Derya Ozparlak Charlotte Lavoie Auspert
Frances& Margo (Set Design, Puppets and Props)
Animation
"Since the story is set in the 1950s, I aimed to not only represent the era visually, but also recreate its atmosphere through texture and material choice."
“Our animation is a detective story set in the 1950s.I was responsible for all the physical elements in the film. The set design, the props, and the technical design and making of the puppets.Since the story takes place in the 1950s, I didn’t want to just show that time visuallyI wanted people to feel the era through textures and materials.That’s why I stayed away from digital tools like 3D modeling, laser cutting, or 3D printing.Instead, I used traditional materials and handmade techniques.To me, that made more sense—because the story itself belongs to the past.I believe that handmade objects carry the artist’s presence.Small imperfections, natural asymmetry—these give the object life.Even if the audience doesn’t notice every little thing, they can still feel that human touch.It’s not just what they see, it’s what they feel—and that’s what stays with them.For example, I built a 1/6 scale model of a 1950 Chevrolet.Not with plastic or foam, but with real sheet metal.I shaped the parts by hand, welded them together, and painted it with vintage automotive paint, matching original colors.I also made the phone booth, tables, and chairs with real metal, all shaped and forged by hand.Each piece was built to reflect the strength and character of the time.For the shack scene, I built the structure one plank at a time,designing both the inside and outside to feel like a real 1950s rural shack.In the lab scene, I used real hand-blown glass to create an authentic chemistry setup.The entire film is black and white—just like movies from that era—so I tested everything under black-and-white camera to make sure it looked right.Even the forest scene was handmade.I created each tree with hemp string and added real dried leaves.This gave every tree its own shape and made the forest feel alive.I sculpted the puppets by hand using clay.From the internal armature to the silicone skin, everything was done traditionally.For facial animation, I sculpted 28 different magnetic fully replacement face expressions for each puppet.Each face had eyes that could move independently.From costumes and shoes to fabrics and hairstyles, every detail was designed to match 1950s fashion.”
