The Mad Hatter: Dive Into The Wonderful World of Animator Paolo Russo

Introducing our latest series, we collaborated with ten talented animators, illustrators, and artists working today. Inspired by the V&A museum's latest Alice: Curiouser and Curiouser exhibition, the artists created an interpretation and re-imagination of Alice’s Adventures in Wonderland and Through the Looking Glass. We catch up with the animators to dive into their processes, journeys, dreams and inspiration behind their Alice. First up is Bristol-based Italian animator and artist Paolo Russo.

Tell us about yourself? What’s your background?

I am an Italian freelance animator and storyboard artist based in Bristol. I graduated with a BA in Animation and an MA in Contemporary Film Culture from UWE Bristol. I’ve worked on many exciting projects, including storyboarding the Netflix children’s show Buddi with Unanico Group, and different commissions with Welsh company Winding Snakes.

When did you first take an interest in illustration/animation?

As long as I can remember. I used to doodle everywhere since I was a child. I used to make my own comic books in my bedroom at night. Animation came a bit later when I developed an incredible appetite for consuming cinema in all its forms during my teens. When it came to choosing my path, animation seemed the most obvious choice.

You have a unique animation style, how would you describe your style?

I am a huge fan of traditional animation and everything that is hand-drawn, and hopefully, my work reflects that.

Are there any artists, films, illustrators, animators that influence your process?

My lists would be endless, but also I find it difficult to pinpoint where my influence comes from exactly. I’ve always been drawn to Eastern European animators, such as Yuri Norstein, Rein Raamat, György Kovásznai and more recently Réka Bucsi. I am fascinated by any artist or filmmaker that plays with colours or form and that is not afraid of being strange, like the films of Nobuhiko Ōbayashi. I am also a sucker for old-school children’s shows such Oliver Postgate’s Bagpuss and The Clangers, as well as beautifully crafted children's books such as Arnold Lobel’s Frog and Toad, the work of Tove Jansson and of course Lewis Carroll himself.

You recently collaborated with the V&A X Reform the Funk to recreate an animated interpretation of Alice’s Adventures in Wonderland. What was the inspiration behind your Alice?

Alice in Wonderland has undoubtedly been a huge influence on my creative upbringing that lead me to become an animator. I can recollect vividly when I first came across the Eastern European animated versions of Jan Svankmajer (1988) and Efrem Pruzhanskiy (1981) in my early teens, and how I was blown away by the craft and originality of both versions. Both films were so distinctive and unique, both telling the same story, but the animation and atmosphere couldn’t be more different. I can’t think of many children's stories that can trigger our imagination in unique ways such as Lewis Carroll’s novel. My love for this story was carried on into my twenties, as I wrote part of my dissertation on the influence of Disney’s Alice in Wonderland (1951) on the Woodstock generation. I was amazed by the illustrated version of Alice in Wonderland by Maria Bubleva, and definitely unconsciously absorbed her colour palette into my work. I wanted to give a twist to the Mad Hatter, and after seeing the version illustrated by Blanche McManus, where the Hatter was wearing multiple hats, the notion that the Mad Hatter would wear a single hat seemed suddenly ludicrous.

What made you choose to focus on A Mad Tea Party chapter? And what was the creative process?

Well, it’s obviously one of the greatest scenes in the history of literature. The characters are so iconic and unique, and the back and forth between them is just delightful. My creative process is pretty straight-forward. First of all, I tried to immerse myself into the source material, by listening to the audiobook version of Alice narrated by Miriam Margolyes. Then I started doodling on my sketch book, trying to draw different versions of each character. Once happy with the result I would finalise the character designs and go straight into the animatic. Once the animatic was ready, I started animating.

What was your favourite part of working on a chapter from such an iconic book?

Well I think it’s a tie between doing all the hats for the Mad Hatter, and making the Dormouse as squidgy as possible. For this project, I was definitely partly inspired by the bright colour palette and playful visual style of Maria Bubleva’s illustrations. I wanted to give a twist to the Mad Hatter, and after seeing the illustrated version of Blanche McManus, where the Hatter was wearing multiple hats, the all notion that the Mad Hatter would wear a single hat seemed ludicrous. Surely he would wear all of them!

““Alice in Wonderland has undoubtedly been a huge influence on my creative upbringing that lead me to become an animator. I can recollect vividly when I first came across the Eastern European animated versions of Jan Svankmajer (1988) and Efrem Pruzhanskiy (1981) in my early teens””

What do you hope people take from your A Mad Tea Party animation, and from your work in general?

I hope that my animation might renew the love that so many people have for this iconic novel. I always hope that people that are watching my work recognise my admiration for the subject matter.

Your work contains a very distinctive and humorous quality to it. Is this a conscious choice?

Thank you! Not sure if it’s conscious. I am just a very silly person.

What are our favorite accounts to follow on Instagram?

I have so many favorites. I love the adorable work of @jeanclaude_browncloud, and Lara Hacker (@kieferngruen). I love the prolific work of Ishii Nobuo (@ishii_nobuo), and the creepy and bonkers animations by Jack Stauber (@jackstauber). And of course, my very talented printmaker husband Lewes Austen Cooper (@lacooperart).

Follow Paolo Russo on Instagram @pablitorusso94