Malcolm Lamont: From Corpse Bride to Foil Guy
Originally from southeast England, Malcolm Lamont grew up in the 1980s immersed in TV, comic books, and video games. Not much has changed, except that now he’s spent nearly three decades in the stop motion industry. After early work on animated television shows, his big break came with Corpse Bride, directed by Tim Burton. Since then, Malcolm has played a critical role in ten major stop motion feature films, eight of which have been nominated for the Academy Award for Best Animated Feature. He now lives in Portland, Oregon.
Story First, Always
When Malcolm frames a scene, he starts with one goal: clarity. “I always begin with whatever tells the story point most clearly,” he says. “Then I ask myself what I can do to make it more interesting or appealing, without compromising the message.” While aesthetics are important, story always leads the way.
Focusing on Fun
After years working in large-scale productions, Malcolm now finds freedom in simplicity. “In feature films, the push for technical perfection can sometimes overshadow everything else,” he explains. “I enjoy stripping it all back and focusing on appeal. It’s not about how smooth the animation is. I care more about whether it’s fun and entertaining.”
A Collaborative Approach
Malcolm believes in the power of teamwork. “The best directors are the ones who surround themselves with the best team,” he says. “A great leader knows when someone else has the best idea in the room and works to bring that idea forward. It’s about inspiring each other and building something together.”
Reclaiming the Joy
One of the biggest challenges Malcolm has faced is the pressure that comes with the feast-or-famine nature of stop motion work. “It creates this feeling that you have to be grateful just to be on a project, and that can cause a lot of stress,” he says. “Making my own projects reminds me that animation can be fun. It helps me reconnect with why I started doing this in the first place.”
Keeping It Simple
Malcolm’s setup is intentionally low-fi. He uses Dragonframe for animation, Adobe After Effects and Premiere for editing, and GarageBand for sound design. “I enjoy the creative side of sound, even if the tools are basic,” he says. It’s all about what serves the project best.
Connection Over Perfection
For Malcolm, success means making something that feels real. “I hope people connect with the tactility of my work and find it entertaining,” he shares. His short, Foil Guy, has already captured the imagination of viewers with its hand-made charm and energy.
What’s in the Works
Malcolm would be happy making Foil Guy shorts forever. “If someone paid me to do that, I’d do it in a heartbeat,” he laughs. Right now, he’s exploring ways to make content for social media that allows him to stay independent. He already has several ideas for more elaborate Foil Guy shorts and hopes to bring at least one to life soon.
Words for Fellow Animators
Malcolm encourages aspiring animators to embrace the learning curve. “You just have to start making things. They’ll probably be bad at first. Maybe the first ten things will be bad. But keep going. The people you look up to made a hundred bad things before they figured it out.”
He also recommends sharing your work online. “The stop motion community is incredibly supportive. You’re probably your own worst critic, so most of the time the feedback you get will surprise you in a good way. That kind of encouragement helps you keep going.”
A Final Note
Malcolm has a few new Foil Guy shorts in mind. They are more ambitious in both scope and story. He is open to creative partnerships to bring them to life. Interested producers or studios are welcome to reach out: @malcolmlamonster_stopmotion