Sara Caldwell: Handcrafted Worlds with Heart and Fear
Sara Caldwell is no stranger to both the classroom and the animation studio. In addition to writing and directing independent projects, she teaches film production and animation courses at UC Santa Barbara and College of the Canyons. She is also the author of several books, including a forthcoming edition of Splatter Flicks: How to Make Low Budget Horror Films, set for release in 2025.
Building the Story, Then Letting It Shift
Sara’s creative process starts with a clear concept, followed by deep character building and storyboarding. But as a stop motion artist, she is constantly adapting. “A lot changes once sets are built and I can manipulate the puppets in the physical space,” she explains. “I’m always modifying as I go.”
Stories That Speak Through Simplicity
While stop motion is becoming more rare, Sara embraces its tactile nature. Her stories are often grounded in realism, with no special effects added unless absolutely necessary. “There are no effects in The Red Forest, for example,” she says. Her work frequently centers on young female characters facing their fears, a thematic thread that brings quiet strength and emotional resonance to her films.
A Trusted Creative Team
Sara works with a small, dependable group of collaborators. “I have a great post-production team I collaborate with, primarily for visual effects like rig removal or lip sync,” she says. She also partners with the same editor and composer across multiple projects, creating a strong sense of continuity and trust.
Managing the Challenges, One Frame at a Time
Every animator has their unique challenges. For Sara, one of the unexpected ones is her cats. “They think my sets are new perches,” she jokes. More seriously, she admits the filming stage of stop motion is often the most difficult. “Capturing frames is really laborious and easy to put off,” she says. Her solution has been to break production into smaller goals. “That way, it’s not so overwhelming.”
A Simple Toolkit, A Rich Visual World
Sara keeps her setup minimal. She shoots with a Canon Mark IV and uses Dragonframe software and LED lighting. The tools are straightforward, but the worlds she builds with them are layered and detailed, often hinting at stories beyond the frame.
Preserving the Charm of Imperfection
In a time when technology is moving fast, Sara believes there is value in holding onto something more tactile and imperfect. “Even AI can replicate stop motion, but the real charm is in the limitations and imperfections of handcrafted puppetry,” she says. Her hope is that audiences and animators alike continue to see the warmth in handmade work.
Looking Ahead: Two New Films in the Works
Sara is currently in preproduction for two new stop motion films. One is a contemporary piece titled Reset, the other a period story called Fire and Bone. Both are designed with limited characters and locations, allowing her to focus more fully on theme and atmosphere.
Advice for Fellow Creators
Her guidance to other animators is to think beyond the set. “Imagine the world your character inhabits outside of the walls around them,” she says. “Create spaces through windows and doors. Let props and costumes hint at what lies beyond.”
To explore more of Sara’s work, visit https://www.houseofgoreyproductions.com/.