Abstract
In this article, Emily D. Myers, ShadowMachine armaturist on Guillermo del Toro’s Pinocchio (GdTP), is interviewed by Animation Practice, Process and Production (AP3) co-editor Miriam Harris. Myers has significant experience as an armaturist in the stop-motion animation industry: she is a veteran of four LAIKA-animated feature films, has worked at Bent Image Lab, and spent a year and a half working on GdTP at ShadowMachine in Portland, Oregon. The article provides insights into Myers’s training, her experience working at LAIKA, reflections on the ShadowMachine environment and production process while working on GdTP, and her thoughts about analogue/digital hybridity and stop-motion’s future potentialities. An insider’s perspective is offered regarding the amount of personal creativity that might be exercised when working on a large-scale stop-motion animation production.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
