Directed by Vincent Bohnert, Margaux Bontron, Anaë Duquenne, Juliette Gilles-Payart, Veronika Nikulina, Romain Paillet, Yoann Paquet, Quentin Thisse and Maxime Verclytte, *Sea of Leaves* makes brilliant use of its lush settings to create a dark and unsettling atmosphere, against which the captain is torn between revenge and reason.
To gain a better understanding of the challenges these students faced, we spoke to the team about the making of this short film.
Background and purpose of the project
“It was this idea of a world where pirates sail across a sea of leaves that formed the basis of the project,” the team recalls. “To tell the truth, the initial idea was to depict a barbaric world in which pirates trafficked creatures, selling their skins and meat. So you’d see these characters selling these creatures – whether alive or dead – at an inn situated in a village high above the treetops.”
“A village which, in our early versions, was at the heart of the plot and was regularly subjected to attacks that devastated the community. Our pirates, whose leader was already, at that time, our main character, had to set out in search of this creature and, along the way, lose their way themselves.”
From a highly complex plot, in which the village was in fact the mastermind behind a scheme to take revenge on the pirates, the film’s concept evolved significantly to suit the whole team, whilst taking into account the realities and constraints of the short film format. “In the end, it was the world of the film that mattered most to us. So we simplified the story, whilst retaining the elements that everyone liked – namely the epic nature of this quest and the terrifying impact of our creature.”
Drawing inspiration from both *Alien* and *Jurassic Park* for the narrative structure of the story, and from the aesthetics of *Dragons* and *The Sea Monster* for the creation of their world, the team opted for a realistic approach, which is also reflected in the characters.
A terrible, surly captain
This is how we quickly come to see Viktor, haunted by the ghosts of his crew, whom he presumably led to their deaths. “For this character, we wanted to create a robust captain, imposing both in appearance and in personality.”
“His sidekick, on the other hand, was meant to be his opposite: physically slimmer and more timid in his behaviour.” A difference that further emphasises our protagonist’s fierce nature and highlights his relentless quest to track down the creature on which he seeks revenge.
How, then, can we foster empathy for both this captain and his less charismatic first mate? This was the challenge facing the team, given that the way these characters are portrayed makes the captain come across as a ruthless man.
But thanks to a skilful narrative structure combining flashbacks and an intense moral dilemma, the film concludes with a redemption that the audience can fully understand.
A terrifying universe through which a strange ship sails
It was from the world of fantasy that the team drew most of their inspiration to create this giant forest, a cross between *The Croods* and *Avatar*.
The flying ship, a classic feature of fantasy pirate tales, from *Treasure Planet* to the very recent *Hopper*, was also the subject of numerous discussions and drew on a wide range of inspirations. “It was undoubtedly this ship that gave us the most trouble,” recalls the team.
“Navigating this character through an environment as dense as ours, teeming with detail, was no mean feat. Nor was creating this vast forest made up of trees and organic elements, which would have been extremely complex to recreate using Maya alone.”
“So we worked in USD to overcome this problem, which was a huge technical challenge for us and meant we had to train a large part of the team in Houdini whilst production was underway.”
A flexible layout, tailored to production requirements
When it came to dividing up tasks and work within the team, the students relied mainly on each person’s preferences and interests. “If someone preferred to work on a character or a setting, then that’s what they were assigned. Towards the end of production, we mainly organised things according to everyone’s availability,” the team explains. This flexible approach enabled them to see the project through collectively, cutting only a few shots to ensure the film was completed on time. “We always stuck together to finish this project as best we could. What enabled us to complete it was our mutual support and our perseverance. We were all highly motivated and didn’t count the hours we spent on our work. This ability to maintain team spirit is what we’re most proud of today.”
A flexible approach that enabled them to see the project through as a team, cutting only a few shots to ensure the film was completed on time.
“We’ve always stuck together to see this project through as best we could.
“What enabled us to complete this project was our mutual support and our perseverance. We were all highly motivated and didn’t count the hours we spent on our work. This ability to maintain team spirit is what we’re most proud of today.”
What advice do they have for students?
“I think the first piece of advice would be to have fun and do what you enjoy whilst making the film,” says Margaux Bontron, speaking on behalf of the team. And to take into account the views of every member of the project. “And above all, don’t forget that we’re working together on a single project and that we’re here to lift each other up. Mutual support is the key to our success as a team!”
A piece of advice that reflects this team’s production experience; their cohesion enabled them to successfully complete this ambitious project
Discover *Sea Of Leaves* now, a 2024 graduation film from ESMA, available to watch in full: