After finding an efficient workflow after Dracula, I hopped right into my next film - probably the first of mine that started without a storyboard. I had a snippet of a piece I wrote for a different project (hopefully still coming soon) that I went right to the voice track for. I find it's much easier to focus on dialogue and character interactions with these limited-animated pieces - the quicker workflow allows for the writing and performance to shine brighter, and lets me pinpoint what drawings are most important in a given moment. And I must thank my mum, Corrinne, who pitched the ending the film has (and proof you guys should listen to your moms!)

After the record, I went right into animation - like Dracula, I drew every frame in Procreate on my hand-me-down iPad from 2015. I'm very proud when people say they thought it was drawn with traditional materials, I feel like the craft is quite good at times. I was really inspired by old NFB cartoons from the 70's and 80's, and the 90's Soup2Nutz cartoons (Dr. Katz, Home Movies), so I'm glad the tactility I love in those translates well to this!

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Production on this cartoon was certainly wild - I was aiming to get it done in about a month or two (Dracula, start to finish, took one whole month to make), and I ended up getting the entire first minute animated and designed in a month. But freelance work was drying up and I wanted a more stable lifestyle - this film saw me through two out-of-art jobs, a few big and smalltime freelance projects, an engagement to my fiance, and two homes (moved into my first place!). After so much change in my life, it was good to actually just FINISH something and prove I was still a personal artist after all of this. I wanted to make the kind of cartoon that would both screen at a festival AND your family would actually like. I think I achieved those humble goals.