To celebrate this momentous occasion, David Pagano and David Pickett sat down and had a conversation about their past, present, and future. Below is a lightly edited transcript. Enjoy!

PICKETT: This month marks the five-year anniversary of The Set Bump! A lot has changed in those five years: in the world, in the LEGO community, in the brickfilming community, and in our lives. So I thought we could take some time to reflect on some of those things and talk about what it’s been like to be us (and not us) over the last five years.

PAGANO: I have no idea what it’s like to be not us. [deadpan pause]

A blog post like this might be the most bare-minimum celebration that we could possibly do—not because of our excitement level, but because we both have other work on our plates. We are busy people. But yes, we started this blog five years ago… and that is very insane to me.

Logo sketches by Nelson Diaz.

PICKETT: You know, we’ve talked about this a few times in all the interviews and stuff we’ve done for “The LEGO Animation Book”, but I think it’s worth reiterating a little bit of our history together and how it led to us starting The Set Bump: we met at Brickworld Chicago in 2008, and then really became friends the following year. That’s when we started collaborating on stuff like the LEGO animation workshop we ran at Brickworld, as well as Brickjournal issue 14, which I think only came out in 2011.

PAGANO: Well, we were writing it for like six months prior to that, which would have been 2010. (The digital version of that issue is still available.)

PICKETT: After that issue was published, that’s when we really started having a serious conversation: “what if we expanded this content into something bigger?” And that became the earliest plan for The LEGO Animation Book.

As we worked on that first book outline, we realized, “well, if we’re gonna make a book, we should probably start collaboratively writing together more.” So we started this blog as a way to do that, and to stay engaged with the LEGO animation fan community leading up to the release of the book. That was kind of the original idea behind The Set Bump.

PAGANO: All of that sounds correct to me. I was actually I was thinking about Brickworld earlier today, because I was looking for some photos for a thing that I can’t talk about yet, haha. But I found a few old pictures from classes and screenings.

David Pagano teaches an animation workshop at Brickworld Chicago 2010.

The winners of the 2013 Brickworld Film Festival pose with Pickett and Pagano.

PICKETT:  I am always in favor of digging up old, weird photos. You know, I feel like, to this day, there still isn’t a great blog about LEGO animation as a topic. The thing that keeps ours from greatness is the infrequency with which we post to it. I mean, I think our blog is the best blog about LEGO animation, but I’m also 200% biased.

PAGANO: Sure. Another reason that the blog was a great idea was that it allowed us to not only start a fanbase in anticipation of the book, but to have that conversation on our terms as well. We’re always trying to stay involved with the the brickfilm community, but online forums are neither of our styles. I don’t know if that’s due to our ages, or just… I think we both have an affinity for things that are more like prose; things that are a little more academic as opposed to an endless thread of comments.

PICKETT: I mean, we’re both very verbose (as evidenced by how we’re speaking in multiple paragraphs here), but also, we both have an aversion to internet drama. In my experience, forums always attract more drama than blogs because they are more about personalities and interactions. We don’t need to get into the “Great Schism of Brickfilms.com” again in this post, but when that divide in the community happened, both of us only realized it like six months after the fact—because that was about how frequently we visited the forums. Suddenly, everyone was over at Bricks In Motion.

Which reminds me: one thing to point out, of course, is that when we launched our blog, it wasn’t called The Set Bump. It was called BrickAnimation.com, and those URLs still work to this day.

PAGANO: But the reason behind that was that our book was originally going to be called “The Brick Animation Handbook”, right?

PICKETT: Yeah, that was the working title. We spent a lot of time thinking through titles both for the blog and the book, and just thinking about brick animation in general.

PAGANO: I tell this story often: I specifically remember the moment when we came up with the name for this blog. You were sitting at the table at my old studio, and I was laying on the carpet next to the television, and we were both just like… saying words back and forth to each other, trying to come up with ideas.

PICKETT: I know once we said “set bump”, both of us were like “oh!” Because we were literally brainstorming for 24 hours non-stop.

PAGANO: And this was after we already held a contest to name our blog, which didn’t give us a name we liked, but did give us a kind of jumping-off point. I’m scrolling through our naming document now… “Bricks, Flicks and Motion Pics” was one of the winners, which we ended up using as a tagline of sorts. Also, shout-out to “The Commanders of Blokammander”, which is just a wonderful phrase.

PICKETT: I really still want fanart of the two of us, in some sort of ‘80s sci-fi movie poster called “The Commanders of Blokammander”.

PAGANO: Love it. Get Kevin Hinkle on the phone.

I’m reading through the other ideas… It’s a long document, but you can see that it ends when “set bump” came up like three times with different modifiers. “The Unfortunate Set Bump”, “The Unwanted Set Bump”, “The Inevitable Set Bump”.

That’s when we were like, “what if it was just ‘The Set Bump’?”

2014 is shaping up to be a great year for LEGO fans, and for fans of LEGO motion pictures in particular. April 20th saw the world premiere of “Beyond the Brick: A LEGO Brickumentary” at the Tribeca Film Festival in New York City.

Not to be confused with the podcast of the same name, or the previously released short-form LEGO documentaries, “Beyond the Brick” is a charming, playful look inside the worldwide LEGO fan community. Despite being moderately involved with the film (insofar as I was interviewed for it), I found the film’s content quite surprising; going in, I was expecting a more storied history of TLG as a whole. In fact, the film turned out to be more focused on AFOLs and other folks who take this children’s toy and do interesting, creative stuff with it.

Among those highlighted in the film are:

• Alice Finch
• Stephen Pakbaz
• Nathan Sawaya
• Dr. Daniel LeGoff
• Jan Vormann
• Søren Eilers
• Jonathan Vaughan
• Me

The film’s proceedings are led by a stop-motion minifig narrator, voiced by Jason Bateman. He serves to introduce each segment, as well as bridging some gaps between events, locations, and people. Having a narrator like this in the film was paramount — the LEGO fan community is widespread and varied, and “Beyond the Brick” makes the bold attempt to cover as many facets as possible within its 95 minute running time.

The animation for the film was done by Tommy Williamson (aka BrickNerd) and James Morr (aka Spastik Chuwawa), with some help from Kevin Ulrich (of Brotherhood Workshop). I also noticed a few other familiar names in the credits, including Marc-André Caron and Zach Macias. I assume that a number of the animated clips probably came from the ReBrick “Show us an AFOL” competition. Unfortunately, the less-than-stellar ReBrick archival approach makes it difficult to find any specific information about which entries won the contest and were included in the film. (If your entry was included in the film, please let us know in the comments below.)

In addition to being featured in “Beyond the Brick” (the documentary), I was also a guest this past week on “Beyond the Brick” (the podcast) to discuss “Beyond the Brick” (the documentary).

…Yeah. For those interested, I go a bit more into detail about my thoughts on the film, as well as a little bit of behind-the-scenes info:

Overall, if you have the opportunity, I highly recommend checking out “Beyond the Brick: A LEGO Brickumentary”. The next stop for the film is the Seattle International Film Festival (SIFF), where the film will be playing on:

• Friday, May 16 @ 4:00pm – Lincoln Square Cinema, Bellevue
• Saturday, May 17 @ 3:30pm – SIFF Cinema Uptown Theater, Seattle
• Sunday, May 18 @ 2:30pm – SIFF Cinema Uptown Theater, Seattle

After that, we’re not sure where the film will go next, but as soon as we know, you will, too!

Beyond the Brick: A LEGO Brickumentary

The Dark Ages are the time in a LEGO fan’s life when they stop building with LEGO (typically in their teens when they get distracted by school and hormones) before rediscovering their passion years later (usually in their mid-thirties when they have children). Not every LEGO fan has a Dark Age (I myself only had a short Slightly Dim Age), and not all of them have the same trajectory I laid out above. Enough adult fans of LEGO (AFOLs) have gone through some sort of Dark Age that the term has an entry in The Brothers Brick LEGO Glossary.

But this is not a term that is used often, if ever, in the brickfilming community; probably because the brickfilming community tends to skew a lot younger than the AFOL community (75% under 21 in the 2013 Bricks in Motion census). This makes sense. Until very recently, it was really hard to make movies at home. Kids in the ’60s and ’70s may have been able to play with LEGO, but unless they were really lucky they didn’t have the equipment to make a brickfilm. That’s why the Magic Portal and this recently discovered brickfilm from 1973 are some of the only brickfilms we know about from that era. Most brickfilmers are either: 1) too young have had their Dark Age yet, 2) just entering into their Dark Age now, or 3) immune to The Dark Ages.

For a Dark Age to really be a Dark Age, you need to leave the hobby and then rediscover it later. Until very recently, there weren’t any noteworthy examples of a brickfilmer returning to the hobby. Then this happened:

To be fair, Nathan Wells has been back on the scene for a couple months now, but this film makes his comeback official. The video cleverly addresses the reasons for his absence (I laughed very hard at the part about lost subscribers due to Minecraft videos) and is also a visual tour de force showcasing Nathan’s skills as a set designer, cinematographer, and animator. Nathan Wells is a legend among brickfilmers, and this film reminds us why.

Nathan Wells returning to the fold means that there is hope out there for all the other brickfilmers who have fallen into The Dark Ages. Which brings us to the Saga of Stonebreakers10.

Most brickfilmers entering their Dark Ages don’t have a big laborious public breakup with the hobby; they just stop posting LEGO videos on their YouTube channel. Stonebreakers10 (Matt Giudice) is different. Matt wasn’t just a brickfilmer, he was a meta-brickfilmer, and his video I am a Brickfilmer was part of his successful campaign to become a winner of YouTube NextUp. He also made a hilarious video about brickfilmer problems. But after winning NextUp as the token brickfilmer, the Stonebreakers10 channel started to become populated with more and more live-action videos and fewer brickfilms.

Then, just over a year ago, Matt released a heartfelt video explaining his decision to leave brickfilming before posting his final brickfilm.

Even his final brickfilm is about his decision to leave brickfilming. His sigfig argues with characters from his past brickfilms, who all exclaim that his decision to leave brickfilms “just doesn’t seem logical.” This is clearly a decision that Matt (who paints himself as indecisive) had a lot of trouble coming to terms with. The video ends on an ambiguous note:

“No more brickfilms for the rest of your life?”
“For the rest of my life? Well, that just doesn’t seem logical, does it?”

The final screen reads “TA TA FOR NOW.” Given the lackluster performance of his live action videos, maybe that return will come sooner rather than later. Or not. I’m certainly not trying to be a stone to his flower. The value of having the shared concept of The Dark Ages in the LEGO fan community is that we don’t judge people who leave the hobby. We know they’ll be back some day, and like the Renaissance artists or Nathan Wells, they’ll produce even better work than they did before they wandered.

What do you think about The Dark Ages for brickfilmers? Do you know brickfilmers who are struggling with a Dark Age? Did you go through a Dark Age? Tell us in the comments.

Lumière brothers by Alex Eylar

You may recognize Alex’s style from 2011 when he recreated scenes from all the Oscar nominees for Best Film. He has also illustrated Pixar’s rules of storytelling. With Alex’s clear affinity for moviemaking and excellent photography skills, we can only hope that he some day tries his hand at brickfilming.

We’ll be watching his Flickr feed and MOCPages for the next installment!

A Brief History of Hollywood, Part I – MOCPages

Late night talk show host Conan O’Brien got the LEGO treatment by the folks over at LucasArts as part of a promotion for LEGO Indiana Jones 2: The Adventure Continues.

Recently on his show, the actor Simon Pegg showed off his Shaun Of The Dead Action Figures.  On another occasion, the actor Paul Rudd presented Conan with a picture of a custom mini-figure made by is his son during his interview with Conan.  Brick artist Nathan Sawaya has built a couple of life-size sculptures of Conan. (The time lapse video of Nathan working on one of the statues is amazing!)

But…what we are most excited about is the connection Conan has with brickfilmers.

Last year, Conan had a brush with brickfilming fame in a Halloween store in Los Angeles.  Sean Willets, aka filmyguy1, appears with Conan in the sexy outfit section of the costume shop.  (It’s near the 2 minute mark).  Sean’s mom also makes an appearance.

Unfortunately no brickfilming was discussed.

Atticus Shaffer, star of TV show The Middle, discussed his love for making LEGO stop motion films during his interview with Conan.

Donald Faison, star of The Exes and Scrubs, discussed his passion for making LEGO stop motion with Conan.  Donald Faison is the man behind Black Storm Trooper.

The mouth movements are done with stop motion.  Respect, man! Check out his interview on the Team Coco site (part 1, part 2).

Conan played a few brickfilms on his television show.  One brickfilm that aired on Conan was by Grayson MacLean, the childhood inventor.  Grayson MacLean invented BrickStix and was interviewed by Conan a few years ago.

Here’s the extended version of Grayson’s brickfilm:

Conan played yet another brickfilm on his television show called Cheer Up, Legos!  It was apparently produced by Conan’s team in response to news stories about LEGO not having as many smiles as they once did.  It’s quite funny.  Warning: it has some mature content, so view at your own discretion.

So Conan, when are you going to interview another brickfilmer or play another brickfilm on your show? We love it!

The Set Bump turns one year old today!

It was not so long ago (last August, in fact) that we said “Hello World” with our first post; kicking off a great year of news, reviews, editorials, and other animation-y brick-a-brack. In the coming year, we plan to continue upping the ante with all kinds of new content. You might have already seen the first result of our foray into the world of guest contributors — A Repelling Spider’s post about how, when it comes to animating with LEGO bricks, there is no time like the present.

Anyway, we’d like to extend a big thank-you to all our readers, commenters, and supporters for your continued interest in and feedback on our little corner of the internet. If all goes according to plan, year two should be even more interesting.

They’re making a LEGO Movie, after all!

Quite recently there have been some discussions about whether brickfilming is on the decline. People have said that the “golden age” of brickfilms is over (whenever that was). They support this opinion by pointing to the surplus of mediocre and sub-mediocre animations that are coming out each and every day. It seems to many that truly “great” brickfilms are produced less and less often. I, however, do not see this as being true. Even if it were the case, it does not change one simple fact: it’s a great time to brickfilm. At no other time in the short history of the art has there been so much opportunity, so many resources, and an abundance of encouragement. Allow me to explain.

Inexpensive, Abundant Tech

With the rise of webcams, smartphones, and DSLRs, gone are the days when not every Tom, Dick, or Jane could pick up a camera, a box of LEGO bricks, and begin animating. Rapid advances in technology have put brickfilming in the hands of almost anyone who wants to try it. It is easier to do than ever before, especially in comparison to when Lindsay Fleay first created “The Magic Portal” on a film camera back in the 1980s. Combine this with the software options filmmakers have today and it is relatively easy to get started. The upfront cost could be as little as $40-$100. Compare this to the $11,745 budget for “The Magic Portal,” the bulk of which was probably spent on things like film stock, processing & transferring, and simply getting access to studios with sound editing equipment.

Perhaps herein lies the real problem. When brickfilming was harder and required a greater investment, people were less apt to begin unless they were serious about it. Today, there are still plenty of people who are serious about making quality animations. It is simply harder to find them and become noticed in the sea of mediocrity.

Distribution on a Global Scale

Let’s consider Lindsay Fleay again. When he finished “The Magic Portal,” the internet was still in its infancy. There was no YouTube, Vimeo, or DailyMotion. Getting a brickfilm to an audience was not as quick and easy as rendering, uploading, tagging, and then tweeting. Lindsay’s only option for distribution was to work with a film distributor and apply to film festivals, a time-consuming process that doesn’t always yield results.

I won’t even begin to take the time to intimately describe the ways in which the World Wide Web has impacted this art. That’s a topic that would require a post of its own.

Encouragement from the LEGO Group

Over the short history of brickfilming, copyright issues have constantly plagued animators. For quite some time, it was apparent that the LEGO Group did not condone or even support a group of fans that wanted to make movies with their product, and then distribute them. Lindsay Fleay came against this very issue when he wanted to get his film out to the world, or at least a greater portion of it. Basically, LEGO told Fleay to stop all of his actions and turn over all of the content. Thankfully, Fleay was able to resist and retain his creation, but he was never able to distribute it like he dreamed.

As the internet began to grow and mature, companies began to change their policies on how they would allow people to use their products. Over the past two decades it seems that the LEGO Group has slowly changed their stance on the issue of brickfilming. They have switched from actively discouraging brickfilming to actively encouraging it.

For instance, over the past few years, LEGO has sponsored a number of brickfilming contests. Just recently, there was one such competition that was held to accompany the production of the upcoming LEGO Movie. This contest even offered the opportunity of featuring one of the winners in the movie itself! Also, the Tongal video challenges hosted by LEGO must be considered. LEGO was and still is paying animators young and old to produce brickfilms that they end up using for advertising and promotional purposes. Twenty years ago, the chances of a teenage, amateur animator to be paid $10,000 by LEGO were slim to none.

Oh, and I must not forget to mention the smartphone and tablet application that the LEGO Group recently released. It allows users to create and then share stop-motion brickfilms using the camera on their devices! Clearly, LEGO has become a supporter of sorts.

Doorway to a Broader Future

Ever heard of Christopher Nolan? You know, the man who made a few Batman films that a couple of people like? Did you know that he once made videos with LEGO? Or take Lindsay Fleay—he went on to do 3D animation work on major films like “The Matrix,” “Moulin Rouge,” and “Happy Feet.”

I say this to make a point that has become very real in my own life. What started as a simple hobby turned into a doorway for greater opportunities. I’ve been interviewed by LEGO more than once, helped on a larger film project, and more recently have been asked to create some small animations to be used at the end of a feature-length documentary. All because I started to brickfilm. None of these opportunities would have been possible without my hobby.

These things did not happen to me overnight of course. It’s taken me several years to get to this point, but it goes to show that brickfilming can eventually be a door to greater projects. I’m sure if you ask other talented brickfilmers, they could say the same thing. Just look at Dylan Woodley, the teenager who was commissioned to create an official LEGO version of Ed Sheeran’s LEGO House music video. Now that’s impressive!

Conclusion

Sure, there are a lot of bad brickfilms being created today. But does this mean brickfilming is on the decline? Of course not! Just like any art, there is plenty of junk to sort through. Finding the quality work can be hard at times, but that does not mean it is not out there. Trust me, it is. [If only there were some sort of blog that highlighted great brickfilms… –Ed.]

Here’s a quick call-to-action to the animators out there: don’t get stuck looking at all the negative aspects of the art. If you’re sick and tired of seeing cliche shoot-em-up action videos, work extra hard and create something truly unique and amazing. The opportunities, resources, and encouragement have never been so available.

Now is a great time to start brickfilming; more so than ever before. Get up, grab some LEGO, find a camera, and get animating!

“The Magic Portal” – YouTube

Behind the scenes of “The Magic Portal”

Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world.

After the pillars of the community left, the Brickfilms.com forums became a desolate wasteland; filled primarily with spambots, questions about what had happened to the once great site, and a trickle of sub-par animations.

The best lack all conviction, while the worst
Are full of passionate intensity.

Brickfilms.com has continued to sputter on, undergoing several redesigns in the hands of subsequent webmasters. The latest of these launched in the last month. On the plus side, some of the old content (the film directory) from a previous incarnation of the site — which was hidden in the last redesign — is once again accessible. On the down side, the film directory is an absolute nightmare to navigate.

On the humorous side, the site is riddled with bizarre errors. My favorite of these is that the “contact us” links on the site currently link to an old forum discussion about contact with alien lifeforms.

And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

I think most LEGO fans are familiar with the story of Ole Kirk Christiansen, and how The LEGO Group originally developed from his small woodworking company in the early-mid 20th century. It’s been well-documented in a number of official books, like this one, this one, and this one.

But now this history is available in a new format — last Friday marked the 80th anniversary of The LEGO Group, and to honor the occasion, they released a short film detailing the company’s evolution. While it is an animated film, it’s neither stop-motion nor LEGO animation, so I won’t be approaching it with all of the review aspects we’d normally cover on this site. But I did want to talk about it, because… it’s a long, drawn-out mess.

From the get-go, there’s something oddly disorienting about the way “The LEGO® Story” is told. We start by fading from a (CGI) LEGO-brick-built edifice to a real (CGI) building, as we move back in time to Billund, Denmark in 1932. The pleasant voice-over narration tells us that we are following Ole Kirk Christiansen’s story; and, as a man exits the building on-screen, we assume this must be Ole himself.

Except… it isn’t. It’s one of his workers, and about 15 seconds pass before we realize this and meet the real Ole. Huh?

The story continues, and there’s a match cut between the worker exiting and Ole sitting down with his wife, further confusing the two characters (and the audience). Ole laments his work situation, and his wife tries to cheer him up with some dialogue that adds absolutely nothing to the story:

“I know. It’s hard to understand. But at least now… it can’t get much worse.”

Time passes with another dissolve, and the lighthearted narrator informs us “it did get worse!” — Ole’s wife, a character who had a total screen time of 15 seconds, is now dead. The above quote is her only dialogue in the film. So much for Chekhov’s Gun.

(Admittedly, I can’t really summarize it better than YouTube commenter Evan Buchholz: “Jesus, that was the most cheery ‘but it did get worse’ I ever heard.”)

Thus, in the first one-and-a-half minutes, we’re already introduced to the three major issues with the entire film:

1. Narration that doesn’t match the tone of the story
2. Confusing shot composition and blocking
3. Dialogue that restates information we’ve already gotten from the picture and narration

And we still have around 14 minutes left to sit through.

For a moment, I thought maybe this film had been translated into English from another language. LEGO is a Danish company, after all, and a multinational brand. But the lip sync here seems to match the dialogue, and the credits list the “Original Voice Cast”; so I’ll assume “The LEGO® Story” was created in English first.

The majority of TLG’s animated releases — save for the direct-to-DVD films — are either silent or have voice-over, which I believe serves to make them more universal. (Out of all the work we’ve done for TLG at Paganomation, not one film has been dialogue-based.) Strangely enough, the next minute or so of the film follows this approach pretty well. There’s some nice animation motion capture of Ole interacting with his sons, and the development of the classic LEGO duck.

But as soon as the “Wholesaler” character arrives, we’re back to clunky dialogue. “Now there’s finally someone who can see the opportunities in what we’re doing!” Thank you, we know; we just saw that.

These bizarre inconsistencies continue throughout the film; again, most prominently in the voice-over. Even though we see the company’s ups and downs as the years pass, the narrator never wavers from his chipper delivery of exposition. I attribute this to what’s sometimes known as “LEGO humor” — the sense given through TLG’s cinematic releases that everything is whimsical and fun, even when the information being presented clearly contradicts this idea.

The most bewildering moment of narration comes at around the 10 minute mark; when, out of nowhere, the narrator says:

“Everyone thought that was a good idea, and we were placed on the sofa, with all the presents and flowers around us!”

Wait… “we”?! Who’s “we”? Up until this point, the narrative style has been third-person omniscient; with the voice-over recounting the story, in retrospect, from outside the world the film takes place in. Now, all of a sudden, we’re hearing a first-person account? Who is talking? I literally rewound to the beginning of the film, just to make sure I hadn’t missed some important introduction. I hadn’t.

And then, once again, this left-field change is immediately disregarded, and it’s another minute of run-time before we hear the narrator refer to himself as “I” again. Eventually, the ending of the film suggests the narrator is Kjeld Kirk Kristiansen — I say “suggests” because we never hear his name, and he never introduces himself to the audience.

This is the overall problem with “The LEGO® Story” — it pays no attention to the language of film; the rules that have developed over time so that audiences can clearly follow a story. You can twist and bend these rules to do some interesting things, but when you blatantly ignore them, your film starts to get weird.

If you’re going to tell a story from a first-person perspective, introduce the storyteller from the beginning, so that we know who’s talking to us. If you’re going to have dialogue, make sure that it serves a purpose; otherwise, cut it out entirely. Make sure you’re clear on the tone of your film — tone, as Plinkett reminds us, is how a film feels. Either make a film that’s entirely upbeat, and excise the depressing historical bits; or, tell a story that flows naturally from happy to sad, and have the rest of the film’s elements match and support that.

Finally, have an idea of who your audience is — who you’re making your film for. The “LEGO humor” concept I mentioned above is a way to have films appeal directly to KFOLs; the target LEGO demographic. The confusing, slipshod way this film is made negates that idea; culminating with the narrator discussing “children” at the film’s finale, as if no children were watching.

Which, after 15+ minutes, I can’t say I really blame them. This film could have been half the running time and told the same story more effectively. “Only the Best is Good Enough”? Eh, maybe next time.

The LEGO® Story – YouTube