Computer Animation/Film/VFX

Anerkennung - Honorary Mentions

Marilyn Myller

Mikey Please (GB) / Blinkink




URL:
http://www.blinkink.co.uk/a/2754

Marilyn is trying really hard to make something that is good. For once her expectations and reality are going to align, perfectly. No, it will be even better than she imagined. It will be epic. It will be tear-jerkingly profound. It will be perfecter than perfect. Nothing can go wrong.

From the BAFTA-award-winning director of The Eagleman Stag comes the follow up film: Marilyn Myller. One year in the making, the six-minute stop-motion short features the voice of comedy wiz Josie Long, one zillion hand-carved tiny things, literally tens of carved foam puppets, two eyefuls of in-camera, long-exposure light trickery and a pair of tiny dolphins, smooching.

Mikey Please describes the production process below:

The film was developed during a three-month residency in Japan in 2012. I started by working with some pre-existing scripts, trying to wrestle them into something that I felt confident enough to dedicate a year of my life to. But, over that time, the process of being locked in this tiny room on the 34th floor of a Tokyo skyscraper, trying to devise something earth-shattering and profoundly beautiful, became more interesting than the scripts themselves.

It’s such a weird process. I think anyone who’s ever made anything—from baking a cake to flying to the moon—can relate to that feeling of expectation and the difference, good or bad, between aspirations and what we actually end up with. So the film slowly morphed into a meditation on what it means to make something. It’s a pretty personal piece of work, it feels odd to talk about it, but I guess that’s the point and hopefully what makes it interesting.

It’s a pretty rigorously planned out affair. A lot of wonderful animation is made just by feeling your way through it in the moment, like an improvised performance. It’s called “straight ahead” animation. But in my work, which is usually more heavy on narrative, I start with a piece of prose writing. Then it needs to be put into script format, boarded, animaticed (a moving storyboard) then sometimes we’ll even roughly animate the shot first before attempting the real thing. Stop-motion is pretty time consuming and there’s no apple-z, so yeah, if you want a specific outcome, you need to plan the heck out of it before leaping in.

Everything in the film was built from naturally white materials: polystyrene, paper, plastazote, plaster, ping-pong balls, styrene and styrofoam. The most difficult aspects to model are the soft-edged, smooth rounded surfaces like the characters’ faces—it’s not what the material naturally wants to do.

The largest technical challenge was the lighting effects—trying to strike the balance between organic and animate-able. We used lots of long exposures while moving the light source, but the results tended to be very loose, and when you’re doing that frame-by-frame, it quickly becomes complete chaos. So we developed a process of using stencils and running the light sources behind them, controlling the line edge, and found it struck just the right balance of chaos and control.

Biography:

Mikey Please

Mikey Please (UK) is a London-based animation writer and director. With two phenominally successful shorts under his belt, racking up a BAFTA, BAA, numerous other accolades and screenings at over 400 festivals worldwide, Mikey is now developing his first feature film, Zero Greg, with Film Four and Warp Films. Alongside fellow RCA graduate Dan Ojari, Mikey has recently opened up Parabella studios to continue his commercial work starting with a beautifully crafted campaign for Twinings. He is represented commercially by Hornet Inc. in New York and Blink Ink in London.

Credits:
Director: Mikey Please
Produced by: Blink Industries, Hornet Films

Filmed at: Clapham Road Studios 

Executive Producers: Peter Medlock, Michael Feder, Bart Yates, Mikey Please
Produced by: Jan Stebbins, James Stevenson Bretton, Mikey Please
Animated and DOP’d by: Mikey Please, Dan Ojari
With animation from: Tim Allen, Steve Warne
Music composed by: Ben Please, Jools Scott, Bethany Porter
Sound design: Adam Janota Bzowski
Voices: Josie Long, James Stevenson Bretton, Theodora Van der Beek, Josephine Gallagher
Model-makers: Jen Newman, Nadia Oh, Katy Beverage, Dan Ojari, Mikey Please, Carmen Mason, Anna Ginsberg, Laura Bateman
Puppets: Mikey Please, Lizzy Dalton, Jen Newman
Set design: Nadia Oh, Mikey Please, Jen Newman, Dan Ojari
Supervising DOP: Matthew Day
Studio manager: Elizabeth Day
Incidental lighting: Max Halstead
Technical support: Toby Goodyear
Musicians: Andrew Douglas Forbes, Catherine Hurley, Emma Hooper, Benedict Please, Bethany Porter, Jools Scott, Ian Vorley/ James Watts
Soloists: Amadou Diagne, Maria Danishvar Brown
Recording engineers: Ben Please, Jack Sedgwick
Mixed by: Simon Harris @ Offset Audio 

Post-production: Yussef Cole, Elisa Ciocca, Jon Gallagher, Marty Geren, Rachel Kwak, Michael Luzzi, Joey McCormick, Mikey Please, Landro Santini, Ted Wiggin
Grader: Rachel Rardin
Developed at the: Japic Residency with the Japanese Ministry for Cultural Affairs
Thank you: Caroline Waterlow, Dan Chester, Dave Prosser, Kev Harwood, Greg Halama, Sang Jin Bae, Jack Robinson, Ditogear