NFTS Student Animation Film 2024
Directed by Willy Fair
Cinematography by Jonathon Le Grice
Production Design by Claudia Morles
Produced by Louis Jousselme
Premise
After digging up his dead brother, David journeys up a mountain in pursuit of their childhood dream, but after facing his grief and the morbid truth, will they finally both be at peace?
The world of Death’s Peak is primarily constructed from papier-mâché, symbolizing the fragile and vulnerable state of the main character’s mind throughout the film. The visible cracks, tears, and paper edges gave the environment a subtly “broken” appearance that reinforced the emotional tone of the story. Working with this medium also challenged us to think creatively, especially when constructing elements not typically made from papier-mâché, pushing the boundaries of its use in set design.
Conceptual Work
At the beginning of the film, we aimed to establish a mysterious and ominous atmosphere in the graveyard. The primary light source is the moon, casting a dominant blue hue across the scene. Any additional colors—subtle yellows and greens from the surrounding landscape—are intentionally muted, setting the stage for their more prominent appearance later in the film.
Set Diagrams & Flyer’s Peak Concept
Using the Morpholio Trace app, I created quick drawings to illustrate the assembly process of the animation tables and how the landscape elements would be built around or on top of them. The project required various foam pieces (landscape elements), which we carved into the desired shapes. These diagrams provided a clear visual representation, helping us quickly assess the overall scale of the set and estimate the quantity of foam pieces needed for construction.
The form of Flyer's Peak was inspired by a stack of objects on the verge of collapse, symbolizing the character's fragile state of mind throughout the film, teetering on the edge of breaking down.
Grave Design
The design of the graves in Death’s Peak offered an opportunity to introduce a whimsical and lighthearted tone, balancing the film’s heavier subject matter. Some of the more prominent graves featured playful, region-specific concepts—such as an American eagle, a grave with skis, and a nod to the infamous Colorado cannibal. Background graves were also designed with subtle surreal elements, incorporating exaggerated curves and forms that pushed them slightly beyond reality.
Technical Drawings
This project involved creating several technical drawings for props to support the model-making team. One of the key props was the wagon, which required careful consideration to ensure it was properly scaled, could accommodate both puppets sitting inside of it together, featured a functional wheel system, and could be taken apart as needed.
Final Design On-Screen
NFTS Crew
Director/Animator - Willy Fair Producer - Louis Jousselme Screenwriter - Tracey Murray Cinematographer - Jonathon Le Grice Production Designer - Claudia Morles Production Manager - Emma Earnshaw Co-ordinating Model Maker - Olivia Smallbone Model Makers - Hannah Beales, Dominique Charalambous, Mo Clouting, Alexandra Duxbury, Georgia Ellis, Rebecca Horne, Matthew Joyce, Jakub Krason, Sarah Lewis, Olga Lunina, Anielle Marimootoo Editor - Clare Maleeny Sound Recordist/Sound Designer/Dubbing Mixer - Nicholas Smyth Composer - Charlie Seaborn Colourist - Ivan Michael