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‘Mary Anning': Swiss Animation Unearths the Childhood Backstory of a Legendary Fossil Pioneer in Annecy Playing Feature
Mary Anning has been part of paleontology's history since its very beginning. Yet this inspiring character's childhood remains largely unfamiliar to the public. A self-taught English fossil collector, Anning began her journey in the county of Dorset, England, in the small village of Lyme Regis, where she and her family discovered Jurassic marine fossil beds, one of the first major paleontological discoveries of the 19th century. Her story as a young, dedicated fossil collector inspired Swiss director Marcel Barelli, whose own passion for paleontology followed him into adulthood. Backed by his long-time collaborator and producer Nicolas Burlet (Nadasdy Films), Barelli felt it was the right time to embark on the journey of making a Swiss animated feature. More from Variety International Animation Unions Plan Protest Against AI at Annecy Festival: 'Generative Al Do Not Support Artists, It Destroys Them' Global Constellation Unveils Ambitious Animation Slate at Annecy (EXCLUSIVE) Tencent Video Strikes European Deal for 'Blades of the Guardian' With ADN (EXCLUSIVE) As 'Mary Anning' makes its world premiere this Monday at the Annecy Animation Festival, Variety spoke with Barelli about his debut feature, his eagerness to share powerful child-driven stories and the state of Swiss animation, which has a long history but still struggles to achieve industry-level status. How did you start your animated journey? My mother always pushed me to draw, saying that with a pen and paper, you can never be bored. But I never thought of it as a profession. I've always been a huge fan of cinema, not necessarily animation, because beyond Disney, I didn't really see what else there was. It was only a little later, once I decided to stop my chemistry studies, that I realized I wanted to make cinema. By pure chance, I discovered the works of Swiss animator Georges Schwizgebel, and that inspired me to start my own independent projects. Mary Anning is your first feature, after 16 years of making animated short films with Nadasdy Films. What compelled you to take this leap? After many years and many shorts, my producer Nicolas Burlet told me, 'Marcel, it is time for you to do something bigger.' I am a cautious type, going one step at a time. This felt like the next step in my career. Paleontology is another of my passions, and Mary Anning is a major figure in that field. Yet in every book about dinosaurs, she is used as the 'feminine quota' even though she never actually discovered dinosaurs, but other fossils. So I knew her story since I was little. Years ago, I had the opportunity to visit her village and her home, which has been turned into a museum about her life and paleontology. Fossil collectors still walk the shores of Lyme Regis today, and I thought this might be a good story to share with young and aspiring scientists. Mary Anning has been the subject of adult fiction recently, but your film is aimed at children. Can you elaborate on that choice? I love that young character, and above all, I realized in my research that there aren't many real young heroes brought to the screen. Besides Anne Frank, there are no real-life stories about children. We see many fictional characters, but almost no biopics focusing on childhood or children who accomplished great things at a young age. Even a film like 'Hola Frida!', built around Frida Kahlo's youth, is a way to bring forth a well-known figure who isn't remembered for her childhood accomplishments. With Mary Anning, I thought there was potential for such a story. Children are often overlooked by history, but in recent years, they've taken more space in public debate and politics, with figures such as Greta Thunberg. Sharing this striking story, almost an anachronistic one, of a girl from a low social background shunned by the educated class, in an era where women had few rights, yet who still manages to fulfill her desire for freedom and knowledge, that spoke to me. I hope it can speak to many children today. Her desires often clash with the world of adults, especially the Reverend's strict views on women and science. Why was it important to depict this opposition? Part of it was a choice, and part of it comes naturally once you start writing. She's young, he's the oldest character. It also embodies the rivalry between children's and adults' understandings of the world. Children are more open-minded and ready to accept change, to be amazed and to grasp transformation without clinging to the status quo. As was pointed out to me, and even if that wasn't planned at the beginning of the film, we live in a world where even scientific achievements are threatened. It feels crazy to me that certain things are now questioned, and it's disturbing to see this comeback in some societies. Regarding the visual style of the film, how was your collaboration with artistic director and graphic designer Marjolaine Perreten? This is the first film I've made that way, as I generally handle all the formatting. But I consider my style a bit cartoonish and naive, and I thought it didn't suit a much bigger project. I wanted a style that better suited the subject. Since Marjolaine and I are very good friends and colleagues, I naturally thought of her. I'm delighted she agreed. As a filmmaker herself, there was no guarantee she could take the time for this endeavour. In the end, she created the Bible, designed the visual style, directed the artistic vision, monitored the sets and managed everything perfectly. Her style brings forth great children's worlds, reminiscent of literature and picture books, with soft, round designs that balance the harsh nature of these cliffs of mud and clay swept by storms. Thanks to Marjolaine's style, the film doesn't necessarily soften the story, but it soothes the setting and clearly signals the intended audience. Can you elaborate on your directorial choices? While writing the film [with co-writers Pierre-Luc Granjon and Magalie Pouzal] and building it with Marjolaine, I had three films in mind: 'Billy Elliot' for the spirit, 'Portrait of a Lady on Fire' and Yasujirō Ozu's 'Good Morning,' which fascinates me for its rare portrayal of rebellious children in a domestic setting. Ozu has a unique way of staging and framing, especially for children, alternating wide shots and close-ups to convey emotion. For 'Mary Anning,' I opted for relatively simple staging, little camera movement, close-ups and profiles. This also stemmed from the lack of experienced animated feature teams in Switzerland. To manage with these constraints, we opted for 2D rigging and animated puppets in Toon Boom rather than traditional 2D. It's more of a TV series approach, but we tried to give the film a polished look. Industry people may notice, but I don't make films for the industry—I make them for the audience. These choices allowed us to focus on what mattered, without overreaching. In fact, if you remove the Belgian co-production from the credits—who handled rigs, mixing and voice recording—it's almost a short film crew. Very few people were involved, which kept the project at a human scale. The film's music has a striking uniqueness, rarely heard in children's features. What drove that rather 'punk' choice? It was one of the main debate topics during production. People love it, people hate it—and I love that it sparks such discussion. From the start, I wanted anachronistic music to match Mary's slightly punk rock style. I knew Shyle Zalewski's work as a graphic novelist and cartoonist, but I discovered their music by accident. I was quickly convinced. They sent me hundreds of tracks. I tried several, which were re-recorded, and I asked them to compose the end credits too. I don't know the exact musical terms, but we described it as punk, teen lo-fi rock—and I like it that way. Are there details in the film that people might miss that are important to you? Plenty, mostly nerdy paleontological ones. If you wait until the very end, you'll see the first-ever illustration of a prehistoric scene: Duria Antiquior, drawn by geologist Henry De la Beche in 1830, based on Anning's fossil finds. De la Beche was her friend and created the drawing to raise money for her research. There are many such details, like Ms. Philpot's drawings using fossilized ink, and other paleontological nuggets hidden throughout. What would you say is the state of Swiss animation today? How has it changed throughout your career?I can recount the history of Swiss animated features on my two hands, so bringing 'Mary Anning' to Annecy is a miracle. I've seen two trends: more talented artists emerging from art schools, but funding isn't keeping up. There's no longer enough support for short films like I made at the start of my career, or like Schwizgebel made. Recently, measures have been taken to reduce or limit access to funding. That's a real problem, not just for animation but the whole industry. Meanwhile, the number of artists and directors is increasing. If we want a real Swiss animation industry, we need to act. Not being in the EU limits access to MEDIA programs and international collaboration, making it harder to produce big projects like features. Even Oscar-nominated directors like Claude Barras still struggle. I think there's a lack of confidence in Swiss cinema from policymakers, not seeing the long-term cultural and economic value it can bring. With 'Mary Anning,' we succeeded. I hope we can do it again, with the same talented team. I love cinema, and I love sharing films with the audience, starting with my own children. I hope I can keep doing that for a long time. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
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19 hours ago
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L.A.'s Animation Is Film Unveils October Dates for 2025 Edition, Fest Poster (EXCLUSIVE)
Animation Is Film (AIF), the acclaimed Los Angeles-based animation sister festival to France's iconic Annecy Animation Festival, has announced its 2025 return with a run scheduled from Friday, Oct. 17, through Sunday, Oct. 19, at the historic TCL Chinese Theatres in Hollywood. Now in its eighth year, the festival will once again celebrate the art and innovation of animated cinema, presented in partnership with the Annecy International Animation Film Festival, GKIDS and Variety. More from Variety Standout Canadian Titles in Annecy's Official 2025 Lineup 12 Canada-Based Animation Talents Pushing Boundaries at Home and Abroad Preserving the Past and Powering the Future of Canadian Animation: Inside the NFB and Telefilm's Industry-Leading Support Strategies 'Since its inception, Animation Is Film's purpose has been to celebrate the idea that animation pushes the boundaries of what cinema is capable of. The growth of the festival year after year is confirmation that American audiences embrace this. 2025 is shaping up to be an extraordinary year for the medium. We love Los Angeles and are so happy to be back,' said Matt Kaszanek, Director of Animation Is Film. 'We are proud to be a partner for Animation Is Film, a festival that celebrates animation as a bold, boundary-pushing art form,' added Mickaël Marin, director general and CEO of Annecy Festival. 'Each year, it brings together a passionate community of cinephiles and animation lovers in the heart of Los Angeles. We're thrilled to continue this journey, united by a shared love for animated storytelling in all its forms.' To mark the announcement, the festival also unveiled its 2025 teaser poster, created by French artist Camille Authouart. Authouart's short film 'La Grande Arche' was featured at AIF in 2023. Animation Is Film has become a key stop on the road to awards season, with many films premiering or gaining early traction at the festival. At the 2024 edition, the Grand Jury Prize went to 'Flow,' which went on to win both an Academy Award and a Golden Globe. The Oscar-winning short 'In the Shadow of the Cypress' also had its Los Angeles premiere at AIF. In recent years, acclaimed and award-winning titles such as 'The Boy and the Heron' by Hayao Miyazaki, 'Guillermo Del Toro's Pinocchio' and Disney's 'Encanto' held early events at the festival. Founded in 2017, AIF continues to fill a unique role in the U.S. by providing a world-class platform for animated cinema, celebrating the medium's full artistic potential. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
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UK Filmmaker Joanna Quinn Dedicates Annecy Honor To Gaza Animator Haneen Koraz
UK filmmaker Joanna Quinn paid tribute to Gaza animator Haneen Koraz as she received the Annecy International Animation Film Festival's Honorary Cristal at its opening ceremony on Sunday evening. The Bafta-winning and three-time Oscar-nominated The Canterbury Tales and Affairs of the Art director praised Koraz's work in the Gaza Strip spearheading women-run animation workshops for children. More from Deadline UK Comedian Dawn French Apologizes For "Clumsy Tone In One-Sided Gaza Video" Goodfellas Racks Up Sales On Annecy-Bound 'Little Amélie', 'Arco' & 'Angel's Egg' 'Wallace & Gromit' Studio Aardman Partners With France's Foliascope On Cross-Border Stop-Motion Training Program 'One day, she'll be stood here, holding one of these, hint, hint,' she continued, referring to her Cristal award. 'Wouldn't it be wonderful if the kids could come here and watch their films.' Quinn's was speaking amid growing international criticism of Israel's military campaign in the Palestinian territory – aimed at annihilating Islamist militant group Hamas in response to its October 7, 2023 attacks and retrieving Israeli hostages – which has left more than 54,000 people dead and the population on the brink of starvation. Speaking to Deadline afterwards at the opening night party, Quinn revealed she has just launched an initiative entitled 'To Gaza, With Love: A Global Anijam', inviting animators and artists from around the world to create 10 to 30-second animated messages of love and support to the Palestinian people. The contributions will be collected in an online interactive map, which Quinn hopes to premiere via livestream in August with the works then touring animation festivals around the world. Sunday night's ceremony also recalled late Gaza artist and photojournalist Fatima Hassouna due to the presence of Iranian-French director Sepideh Farsi in the main feature film jury during alongside composer Pablo Pico (Sirocco and the Kingdom of the Winds) and György Ráduly, Director of the Film Archive at the National Film Institute Hungary Hungary Following animated feature The Siren, which opened the Berlinale in 2023, Farsi turned to documentary to capture Hassouna's life in her film Put Your Soul On Your Hand And Walk. The film recently played in the ACID line-up in Cannes, having been announced for the parallel section just 24 hours before the young woman was killed in an Israeli airstrike on her home. On a far lighter note, Quinn recalled her first trip to Annecy in 1987 with short Girls Night Out. The work which introduced her signature figure, Welsh housewife Beryl, on a trip to see a male stripper, won the Special Jury Prize. 'I remember 1987 so well. My film was right at the end of the festival. I spent the whole festival looking at people having fun through misty windows, thinking how do I get in? Anyway, I'm in now,' she recalled. Quinn also gave a special mention to her life partner, producer and writer Les Mills. 'Animation is a team effort, so I want to say a big thank you to Les, my partner because we're a team,' she said. Since 1987, Quinn has continued to garner acclaim with subsequent credits including Bafta-winning and Oscar-nominated children's 30-minute film Famous Fred (1997/98), adapted from Posy Simmonds' book about a kitten who becomes a famous singer; Dreams and Desires: Family, which reprised Beryl and won Annecy's Special Jury Prize, and Oscar and Bafta-nominated Affairs of the Art, also featuring Beryl. Commenting on the short compilation of extracts from her films which played prior to her receiving her award, Quinn said ruefully to laughter: 'Animation is so sad – that was my entire life and it only took, what? a minute? And it takes so long.' Breaking with tradition, Annecy opened with five animated short this year rather than a single feature film this year. Canadian Oscar-nominated, stop-motion directorial duo Chris Lavis and Maciek Szczerbowski, who work under the banner of Clyde Henry Productions, opened the program with charming rags to riches fable The Girl Who Cried Pearls. The pair revealed they had finished the film just six days prior to unveiling it in Annecy. 'We've been here before and it's aways been a super good time, but we've never had the joy to show you a premiere for a film, which we finished on Monday, six days ago,' said Szczerbowski. Further titles in the line-up include 9 Million Colours, an underwater tale of unexpected friendship between a predatory shrimp and vulnerable blind fish, by Czech director Bára Anna Stejskalová; Shinya Ohira's Star Wars: Visions – 'Black', from Japanese anime studio david production, produced by Lucasfilm for Disney+, and French directors Marjorie Caup and Olivier Héraud's Carcassonne-Acapulco about a flight which takes an absurd turn. Bulgarian Oscar-nominated director Theodore Ushev, who won Annecy's Best Short Award in 2020 for he Physics of Sorrow, also returned with timely political allegory Life with an Idiot, adapted from a collection of short stories written by dissident Soviet writer Victor Erofeyev. 'If you follow an imbecile, the chance you'll become an imbecile is very high; if you admire an idiot, your risk of becoming an idiot is very high,' said Ushev. He then apologised to the festival's Artistic Director Marcel Jean, before declaring,'F**k Putin, F**k Trump and F**k Netanyahu' with the audience in the 1000-capacity Grande Salle of the festival's main Bonlieu Theatre venue erupting into applause. Annecy gets into its stride on Monday with sneak peaks of Marvel Animation's Eyes Of Wakanda and Sony Pictures Animation's Goat as well as the world premiere of Andy Serkis' Animal Farm and Competition screenings for Olivia And The Invisible Earthquake, Dandelion's Odyssey, Arco, Little Amélie And The Character Of Rain and The Magnificent Life. Best of Deadline Tony Awards: Every Best Musical Winner Since 1949 Tony Awards: Every Best Play Winner Since 1947 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
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2 days ago
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Xilam Group Heads Back to Annecy Festival with Growing Film and Series Slate
Upcoming Feature "Lucy Lost" to be Spotlighted in 'Work In Progress' Selection Additional Activity for New Original Series "Submarine Jim", "Piggy Builders" and "Turbo Twins" PARIS, June 09, 2025--(BUSINESS WIRE)--Regulatory News: Xilam Animation (Paris:XIL), Academy Award®-nominated French animation studio, is returning to Annecy International Animation Film Festival – taking place on 8th - 14th June 2025 – with a wave of activity across its latest features and series. Upcoming ambitious family feature Lucy Lost is part of Annecy's official 'Work In Progress' sessions, which offer first looks at features and series in production, with Xilam's Founder and CEO Marc du Pontavice participating alongside key creatives including director and co-writer Olivier Clert (Klaus, Little Prince). Xilam is also showcasing new original titles across its burgeoning slate during the festival, including Submarine Jim, Piggy Builders and Turbo Twins. Xilam's raft of Annecy activity follows the recently announced partnership with commercial French broadcaster TF1 to develop Turbo Twins, a new comedy action CG animation series for kids aged 6-10 years old. Marc du Pontavice, Founder and CEO at Xilam Animation, said: "As we return to one of the key events in our calendar, our line-up for Annecy once again offers something for everyone in the family – from epic film adventures to vibrant comedy series. We look forward to unveiling a first glimpse into our moving and powerful film Lucy Lost, and to also presenting our diverse slate of new kids' series, which blends both original ideas as well as beloved IPs. Our flourishing development and production pipeline is testament to the leading creativity of our talent, and also to the strength of our relationships with key European broadcasters, such as France Télévisions, TF1, BBC, Super RTL and ZDF." Full details of Xilam's activity in Annecy includes: LUCY LOST >> Work-In Progress Session, 2:30pm on Tuesday 10th June (Salle Pierre Lamy) Upcoming epic family feature film Lucy Lost, based on award-winning author and previous British Children's Laureate Michael Morpurgo's 2014 novel Listen to the Moon, is screening as part of Annecy's Work In Progress sessions with an exclusive first look at the film. Produced by Xilam Films, the session will bring together creatives including Marc du Pontavice, CEO and Founder at Xilam, director Olivier Clert, artistic director Joyse Colson, first assistant Lucie Giros and Head of Posing Juliette Laurent. Goodfellas Animation is handling international sales, with Le Pacte distributing the feature theatrically in France and French broadcasters Canal+ and Cine+ have the pay-TV rights Synopsis: Despite her family's love and affection, Lucy has always felt like an outsider. Her extraordinary gifts and striking white hair set her apart, stirring hostility and distrust in her village. With the help of Milly – a little girl only she can see – Lucy embarks on a daring adventure to unravel the mystery of her powers and finally find where she belongs. SUBMARINE JIM >> First Episodes Now Available Xilam is bringing new adventure comedy Submarine Jim to Annecy, with the first episodes of the 2D animated series now available to view. European broadcasters France Télévisions (France) and Super RTL (France) are already on board the series, which delves into the tale of a naive, young dolphin named Jim, who when tasked with steering the world's first-ever submarine on wheels, leads a motley crew of underwater friends on a whirlwind journey across land and sea. PIGGY BUILDERS >> Premiering in Upcoming Trimester Originally commissioned by France Télévisions (France), BBC (UK) and ZDF (Germany), Piggy Builders follows Cornelia, Cesar and Charlie, charismatic siblings with curly tails, as they embark on their passion for construction, every day. They share a deep love for building, problem solving and their wonderful community in Fine Forest. There's one more thing they have in common: they all have a lot to learn about working together. When they manage to work as a team, the impossible becomes possible! The series is set to be completed by the end of the year, with its premiere set for the upcoming trimester. TURBO TWINS >> Development Agreement with TF1 Xilam has recently inked a partnership with commercial French broadcaster TF1 to develop new comedy action CG animation series Turbo Twins. First pitched by Xilam Group at Cartoon Forum 2022, the series is aimed at kids aged 6-10 years old and will air in TF1's leading children's slot TFOU. The series is set in Karston Speedway Summer Camp – the ultimate summer showdown for the fastest K.A.R. racers. The stakes have never been higher: for the winners, it's a place at the Nationals. For the losers, it's elimination and they go home with nothing. But for our incredible teen duo, the Turbo Twins, losing is clearly not an option. And when high-octane racing meets summer camp life, buckle up! Think workouts that turn into laugh-offs; home-made contraptions and tactics that run out of control, and rivalries that burn just as hot in the canteen as they do on the tarmac – it's never going to be an easy ride! About Xilam A major player in animation, Xilam is an integrated studio founded in 1999 that creates, produces and distributes original programmes in more than 190 countries for both children and adult audiences. Xilam content is broadcast on television, and is also available on SVoD platforms including Netflix, Disney+, Amazon and AVoD streaming platforms including YouTube and Facebook. With its creativity and capacity for innovation recognised worldwide, its unique expertise in CGI, as well as editorial and commercial expertise at the cutting edge of its industry, Xilam is positioned as a key player of the market. Each year, Xilam builds real successes and capitalises on its powerful historical brands including Oggy and the Cockroaches, Zig & Sharko and Chicky, as well as new properties such as Oggy Oggy for a preschool audience, Mr Magoo and Karate Sheep, and Academy Award® nominated adult feature film I Lost My Body. Additionally, Xilam is serving as the animation studio for Zack Snyder's animated series Twilight of the Gods, launched worldwide on 19 September 2024 by Netflix, and also produces Chip 'n' Dale: Park Life, alongside the forthcoming horror comedy The Doomies, for Disney+. Xilam's expanding and strong catalogue now consists of over 2,800 episodes and three feature films. Xilam employs more than 400 individuals, across its studios in Paris, Angoulême in France and Ho Chi Minh in Vietnam. Xilam was ranked France's leading animation studio for the 2018-2023 period in a report by the French National Centre for Cinema and Animation (CNC). Xilam is listed on Euronext Paris Compartment C - PEA - SRD long Eligibility. ISIN: FR0004034072, Symbol: XIL For more information, visit: View source version on Contacts Marc du Pontavice – Chairman and CEOCécile Haimet - CFOPhone: +33 1 40 18 72 00 The DDA Groupxilam@ Charlotte Newcombe – Phone +44 7726 901 129 Image Sept Agencyxilam@ Karine Allouis (Media Relations) – Phone +33 1 53 70 74 81Laurent Poinsot (Investor Relations) – Phone +33 1 53 70 74 77 Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
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‘Olivia & the Clouds' Director Tomás Pichardo Espaillat on the Wild Collaborative Animation Process of His Annecy Player: ‘It Was Chaotic and Crazy'
Through the thoughts and memories of its cast, Annecy __ player 'Olivia & the Clouds' leaps across multiple animation and live-action formats. This film — only the third animated feature produced in the Dominican Republic, according to its director Tomás Pichardo Espaillat — is made from paper, film, scratched animation cels, stop motion, 2D digital animation, rotoscoping, cut-outs and more. The story itself is about a quartet of people — Olivia, Barbara, Mauricio and Ramón — all connected by past and present relationships with each other, the film's different methods representing the emotional distance between them. More from Variety Brazil's 'Nimuendajú' Makes Annecy Debut As Director Tania Anaya Underlines Ongoing Fight for Indigenous Peoples' Freedom Andy Serkis' 'Animal Farm' Reveals First Footage: Seth Rogen, Kieran Culkin and Gaten Matarazzo Voice Power-Hungry Pigs in Animated George Orwell Adaptation (EXCLUSIVE) Stop-Motion Animation 'Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE) Director Pichardo comes from a background of live-action film, video and fine arts. 'Olivia & the Clouds,' both in its style and its story, draws upon that breadth of experience. Upon the film's screening at this year's festival, Variety spoke to the director about his mixed-media approach, the landscape of Dominican animation and learning to animate on the job. What sparked the idea for 'Olivia & the Clouds'? Was it always intended to be animated across different mediums? As for the story, it was a few short films that never happened, where, with time, I realized, 'Oh, these characters connect with one another,' and then I started creating a path between them. It was a long process from the idea to the end of production — about 10 years. Most of it happened because, coming from the Dominican Republic, we have a very small animation industry and small animation community, and during the first years, it was even smaller. You could count the number of professional animators on one or two hands. So there were not a lot of opportunities to get projects like this done. But as time progressed, there were more opportunities. In terms of the different styles and techniques, we quickly realized at the beginning that most of the animators that we had didn't have the same background or the same education in animation. We understood that that wouldn't work for us to make a feature that was just one method. What we tried to bring was each animator working in their own style, and it fit really well with the points of view of the characters. In terms of the idea and how the project came to be, I came from making short films. Most of those short films were a way for me to learn a new technique, as we didn't have an animation school at that time. I also did freelance for TED-Ed. They have this segment on YouTube where they put a lot of animations, and I was taking each project as a way to learn one specific technique, something new. I took advantage of that in the sense of using it as my school. So if they gave me creative freedom, I'd think, 'I wanna do something as a cutout animation.' Or I'd do one in stop motion. So I was learning in that sense, too. How did you figure out where to place these different animation styles within that story? I was always taking all my short films and, even if they were very different, I tried to put them together as an edit for myself. So I was playing a lot with remixing my own work. But it's also because most of the people working on the film were former students of mine. I knew them well — how they work. So for some animators I gave them the script with a full animatic and everything and said, 'this is what you're going to be animating.' And with others, they would be dealing with more abstract animation or playing around with feelings, and I would just give them a word or one expression. One sequence, the bachata sequence at the bar, was made by six animators, and all of them were working apart from each other. So I was giving them different ideas and asking them not to see what the others were doing. Then I received all this material; it was chaotic and crazy. Speaking of material, one fascinating thing was the different textures you were using, like the cutouts that looked like they were made from invoices. Cardboard is something that I've been using quite a lot — not in my films, but I come from fine arts, so I did a lot of pieces made out of cardboard, sculptures and all that. As for the invoices, that's because some of the elements of the story are from my past or the people around me. And when I was building Ramón as a character — my father is an engineer by trade — he was always making sketches on invoices, on any kind of paper he could get, making all these doodles. So I figured, 'what if I take all these invoices and all these elements and all these letters and everything and make them into this person?' So I was taking all these different textures, seeing what they could bring to the story or maybe remind me of something from the past. You mentioned how much the Dominican animation scene had changed, even during your time working on the film. What about the industry was reflected in the production of the film? We had many challenges and so many things happening. For example, being in the Dominican Republic, we are very influenced by American culture and the films and animation they produce. So the concept of animation here is traditional Disney animation and Pixar, 3D animation. Making things outside of that is very rare, and sometimes they don't understand it when you try to explain it to them. For example, when I was trying to get funds for 'Olivia & the Clouds,' for the sequence shot on Super 8 that had animation elements on top of it, we had to ask permission to record at this specific street in this area. They were like, 'Isn't this an animation? What are you doing?' We also had the head of the film commission change during the project. The new one is half-Dominican, half-Russian, so she grew up watching a lot of different Soviet animation. She understood quite well that animation has all these ways of being made. And she incorporated a lot of programs and funding into the film industry, and that helped quite a lot, everything growing and evolving at the same time. With that concept, when we released the film, we made an exhibition at the contemporary museum in the country. What we did was deconstruct the entire film, and we did an exhibition for an entire month. It was that whole idea of new people being able to understand how to make animation, but also all these different processes. Do you think these mixed techniques are a mode you'd want to work in again, or do you imagine you'll focus more on one? It depends. In my short films, I do like to play with different techniques, but I sometimes try to understand what the concept needs from the animation. 'Olivia' had that idea of different points of view of the same memory, so it worked for me to have varying styles. And now I'm writing a new project in collaboration with one of the animators from 'Olivia.' She's the one who did all the clay animation, like the sequence of the couple kissing and the scene turning abstract. The story that we're working on has a lot more natural and more 'crafty' elements: more charcoal, pastel colors, textiles, more hand-drawn, as that's what the story is asking for. I think mixing media will never leave me, because it has been in my entire filmography and short films as well, but it changes depending on the story and what it means. Best of Variety 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?'
