surreal animation

weird movie masterpost pt. 1

House (1977) - a girl brings her friends to visit her aunt and it doesn’t go well with really beautiful special effects

Fantastic Planet (1973) - a human enslaved by aliens sets forth a revolution in this strange animated film

An Optical Poem (1938) - no plot? no problem! just some super trippy circles to classical music

Begotten (1991) - not for the faint of heart or the strong of heart proceed with caution 

Un Chien Andalou (1929) - a classic surrealist film written by one the kings of weird salvador dalì  

Les Escargots (1965) - starts out with a pretty basic plot but then takes a weird turn

Les Dents du Singe (1960) - this animated feature follows a man who sells his teeth to a corrupt dentist

Suspiria (1977) - an american at a prestigious german ballet school notices strange behavior in its staff with an awesome soundtrack


*movies with links are available on youtube

**send me recs for pt. 2 please!!!

***pt. 2 // pt. 3 // pt. 4

“As creepy as the monster designs are... “

Ted the Animator: “…your motion smear frames are waaaaaay creepier.”

Carl the Animator: “They’re good, though, huh?”

Ted the Animator: “In a Salvador Dali kind of way, sure.”

Carl the Animator: “He didn’t know how to draw Smilegs, though.”

Ted the Animator: “…um?”

Carl the Animator: “Did I never mention? I name all of the motion smear creatures like Pokemon.”

Ted the Animator: “…”

Carl the Animator: “Like ol’ Swizzbird here.”

Ted the Animator: “…that’s horrifying. Do I even want to know about the others?”

Carl the Animator: “Yes, because Stretchin exists.

Ted the Animator: “Wait, so… ‘Stretching’ minus the ‘g’?”

Carl the Animator: “No, no, Stretch + Chin.”

Ted the Animator: “Ohhhhhhhhh.”

Carl the Animator: “Get your wordplay straight, Shel Silverstein.”

Ted the Animator: “I… hrm.”

Carl the Animator: “There’s plenty more, like Earbat.”

Ted the Animator: “Looks more like a Kissmutt to me, personally.”

Carl the Animator: “Also Sinkman.”

Ted the Animator: “…not the most-creative name out there, but can’t fault it for accuracy.”

Carl the Animator:Squashmode.”

Ted the Animator: “He’s all compressed, but he seems so happy to be compressed.”

Carl the Animator:Cornerdriblets.”

Ted the Animator: “…where did you even come up with–”

Carl the Animator: “And don’t forget Angry Scrappy-Doo on Steroids.”

Ted the Animator: “I don’t–… actually, never mind, that’s spot on. I can respect that.”

Carl the Animator: “Call me, Pokemans-makin’-company… I’ve got your lineup for the next game right here.”

“Oh, hey, Ted... do you have a minute?”

Ted the Animator: “…oh no.”

Carl the Animator: “What?”

Ted the Animator: “You’re being calm and polite. That’s never a good sign.”

Carl the Animator: “It’s no big deal, just a quick question. Remember last spring when you said I could direct the aesthetic of the next show ?”

Ted the Animator: “…no? Not at all?”

Carl the Animator: “It was a maybe-3-AM session… you were mumbling, face down, in a plate of pad thai….”

Ted the Animator: “Still no memory, but I do feel overtime should pay more if one wakes up after with noodles on their forehead.”

Carl the Animator: “True. Now, you know the stuff I’m best at, right?”

Ted the Animator: “Stealing my pens?”

Carl the Animator: “No, in animation, you dingus.”

Ted the Animator: “…bumping cels?”

Carl the Animator: “No! Exaggerated action! Smears! Tornado Discus Scooby!

Ted the Animator: “Ohhhhhhh! Actually, yeah, I can’t deny you’re good at ‘em, even though they come out terrifying half the time.”

Carl the Animator: “That’s no mistake. It’s just the way Shaggy would look if designed by Pablo Picasso. That’s vision, right there.”

Ted the Animator: “…I don’t like where this conversation is headed.”

Carl the Animator: “Look, this’ll be a show for little kids, right? Kids like wild, insane, over-the-top action.”

Ted the Animator: “…I think you’re thinking of BMX bikers, but I get the gist.”

Carl the Animator: “Wild bed-bouncing! Weird motion! Bodies moving all creepy and flowy like sock monkeys filled with jello!”

Ted the Animator: “…wait, what?

Carl the Animator: “We need smears. Lots of smears. Dozens, if not hundreds, all of the most exquisite nature!”

Ted the Animator: “…4-eyed-Scooby is gonna haunt my nightmares now.”

Carl the Animator: “Constant, madness! It’ll keep the little buggers engaged while mom goes to get a smoke.”

Ted the Animator: “These aren’t 1950s educational shorts, Carl.”

Carl the Animator: “More eyes! As many eyes as the frames can hold! A cornucopia of corneas!

Ted the Animator: “…um…”

Carl the Animator: “Stretchiness is key as well. The human spine should be a spring that puts Tigger to shame!”

Ted the Animator: “Well… that’s at least a little more normal in animation, ok.”

Carl the Animator: “Stretches that – when compressed horizontally – offer a mortifying vision of the denizens of The Abyss!

Ted the Animator: “…I stand corrected, and increasingly creeped out.”

Carl the Animator: “Surrealism! Every frame, a–…

…ok, I’m all out of monologue. Sanity is restored.”

Ted the Animator: “I don’t know whether to applaud or call a psychiatrist.”

Carl the Animator: “Well, on top of the obvious, wha’d’ya think?”

Ted the Animator: “I’m all for mixing things up, but… won’t it get old, having this much insanity in only one episode?”

Carl the Animator: “…who said anything about one episode? This plus waaaaay more is all gonna happen in the first 3 minutes of episode 1*

*no, seriously, it actually does

Ted the Animator: “…ohhhhhhhhhhhhh my.”

Carl the Animator: “Bask in the glory.”

Ted the Animator: “This is either going to be a masterpiece, a disaster, or a disasterpiece.”

Carl the Animator: “Get ready, fine art scene. A Pup Named Scooby-Doo is comin’ to town.”