{"id":42270,"date":"2026-06-08T11:00:18","date_gmt":"2026-06-08T18:00:18","guid":{"rendered":"https:\/\/behindthelensonline.net\/site\/?p=42270"},"modified":"2026-06-08T01:17:32","modified_gmt":"2026-06-08T08:17:32","slug":"btl-6-8-2026-with-jesse-weglein-and-sarah-affleck","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/miscellaneous\/behind-the-lens-podcast\/btl-6-8-2026-with-jesse-weglein-and-sarah-affleck\/","title":{"rendered":"BTL Radio Show – 06\/08\/2026 with guests JESSE WEGLEIN talking ROAR and SARAH AFFLECK talking DEAR UPSTAIRS NEIGHBORS"},"content":{"rendered":"

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It’s all about animation and Tribeca Film Festival this week on BEHIND THE LENS!\u00a0 And not just any animation, but world premiere animation shorts – DEAR UPSTAIRS NEIGHBORS and ROAR, both animated gems led by filmmakers with a Pixar pedigree – animation editor SARAH AFFLECK and writer\/director JESSE WEGLEIN, respectively.<\/p>\n

First up, we\u2019re gonna roar with writer\/director\/editor\/dp\/and songwriter JESSE WEGLEIN and his beautiful short ROAR!<\/p>\n

ROAR follows a neurodivergent young girl with selective mutism who, after being uprooted from Tokyo to San Francisco, must navigate a chaotic new culture and an isolating silence by transforming her internal K-Pop soundtrack into a vibrant visual language to find her place\u2014and her new roar.<\/p>\n

As you\u2019re about to hear in this exclusive interview, the day before the film’s World Premiere at Tribeca, writer\/director JESSE WEGLEIN discusses his animated short film ROAR, \u00a0highlighting its visual sensory appeal and personal connection to San Francisco. The film, inspired by Weglein’s wife’s move from Tokyo to the Bay Area, addresses the challenges faced by neurodivergent individuals. \u00a0Weglein, with 16 years at Pixar, employed a highly believable yet stylized animation style, emphasizing expressive eyes and naturalistic settings. \u00a0A key element of ROAR is the color palette, which is directly tied to the neurodivergent spectrum and uses color symbolism, such as red for the Golden Gate Bridge and blue for Autism Awareness, to enhance the believability and emotional impact of the animation.<\/p>\n

An interesting visual aspect of ROAR is the use of extreme close-ups (ECUs) to represent sensory overload and focus, which Jesse explains as being a deliberate choice, as the use of ECUs simulates a micro lens camera, representing the sensory challenges faced by neurodivergent individuals. \u00a0Jesse left no stone unturned in making ROAR a fully sensory and targeted film. \u00a0Another fun element of ROAR is the music, which is a song written by Jesse and which integrates Hawaiian instruments to bridge cultural themes between the East and the West, with Hawaii being that middle bridge.<\/p>\n

World premiering at Tribeca this past Saturday, there is an encore screening on June 13th, and ROAR is also on the festival circuit with other festivals popping up down the road. \u00a0But the really cool news is that Jesse is working on a feature-length ROAR along with three other projects through his studio ILLUMINAI.\u00a0 Make sure to check out ILLUMINAI STUDIOS on socials and the studio website to keep up on all of their upcoming projects. Based on ROAR, we are going to be falling in love with a lot of Jesse\u2019s films in the future.<\/p>\n

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Then, more animation goodness for you from animation editor SARAH AFFLECK and DEAR UPSTAIRS NEIGHBORS.<\/p>\n

DEAR UPSTAIRS NEIGHBORS is the fantastical and all-too-relatable story of one woman\u2019s epic battle against her noisy neighbors for a good night\u2019s sleep. As I told Sarah Affleck, this short from director Connie He could directly pertain to my condo neighbors, and I\u2019m betting some of your neighbors, too!\u00a0 This is one high-energy, FUN, short film!<\/p>\n

Director Connie He (a Pixar alum) and her crew had assistance from Google DeepMind\u2019s custom video generation models to craft the saturated spectacle.\u00a0 Sarah, an animation editor and director who also came from Pixar working on \u201cElemental\u201d and Netflix working on \u201cWendell and Wild\u201d, among others, smartly mirrors the gonzo style of the animation and story with her playful, rapid edits, bringing even more feisty fury to the short\u2019s key battle scenes.<\/p>\n

I had the privilege of speaking with Sarah Affleck just before the Tribeca Film Festival World Premiere of DEAR UPSTAIRS NEIGHBORS. \u00a0Surprisingly, over the past 44+ years, this is the first time I have spoken with an animation editor. \u00a0And what an interview it turned out to be!\u00a0 As you\u2019re about to hear, Sarah delves deep into DEAR UPSTAIRS NEIGHBORS and goes beyond \u201cjust editing\u201d as given the collaborative nature of Connie\u2019s vision, everyone could weigh in on every element, and for an editor, that involves images, color saturation, sound, music.<\/p>\n

Highlighting the film\u2019s meticulous pacing, which was musically informed, and the use of sound to create a cacophonous effect, Sarah emphasizes the collaborative process with director Connie He, and the importance of technology in enhancing creativity. The film, which took two years to produce, features traditional animation techniques and a dynamic sound mix by Mark Needham. \u00a0On board early, Sarah\u2019s involved extensive input from early storyboarding to finding pacing, timing editing cuts and style to the beat and meter of the music, to the intimate process of animation editing where music and sound effects are integrated from the start (vastly different from live action editing) to the final edit and more, thus ensured the film’s narrative and visual elements aligned seamlessly.<\/p>\n

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Take a listen and Enjoy!<\/p>\n

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It’s all about animation and Tribeca Film Festival this week on BEHIND THE LENS with w\/d JESSE WEGLEIN and animation editor SARAH 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