‘Memoir of a Snail,’ ‘Flow’ Creators on Facing Off Against Studio Tentpoles

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Adam Elliot and Gints Zilbalodis are accustomed to working outside the spotlight. As directors of the Australian claymation feature film “Memoir of a Snail,” set in the 1970s and centered around a hoarder with a peculiar fascination for snails, and the Latvian CGI adventure tale “Flow,” featuring cats, they are well aware that the road to Oscar-winning animation seldom leads through Melbourne or Riga. Their films, made on minimal budgets – “Flow” cost $3.8 million, while “Memoir of a Snail” was produced for $4.5 million – are among the top contenders in this year’s awards race, going head-to-head against heavyweight competitors such as Pixar’s $200 million production “Inside Out 2” and the vast marketing resources of major studios. As Elliot puts it, “Netflix’s budget for an awards campaign is greater than the combined production costs of both our films!

Elliot and Zilbalodis recently held a joint video conference to share their thoughts on the highs and lows of independent animation, their aspirations to make the Oscar shortlist, and their courage in facing the potential threat of AI taking over their jobs. According to Elliot, “People will always gravitate towards creations made by real human beings, regardless if they are created using a computer or clay.

You both grew up far from Hollywood. How did you get into the business of animated films?

GINTS ZILBALODIS It seems that I am most suited for the world of animation. I believe my personality aligns perfectly with it, and I fear live action might be too stressful for me. Working in animation provides me with additional time to weigh decisions and maintain control, which is crucial for me personally.

ADAM ELLIOT I’m not sure if I possess the personality for live-action filmmaking. My journey into animation began at the age of 25. Prior to that, I was constantly sketching and creating things; at one point, my dream was to become a portrait painter. To me, my films have always been an extension of my drawings. The aspect I appreciate about being independent, rather than being tied to a studio, is having substantial creative control and freedom. Although the financial backing from a studio would be appealing, Gints and I enjoy the liberty to explore and narrate the stories we wish to tell.

USER It’s thrilling to observe how movies like these can now emerge from various locations lacking a developed film industry. This diversity brings fresh viewpoints and innovative approaches. I sense that we’ll witness even more of this in the future. Earlier, such experimental work was mainly found in short films, but now there’s an increasing number of independent features being produced, which is truly fascinating.

What has changed that has allowed this boom in indie feature animation?

JASON I believe it’s due to the fact that these movies have been quite popular. There’s a growing recognition among people that animation isn’t solely for kids, but can also offer content beyond the norm.

Elliot expressed that the current climate regarding animation has significantly shifted. He fondly recalled Guillermo del Toro’s Oscar speech in 2023 for “Pinocchio,” where he emphasized that animation isn’t just for children, but a form of artistic expression. Elliot noted that there have always been advanced and experimental animations, and the rise of digital cameras has made stop-motion more accessible for young creators. He also mentioned that audiences are becoming more discerning and seeking out more complex subject matter, which has been facilitated by shows like “South Park” and “The Simpsons.” Elliot added that this development makes it easier for artists like himself and Gints because the audience is now more receptive to films like their own, such as “Mary and Max,” which he released 15 years ago in a very different climate. Now, audiences are not only aware of films like theirs but have better opportunities to watch them.

Do you think indie animation gets its fair due from the Oscars?

WISHES FOR MORE RECOGNITION It would be wonderful if our work received more notice, even from those in the Academy who watch our movies, so they can assess us fairly alongside others. Competing with larger studios on a budget, particularly marketing budgets, can be challenging, but things are improving. There’s usually an independent film among the five [Oscar nominees]. I hope there will be space for more than just one.

ELLIOT I believe the Academy is growing in inclusivity, as its membership has expanded over the past five years or so to encompass a greater number of individuals from beyond America. The world of cinema is increasingly global, and Hollywood is extending its reach. However, we’ll always find ourselves up against the colossal studios and the formidable marketing budgets of Netflix. In fact, Netflix spends more on their awards campaigns than the combined production budgets of both our films! It’s simply overwhelming.

If you did have a studio budget on your movies, what would you have done differently?

If we’d had more resources, we could have taken our time and not been in such a hurry. However, having limited resources also has its advantages, as it forces us to concentrate and prevents us from making major changes near the end of the project. Some large studios sometimes make significant changes to their films very close to completion, which can lead to problems.

ELLiot It’s a dream of mine to compensate my editor and animators fairly for their work. For every film I’ve produced, I’ve had to ask the team to work below market rates. Ideally, I’d like to make a film where I retain creative control, but everyone is paid appropriately. My film came in at slightly under $5 million, but it should have been budgeted between $8 million and $10 million if everyone had been paid fairly. That’s what I’m striving for with my next project: a unique financing model that involves funds from sources other than just the Australian government. Creatively, our budget limitations force us to use the stilted Muppet technique instead of actual walking in claymation, which is frustrating. One day, I hope to create some genuine walks.

Aside from financing, what was the biggest creative or technical challenge in making your movies?

ELLIOT The trickiest shot for us was the opening title sequence, akin to Martin Scorsese’s continuous shot in Goodfellas. This shot involves a moving camera, uninterrupted for about a minute and a half, as it navigates through a mountain of trash. We employed a large robotic arm equipped with a slim camera lens on its end. The process of attaching the snails (yes, you read that right) took us a month and two weeks, while another fortnight was spent animating the camera movement. This shot might be the most daring one I’ve ever attempted, and there were moments when we considered abandoning it entirely.

In our case, we encountered a comparable scenario involving two extended shots, each nearly five minutes in duration. These segments posed considerable technical challenges due to the animators’ lack of experience with such lengthy sequences. Maintaining focus for such an extended period, often spanning months, on a single emotion proved to be quite taxing.

What are your thoughts on the current status of animation, focusing on the potential impact of artificial intelligence on this creative field?

ZILBALODIS In essence, I believe that AI technology might actually spark more curiosity towards stop-motion techniques. People seem drawn to handcrafted items, don’t they? Although our film is produced using computers, every element was created by human hands. I think you can feel the difference. There’s a certain soul and meaning in it, things that AI can’t truly replicate. While AI can mimic things to make them look somewhat convincing from a distance, I haven’t come across anything that genuinely intrigues or captivates me. I’m not overly concerned about it. However, I think the lower-end of the big industry, particularly mass-produced TV series, should be more concerned. But for feature films and storytelling, I don’t feel too anxious because I wouldn’t leave my home, spend money, and go to a cinema to watch something created by a computer.

ELLIOT Attending the animation film festival in Annecy has always been a favorite of mine, and its popularity has grown significantly over the years. This time around, approximately 17,000 people showed up – quite a contrast to the 6,000 who attended when I first started going.

As a dedicated admirer, I find myself captivated by the short films at Annecy. It’s here where I believe innovation in animation truly thrives. What makes it special for me is the abundance of handcrafted pieces. It feels like we’ve come full circle, moving away from overly polished work back to more traditional hand-drawn animation and stop-motion techniques. This year at Annecy, a few AI hybrid films were presented, which sparked quite a bit of disapproval from the audience. I interpret this as a clear message to large AI companies that artists are vigilant and aware of the developments. At the conclusion of my film, I ensure to include a credit: “This film was created by human beings,” as a reminder to the audience that there’s no CGI or AI involved in the creation process. I can’t predict where AI is heading us – I don’t think anyone truly knows – but I believe there will always be an audience who prefers authentic, non-synthetic creations, whether they are digital or made from clay.

This narrative was initially published in a solo issue of The Hollywood Reporter magazine during January. To get the magazine delivered to you, follow this link to subscribe.

The original version of this tale was featured in a special, single-edition issue of The Hollywood Reporter magazine in January. Click here to sign up for a subscription if you’d like to read more such stories.

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2025-01-09 21:25