Mary Anning, a significant figure in the history of paleontology, is often recognized for her contributions from its early days. However, many people are not familiar with the details of her childhood. Born and raised in England, Anning was essentially self-taught in fossil collection. Her journey began in the picturesque county of Dorset, specifically in the quaint village of Lyme Regis. It was here that she, along with her family, stumbled upon Jurassic marine fossil beds – one of the first major paleontological discoveries of the 19th century.
Marcel Barelli, who retained his childhood fascination for fossil collecting, was motivated by a young woman’s tale as a dedicated collector. Being a Swiss director with an adult passion for paleontology and having worked with Nicolas Burlet (of Nadasdy Films) for a long time, he felt it was the ideal moment to venture into creating a Swiss animated film.
With “Mary Anning” set to be unveiled for the first time at the Annecy Animation Festival this coming Monday, EbMaster recently had a chat with Barelli about his debut movie, his excitement to bring impactful narratives centered around children to light, and the current status of Swiss animation, which has a rich past but faces challenges in reaching parity with the broader industry.
How did you start your animated journey?
My mom used to encourage me to draw all the time, claiming that having a pen and paper could keep you from ever getting bored. However, I never considered it as a career path. Truth be told, I’ve always had a strong interest in cinema, not just animation like Disney. I didn’t quite grasp what else was out there beyond those classics.
It wasn’t until I had already made the decision to abandon my chemistry studies that I found myself drawn to the world of cinema. By a stroke of luck, I stumbled upon the works of Swiss animator Georges Schwizgebel, which ignited my passion for creating my own independent film projects.
Why did you decide to venture into creating a feature film about Mary Anning, following sixteen years of producing animated shorts with Nadasdy Films?
Following numerous smaller projects over several years, my producer, Nicolas Burlet, advised, “Marcel, it’s high time you take on something more substantial.” Being a prudent individual who typically progresses gradually, this opportunity seemed like the natural next move in my professional journey.
My interest in paleontology is matched by few things, and Mary Anning is a pivotal figure in that realm. However, she’s often used as the “token woman” in dinosaur books, despite the fact that she didn’t discover dinosaurs but rather various fossils. Her story has been part of my life since I was young. Some years back, I had the privilege to visit her hometown and residence, now transformed into a museum dedicated to her life and paleontology. Today, fossil hunters still roam the shores of Lyme Regis, and I thought it would be fitting to share her inspiring tale with young scientists just starting their journey.
Lately, Mary Anning has been a topic for grown-up stories, but why did you decide to make a movie about her suitable for kids instead? Let me explain…
As a keen observer, I find myself deeply moved by that captivating young character. In my explorations, I’ve discovered a scarcity of authentic young heroes gracing our screens. Apart from Anne Frank, there seems to be a paucity of real-life narratives centered around children. While we’re treated to numerous fictional characters, the number of biopics highlighting childhood or exceptional achievements by young individuals is strikingly low.
A movie such as “Hola Frida!” that revolves around Frida Kahlo’s early life presents an opportunity to highlight a familiar face not celebrated for her childhood achievements. Similarly, I believed that the tale of Mary Anning could potentially offer this kind of narrative.
Historically, kids have been underrepresented, but recently they’ve gained more attention in public discussions and policy-making, with trailblazers like Greta Thunberg leading the way. This captivating tale, seemingly out of time, about a girl from a humble background who was dismissed by the elite, living in an era when women had minimal rights, yet still pursued her thirst for liberty and wisdom, resonated deeply with me. I hope it will inspire many children today as well.
Why is it significant to portray her conflicting aspirations with the adult world, particularly the Reverend’s conservative perspectives towards women and science?
This way, the sentence maintains its original meaning while being more natural and easy to read. The use of “depict” is replaced with a more common term “portray,” and the phrase “clash with” is replaced with “conflicting aspirations with.” Additionally, the subject “her” is made clearer by adding “her conflicting aspirations with the adult world” before the question mark.
As a film critic, I found myself drawn to a unique storyline where the author’s creative decisions intertwined seamlessly with her natural flow of thought. In this narrative, a youthful protagonist contrasts sharply with an aged character, reflecting the ongoing struggle between the naive, transformative perspectives of childhood and the entrenched viewpoints of adulthood.
The script beautifully captures the boundless curiosity and adaptability of young minds, their readiness to embrace change, marvel at new experiences, and accept transformation without being shackled by the established order.
It’s worth noting that, despite not being initially intended, the movie portrays a reality where even scientific advancements face threats. To me, it seems unbelievable that such facts are now disputed, and it’s concerning to witness this regression in certain societies.
Could you tell us about your creative process when working alongside Marjolaine Perreten, the art director and graphic designer, on the visual aspects of the film?
For my first movie, I chose to delegate the formatting tasks because I usually do it all myself. My style is somewhat whimsical and simplistic, which I felt might not align well with a larger project’s theme. Instead, I desired a more fitting aesthetic. Given Marjolaine’s close friendship and professional relationship with me, she was an obvious choice. I’m thrilled that she accepted the offer, as her busy schedule as a filmmaker didn’t guarantee her availability for this project.
(Alternatively)
I decided to hand over formatting duties for the first time in my filmmaking career because I wanted a different style for this project. My usual style is playful and unsophisticated, which I thought wouldn’t be suitable for a larger production. In search of a more fitting aesthetic, I turned to Marjolaine, knowing her as both a friend and a colleague. I was overjoyed when she agreed, although her busy schedule as a filmmaker didn’t guarantee that she could take on this project.
Eventually, she was the one who compiled it, developed its aesthetic, oversaw the artistic direction, ensured the set design was flawless, and expertly managed every aspect of it.
Marjolaine’s unique approach creates captivating child-friendly universes, akin to beloved books and stories, with gentle, curved elements that contrast beautifully against the rugged, stormy cliffs of mud and clay. Her style doesn’t dilute the narrative but rather infuses warmth into the surroundings, making it clear that this production is intended for young audiences.
Can you elaborate on your directorial choices?
When crafting the movie alongside Pierre-Luc Granjon, Magalie Pouzal, and Marjolaine, I drew inspiration from three films: “Billy Elliot” for its spirit, “Portrait of a Lady on Fire,” and Yasujirō Ozu’s “Good Morning.” The latter film captivates me due to its uncommon depiction of rebellious children in a household setting. Ozu’s directorial style, particularly when it comes to children, is exceptional; he skillfully employs both wide-angle shots and close-ups to convey emotions effectively.
For “Mary Anning,” I chose a straightforward setting, minimal camera shifts, frequent close-ups and side views. This was influenced by limited expertise in Swiss animated feature production teams as well.
To handle the limitations we faced, we chose to use 2D rigging and animate puppets in Toon Boom instead of conventional 2D techniques. This method is more commonly used in TV series production, but we aimed to give our film a refined appearance. While industry professionals might discern this choice, I create films not for the industry, but for the viewers.
By making these decisions, we were able to hone in on what truly mattered, avoiding unnecessary expansion. In truth, if you exclude the Belgian co-production team responsible for rigging, mixing, and voice recording from the credits, it’s almost as if we had a small film production team. Few individuals contributed to the project, keeping it manageable and personal in scope.
As a movie enthusiast, I was captivated by the film’s soundtrack, an unusual distinctiveness seldom found in children’s films. I’m curious to know what led to this unconventional “punk” musical direction?
One of the hotly contested issues we grappled with throughout development. Some adored it, others loathed it – and I relish the fact that it stirs up such passionate conversation.
Right from the get-go, I had a hankering for anachronistic tunes that’d jive with Mary’s edgy punk rock vibe. I stumbled upon Shyle Zalewski’s music by sheer luck, but their graphic novel and cartoon work was already on my radar. Once I gave it a listen, I was hooked. They graciously shared a plethora of tracks for me to peruse. After sifting through various options, which were re-worked to fit the bill, I requested them to compose the end credits as well. Now, I may not be fluent in musical jargon, but we agreed on punk and teen lo-fi rock—and that’s just dandy by me!
Are there details in the film that people might miss that are important to you?
A wealth of mainly paleontological findings, leaning towards the nerdy side. If you persevere until the conclusion, you’ll be treated to the first-ever depiction of a prehistoric scenario: Duria Antiquior, an illustration sketched by geologist Henry De la Beche in 1830, inspired by Anning’s fossil discoveries. De la Beche, a friend of hers, crafted this drawing to help fund her research endeavors.
The text is filled with intriguing details, such as Ms. Philpot’s artwork done with ancient ink, and fascinating paleontological tidbits scattered everywhere.
Could you describe the current status of Swiss animation and its evolution during your professional journey?
Over the years, the number of Swiss animated features I can count on my two hands is quite small, so “Mary Anning” being selected for Annecy was a remarkable achievement. I’ve observed two major tendencies: an increasing pool of gifted artists graduating from art schools, but insufficient funding to match this growth. Unfortunately, there isn’t enough financial support for short films like the ones I made at the beginning of my career or those created by Schwizgebel anymore.
Lately, steps have been made to restrict financial resources. This is indeed a significant concern, affecting not only the animation sector, but the entire industry as well. Simultaneously, there’s an upward trend in the number of artists and directors. For a robust Swiss animation industry to thrive, action needs to be taken.
Being outside the European Union restricts access to MEDIA programs and international cooperation, which can make it challenging to undertake large-scale productions such as feature films. This difficulty is even experienced by esteemed directors like Claude Barras who have been nominated for Oscars.
It appears that decision-makers in Switzerland may be underestimating the potential of their film industry, failing to recognize its long-term cultural and financial benefits.
As a passionate cinephile, I’m thrilled to share that our latest endeavor, “Mary Anning,” was a resounding success. I eagerly look forward to collaborating once more with this exceptionally gifted crew. Cinema is not just my profession, but my passion, and there’s nothing more rewarding than introducing films to both the public and my own children. Here’s to many more stories yet to be told!
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2025-06-10 12:48