It’s been 15 years since Australian filmmaker Adam Elliot’s last stop-motion masterpiece, “Mary and Max.” His latest creation, “Memoir of a Snail,” arrives at a timely moment in the film industry.
The new movie, akin to Elliot’s previous work, artfully blends tragedy and comedy. It chronicles the life of Grace Pudel, voiced by “Succession” star Sarah Snook, as she navigates through significant challenges, including her estrangement from her twin brother, played by Kodi Smit-McPhee, and struggles in her love life. The title reflects Grace’s tendency to identify with snails due to her introverted personality and her cleft lip. Throughout her journey, she cares for a pet snail named Sylvia and later becomes a collector of snails, developing a hoarding habit. Despite its somber themes, “Memoir of a Snail” balances pathos with humor and concludes on an unexpectedly uplifting note.
“Like all of my other films, they start with more frustration or annoyance with something,” Elliot explained. “Usually, some person close to me is annoying me.” In this instance, it was the passing of his father, who left behind three garages filled with belongings that Elliot and his siblings had to sift through. This experience sparked his intrigue with hoarding. “Why do we, as human beings, fill our homes with things that we don’t need?” Elliot recalled pondering. His research revealed that “extreme hoarders typically experience a level of trauma or loss, leading to hoarding as a coping mechanism for their pain.”
Simultaneously, Elliot revisited notes about a close friend who was born with a cleft palate. “As a child, she underwent numerous surgeries and faced bullying at school, yet she grew into a well-adjusted, confident adult,” Elliot shared. “I was captivated by her journey. These two concepts intertwined in my mind.”
After three years and 16 drafts of the screenplay, “Memoir of a Snail” is finally here, painstakingly realized through stop-motion animation. Elliot and his team utilized creative solutions to navigate their limited budget, such as incorporating magnets into the characters’ arms and eyes for easier manipulation. “When you operate on a low budget, you’re often compelled to think creatively, leading to unique techniques that others may not consider. I believe this is a healthy approach,” Elliot noted. “Another challenge was the tight production schedule. We completed filming in 33 weeks, which may seem lengthy, but in the realm of stop-motion, that’s remarkably swift.” They implemented strategies to minimize animation during character dialogue, primarily relying on Snook’s poignant narration.
Regarding Snook’s performance, Elliot stated, “She understood my vision, delivering a very authentic portrayal. Her naturally shy demeanor enhanced that authenticity.” He even brought one of the Sylvia props to her, instructing, “I want you to converse with Sylvia for an hour and a half.”
Since its premiere at the Annecy International Animation Film Festival, the film has garnered numerous accolades, including the best film award at the BFI London Film Festival. “I had just finished a flight to America when my producer informed me, ‘Did you hear we just won the London Film Festival?’” Elliot recounted. “I was unaware that they even had an animation category. She replied, ‘No, we won the entire festival.’ At that moment, it began to dawn on me that we may have created a film with significant potential.”
This story first appeared in the Awards Preview issue of TheWrap magazine. Read more from the Awards Preview issue here.
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