As Annecy rounds the final bend on its biggest edition to date, with a tantalizing promise of a brighter future for animation in much of Europe, Marjolaine Perreten’s 29-minute film “Pebble Hill” (…
and France’s Les Films du Nord, tells the story of a family of shrews that after loosing their home due to the breaking of an upstream dam embark on a journey alongside an old shrew to find the Pebble Hill.
You and your team achieve a character design that it feels effortless when it actually prompts so many questions of character movement, expression and emotion. What were your guidelines when facing those issues? Very rapidly the film builds into tender comedy that springs not only from the characters’ charming design and voice but also the rhythm in which actions occur. What does it entail in the animating process to find that rhythm?
In animation, we can’t afford multiple takes, and there are rarely any “happy accidents” of actions or dialogues that can be inserted into the film during shooting. About backgrounds, I think a good part of my style comes from my very first background artist internship, at L’Enclume, on Rémi Durin’s “Le Parfum de la Carotte”.
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