PENCILS VS PIXELS is a new 72-minute documentary that showcases the animators who bring your favorite characters to life and celebrates the unique magic of 2D hand-drawn animation while exploring the revolution behind 3D computer animation over the years.
Ming-Na Wen attends the Mandalorian special launch event at El Capitan Theatre in Hollywood, California on February 28, 2023. (Photo by Jesse Grant/Getty Images for Disney)
INTERVIEW Ming-Na Wen Talks Animation for Pencils vs. Pixels
Ming-Na Wen, narrator for the documentary, sat down to chat with me about the Strikeback Studios release of the animation documentary PENCILS VS PIXELS out November 7.
Ming-Na Wen: You know, documentaries, it’s all about just creating something from the heart. And it’s a labor of love. And so I’m so happy that this one is getting a lot of attention.
Was there anything you learned in the process of making the documentary that surprised you?
Ming-Na Wen: Living through the Disney Renaissance, like I knew when it all happened. And that shift like happened with animation. But I had no idea just how I guess hurtful it was to the animators, this was the first time really getting their story and their side of it, you know, being the ones directly impacted.
And then also, but also learning how they took the 2D animation style, and used it for the CG movies, like Rapunzel was mentioned as one of them, where they took the techniques and I was just like, oh, I love 2D animation.
People missed having the 2D because that is the spirit, the artistry, the magic of you know, each stroke from the the artists, and somehow, you know, a little bit of the soul gets lost in the animation when you just completely do it through computer generation.
I just remember first really hearing about CGI when I was doing Mulan, and they would show me the clip of the Huns, on their horses charging down the mountain, and how each one was different and the horses were different. And their expressions were different. And it could only really be achieved through this new technology. And then I find out in this documentary that they had already started doing it in Beauty and the Beast, you know, in that ballroom scene, and yet they were keeping it quiet because it was sort of like a little taboo at the time. You know, it’s funny how all those prejudices would change because you know, one made more money than the other basically.
But ultimately, it’s the story the story has to resonate.
Was this an immediate “yes” for you when they said hey, we kind of want you to do this. And what did you think about the little animated version of you that put together?
Ming-Na Wen: I love the animated me. You know, I had no like he kept asking me, “Well, what do you want me to change?” I was like, “You just do whatever you want. I completely trust you.” You know, it’s it’s just all in fun. And then we did that little skit that’s at the end. And it’s weird because even when we were doing it, I wasn’t 100% sure how it would land and it ended up being so funny and adorable.
So maybe we need to create stories now behind a little animated thing. I don’t know. I’m so cute. She needs like a little adventure series now. Yeah, and Tom was very funny, I really I liked his acting. Because that’s the great thing about animation, that art form where basically, as an actor, you go in, you’re in a void, you’re by yourself, you do the lines, like 10 different ways sometimes, just to give them all the options and inflections and, and it’s so much fun for me as an actor, because it’s such a great exercise in just playing with words. But then, when you go to the premiere, and you see it all put together, it’s like the best present you can ever imagine. It’s just beyond magical. You know, it’s, it’s like having your whole house renovated. And they reveal it at the end kind of thing. The true essence, of the fun of doing animation.
You’re obviously not a stranger to doing animation work or voiceover work. Do you have a preference for doing one over the other, you’re obviously incredible at both types of work,
Ming-Na Wen: Thank you. I love animation only because I don’t have to worry about you know, gaining the the one or two pounds I’ve gained or water retention in my face, or a pimple or my gray hair coming in that needs to be you know, you don’t have to worry about any of that you don’t have to worry about the long hours on set in hot costumes. So that’s the fun part.
You know, if I’m doing a TV series, I could do a whole episode or three episodes and one like one session. And it’s just so much fun. It’s very freeing. I love live-action, because it still you know, the whole thing about doing acting is it’s a collaboration. And I love working with everyone on the set, you know all the talented people. And that’s the one thing that we missed tremendously when we were on strike. And I’m so happy and can’t wait to get back into that playground.
Well, we’re excited for you to get back into that playground.
Ming-Na Wen: Dave! [Filoni]
Seriously, we need Fennec in the next episode of whatever.
Ming-Na Wen: Just plunk me in, I don’t care. It could just be me and my sniper rifle hanging out. There you go. Just looking cool on the dune somewhere.
Something each person talked about in the documentary was the film or the character that inspired them to get into animation. I was wondering, is there a film you saw as a child that kind of sparked your interest in wanting to one day, voice a character or just be in that world?
Ming-Na Wen: I’ve been asked this question. I’ve been racking my brain. And now something just finally popped into my very tired four-hour sleep brain, is that I used to love to draw. I still do but I love drawing—Frosty the Snowman to Flintstones to Bugs Bunny—you know, they were all some of my all-time favorite animations. And I would watch them endlessly.
Now that you can talk freely about all the exciting things you have coming up. What do you have coming up in the near future that you can talk about?
Ming-Na Wen: Can I really? [laughs]
At least the strikes over.
Ming-Na Wen: No, I’m just, I’m developing a couple of projects right now. And I’m working very hard on my cookbook. It is so hard to measure everything and try to cook a meal. I am like a mad scientist with all my measuring accouterments and it’s so tough because I don’t measure but I love it and and just waiting for my phone to ring from my man.
Waiting for Dave [Fioloni] to call you.
Ming-Na Wen: Yeah, exactly. Exactly. Yes, yes. Maybe I should text him right now. Yes, I think you should. How about a spin-off Dave? Anything? How about? Maybe?
We’re on board for that. So yes.
Ming-Na Wen: Awesome. Thank you. We need to start a petition.
I’m here for that. And sidenote, yes, I don’t measure either. So when someone asks me for a recipe, I’m like, I don’t know till it feels right.
Ming-Na Wen: Right. Until it feels right.
So I’m excited for your cookbook and you know, your measurements.
Ming-Na Wen: Well, they will be pretty accurate, you know, and it’s, it’s hard though. It’s like a measuring like a slab of, you know, meat. I’m like, I never measure I just eyeball it. And then you go, Okay, well,
That’s what you do. Anything that requires measuring, all that stuff? It’s so crazy, nobody. Nobody measures.
Ming-Na Wen: Thank you!!
Baking. Only time you really measure. Yeah, that requires chemistry; cooking doesn’t
Ming-Na Wen: I know, but I don’t think my publisher wants me to say no.
I’m sure your publisher doesn’t but we’re on board we understand. just winging it will be a great guide.
Ming-Na Wen: You know, and it’s just like animation. You sometimes you just don’t need to measure. It’s all about feel.
Yeah. It’s very personal.
Ming-Na Wen: That’s right. That’s where the artistry comes in.
About PENCILS VS PIXELS
PENCILS VS PIXELS is a celebration of the unique magic of 2D hand-drawn animation and an exploration of how the Disney Renaissance of the late 1980s and early 1990s led to an animation boom that was quickly upended by the computer animation revolution that followed. Narrated by Ming-Na Wen, PENCILS VS PIXELS features many of the legendary artists who brought these now-classic films to life as they guide us through the last few decades of animation and into the future that’s yet to come.
Runtime: 72 minutes
Directors: Bay Dariz, Phil Earnest
Producers: Tom Bancroft, Bay Dariz
Writer: Bay Dariz
Editor: Mike Hugo
Cinematography: Dustin Supencheck, Michael Delano, Chris Haggerty
Executive Producers: Shannon Houchins, Noor Ahmed, Christopher Joe
Narrator: Ming-Na Wen
PENCILS VS PIXELS is out November 7.
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