Animate! Striving to Be Eternally Curious with Sofia Carrillo

Sofía Carrillo is a Mexican director, animator, and scriptwriter with a B.A. in Audiovisual Arts. She grew up in Guadalajara, México the daughter of artists and the youngest of three sisters. As a child, Sofía wanted to become a painter and writer, which evolved into a passion for animation. She began her career studying film at the University of Guadalajara as an art director, developing her first animation project in tandem, until animation became her main interest.

She is the director and animator, among many others, of the short films Prita noire (winner of the award for best animated short film at the San Diego Latino Film Festival and the Morelia Film Festival in 2011, and winner of the Ariel award for best animated short film in 2012) La casa triste (winner of the award for best animated short film at the Morelia Film Festival and the Austin Fantastic Fest in 2013, and winner of the special jury prize at the Havana Film Festival in 2014) and Cerulia (winner of more than 20 national and international awards, including the Ariel award for best animated short film in 2018).

Sofía is a member of the Academy of Motion Picture Arts and Sciences since 2018 and a member of the Mexican National System of Art Crea. Most recently, her project ‘Insectarium’ was awarded the 2024 Annecy Festival Residency.

LBB> How did you fall in love with animation?

Sofia> I was probably seven or eight years old when I saw an excerpt of Ladislaw Starewicz’s 'The Mascot' on TV. This short film attracted me like a moth to the light. It is disturbing, yet somehow beautiful in its own way. Although I had seen cartoons (mostly Disney), the stop motion technique fascinated me, and it was the first time I had an aesthetically profound experience with animation.

LBB> Tell us about the animation project that kick started your career?

Sofia> My thesis, 'Out of Control', was an experimental stop-motion film narrated with an emotional link to personal experiences. This short film was presented at the Sundance Film Festival and allowed me a sneak peek at international animation proposals in film festivals, stories, etc.

LBB> How would you describe your art style and what are your biggest inspirations that developed it?

Sofia> I’m interested in objects and marionette animation. I like to play with materials and make experiences that may take the viewer on a trip to their own childhood. I love to use organic materials (hair, teeth, and things you might not see; I hide these inside the marionettes).

LBB> From your perspective, what’s the key to animation that really lives?

Sofia> In my opinion, it’s not just the perfection or smoothness of the movement. If you achieve character movements and expressions in congruence with their nature, that’s successful animation.

LBB> Show us your favourite or most impactful project that you’ve worked on - tell us, what is it that makes it special and what were the memorable moments or challenges?

Sofia> 'Cerulia', is probably my biggest project. That short film travelled around the world and became the origin of my next project, 'Insectarium'. Although I have done at least four previous animated short films, this made me feel like I was at the beginning of my career learning how to animate again. But I grew as an animator, learned that every new project will always begin almost from zero, and there’s never enough budget!

LBB> How do you approach character design? What is your creative process like? Show us some of your favourite characters and their journey from notepad to screen.

Sofia> Most of my characters are linked to my childhood. After I draw the characters, the next stage is sculpting them, and the process begins again until I have a face that feels correct. Hair, paint, and shadows come later - as does the hidden heart.

LBB> Tell us more about observation and movement - what is the process you go through to study movement of characters?

Sofia> I used to observe my own movements on a mirror (In the past, 'Lavs' did not exist). Then, I fragmented the movements into frames. Lately, I have been working a lot with objects. I don’t want to impose movement on them - instead, I try to listen, analyse, and discover the language of their bodies.

LBB> We all know of some ever-green adult animations, but lately they have definitely been on the rise, from Rick and Morty to Arcane. What sort of opportunities does this open for animators, both within and outside the advertising industry?

Sofia> As an adult who enjoys animation, I’m glad we’re seeing the field expand to include children and adults. It’s always great to have more options for different preferences.

LBB> How does one figure out what kind of animation style or styles fits a particular story or project?

Sofia> If I’m lost, I look for the answer in the origin or nature of the project, searching for the story’s theme, materials, and movement. 

LBB> What is your favourite piece of technology or software that you use and how does it help your creative process?

Sofia> I’m very thankful for Dragon Frame software; it has made my life easier.

LBB> What sort of briefs or projects do you find more personally satisfying to work on?

Sofia> I’m very grateful for any animation project; I use animation as a tool to work on my understanding of the meaning of life. Stop motion allows me an outlet for self-ethnography, where I’m able to work through some personal issues. 

LBB> What recent projects have really stood out for you and why?

Sofia> I had the opportunity to participate in Guillermo del Toro’s Pinocchio (second unit). I learned so much, and I made new friends. I’m very grateful for that experience.

LBB> Who is your animation hero and what is it about their work that inspires you? What example of their work particularly stands out?

Sofia> A few come to mind: 

Ladislaw Starewickz: my favourite stop-motion animator ('The Mascot')

The Quay brothers: The magicians and visionary from an ethereal world ('The Street of Crocodiles') 

Svankmajer: a master of surrealism ('Alice')

Suzan Pitt: Unique and enigmatic ('Asparagus')

LBB> Outside of the field of animation, what really inspires you?

Sofia> Films of all kinds, music, painting, and, my first love, puppet theatre.

LBB> What do you think are the misconceptions about animation throughout the industry?

Sofia> Probably that we take too long, but my friend and animator Rigo Mora used to say animation is like witnessing a garden grow. It is so satisfying to see animation come to life; it is worth it.

LBB> What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?

Sofia> I might say financial issues (as usual), but also, in a society that voraciously consumes “content” and fast art, how can we speed up an art form made frame by frame?

I’m very optimistic anyway. Stop motion will always be magical, and since we build our worlds with real materials, movies made with this technique age very well in a dignified manner. That’s an advantage.

LBB> Any advice you would like to give to aspiring artists?

Sofia> Life is too short. The moment you realise your purpose or obsession, just work, even if you do not have all the money, tools, or perfect technique. We should all strive to be eternally curious.