Mallory O’Meara is an author, screenwriter and producer for Dark Dunes Productions. Her latest film is Dark Dunes Productions’ feature-length puppetry film ‘Yamasong: March of the Hollows’. We sat down with her to find out more about her passion for the puppetry, horror and monsters; the challenges of producing a live-action puppetry feature film and the role of women working in the puppetry and animation filmmaking industry.
We are incredibly excited to have the European premiere of the feature-length film ‘Yamasong: March of the Hollows’ as part of our programme at the Bristol Festival of Puppetry in September 2017. Where did the inspiration come from for choosing live-action puppetry to create a feature length film?
Dark Dunes Productions, the company I produce and develop for, is dedicated to showcasing the wonder of practical special effects. Every film we produce features some aspect of practical special effects, whether it is real make-ups, actors in monster suits, or puppetry. It’s our biggest passion. When we met Sam Koji Hale through his fundraising efforts for his film ‘Monster Of The Sky’ and he told us about his ideas to expand his award-winning short ‘Yamasong’ into a feature, we wanted to get involved. We were incredibly excited about Sam’s vision and the world of ‘Yamasong’ and the opportunity to collaborate. Everyone on the Dark Dunes team is a lifelong puppet fan. It was a great fit.
You have mentioned in an earlier interview that you used green screen work and it appears that some of the mouth movements are digitally composited in post-production. Does it affect the puppeteering and production processes when traditional puppetry techniques are combined with the latest digital technologies?
It absolutely does. One of the challenges of creating ‘Yamasong’ was integrating traditional puppeteering and digital and CG technology. The entire film was a fantastic learning experience. There’s never been a feature film like ‘Yamasong’ and the excitement of that trailblazing carried us through a lot of the frustration. Sam had a lot of experience with this integration process on his previous films. Combined with our incredible team of puppeteers, we were able to create something special.
As a producer of ‘Yamasong: March of the Hollows’, what were your main tasks and roles during the production? Do you have any tips to other people who are hoping to go into producing for puppetry and animation?
As the producer that helped to creatively guide the project, I was not as deeply involved in the actual production phases of ‘Yamasong’. Adamo Paulo Cultraro, one of the other producers, guided the day-to-day tasks and decisions of the production, and my job was assist him in any way. Adam is a project management genius. I work more on the creative side of things, so I was busy with tasks such as editing the script, helping write new dialogue and voice overs, and collaborating with Sam and Sultan Saeed al Darmaki (our third Dark Dunes producer and CEO) on casting choices. My biggest and best tip for those looking to get into this world is to be friendly and get involved. Find your local filmmakers, find other people passionate about puppetry and animation, see what’s happening in your town or city. And don’t shy away from something you have no experience in. A big part of filmmaking is problem solving and thinking on your feet.
The key thread for Bristol Festival of Puppetry 2017 film programme is women in puppetry and animation filmmaking. As a Producer, Communications Director, Screenwriter and Author for Dark Dunes Productions, what are your thoughts on the role of women working in the puppetry and animation film industries?
Some of the greatest puppet filmmakers I know are women. It’s not that women need to learn to get good at animating and creating puppet films, it’s that they need to get the job opportunities and funding. I’m very excited by the recent push to give more women opportunities to get on set and get hired in film. I’m incredibly proud that ‘Yamasong’ is involved in that movement – nearly half of our cast and crew were women. Animation and puppetry are just like any other types of filmmaking – they are desperately in need of more women telling stories and making movies.
Thank you very much for sharing your thoughts with us. Finally, from your personal experiences, could you name some of the strengths that women working both in front of and behind the camera can bring into the world of puppets and storytelling for stage and screen?
The greatest things, among many, that women bring to a production is their experience and their vision. Women experience the world in a fundamentally different way than men. By having a production that is gender balanced, you get to look at things from many types of eyes. If you are telling a fantasy or science fiction story, the best way to imagine new worlds is with a diversity of input.
Visit the Bristol Festival of Puppetry website to find out more and to book tickets to see the European Premiere of ‘Yamasong: March of the Hollows‘ at 6pm on 10 Sept, followed by a Q&A with Mallory O’Meara and ‘Yamasong: March of the Hollows’ Director, Sam Koji Hale.
You can also see all our screenings for adults and children at Watershed throughout the Festival (01 – 10 Sept) and browse our full Festival programme. Stay up-to-date with all the latest BFP17 news and announcements via our Newsletter, Facebook, Twitter and Instagram.
SUPPORT OUR CROWDFUNDER! Puppet Place are looking for your support.
The crowdfunder has some fabulous rewards – including festival passes for individuals & families, a personal tour of Puppet Place and a puppet tailor-made in your image!