{"id":40134,"date":"2020-09-16T14:57:09","date_gmt":"2020-09-16T14:57:09","guid":{"rendered":"https:\/\/www.skwigly.co.uk\/?p=40134"},"modified":"2021-09-27T09:12:20","modified_gmt":"2021-09-27T09:12:20","slug":"cliona-noonan","status":"publish","type":"post","link":"https:\/\/www.skwigly.co.uk\/cliona-noonan\/","title":{"rendered":"Q&#038;A with Cliona Noonan (&#8216;Wet &#038; Soppy&#8217;)"},"content":{"rendered":"<p dir=\"ltr\"><em><strong>Industry up-and-comer <a href=\"https:\/\/clionanoonan.com\/wet-soppy\">Cliona Noonan<\/a>&#8216;s first professional film <\/strong><\/em><a href=\"https:\/\/www.skwigly.co.uk\/showcase\/wet-soppy\/\"><strong>Wet &amp; Soppy<\/strong><\/a><em><strong>, produced as part of <a href=\"https:\/\/animationskillnet.ie\/\">Animation Skillnet<\/a>&#8216;s Animation Studio Lab programme, was recently released online in full, quickly earning itself a Vimeo Staff Pick. On the heels of her graduation film <\/strong><\/em><strong>Tuna<\/strong><em><strong>, which did the rounds at events including <a href=\"https:\/\/www.itfs.de\/en\/\">ITFS Stuttgart<\/a>, BFI Future Film Festival and the <a href=\"https:\/\/2019.manchesteranimationfestival.co.uk\/films\/tuna\/\">Manchester Animation Festival<\/a>, <\/strong><\/em><strong>Wet &amp; Soppy<\/strong><em><strong> tells the simple but strikingly-rendered tale of a man whose attempts to air-dry his laundry are constantly thwarted by suspicious rainfall. Skwigly spoke with Cliona for the film&#8217;s recent participation in <a href=\"https:\/\/www.cardiffanimation.com\/can\">Cardiff Animation Nights<\/a>&#8216; monthly online lockdown screenings to learn about the director&#8217;s work and process.<\/strong><\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"Wet &amp; Soppy\" src=\"https:\/\/player.vimeo.com\/video\/454322606?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p dir=\"ltr\"><strong>Can you tell us about your background and early interest in animation?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">I&#8217;m from Dublin in Ireland, and I graduated a year ago now from a four year course in animation at the National Film School. I was always interested in animation, I saw the documentary <em>The Pixar Story<\/em> and thought <em>I want to do that<\/em>. I made a graduation film, <em>Tuna<\/em>, and since then I&#8217;ve made another film, <em>Wet &amp; Soppy<\/em>.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><strong>How did that come about? Is it an independent film or was it commissioned?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">There&#8217;s a funding scheme in Ireland called Animation Skillnet that had started this program called Animation Studio Lab from the year before, where they invite up-and-coming directors to lead a team, as training for recent graduates. So they had links with studio professionals. And there was an open call for each area specialist, storyboarding, animation, backgrounds and comp. I was approached by (producer) Stephen Fagan who had seen my previous film at a festival. He just said \u201cDo you want to make a film? We&#8217;ll have enough people help you.\u201d So I was like, \u201cOf course!\u201d.<\/p>\n<p dir=\"ltr\">We had eight weeks of production to actually make it, with about three or four weeks before that to come up with an idea. It was a really good experience.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><strong>Was <em>Tuna<\/em> also made with a team or was that a new experience?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">For <em>Tuna<\/em> I worked on every part of the process myself and I had one animator Cian Hughes also helping me full-time, so the animation was split between the two of us. There were a few other helpers along the way too for a bit of animation or colouring. But yeah, very different experiences, for <em>Wet &amp; Soppy<\/em> there were 13 people. So it was definitely more of a directing role.<\/p>\n<\/blockquote>\n<p><iframe loading=\"lazy\" title=\"TUNA\" src=\"https:\/\/player.vimeo.com\/video\/339633940?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe><\/p>\n<p dir=\"ltr\"><strong>Were you able to muck in on some of the animation for <em>Wet &amp; Soppy<\/em>?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">Yeah, I animated a shot or two, and then before we started I did the character designs and was touching everything throughout, like key posing and colour scripts. So it was a bit of both.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><strong>Something that struck me in particular about the film was the design work, I\u2019d be interested in hearing about some of your influences and processes when it comes to that.<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">For this I needed to be clear on what I wanted, because I knew I only had a certain amount of time. From the beginning I was looking at illustration rather than animation, how each shot could almost be a moving still; I really like it when things hit a pose and stay there. I had gotten a book on the Chicago Imagists, who were an amazing 1960s group of artists. I was looking at 60s illustrations, Seymour Chwast and <em>Yellow Submarine<\/em>, as the inspirations for that.<\/p>\n<\/blockquote>\n<div id=\"attachment_40135\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/wetsoppy_headdesigns.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-40135\" class=\" wp-image-40135\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/wetsoppy_headdesigns-592x600.jpg\" alt=\"\" width=\"500\" height=\"507\" \/><\/a><p id=\"caption-attachment-40135\" class=\"wp-caption-text\">Designs for <em>Wet &amp; Soppy<\/em><\/p><\/div>\n<p dir=\"ltr\"><strong>Going back to the animation side of things, can you talk a bit about what having a full team at your disposal brought to the table?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">Each step of the process overlapped with the next. There were four animators and me, we were using TV Paint for everything, that&#8217;s what I usually exclusively use. We had them for about five weeks, so I did all the keys first. It was set up in a way where I had very clear key poses because it was so illustrated. The shots were divided evenly, which was the same with all the other areas; each person was taking a chunk of the story to storyboard or a section of backgrounds or comp to complete. We had a studio space and equipment as part of the scheme. So it was great, we were all actually in the building together, just working back and forth between ourselves.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><strong>Having made two films in relatively quick succession, are they both doing the rounds at festivals? Or has that kind of slowed down because of the current situation?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">I keep thinking <em>Tuna<\/em> is at the end when I&#8217;ll get an email from another festival. It was recently at La Guarimba in Italy. <em>Wet &amp; Soppy<\/em> has just started with its festival premiere in Ireland, so that\u2019s just at the beginning. You finish one, start the other.<\/p>\n<\/blockquote>\n<div id=\"attachment_40136\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/concepts_wetsoppy.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-40136\" class=\"size-medium wp-image-40136\" src=\"https:\/\/www.skwigly.co.uk\/wp-content\/uploads\/2020\/09\/concepts_wetsoppy-600x300.png\" alt=\"\" width=\"600\" height=\"300\" \/><\/a><p id=\"caption-attachment-40136\" class=\"wp-caption-text\"><em>Wet &amp; Soppy<\/em> concept sketches<\/p><\/div>\n<p dir=\"ltr\"><strong>You mentioned before that your favorite &#8211; or first choice &#8211; software was TV Paint. Are there any particular advantages to that setup?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">I guess it feels closest to drawing on paper, because everything I do always starts with thumbnails or sketchbook work. In college we learned flash as well but I guess I&#8217;m just more drawn to the hand drawn process than the rigged process.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><strong>Is there anything you&#8217;re working on at the moment or you have coming up?<\/strong><\/p>\n<blockquote>\n<p dir=\"ltr\">I just finished directing a music video for a friend, which was mainly by myself and I had one other animator helping for a bit. I was working on that for probably a year, kind of on the side of everything that was happening. That was really great because I was given the music to start with, so it\u2019s like almost a flip side of filmmaking. It\u2019s due to be coming out at the end of September.<\/p>\n<\/blockquote>\n<p dir=\"ltr\"><em><strong>See more of Cliona Noonan&#8217;s work at <a href=\"https:\/\/clionanoonan.com\/\">clionanoonan.com<\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Industry up-and-comer Cliona Noonan&#8216;s first professional film Wet &amp; Soppy, produced as part of Animation Skillnet&#8216;s Animation Studio Lab programme, was recently released online in full, quickly earning itself a Vimeo Staff Pick. On the heels of her graduation film Tuna, which did the rounds at events including ITFS Stuttgart, BFI Future Film Festival and [&hellip;]<\/p>\n","protected":false},"author":114,"featured_media":40137,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[755,5944],"tags":[6749,6751,6745,7581,6750,6747,6748,6746],"class_list":["post-40134","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","category-women-in-animation","tag-animation-skillnet","tag-cian-hughes","tag-cliona-noonan","tag-encounters-2021","tag-stephen-fagan","tag-tuna","tag-tv-paint","tag-wet-soppy"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Q&amp;A with Cliona Noonan (&#039;Wet &amp; 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