Robert Morgan discusses how his "sick obsession" with a short film inspired his brilliant live-action/stop-motion animation hybrid, Stopmotion.
The Big Picture When you love something, it can be tough to figure out where to draw the line. How far do you push yourself for your art and how far is too far? That’s an idea director Robert Morgan explores in his first feature film, and it’s inspired by his own personal experience going through such a situation while making the stop-motion animation short, Bobby Yeah, a process that literally made him sick.
PERRI NEMIROFF: Clearly I like your movie, but a lot of our viewers will not know about Stopmotion just yet, so would you mind giving a brief synopsis of your film to start? How about the opposite? A time when you proved naysayers wrong by going above and beyond and pushing yourself further than you ever could have imagined?
That is not an easy thing to do because it's not like you can just have an actor in this movie who just goes through the motions and repeat things. She needs to make sure that the audience believes that artistry has been in her family since she was born. What was it like casting the Little Girl role? That seems like an especially challenging part for a young actor to take on, and ultimately, the two of them wound up making the perfect pairing together.
That is a fair example to bring up right there. Whether it's something in this film or all the shorts you've animated, what is the single most difficult thing to bring to life via stop-motion?MORGAN: Yeah, characters walking. There's nothing I hate more when I'm animating having to animate a character walk into a room in a big wide shot, so I try and avoid it as much as possible. It's so boring, and it's not really about the performance of the character.
MORGAN: That's a good question because when we wrote the script, the character is made out of raw meat and dirt and other stuff, and that could go so many places. There are various iterations. That's what made it even more complex is there are various iterations of that character. Without giving anything away, the Ash Man has different forms in the film, so they're all quite different versions of it, but you always have to know it's the same character.
Oh no! Did you deliberately make that choice at the top of a year? Like, “I'm going to collect enough to make this thing in my next short?” MORGAN: I think sound is vitally important for films like this, but also a film that envelops you like this. Or that's the intention, anyway. So sound is, for me, 50% of the experience. It's that important, I think. It really does help immerse the viewer into the world of the film. So I've always been very obsessed with having a lot of attention to detail with the sound. All the foley is extremely detailed, so when puppets move, you just hear the clothes moving.
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