"I was sitting on a shaded patio, on a warm summer day when, all of the sudden, the weather took a turn for the worse and high winds arose. Trees were shaking, objects fell off the table and I was surprised by the sudden turmoil, which lasted no more than ten seconds and seemed to have come out of nowhere. The skies were blue again and what was left was a shattered glass on the rocks. It intrigued me; was the weather trying to tell me something? Was autumn presenting itself prematurely? Whatever it was, and I am rational enough to hold natural causes accountable for most things, it inspired me to write the short story: ‘Autumn’ in which the falling of the leaves and September gusts of wind form the backbone of the storyline."
Intelligible notes and Invisible scripts
"They are the protagonists, as they force change upon everything and everyone. Time is about inevitable transformation and deterioration, but nature itself is presented in cycles and nothing represents these cycles more than the passing of the seasons. It feels pompous to say that ‘time’ is the recurring theme in my work, as this is only my first serious animation, but it’s surely the most intriguing theme I can think of."
"Autumn is a very first step at grasping this mysterious matter, you could say.. Note that I didn’t actually write the story; I never did put anything to paper, nor did I make a storyboard. I - more or less - had a beginning and an end in mind, but it seemed like more fun to just see what would happen if I just started drawing. I basically decided by intuition how the story would run and which shot would follow the previous one. Just like a falling leaf; it will fall, but its exact trajectory is hard to predict (the first shots of a falling leaf are no coincidence in this sense). It’s interesting to work this way because the story unfolds in a way you cannot predict beforehand. As nothing is written in stone, there is always room for a spontaneous addition or a different direction to go in. You could say it’s directing, editing and writing all at the same time. Animation offers endless possibilities and ‘live-action’ pains, such as hiring extras or organising a set are non-existent."
"However, the inexhaustible possibilities of animation can also lead to paralysis. If you’re not constrained by anything, how will you ever finish a project? Well, as much as time gives us the inevitable and dramatic deterioration of life, it also gives one the perfect down-to-earth tool of constraining one’s options. I gave myself one year in total from start to finish to complete it, including postproduction, and adjusted my creative liberty accordingly."
"Another pitfall of working this way, however, is that making a correction in the story often involves throwing away fully drawn shots instead of just adjusting a few lines in the script, or changing parts of the storyboard. It takes me about a week to finish five seven seconds of animation (I work alone) so throwing away work is frustratingly throwing away intense labour. About a quarter of the hard work put into this film has not been used. This adds up to about two or three months, but at least I was keeping busy"