Q1
Q1-m

It’s about what happens when the money goes away. It looks at the politics, but it’s about people, not the halls of power.

It’s about human frailty and how people’s lives and relationships are affected by an economic downturn.

It’s about what happens when the money goes away. It looks at the politics, but it’s about people, not the halls of power.

It’s about human frailty and how people’s lives and relationships are affected by an economic downturn.

Q2
Q2-m

The edit has stayed pretty much the same. When I was developing the script, I could see what was happening in the UK, and around the world, and where things were headed.

People, and the world, seem to have a nasty habit of repeating the same old mistakes. I think we’re seeing that now.

The edit has stayed pretty much the same. When I was developing the script, I could see what was happening in the UK, and around the world, and where things were headed.

People, and the world, seem to have a nasty habit of repeating the same old mistakes. I think we’re seeing that now.

Q3
Q3-m

By using this style you can simultaneously present characters as human subjects with emotional journeys, but also as personifications of different groups in society.

It makes the audience think, because they can physically see the allegories and arguments on the screen.

Plus – it looks really cool!

By using this style you can simultaneously present characters as human subjects with emotional journeys, but also as personifications of different groups in society.

It makes the audience think, because they can physically see the allegories and arguments on the screen.

Plus – it looks really cool!

Q4
Q4-m

Absolutely! The Director of Photography and I spent a while in pre-production developing the alternative lighting system and producing test footage.

I also cooked up a load of animatics in the style and storyboarded every shot. The look of the film is fundamental to the script.

Absolutely! The Director of Photography and I spent a while in pre-production developing the alternative lighting system and producing test footage.

I also cooked up a load of animatics in the style and storyboarded every shot. The look of the film is fundamental to the script.

Q5
Q5-m

A lot of custom software, hardware and time.

Unfortunately, there still isn’t a “make it pretty” button. It’s about keeping all of those human micro-expressions and nuances of the performance so the audience can see that the characters are real, rather than turning them into cartoons.

A lot of custom software, hardware and time.

Unfortunately, there still isn’t a “make it pretty” button. It’s about keeping all of those human micro-expressions and nuances of the performance so the audience can see that the characters are real, rather than turning them into cartoons.

Q6
Q6-m

I’ve been taking computers apart and putting them back together since I was twelve, so I know how to lift up the hood and tinker with things.

I started producing very early variants of the style whilst I was working on some short films and also developing the script for ‘S|T|R|A|Y|S’, so I put the two together and started playing…

I’ve been taking computers apart and putting them back together since I was twelve, so I know how to lift up the hood and tinker with things.

I started producing very early variants of the style whilst I was working on some short films and also developing the script for ‘S|T|R|A|Y|S’, so I put the two together and started playing…

Q7
Q7-m

I studied English Literature and Film History at university. I’m self-taught, so I’m coming at it from the perspective of filmmaking rather than as a formally trained animator.

I’m not trapped by notions of a ‘standard approach’ so I can put together a lot of different techniques and see what works best. Whatever gives the best result.

I studied English Literature and Film History at university. I’m self-taught, so I’m coming at it from the perspective of filmmaking rather than as a formally trained animator.

I’m not trapped by notions of a ‘standard approach’ so I can put together a lot of different techniques and see what works best. Whatever gives the best result.

Q8
Q8-m

It’s a psychological trick that takes advantage of the way an audience watches a film.

The dialogue text follows the action, rather than drawing the audience’s attention away from it.

It’s a psychological trick that takes advantage of the way an audience watches a film.

The dialogue text follows the action, rather than drawing the audience’s attention away from it.

Q9
Q9-m

Not at all! The film is constructed modularly, so all the dialogue text can be easily translated. It’ll only take one animator a week to do. I’ve already re-mastered the text for the small-screen version of the film.

I’m looking forward to seeing the film with French, German and Spanish text, but, given the traditions of Manga and Anime, I’m REALLY looking forward to seeing the film with Japanese Kanji!

Not at all! The film is constructed modularly, so all the dialogue text can be easily translated. It’ll only take one animator a week to do. I’ve already re-mastered the text for the small-screen version of the film.

I’m looking forward to seeing the film with French, German and Spanish text, but, given the traditions of Manga and Anime, I’m REALLY looking forward to seeing the film with Japanese Kanji!

Q10
Q10-m

Yep. Fourteen hours a day, six days a week. One day off a week for socialising, martial arts training and absorbing as much Vitamin D as humanly possible!

The drawing process was definitely tough, but that moment when you finish a shot and play it out for the first time, that’s the bit that keeps you going. Plus, it gives you plenty of time to think up other stories…

Yep. Fourteen hours a day, six days a week. One day off a week for socialising, martial arts training and absorbing as much Vitamin D as humanly possible!

The drawing process was definitely tough, but that moment when you finish a shot and play it out for the first time, that’s the bit that keeps you going. Plus, it gives you plenty of time to think up other stories…

Q11
Q11-m

HELL YES! And… F@!# NO!

I’d absolutely do it again, but film is a collaborative medium. The most enjoyable parts of the process were shooting the film and then the scoring and sound design phases, working with Christoph and Jamie.

Thankfully, my techniques are scalable, so the next one could be done with more people. Some people are comparing ‘S|T|R|A|Y|S’ to A Scanner Darkly, but that had 50 animators working on it for one-and-a-half years. It was the budget restrictions that meant I had to do this one alone.

HELL YES! And… F@!# NO!

I’d absolutely do it again, but film is a collaborative medium. The most enjoyable parts of the process were shooting the film and then the scoring and sound design phases, working with Christoph and Jamie.

Thankfully, my techniques are scalable, so the next one could be done with more people. Some people are comparing ‘S|T|R|A|Y|S’ to A Scanner Darkly, but that had 50 animators working on it for one-and-a-half years. It was the budget restrictions that meant I had to do this one alone.

Q12
Q12-m

At the moment I’m focused on getting ‘S|T|R|A|Y|S’ out to its audience, but, like I say, there are a lot of other stories I’ve been cooking up whilst I was drawing. The aesthetic really lends itself to a Sci-Fi universe…..

At the moment I’m focused on getting ‘S|T|R|A|Y|S’ out to its audience, but, like I say, there are a lot of other stories I’ve been cooking up whilst I was drawing. The aesthetic really lends itself to a Sci-Fi universe…..