Check out more about Let's Pollute in the 2011 AWN Oscar Showcase at AWNtv!

A merging of social consciousness and satirical fun. Images courtesy of Geefwee Boedoe.

Veteran Pixar and Disney animator Geefwee Boedoe got the urge several years ago to make an indie animated short, Let's Pollute, a satiric throwback to '50s and '60s educational films that connects consumer habits with corporate strategies, and teaches us "how to be better polluters for a better blighted tomorrow." It took Boedoe about four years to complete his short, with some help along with way from a few pals, including fellow Oscar nominee Teddy Newton (Day & Night), Tim Crawfurd and Torbin Xan Bullock of Pixar and Christopher Barnett of Skywalker. Boedoe explains how he channeled his frustrations and creativity for Let's Pollute.

Bill Desowitz: How did this come about?

Geefwee Boedoe: For me, I guess I wanted to do a personal short film for quite a while. At the same time, there's a part of me that wanted to get more active in social, environmental and political causes. So somewhere all these thoughts percolated in my head and around 2005 it started jelling. I thought I could merge this idea of taking a short personal animated film but having a social, environmental message. But I wasn't sure how to bring those together. Then, as I began playing around with it, around the spring of 2006, I hit upon this idea of doing it through the eyes of '50s educational films. It's certainly not trying to be a literal '50s film: the subject matter is very current. But, to me, to make these unpleasant subjects more accessible to a larger audience, it all started falling together really nicely. It just seemed funny and entertaining, and, at the same time, had a solid message as well. And that was the trick in developing it. In some ways, I always felt like I was on a balance beam or walking a tight rope.

BD: What were the big challenges for you?

GB: Probably the biggest challenges came from the fact that I had no funding. I was convinced that this was the thing to do. It was a film that no studio would want to touch, so I figured I was going to make it on my own. And so the biggest hurdle was committing because it was going to be a lot of work and a big chunk of time. Then it was just a matter of keeping my steam up because for the first two-and-a-half years I worked on it solo. And then, finally, when I luckily hooked up with some industry people to help out during post-production I didn't do this in a bubble, of course, so I would periodically show my story reels and get some good input.