Jan Gadermann focuses on the touching story between a troubled child and an astronaut in his new animated work Laika & Nemo.
Film And TV Now spoke with the film-maker about the short.
FILM AND TV NOW: There are multiple themes the film tackles. How can animation evoke the right response from audiences?
JAN GADERMANN: Animation is always a good way to approach big themes. You can hide a lot of what you want to say in the film’s look already.
In Laika & Nemo for example, it is totally normal and acceptable for the audience that Nemo wears his diving gear all the time without looking too ridiculous to distract the viewer from the story, which an actor in a suit absolutely would. And still with his big helmet he stands out in his maritime community.
Therefore, he is being laughed at by the others. Showing Nemo as a deep-sea diver makes him the perfect underdog. There is nobody coming from further down than a diver. On the other hand, Laika is flying high. There is nobody going up further than an astronaut. In between the two of them there is a whole world but still it is obvious they have so much in common.
FTVN: The film uses a wonderful blend of 3D animation and production design. Tell us about the original concepts.
JG: Actually there is barely any 3D animation in the film.
Only the school of fish is animated in 3D. All the rest is done in stop motion and animated by hand – even the surface of the ocean. For me that was very important. I am a big fan of stop motion and I have been animating this way for about 20 years now. This gives the film its’ special feel. Every prop or set can be touched and is built by hand. Indeed the biggest set we had to built was the coastal village.
It was about 120 square meters big. Of course, being a student film production we could not build everything. So most of the sets were done in front of green- or bluescreen and later combined with Sebastian Gadow’s beautiful background paintings which he had drawn in Photoshop. This way, we could give the film a certain look you do not see in stop motion very often with big scenery – and also really nasty weather.
FTVN: Tell us about your production team
JG: Normally at our uni, animation films are done by single students or sometimes two or even three. On Laika & Nemo we were about 15-20 students from nearly every department the uni has to offer.
In addition, there were a lot of interns and many helping hands to support us. Thanks to our funding by the Mediaboard Berlin-Brandenburg and the local bradcaster RBB we were able to afford the help of a puppet maker and some miniaturists, as well.
For the post-production we had the support of four VFX studios and several artists from all over the world. This is why there are almost 200 names in the credits. All in all we were really lucky to have such a great team of so many talented people!
FTVN: How long did it take to make?
JG: I came to the idea for the film in February 2011 – that was before I even started at the Film University. The production at the uni then started years later when I met our producer Johannes Schubert. From that point on until the final film it took us about 6 1/2 years to make the film. The shooting alone was from August 2017 until July 2019.
FTVN: Who and what are your key cinematic influences?
JG: I am sure I would not be doing what I do today if Aardman would not have done Wallace & Gromit: The Wrong Trousers by Nick Park.
And of course Corpse Bride, Fantastic Mr. Fox, Coraline and Paranorman are big role models. Also there are many homages to our favourite movies hidden in the film. But for Laika & Nemo I really think Wall-E unconsciously was a big influence. The way it reflects loneliness and the conflict between old and new was very inspiring.
In addition, I watched several films with people in diving suits while preparing for the production and for example “The Navigator” with Buster Keaton turned out to be a great influence on Laika & Nemo.
FTVN: Would you like to expand on the themes and issues explored in this short into a feature idea?
JG: To expand Laika & Nemo and their universe into a feature would surely be exciting and who knows, maybe we will have the opportunity someday. Until then, there are many more stories and ideas for films or series with other characters as well. But making a feature is definitely a life goal I pursue.
FTVN: You and your co-director Sebastian Gadow both received a Master’s Degree in Directing Animation from your university and this is your graduate film. How does the curriculum work for getting a Master’s and how can people apply?
JG: This is correct. It started as a Bachelor’s Degree film but the project soon grew too big. I am very thankful we were given the opportunity to continue the production as a Master’s graduation film.
At the Film University Babelsberg Konrad Wolf one can study nearly anything that has to do with film. For the Master’s course “Directing Animation” people can apply with an idea of a potential project. When you get accepted this project becomes your graduation film and you then have about two years to make it.
FTVN: Would you be keen to alternate animation films with live-action in the future?
JG: Of course, to work with live-action and real actors sounds fascinating and given the opportunity must be exciting.
On the other hand, I really feel comfortable in animation at the moment. But maybe there is a way in between. Hybrid-films are often much quicker to do and it would not take another 6,5 years to make a short film.
FTVN: What stories fascinated you growing up, both as a child and teenager
JG: I have always really liked stories of adventures, of people going out seeing the world – through weather, snow and storm – and meeting other people. It really gives you something new to look at and you can discover a lot.
But still you might realise that people – wherever they come from, whichever language they speak – might just have a similar problem that you have. It is always fascinating to find something familiar in foreign appearances.
FTVN: What issues and themes are you keen to explore in future work?
JG: There a several topics and issues I would like to address but primarily for me it all starts with an image or a character. In the case of Laika & Nemo the theme came on its own – it just has to feel right and honest.
FTVN: How has the festival circuit helped your film?
JG: After a rough start – and some rejections we did not expect – we are proud to admit that the film made a beautiful circuit and it has been to (a little) over a hundred festivals by now.
Of course, this helped the film a lot by being screened at festivals all over the world. Which was lucky because it seems to be more successful in other countries than in Germany. But I really do think everyone can relate to Nemo in a certain way and hopes to find someone like-minded. Also, it helps that the film is without any dialogues so there is no translation needed.
FTVN: Finally, what are you most proud of about this short?
JG: After this long period of production, I am really most proud of our team, what we achieved together and what the film eventually became to be.
It is unbelievable that all this came out of a little idea I have had by being at the right place at the right time which feels like an eternity ago. Now, almost twelve years later we have just won a Student Academy Award and are considered for an Oscar!
I am so happy this little idea grew bigger and caught the attention of so many great people who thought it worth contributing their wonderful talents. It was an incredible journey – not always easy but definitely worth it!
