In next month’s European Film Market held in Berlin, the initial footage of medieval fantasy epic titled “The Stolen Child” will be unveiled to potential buyers. EbMaster had a chat with writer-director Sebastian McKinnon regarding this movie, where international distribution rights are managed by Picture Tree Intl. The trailer for the film can be found below.
In a world where Humans and Faeries live together, disaster strikes the Human Kingdom when its King and Queen unexpectedly pass away. This leaves their young son as the only heir to rule over a realm on the brink of ruin. Overwhelmed by sorrow and terror, the child’s situation stirs empathy in the Faerie Queen, who decides to secretly take him to the Faerie Kingdom to protect his purity. However, this seemingly kind act ends up exacerbating the turmoil in the Human Realm.
In a world where the boundary between reality and fantasy is wavering, I find myself drawn into an extraordinary group of characters: The Poet, The Knight, The Steed, and The Fae Royalty. Bonded by a shared purpose, we set off on a quest to discover the missing Prince, with the hope that his return will stabilize him on his rightful seat, thereby restoring harmony between our human world and the mystical Faerie realm.
The idea for “The Stolen Child” was sparked during Sebastian McKinnon and his brother Benjamin’s backpacking adventure through Scotland in 2012. This experience fueled their creativity, drawing upon a pre-existing fascination with Celtic legends, and served as motivation to produce enchanting films similar to Peter Jackson’s “The Lord of the Rings” trilogy.
As McKinnon strolled through the Scottish Highlands, ideas for new characters sprang into his mind. They seemed incredibly familiar, like characters straight out of ancient paintings and stories he had grown up hearing. He discovered they were reminiscent of figures from Celtic mythology and the Faerie Realm, topics that had long captivated him.
The thoughts sparked during their trip served as the impetus for the “Kin Fables” initiative, an idea that blossomed into a trilogy of short movies and ultimately culminated in the production of the full-length film, “The Stolen Child.
In the final stage, Sebastian had to embark on a solitary path. As noted in press materials for “The Stolen Child,” he states: “In the summer of 2016, a year following the trilogy’s release, I suffered the devastating loss of my brother, my closest confidant, to suicide. His final words to me were to keep crafting enchantment with film. His mantra, ‘Dream, Rise, Ignite,’ has served as my compass, and completing this cinematic voyage has been my commitment ever since. This movie is a tribute to both of us, symbolizing our bond and our shared affection for the tales that molded our childhood. In truth, it is my heartfelt ambition to create a fantasy film as remarkable as ‘The Lord of the Rings’ since then.
For me, ‘The Stolen Child’ transcends being just a film. It is a deeply emotional tribute to the enchanting collaborative efforts we shared, a vow to fulfill our dreams, to protect the innocence within us, and confront personal struggles – all through narratives that aim to astonish and inspire.
McKinnon recalls to EbMaster, “The Fellowship of the Ring’ movie sparked my desire to create films myself. I can still remember stepping out of the cinema after watching it, turning to Ben, and saying, ‘Wow, this is what we need to do. We want to make things like this.’ And that’s exactly what we did. Our summers were filled with making our own movies in the backyard, as we attempted to replicate ‘The Lord of the Rings’. We even donned similar costumes and acted out similar scenes. That experience – the childlike dream of creating something magical – has stayed with me.
McKinnon, known also as CLANN, collaboratively created the initial score for “The Stolen Child”. The music of Jackson’s “Lord of the Rings” served as a guiding influence in this regard. He expresses that the “Lord of the Rings” soundtrack is among the greatest ever made, with its ability to harmoniously blend with visuals to produce something truly impactful. He points out that the instances in films where one experiences a shiver down the spine are when everything aligns perfectly and leaves an indelible impression. This is the standard he aspires to meet while crafting this film’s music.
A different movie that sparked his imagination was the science fiction film “Stalker” by Andrei Tarkovsky. What captivated him about “Stalker” was its atmosphere of unease and enigma. For instance, when they venture into the ‘Zone,’ guided by Stalker, they’re in a natural setting, yet there’s an underlying sense of peril. This resonated with him as he delved into fairy tales and ancient folklore. He envisioned the Faerie World to have this same feeling when traversing it. In our production, we’ll be showcasing the breathtaking landscapes of Canada, particularly British Columbia, to portray the Faerie World. We aim to create characters who wander through a dense, verdant forest, with an unseen force lurking in the background.
The location significantly impacts the development of the settings where characters reside, particularly for portraying the realm of Faerie, according to McKinnon.
The Faerie World has a constant sense of intelligence or presence that we aimed to experience during our trip to British Columbia. Upon my initial stroll through those forests, I distinctly felt an energy there, particularly during the stormy seasons. It’s hard not to sense something extraordinary in these woods – some sort of enigmatic energy or spirit that I wanted to convey in the film.
Since our production lacks large-scale set pieces or bustling medieval towns, we must carefully select our natural locations to fully immerse the audience into the narrative and make it feel authentic. Filming in Montreal might’ve been more cost-effective, but it wouldn’t have provided the grandeur and richness I aimed to portray in my creation.
As a film enthusiast, I can’t wait to share the stark, desolate landscapes of Iceland that will bring our Human World scenes to life. It’s crucial for us to eliminate any vegetation; this bleak, barren environment will underscore the devastating impact humans have had on their own world – a world that is now completely devoid of life. We aim to create a stark contrast and fully immerse viewers in this post-apocalyptic setting. That’s why we spent so much time searching for the ideal location, and when we finally found it, it was like a dream come true. This world has been an integral part of my imagination since 2012, and standing on this desolate land, I knew that our vision was being realized – a truly rewarding experience.
Following their visit to Iceland, the team plans to travel to Mont Saint-Michel in France, a location that will serve as the castle residence for the young human prince at the film’s beginning. Strikingly, Mont Saint-Michel stands tall amidst the sea, but during low tide, it is enveloped by sand. As the director explains, “This site corresponds perfectly with our vision and the sense of humanity on an island. When the tide recedes, depending on shooting angles and time of day, it gives a distinct feeling of being in a desert.
McKinnon opted against relying on Computer-Generated Imagery (CGI) in the movie, although some will be present. “Instead of having anything created by a computer, I preferred real-life footage. For instance, there are ravens in the movie or characters who transform – I didn’t want to use digital models and animation to depict these changes. Therefore, everything was filmed for real, with only minor post-production work like compositing. The reason behind this choice is that, personally, such techniques often disrupt my immersion, particularly when watching a fantasy film.
This experience encourages you to explore alternative methods of problem-solving. One movie that truly inspires me is ‘The Fountain’ by Darren Aronofsky. In it, there’s a scene where they’re traveling in a spaceship through space, and learning about the behind-the-scenes production was astounding. I was awestruck by the stars and nebulas, which were not computer-generated imagery but rather chemical reactions filmed in a Petri dish. This left me thinking, ‘Wow, this is what I aspire to create.’ Therefore, anything that contributes to creating that magical feel, I’d prefer to capture it realistically and integrate it seamlessly into your scenes. For me, it simply feels more genuine or authentic – it seems to preserve the essence of the film.
In the movie, the conversations feel more like a work of poetry rather than everyday conversation. One aspect that particularly appealed to McKinnon about “Stalker” was its poetic style.
When my brother sadly passed away, as I navigated through my grief, I found solace in purchasing numerous books to keep moving forward with the idea for our film. He had once urged me to carry on, and this was my way of doing just that. I became deeply captivated by the works of W.B. Yeats, finding myself completely enamored with his poetry.
Initially, the movie went by “The Sad Prince,” but later, the director opted to rename it after a poem by Yeats, choosing “The Stolen Child” as the new title for the film.
In the movie, certain lines are taken straight from his poetry. I aimed to keep this poetic essence in the dialogue itself. The film doesn’t feature a lot of dialogue, but when characters do speak, I wanted to maintain that poetic tone. Additionally, the music plays a significant role in reinforcing and enhancing this desired feeling throughout the movie.
I’m aiming for something unique in this project. It will be somewhat unconventional with elements of poetry, music, and striking visuals. As a painter, I want each scene to resemble a piece of art. I’m optimistic that all these elements will harmoniously create a highly poetic film.
As a movie enthusiast, I can confidently say that the visual style of this captivating film was undeniably inspired by the enchanting paintings of the Pre-Raphaelite Brotherhood. The cinematography, masterfully crafted by Christophe Collette, and the art direction, expertly handled by Nico Lepage, combined to create a breathtaking visual experience that truly immerses viewers in the story.
During the production of the movie, recollections of his late brother Ben consistently motivated McKinnon. “This project has been the toughest I’ve ever taken on in my career,” he confessed. “People say for your first feature, avoid working with children and animals. But I jumped headfirst into it all, and looking back, I was perhaps overly optimistic. In our very first week, I even considered quitting due to the chaos. We were shooting in challenging locations, dealing with numerous costumes, and working on an art-heavy film – something more complicated than I had anticipated. It was these memories of my brother that helped me persevere through the hardships, and I’m not ashamed to admit that I often spoke to him during the making of the movie.
Things worked out exceptionally well for us. At the time, it seemed as if everything was falling apart, but upon reflection, it appears that a series of events, almost mysteriously in sync, happened to be his way of guiding or assisting us.
On one of our initial days on set, a remarkable scene unfolded as we constructed a boat from foam. In this particular sequence, the character known as the Poet was seen launching it into the sea. Typically, during that time of year in British Columbia, storms are prevalent. However, on this day, an exceptionally tranquil and beautiful weather graced us, providing the perfect setting for the scene. During this serene moment, I experienced a particularly enchanting encounter with our Native American consultant, who remarked, ‘It seems someone is watching over you, as such calm weather is not common here.’
He’s been a constant presence throughout the project, guiding me through tough times during the movie-making process. It’s been challenging yet enjoyable. I had my dear ones by my side, which made it even more special. Working on this in his memory feels like wrapping up something or perhaps there are still tasks to complete before the film is finished. Once it’s done, I believe I’ll find a sense of closure and peace.
The film titled ‘The Stolen Child’ is a joint production by Catherine Boily of Metafilms and Tara Cowell-Plain from Cowpi Media. The executive producers for this project are Sylvain Corbeil (Metafilms), Lee Broda (LB Entertainment), Carl Francesco Giacomo, Rachelle Cuierrier, Joel Martinez, along with Yuan Sui and Andreas Rothbauer of Picture Tree Intl.
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2025-01-27 12:30