Baby Baby

about Aggelos Papantoniou

Many artists and authors have always been dedicating to the representation of childhood’s end, in a tender or dramatic way. Aggelos Papantoniou chose to do it, in his usual jokey way, through an unexpected phone call.

What happened to your Baby Baby‘s protagonist, after the call?

The baby is shocked. Shocked by the realization that his careless and free of responsibility life is suddenly over. There won’t be any more playing with toys for him. Now he is a father himself.

What kind of childhood have you had?

I remember it was happy. My mom says that I didn’t really need the company of other people. I was happy to play in my room with my toys, just like the baby in the film.
Actually, the room and the toys in Baby Baby are based on my own, from my childhood.

What drew you to express yourself through animation?

I didn’t know I liked animation, until I started studying it at Univesity. I realized I could merge my two favorite things while animating: drawing and physics science.
First week at uni, the teacher was teaching us how to animate the bouncing ball. I was so excited! I didn’t even have to listen to the teacher. I probably understood better than him how the ball moves and what happens to its energy while falling, turning from potential to kinetic, and how some of that turns into heat and so on, when the ball hits the floor. I guess someone could do it without all that knowledge, but it meant that to me. I can still enjoy my two favourite things at the same time.

Is there a sort of message you’re trying to send with your art?

This might surprise you — especially about another film I made, Mrs. Metro —, but no. None of these films are structured around a message. The ideas behind them are just ideas that I find entertaining or interesting. And the stories exist only for as long as the videos go for. However, people seem to find new meanings, messages or metaphors relating to reality, which is a normal thing to do. We all do it, we connect the dots. I have heard of a person being convinced that Mrs. Metro is a clear metaphor for the Russian Revolution. I wouldn’t be surprised if that person was watching a documentary about the Russian Revolution, some hours before they watched my film.

How long does it take to realize one of your works?

Well, it depends. This last one, Baby Baby should really had taken one month to make, but it took one year. The reason was that both me and Nikhil Markale — the other co-creator — were working full time, for most of that time.

Growing up is really a trap?

Do I think growing up is a trap? It’s not, as long as you don’t take life too seriously. Kids don’t give a shit, that’s why they have more fun.



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