Marc Reisbig puts the bounce back into a downtrodden bunny
Produced by Bacon and made with Oslo agency ANTI, A Spoonful of Life is the sweet story of childhood friendship, magically realised with some lovely puppetry.
Credits
powered by- Agency Anti/Oslo
- Production Company Bacon
- Director Marc Reisbig
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Credits
powered by- Agency Anti/Oslo
- Production Company Bacon
- Director Marc Reisbig
- Creative Per Erik Jarl
- Creative Christian Hygen
- Producer Linn Engen
- Executive Producer Magne Lyngner
- Producer Rebekka Rognoy
- DP Fredrik Backar
- Production Designer Anderson Noise
- Post Producer Oystein Dyb
- Editor Henrik Dyb Zwart
- VFX Ola Jacob Nestande
- VFX Erik Teigland
- Post Coordinator Markus Tangre
Credits
powered by- Agency Anti/Oslo
- Production Company Bacon
- Director Marc Reisbig
- Creative Per Erik Jarl
- Creative Christian Hygen
- Producer Linn Engen
- Executive Producer Magne Lyngner
- Producer Rebekka Rognoy
- DP Fredrik Backar
- Production Designer Anderson Noise
- Post Producer Oystein Dyb
- Editor Henrik Dyb Zwart
- VFX Ola Jacob Nestande
- VFX Erik Teigland
- Post Coordinator Markus Tangre
A wise witch once sang that a spoonful of sugar helps the medicine go down, and that's certainly the case in this sweetly constructed and charming tale of a young girl's plush buddy.
Extolling the virtues of Møllers Tran cod liver oil, A Spoonful of Life sees our plucky heroine dose up a scrappy bunny with the elixir, magically embueing it with motion and character.
Produced through Bacon with Oslo agency ANTI, director Marc Reisbig's masterstroke is the use of puppetry over CGI to create its mascot; the motion and command of which fills the screen with charm.
“We wanted to use a real puppet from the get-go," Reisbig explains. "Using practical effects instead of CGI made it easier for our little hero to interact with her bunny co-star, and we thought this would add both charm and make the scenes more realistic.
"We originally had a plan to use post to enhance the expressions in the face of the bunny and do some of the more difficult sequences fully CGI, but we hardly ended up using it at all in the end since the puppet (and the puppeteers) did such an excellent job.”