Interviews
Aisling Franciosi Talks ‘Stopmotion’, Meat Puppets, and Her Relationship with Horror [Interview]
Up next from actress Aisling Franciosi (The Nightingale, Last Voyage of the Demeter) is the horror movie Stopmotion, which sees an artist fighting for her sanity with her morbid creations.
Stopmotion releases in theaters on February 23 before heading to Shudder on May 31, 2024.
Directed by Robert Morgan, the film stars Franciosi as Ella Blake, “a stop-motion animator who is struggling to control her demons after the loss of her overbearing mother. Suddenly alone in the world, she embarks upon the creation of a macabre new puppet film, which soon becomes the battleground for her sanity. As Ella’s mind starts to fracture, the characters in her animated film take on a terrifying life of their own, and the unleashed power of her imagination threatens to destroy her.”
Bloody Disgusting spoke with Aisling Franciosi about her role in Stopmotion and her relationship with the genre. What draws her to horror and the intense roles she often plays?
Franciosi answers, “I really appreciate horror, but unfortunately I’m an absolute scaredy-cat. While I do watch them, because I think that there’s a lot of exciting movie making happening in the genre, I am terrified while doing it. It’s not like I enjoy the experience. I’m not one of those people who loves the feeling of being terrified, weirdly. I actually far prefer being in them than watching them to be honest. In terms of how I came to be in these kind of intense roles, I ask myself that often because I’ve had the best time playing them. I really feel lucky with the characters I’ve been able to play.”
“But I think sometimes when you start off one category, I guess, people think of you for a certain type of role and sometimes only a certain type of role,” she continues. “I mean, I do take it as a compliment in that I think, okay, well clearly they must think that I can do this, but sometimes I think I would like to be in something that brings people joy as well, that would be fun to experience too. But that is not to say that I don’t love playing these darker roles. They’re incredibly satisfying, and I’ve gotten so much from them. And to be honest, I think it’s kind of fun because I don’t think I’m like them at all. It’s nice to step inside the shoes of these characters that live kind of to the extremes of their feelings and their emotions.”
Stopmotion spends the entire runtime with Ella as she attempts to bring her dark stop-motion animated feature to life, bringing with her a life’s worth of experience thanks to her overbearing mother. The actor playing her, however, learned more about the process from director Robert Morgan.
She explains, “I was aware of what stop-motion animation was on the most basic level. I knew how it worked, but I didn’t realize just how tiny the movements are. Rob [Morgan] let me try. He gave me some pointers and lessons, and it was actually great to be able to try because I really enjoyed it. I really enjoyed the tiny movements and how it feels like you’re not really getting anything done and then you hit play and suddenly this character starts moving. But wow, it is painstaking work, and one wrong movement by two millimeters can ruin something that you’re trying to do. I really had an appreciation just for how laser focused and how obsessed with it you have to be. But I can also see how it has a meditative quality to it and how you can get sucked into these strange time warps and not really know exactly how much time you’ve spent on it. I think it’s a really cool art form.”
Franciosi adds, “I spent a couple of hours on different occasions just doing it. I moved an armature. I did my first one with an armature, and then I did another one with one of Rob’s first ever puppets. That was fun. I did say to him, ‘Do you need physical therapy?’ Because I can imagine that if you spend weeks hunched over like this. I mean, for me, I was able to obviously take breaks, but sometimes even I would be like, I really need to stretch after this. I can’t imagine. I’m sure part of it is because I wasn’t used to it, but I can imagine how it would be physically pretty demanding. But yeah, it was great to be able to have someone obviously who knows the art form so well be able to guide me in the right direction.”
Aisling Franciosi and Caoilinn Springall in Robert Morgan’s STOPMOTION. Photo Credit: Courtesy of Samuel Dole. An IFC Films and Shudder release.
Of course, learning the ropes of stop-motion animation looks and feels a little different on a film like Stopmotion, whose puppets are eerie creatures made of meat and mortician’s wax. Franciosi reveals to Bloody Disgusting how it felt to animate them on screen, giving a peek behind the filmmaking curtain in the process.
“They don’t feel great, I have to say. But that helps with the whole, yeah. It really helps you get into the scene, I guess. I mean, they weren’t really made of meat, but they did such a good job. But she was covered in like KY Jelly, and so was The Ash Man, and he covered the man in ash. Yeah, if you’re not someone who enjoys weird tactile sensations, it was interesting, to say the least. But they look so great and creepy, and she’s kind of cute but also terrifying. And then, of course, The Ash Man was not a puppet. That was a real costume that they just put on top of the actor, James Swanton.”
Luckily, much of the stop-motion animation was shot on a matching set and composited onto the live-action scenes, giving Franciosi a bit of a reprieve from the meat puppets tormenting her character. She explains, “I had the puppets there in front of me whenever I was doing the animation work on screen. The only time I remember really where they weren’t there was in the bedroom scene where she’s having a nightmare. Then my reactions are to just an eyeline that I was imagining. But yeah, they did some animation at the same time at the same stage. Then afterward, after the shoot, Rob did six weeks of hardcore animation.”
Photo Credit: Courtesy of Samuel Dole. An IFC Films and Shudder release.
While Franciosi fully committed to studying the technical aspects of her character’s vocation, she also brings the emotional intensity in spades. Ella’s journey took Franciosi to some wild places psychologically, with one key scene that’s sure to leave viewers in as much shock as it left the actor.
She shares, “I would say there’s a moment at the climax of the movie when I was like, ‘What am I doing? What are we doing?’ And again, when you’re shooting, I’ve said this before, but it sounds completely disingenuous, but I promise you it is true. When I’m working, especially if it’s so back to back, I kind of forget that it’s going to be done and dusted, and then people are going to see it at one point, and then when I finish, I’m kind of tortured by the thoughts of what I could have done differently because I don’t think about how the audience is going to perceive it while I’m working. Then once I wrap, I’m like, ‘Oh no, maybe I should have done this differently, or maybe I should’ve done that differently, and what’s the audience going to think here?’ But obviously, on that day on set, that’s what we had to do. We had to get the job done, and it was pretty queasy-inducing, I’m sure. But I didn’t kind of register that until I saw it on screen with other people, and I was like, yeah, this is pretty weird.
“That was the real moment where I was like, wow. Yeah, she’s a character.”
Nothing is the same when two crewmates return to shore in Rose of Nevada, the latest by Enys Men filmmaker Mark Jenkin.
Time and reality blur for stars George Mackay (Wolf, 1917) and Callum Turner (Green Room, “Neuromancer”) in the hallucinatory time travel mystery releasing in New York and Los Angeles theaters on June 19, 2026.
But this isn’t your standard time travel movie.
Rose of Nevada bends time and genre in its exploration of Cornish identity and community, upending the lives of Nick (MacKay) and Liam (Turner). There’s a listless, dreamy quality to the time travel, and for inspired reason: Jenkin approaches it like a haunting.
While time travel was on his mind early in the writing process, Jenkin’s partner and collaborator asked a question that unlocked Rose of Nevada and inspired the filmmaker.
Jenkin explains, “I remember saying to Mary [Woodvine], my partner, who’s in the film, I said to her, ‘God, it really seems like I’ve fallen into this thing of either making films about ghosts or films about time travel,’ and then she said to me, ‘Yeah, but aren’t all ghost stories just time travel films, and aren’t all time travel films just ghost stories?’ And then I thought, ‘Oh, great. So I’m not making two types of films. I’m actually always making one type of film.’ But that was ultimately liberating because I thought there’s a nice gap or a crossover in the perception of genres, there’s a lot of room to play and to be free within that.”
“Once I’d abandoned the idea that I was going to master quantum physics in any academic sense,” the filmmaker continues, “It was incredibly freeing because I thought, ‘Well, I can just set my own rules here,’ and it really doesn’t matter what the rules are as long as you stick to them. You can’t bend them for the sake of the plot or for the sake of a character arc or something. You have to establish those rules upfront and stick to them, which made me really think I’ve got to limit the time travel element. This film can’t be about time travel.“
Bearing the brunt of the time travel disruption is Mackay’s Nick, a man struggling to support his family before the ill-fated voyage upends his entire world. It’s the type of role that was an easy yes for the actor, simply because of the filmmaker behind it.
“I saw Bait at the cinema when it was first out a few years ago and was so struck by it,” Mackay tells BD. “I just hadn’t seen a film like it. I want to work with the best directors. I want to work with the best directors and people who have a singular vision. As an actor, the process of work is almost my biggest draw, as well as what a story’s saying, but I think you learn by doing, and if I can do my bit in as many different ways as possible. The physicality and the discipline of Mark’s filmmaking, how that is so entwined in the DNA of the film, and therefore in the way that I work within it, that was the biggest draw. I’m just a fan of Mark’s. I was just very pleased to be involved.”
That reflects in Rose of Nevada‘s unique casting; Mackay initially was eyed for Liam.
“When I first got the call to meet Mark at the audition stage,” Mackay said, “We didn’t wind up reading scenes, but they said, ‘There’s a project. There are two roles in it that you could be right for, and Mark is leaning towards you for Liam.’ So, I had a look at Liam, Callum’s role, and had my interpretation of the script ready to talk about it and what I thought that character was, who he was, and how I’m thinking about how I might inhabit that or what I saw in him. And when we met, we didn’t talk about the film at all. We spoke about everything else. But following that meeting, I got the message, said, ‘Mark would like you to be part of the film, but he thinks you’re definitely more of a Nick,’ which I think I just may be a complete sheep because I went, ‘Of course I’m Nick.’
Mackay continued, “But it’s funny, I do have in my own life, I just started a family, and so much of my last few years of being has been trying to figure that balance and what that means and how you navigate that. So with family being at its core and all the kind of conundrums that come with staying level with that, that rang true. So I felt like I understood objectively, I have my interpretations of what both men mean to each other and within the story, but then once I was playing Nick, I just became about a very present focus on who he was and what his situation was. What I liked about him is that he’s a very straightforward bloke. In the best possible way, he’s quite a simple man. It’s just he’s in an extraordinary situation.”
Jenkin wrote Rose of Nevada during the pandemic lockdown that had forced a halt in production on Enys Men. He’d return to rewrite once Enys Men had been completed, creating overlap between films. “They are even more in conversation than you’d think because the first draft of Rose of Nevada was before I’d made Enys Men, and then everything I learned through the making of Enys Men, I fed into Rose of Nevada. But also the reaction to Enys Men, all the critics and writers and audience members who are telling me what Enys Men was about. I’m always the last to realize what I’ve done, I think like most filmmakers. You don’t really know what you’ve made a film about until the audience tells you. I was able to feed that into Rose of Nevada and also scale it up a little bit. So, yeah, in some ways it predates Enys Men, and in some ways it follows on from it,” he said.
Jenkin’s latest caps what’s unofficially been dubbed his Cornish trilogy, a moniker that initially surprised the filmmaker, but he’s come to embrace it. A recent revisit of Bait made it even clearer. “I can now understand why people are linking the three films together. I’d forgotten how linked they are, which is amazing, really, considering the first draft of Bait was written in 1999. So, most of my adult life has been one way or another making this trilogy. I am quite looking forward to starting the next chapter.”
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