Daniela Trocker is an empathetic and versatile animator and graduate designer whose passion for time and movement is reflected in her in-depth knowledge of a wide range of animation techniques. An expert in CG/VFX as well as a short-film director, she views animation as a total work of art in which different artistic forms complement one another rather than appearing arbitrary. Her broad range of experience spans the entire filmmaking process.
You describe animation as a “total work of art”, with time and movement at its core. What led you to devote yourself to this particular art form, and how do you see the connection between your background in design and your work in CG/VFX and animation?
It would be almost too simple to say that animated films fascinated me as a child—after all, that is probably true for 90 per cent of all children. My path into animation was rather, or perhaps above all, a continuation of my passion for movement and dance. I have been training in ballet for almost three decades. That tireless pursuit of the perfect line and precision in movement is what continues to drive me at the computer. As an animator, my own body is my most important tool: ballet gives me the freedom to explore and understand movements in front of the camera before translating them into digital form. My background as a graduate designer provides the foundation for this work. To me, animation is not a break with design, but its culmination. Once you have mastered the principles of layout and typography and adapted the concept of 24 frames per second, graphics and movement naturally merge into the “total work of art” we are talking about.
Your portfolio ranges from CG/VFX to directing short films. How do these different fields influence one another in your work, and is there one discipline that offers you the greatest creative freedom?
My core discipline is animation in all its forms—from 2D and 3D to stop motion. It is the technique that gives me the greatest freedom to realise my visions without compromise. In my work, technique and directing constantly influence one another: knowing what is possible in the field of CG/VFX greatly expands my creative scope as a director. Animation nevertheless remains my most important tool for telling stories exactly as I envision them.
As an “empathetic animator”, is there a particular project or experience that has had a defining impact on your diverse career? And what kinds of stories or artistic challenges particularly appeal to you in animation as you continue to develop your vision of a “total work of art”?
My path towards the “total work of art” has taken me through very different stages. Joining the international production Lilly the Witch: The Stolen Christmas in 2017 taught me technical precision, while my passion project My Father’s Vegetable Garden helped consolidate my artistic signature. Through my work in VFX production management on franchises such as The School of Magical Animals and Woodwalkers, I now understand the bigger picture: how hundreds of VFX shots can come together to create a coherent and emotionally resonant world. I am particularly drawn to the challenge of finding a distinct visual language for every story. My aim is to overcome the divide between technical feasibility and emotional depth, creating work that combines technical expertise with empathetic storytelling.
The Local Talents are South Tyrolean filmmakers and professionals selected by IDM Film & Music Commission who have been active in the local film industry. In short interviews, they talk about what they love about their profession and film.