When Hisko Hulsing is in town, you grab your camera & mic, and hit the trail, ready to court controversy with the best oil-painting animator this side of the Netherlands. Hisko is the wild artist that doc-maker Brett Morgen trusted to paint the inside of Kurt Cobain's head for MONTAGE OF HECK. He's a director who's marshalled the talents of dozens of artists over multiple years to bring HARRY RENTS A ROOM (1999), SEVENTEEN (2003), and JUNKYARD (2012) to life. He's known for his uniform black shirts, his loose brush strokes, and his penchant to speak his mind…

Keith and Hisko are two of the only roto-animation directors working in docs and that's not all they share: they've both collab'd with Austin-animation studio Minnow Mountain, and both have TV projects with BOJACK HORSEMAN producers Tornante. It's through Tornante that Hisko and Keith met, years ago, on the set of Amazon's UNDONE. Back when Hisko was —his words— in a panic. Flying between LA and Amsterdam and back again, directing Rosa Salazar and Bob Odenkirk live on a green screen taped-off like Lars Von Trier's DOGVILLE, then going home to tirelessly train ten painters to work in oil, in his personal style, Hisko's UNDONE was almost his own undoing. Three cities, a 17th-century atelier, and a show built on interdimensionality and ambiguity — he pitched the showrunners the dream sequences from ROSEMARY'S BABY and lived up to the premise.

He takes us back to his own relationship to art and psychosis: in Amsterdam, taking-up weed at age twelve, a grow operation at fifteen, skipping every class except philosophy and drawing, and hallucinating the world "in an oil painted manner." A journeyman animator/filmmaker, everything changed when JUNKYARD went viral and a cold email arrived from Brett Morgen. Suddenly he had four months to make what had taken him nearly six years. Sixty oil paintings, a team of collaborators, and a house of cards that crashed around him before finally winning-over Courtney Love and Frances Bean Cobain with his hand-painted efforts to bring an icon into sharp, re-imagined relief.

And now, today. In the face of conflict and controversy: DANSE MACABRE (2026), his new short that just premiered at Annecy to… protests, walk-outs and a vocal minority boo-ing. Hisko tells his side of the story—how DANSE MACABRE came to life and how a guild-led protest over his use of a self-trained AI shader sparked an international dialogue about AI tools that is still unfolding. When they announced his name, lost in the cacophony of boos and loud walk-outs, Hisko said, "thank you and fuck you," offering his dissenters his middle finger.

This one's complicated. Hisko thinks he's gotten a bum deal from out of touch "purists" who don't know the difference between AI, machine learning, and indie filmmakers making their best work in new ways. He also believes that OpenAI should be forced to fund every artist it scraped. This is new territory… and the conversation is just beginning—Hisko wants your honest review. Plus: why animation is an opportunity to dream, not a way to cover the bald spots in your doc, and shoutouts to animator Craig Staggs (TOWER & UNDONE), Raphael Bob-Waksberg, Peter Bogdanovich, and Pink Floyd.

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