More MORE Items available for purchase…

Great news, the Standard MORE DVD is back on sale in addition to the Special Edition MORE DVD! And available  soon, Happy Product boxes!  These were intended as shipping boxes, but sold out as gift items. We also have new printed items , MORE build your own calendars, etc. Check the store for items being added regularly…

Mark Osborne answers a few of the most common questions regarding the production of MORE.  If you want to know something that isn’t answered here, feel free to leave a comment and we’ll do our best to answer your specific question.

The most asked question: What is the music score for MORE?
MORE was inspired by and is accompanied by the song “Elegia” by New Order. It is the 5th track on their 1985 album “Low Life”.

Did the New Order music inspire the film?
Yes. The song had been an instrumental staple of many a mix tape in my youth and one of those tapes surfaced when I was seeking to make a new short. While listening to the song I freeformed images and visuals I had been kicking around for years and they fell into place thanks to the moods, drama and structure of the song.

Is MORE made with computers?
MORE was created using the good old fashioned technique of Stop-Motion animation (www.stopmotionanimation.com). I did use computer tools to edit the rough cut of the film (Adobe Premiere v4.2), to do some compositing (Avid’s Matador) and to fix some mistakes and camera problems from the shoot (Avid’s Matador and Adobe After Effects v4.1). To create the Cel Animation sections in the film, we also used computers for ink+paint and compositing (Adobe Photoshop v5 and After Effects v4.1)

How big were the puppets and sets for MORE?
The puppets were 11 inches head to toe. The sets were all pretty big. The apartment set was four feet square and the cityscape set was about 20 feet deep and about 12 feet wide.

What materials were used to create the puppets?
The armature skeleton inside was aluminum wire with wood blocks for the hips. The skin was created using a stretchable laytex fabric coated with many layers of liquid latex to seal it and make it smooth.

Is it true that MORE is an IMAX film?
Yes (kinda). IMAX is a name brand (like Kleenex) for the largest film format in the world. It is 70mm run sideways with the image size 15 film perfs across. We created the film in this format, but not in association with the company IMAX. The generic term for this film format is “Large Format” or “Giant Screen Format.”

Keep Reading…

“When I embarked on my new film MORE, I approached it from a very basic and unassuming angle: I wanted to tell a story.  What ultimately made this film a different type of journey to embark upon, was that we were breaking ground by telling a stop motion story on the Giant Screen, 70mm/15perf, or IMAX format as it commonly known, for the first time.”  Read entire interview by clicking link below…

“Making More Out of Stop Motion on the Giant Screen,” at AWN.com, click HERE

MORE figurine in the works?! To read about it at PlasticandPlush.com, click HERE

“Animation (and particularly stop-motion) is the most engaging form of expression and poetry I have ever experienced.”  Read entire interview by clicking link below…

“More an Interview with Mark Osborne,” at Animwatch.com, click HERE

Very grateful to Steve Biodrowski for his incredibly kind words:

There are not words enough in the dictionary to begin describing the master achievement of this brief but almost excruciatingly brilliant short film. Using a technique considered almost passe by many filmmakers, writer-director Mark Osborne has crafted a work that is no mere piece of nostalgia – no simple gimmicky achievement (i.e. making stop-motion work on an IMAX screen). Rather, it’s a work of art that makes ambitions of most feature films seem puny by comparison, almost as if there were an inverse ratio between the running time and accomplishment.
Keep Reading…

“… this six-minute short has produced DVD material that puts the majority of Hollywood studios to shame… a must-own collection for aspiring filmmakers and those who enjoy the crafting of a film. ”

DVD Town review, click HERE

” Only in the spirit of independent film could you have 2 discs of material for a six minute film… this is exactly what I’ve been waiting for… The film itself is great, and the extras are considerable, especially since this isn’t a Hollywood blockbuster. Buy and enjoy.”

Lights Out Films review, click HERE

MORE AWARDS

Academy Awards 1998  – Nominee – Best Animated Short

Sundance Film Festival 2/99 – Special Jury Prize for Short Films

South by South West 2/99 -  Best Animated Short

Aspen Shorts Fest 3/99 – Special Jury prize

World Fest Houston 3/99 – Gold Special Jury Prize for Shorts

USA Film Festival, Dallas, TX 4/99 – Grand Jury Prize for Shorts

Toronto International Short Film Fest – 6/99 – Best Animated Short, Best Short Overall

Stony Brook Film Fest – 6/99 – Best Short Film

Atlanta Film and Video Festival 6/99 – Honorable Mention Animation

‘Message to Man’/St.Petersburg, Russia – 6/99  – Best International Debut Film

Vila do Conde Short Film Festival/Portugal – 7/99  – Honorable Mention Animation

PhilaFilm, Philadelphia – 8/99 – Best Animated Short

One Reel Film Festival/Bumbershoot – 8/99 – Audience Award for International Animation

ResFest – 9/99 – Audience Award for Best Film, Grand Audience Prize for Best Film

New Orleans Film Festival – 10/99  – Lumiere Award

Upsalla International Short Film Festival/Sweden– 10/99 – Audience Award for Best Film

A.S.I.F.A. Annie Awards – 11/99  – Nominee for Best Animated Short Subject

St. Louis International Film Festival 11/99 – Best Short Film

Ft. Lauterdale Film Fest – 11/99 – Second Place Animation

San Francisco Indie Fest 12/99 – Audience Award

CREDITS

Run Time: 6:00

Format: 70/mm/15p and 35 mm/4 perf release prints

Writer and Director: Mark Osborne

Producer: Steve Kalafer

Co-producers: Debra Callabresi, Kelly Moren

Line Producer: Shannon Lowry

70mm Prod. Supervision: IMAGICA USA Inc., Kelly Moren

Production Designer: Rick Orner

Puppet Construction: David J. Candelaria

Stop-Motion Animators: Mark Osborne, David J. Candelaria, Nick Peterson

Set and Model Builders: David J. Cadelaria, Nick Peterson, Joe Schmidt

Camera Department: Keith Lowry

Cel Animation Designer: Lorelei Pepi

Cel Animation Director: Jenny Walsh

Cel Animators: Lea Zagury, Rick Potts, Marcos Magalhaes

Post-Prod. Supervisors: Debra Callabresi, Kelly Moren, IMAGICA USA Inc., RPG

Digital Effects Supervisor: Debra Callabresi

Digital Arts and Effects: Ben Matsunaga, Kelly Moren, Mark Osborne

Sound Effects Editor: Jeremy Pitts

Re-Recording Mixer: Peter Carlstedt

Negative Cut: Ron Johnson

Color and Prints: Consolidated Film Industries

Music: New Order, “Elegia.” Written and produced by New Order, Engineered by Michael Johnson, Distributed by Warner Bros. Records, Inc. © 1985 Qwest Records.

Additional Music: Ben Decter

Production Services: California Institute of the Arts, Consolidated Film Industries

Donated By: Dream Quest Images, KODAK Motion Picture Film, Graphic Films, Image G, IMAGICA USA Inc., Iwerks Entertainment, RPG Productions Inc., Swell Productions

Special Thanks To: Mario Allen, Tom Attencio, Tom Barron, Bob Beitcher, Chris Blum, Jamie Caliri, Kevin Clark, Maureen Claypool, Jon Corfina, Edwin Escalante, Larry Fagan, Rick Gordon, Cathy Hair, Wendy Jackson-Hall, Ron Johnson, Tim Knapp, Dick Larson, Alec Lorimore, Alan Markowitz, James Manke, Katherine Mervie, Andrew Millstein, Mike Mitchell, Paloma Navarette, Ammiel Najar, Paul Novoros, Jeff Osborne, Kent Osborne, Paulette Osborne, Julie O’Neil, Andrew Oran, Dave Palomaren, Jose Parra, Sarah Peterson, Brian Peterson, Sean Phillips, Christopher Reyna, Tim Sassoon, Scott Shepley, Susan Simpson, Jonathan Silsby, Ron Wangler, Miriam Yagi