Animated Film ‘Memoir of a Snail’ Shows Versatility of the Medium

Australian stop-motion animator Adam Elliot showcases his second stop-motion animation feature for adults, “Memoir of a Snail,” at Telluride and Toronto festivals. Speaking to IndieWire, Elliot, who hasn’t been diagnosed with OCD but admits he might be on the edge of it, shared his love for the number nine. Thirty years ago, at film school, he was inspired by the idea of creating a trilogy of trilogies. “I’ve always loved a triptych of paintings and the number three. I thought, ‘I’ll do three short shorts, three long shorts, and three features.’ I never thought it would happen. But I’m getting close.”

Currently, Elliot has completed seven of these nine films, leaving two more, including one feature. Like Guillermo del Toro, he demonstrates that animated films need not be confined to a young audience. His works often delve into the lives of outsiders dealing with various afflictions. “When I first started, it wasn’t deliberate. I just tended to make films about people around me who I knew, family and friends,” Elliot said. “What links all my films now is that these are people who are perceived as different or imperfect. They’re the people I’m fascinated by.” He aims to create real, authentic characters, often based on people he knows.

“Memoir of a Snail” revolves around the lonely Grace Pudel, narrated by Sarah Snook. Grace writes a letter to her favorite snail, Sylvia, recounting her journey from childhood to a disastrous marriage. Grace, a bit of a hoarder, collects snails and other objects. Her past includes a wheelchair-bound alcoholic father and a twin brother. After their father’s sudden death, they were separated and placed in different foster homes. Grace finds some happiness with an eccentric older woman named Pinky until she is reunited with her twin.

Elliot’s portrayal of Grace touches on themes of hoarding and trauma. “She’s an extreme collector,” Elliot said, revealing that his mother also exhibited similar tendencies. “She collects plastic bags and has seven wooden spoons. Her cupboards are jam-packed.” Through research and discussions with psychologists, Elliot learned that trauma often drives extreme hoarding. “Every item they keep has sentimental value, and they just can’t bear to throw it away because it has meaning,” Elliot explained.

Despite the struggles Grace faces, Elliot ensures she finds some reward for her perseverance. “Who hasn’t felt lonely, who hasn’t felt different and misunderstood?” he reflected. “I’d like to meet Grace. My characters, even though they’re clay, they become very real, and I respect and cherish them.”

Pinky, an ex-exotic dancer with a colorful personality, was inspired by “Harold and Maude.” Elliot expressed his interest in characters who, as they age, become less inhibited and more free-spirited. Snook wished she could have played Pinky after watching the film at the Melbourne Film Festival. “Pinky’s the sort of person we all aspire to be as we age,” Elliot said.

Elliot’s work has found a strong following primarily in Australia and Europe, regions with a long history of adult-oriented animated cinema. “In America, they struggle a bit more, particularly in the mainstream,” he noted. Despite being labeled an arthouse filmmaker, he receives emails from a diverse audience who connect with his characters.

The process of creating his films is meticulous. Elliot spends years on each screenplay, fine-tuning many drafts. Once the script is finalized, he moves into character design and works with the art department to create thousands of items. During Australia’s extended lockdown, Elliot drew up to 6,000 storyboards and initiated the production design.

While casting, Elliot specifically chose Sarah Snook for her vulnerability and quietness. “I thought of other Australian actors, but they didn’t seem to have that vulnerability and quietness that Sarah’s voice has,” he said. The collaboration in the studio focused on balancing her voice to fit Grace’s character perfectly.

The $4.7 million film features a costly opening sequence inspired by “Citizen Kane” and the films of Jean-Pierre Jeunet. The filmmakers crafted intricate maquettes for each character, which could cost up to $20,000 each. These detailed models have interchangeable parts, allowing for various expressions and movements. In the studio, seven animators worked non-stop for 32 weeks, supported by a full camera and art department crew of over 50.

Despite the challenges, Elliot cherishes the control that independent filmmaking offers. “The beauty of all animation is your characters can look however you want them to look,” he said. Elliot, the only filmmaker to win Annecy twice in the feature category, might be gearing up for another Oscars run. As he promotes “Memoir of a Snail,” he’s already thinking about his next project.

“Memoir of a Snail” will next screen at the 2024 Telluride Film Festival and the 2024 Toronto International Film Festival. IFC Films will release it later this year.

Source: IndieWire