it in our studio
16:24
Speaker 2: is I only feed it information that I've created, so
16:26
Speaker 2: it has a library of references that I've given it.
16:29
Speaker 2: I do not let it have dynamic knowledge so that
16:32
Speaker 2: it cannot understand what else is out there in order
16:35
Speaker 2: to incorporate. And I think that's essential. It's kind of
16:38
Speaker 2: giving it a role, but a very limited role, in
16:41
Speaker 2: the creative pipeline.
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Speaker 1: Only because I'm a marketing pig. I got to ask
16:45
Speaker 1: you are you are you going to create some merge
16:47
Speaker 1: only because there are so many scenes inside this movie
16:50
Speaker 1: that you could do a scene and just put roar
16:52
Speaker 1: on it, and I would buy the T shirt, I
16:54
Speaker 1: would buy the hat because I mean, there's so much
16:57
Speaker 1: marketing that is just screaming to come out of this.
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Speaker 2: We would love to. I think it's something my wife
17:03
Speaker 2: has been pushing for for a while, as she said,
17:05
Speaker 2: you need some hats, you need to toy. You know,
17:08
Speaker 2: we should sell a whale. So I think we will
17:13
Speaker 2: see cool. We will definitely, you know, approach that with
17:18
Speaker 2: with with a little bit of you know, humor, And
17:21
Speaker 2: I think depending on what happens at Tribeca, you know
17:23
Speaker 2: that that could be a reality faster than maybe otherwise.
17:26
Speaker 2: But yeah, I think, you know, we if if there's
17:29
Speaker 2: enough interest from our audiences, from our fans, we would
17:33
Speaker 2: love to give back to them in a small way
17:35
Speaker 2: that they could help, you know, sharing the celebration with us.
17:39
Speaker 1: Don't you think that this movie is about listening with
17:43
Speaker 1: your eyes and it teaches us a new texture in
17:46
Speaker 1: this world that you don't have to listen with sound.
17:49
Speaker 1: You can sit there and physically be so emotionally involved
17:53
Speaker 1: in a storyline without ever hearing a word.
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Speaker 2: Yes, yeah, absolutely so seeing this film with the music
18:00
Speaker 2: is a different experience entirely. It is a much for me,
18:05
Speaker 2: it's much more emotional, so because I pay attention to
18:09
Speaker 2: what the girl is feeling a lot more without the
18:11
Speaker 2: sound on, and I noticed that she's she's looking down
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Speaker 2: a lot, she's not making eye contact, you know, for
18:19
Speaker 2: for a fair part portion of this film, and she's
18:22
Speaker 2: she's uncomfortable. She's uncomfortable. She's smiling, and yet she's uncomfortable,
18:26
Speaker 2: which tells you a whole lot about herself and what
18:29
Speaker 2: she's having to kind of portray to the outside world,
18:32
Speaker 2: you know. And then this idea of being an outsider,
18:35
Speaker 2: not fitting in, you know, being misunderstood, that's that is
18:39
Speaker 2: a theme that resonates so much in this in this film.
18:43
Speaker 2: So the visual you know, sound of this film, so
18:47
Speaker 2: to speak, is very vibrant. It's it's very you know,
18:51
Speaker 2: purposefully driven as a story between a mom and a
18:53
Speaker 2: daughter who are going through this journey and the mother
18:56
Speaker 2: is just this source of unconditional support and love and
19:00
Speaker 2: and it is you know what we found talking to
19:02
Speaker 2: a lot of individuals. My wife other than a producer
19:05
Speaker 2: and an amazing producer, that she's also a classically trained
19:08
Speaker 2: therapist who deals with children with special needs. And so
19:11
Speaker 2: she was able to bring this level of authenticity to
19:14
Speaker 2: this film in a way that I couldn't do so
19:16
Speaker 2: on my own. And so incredibly grateful for all that
19:20
Speaker 2: my wife, Barbara has brought to this film and this
19:22
Speaker 2: entire studio and really with her incredible background.
19:27
Speaker 1: Wow, where can people go to support you? Because you
19:30
Speaker 1: mentioned that when you said try back and you said that,
19:32
Speaker 1: you know, to give you a love and support. So
19:33
Speaker 1: where can we go? Oh? Sure?
19:36
Speaker 2: So, I mean we have a YouTube channel, Alumni Studios
19:40
Speaker 2: is on YouTube, we have you know TikTok, there's we're
19:43
Speaker 2: on you know, Instagram, Facebook, we have all the social
19:47
Speaker 2: media platforms where we have a presence. Our website, Alumni
19:51
Speaker 2: studios dot com really is kind of the hub that
19:55
Speaker 2: has all of our new films being announced and if
19:57
Speaker 2: we yeah, so it's it's a great we have. You know,
19:59
Speaker 2: we're we try to be present. We're not. We don't
20:02
Speaker 2: post all the time, but when we do, it's usually
20:05
Speaker 2: something significant.
20:06
Speaker 1: You got to come back to this show anytime in
20:07
Speaker 1: the future. You said you have a bunch more on
20:09
Speaker 1: the way, so I would love to help you. Just
20:11
Speaker 1: keep that word growing.
20:12
Speaker 2: Dude, Thank you, thank you. I would love to absolutely
20:16
Speaker 2: it would be my.
20:16
Speaker 1: Honor, excel. Will you be brilliant today? Okay, Jesse, thank
20:20
Speaker 1: you er I really really appreciate it.