It was there where he found a book called Chronopolis and Other Stories by J. G. Ballard. The short story book included “The Drowned Giant,” which tells the story of a dead human giant who washes up on the beach.
“I read it and I loved it. I even did an illustration for a fanzine in high school.”
“The Drowned Giant” is the standout episode from Love, Death & Robots Season 2, but the path to production wasn’t easy.
“Ballard is no longer with us, but his daughters are around. I asked them if I could do it Season 1, and they said no,” Miller says.
“I proceeded to send 50 emails begging them, and in one I said ‘Look, I’ve loved this story for years,’ and I sent them the illustration.”
LOVE DEATH + ROBOTS is a blast of the future with its roots deep in the past. Show creator Tim Miller teamed up with director David Fincher after years of wanting to make adult animated features and short films at his animation house Blur Studio.
When his directorial debut Deadpool hit big, they saw their opportunity and the anthology series found a natural home at Netflix. “We couldn’t have been happier at the response to the show,” recalls Miller, of the excitement around season one and the appetite for more. “It was exactly the kind of passionate reception from animation fans David and I hoped for, but for many long years had been told wouldn’t happen.”
For season two Miller was joined by Jennifer Yuh Nelson as Supervising Director. The Oscar-nominated director has vast animation experience – having worked in the industry for years and helmed Kung Fu Panda 2 and 3. Together they sought talented and diverse animation directors from around the world, for a blend of styles and stories ranging from violent comedy to existential philosophy. “It’s a tonal and stylistic Jenga game,” says Jennifer Yuh Nelson, “Trying to figure out which director might best handle what story.”