Such wet markets were a hot topic especially at the time due to the rising pandemic, but the interviewee’s attachment to the pandemic was the opposite of fear. Marcie decided on this colour early on when designing the frames for one of the central dreams a dream about BDSM in a Chinese wet market.
The animator decided on three colour palettes, uniting them with a “deep Jungian red” hinting the psychological undertones of the research. The discovery shaped the narrative arc, and the narrative arc shaped the way I decided to colour and illustrate our film.” “But more importantly,” says Marcie, “we found that a lot of people were dreaming about intimacy in direct response to stress. Funny and arbitrary symbols arose from the interviews demonstrating this – lizards, K-pop celebrities and the apocalypse cropping up in the midst.
Initially, the creators went into production thinking the film would express society’s collective unconscious going through this moment in history, capturing this unique and intangible period. When it came to the overarching narrative of the short however, the choice wasn’t so simple. “I wanted the characters to look simple and relatable since dreams are often strange and unrelatable,” she adds. Collaborating closely with composer Hinako Omori, Marcie’s accessible and playful visuals are elevated by her sound effects. Working on the film for the next few months on evenings and weekends, the film was finally finished come January 2021. But upon accepting “my scanner is terrible and slow” she had to think of another idea, instead, using a sketchy pencil tool on her iPad. “I made a storyboard first, then once I’d settled on a style I started animating,” she tells It's Nice That.Īt first, Marcie wanted to create the animation using only the printing and scanning process. Herself and Stevie spent the summer of 2020 collecting interviews and writing a script before handing over the creative reigns to Marcie, who started on the visuals. Meghan was the first to bring up the idea having read a few articles about people having “weird pandemic dreams”. Marcie began working on the film last spring with her friends Meghan McDonough and Stevie Borrello, both video journalists who worked with Marcie at the media company Quartz. Titled Invisible Monsters and Tomato Soup, the five-and-a-half minute short sees 20 people share their vivid Covid-19 dreams. Recently, the New York-based animator created a new short for The New Yorker. Using her experience in the industry, she's learnt to tailor her work to whatever story she's working on, a skill that's now translated to her motion graphics work. Motion graphics designer Marcie LaCerte has a background in journalism, and it shows.
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