This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
Privacy Overview
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.
3rd Party Cookies
This website uses Google Analytics to collect anonymous information such as the number of visitors to the site, and the most popular pages.
Keeping this cookie enabled helps us to improve our website.
Please enable Strictly Necessary Cookies first so that we can save your preferences!
Director's Statement
In its hybrid form, ZOON combines techniques of stop-motion, puppetry and 2D. The axolotl puppets were
formed out of plasticine and were animated frame by frame, whereas other puppets were marionetted in real
time in front of the camera. Later, the faces, hands and feet were digitally drawn by hand. The backgrounds
consisted of 3D elements, photos of built backgrounds, and paintings. The puppeteering team consisted of
stop-motion and 2d experienced animators. No one in the team had much experience with puppeteering.
The shooting was all the more fun: the team was curious to try out the peculiarities of the unfamiliar
technique. In constant dialogue with the puppets, which didn't have faces yet but already had personalities, there was a lot of laughter on the set.