Where Credit's Due

Well, the film is done. While there may be more alternate versions on the horizon, "House Guest" as I had envisioned it is now a fully-formed reality. In some areas it's a little less fancy than I expected, in others it's a little more. Better or worse though, it's finished. For now.
So I'd like to take the time to personally (well, sort of impersonally given it's an entry in a weblog) thank everybody who made a contribution.
First and foremost, my course leader Chris Webster whose advice, support and encouragement got the film started and kept my own interest in it alive.

Of course it goes without saying that Joanna Hepworth was a vital contributor, spending countless hours cleaning up, inking in, colouring, animating and generally making the studio a more pleasant place to be. Without her selflessness I honestly believe I would not have finished on time, if at all.

Two of the most important people to the film's development before production even began were screenwriting students Hanna Merilainen and Verity Ross-Smith. Both of whom went through the original script and helped me filter out the waffle, of which there was plenty. Actually, it was about 70% waffle which would've made the film about 50 minutes long. They were harsh but fair.

My old Cheltenham College paisan Tom Bower did a fantastic job as the voice of the Duck, as did my thespian sister Erica who took on the Prospective Lay. Both of them injected more flavour and personality into the characters than I could have hoped for.
As well as Jo, there were several others who weighed in here and there to do some of the duller stuff, such as colouring and clean-up. Many thanks go to everybody who was able to spare the time:

Vibeke Cleaverly

Cari Merryman

Veronika Broscheid

Rita Sampaio

Annalena Müller

Michael Rokes

Sarah Lawrence

Helen Shaw

There were also a number of altruists and advisors who were valuable to the film's completion. Rachel Robinson from UWE, whose candour was vital during the early months of production when my approach was a distinctly more limited one. Her advice inspired me to strike a fairer balance between economic and full animation.

Mary Murphy, also from UWE and one of its true unsung heroes. Probably the best person for technical support and advice with a truly laudable no-BS policy.

Philippe Vaucher, who left Bristol last year to work in Quebec, selling me my beautiful lightbox Molly. Obviously without her there'd be no film at all. It is a little troubling that I've named my lightbox and decided it's a she, but that's just one little tile in the vast mosaic of my idiosyncrasies.

Special mention has to go to the many baristas of Bristol, especially the ones who worked in Caffè Neros. Over the course of the film's production I managed to see about five generations of staff come and go from one specific branch, including that incredibly hot, tall, bald German one who wore shirt buttons as earrings. Pretty much everyone who had to serve me coffee after coffee after coffee did so affably and having the café to go to as an alternate work environment was a real boone at times.

Finally, the man who got me through the most tedious times during production, although he could not have known it, was radio host Adam Carolla. Happening upon his show by chance back in September, I found him instantly endearing through his natural delivery and outlook on the world and mankind. Whether listening to the current morning show during the week or old episodes of Loveline on the weekend, having a backdrop against which I'd scan, colour and compile ad nauseum made the work immeasurably more bearable. Also thanks to his co-hosts Teresa Strasser, Bryan Bishop and the genius Dr. Drew Pinsky.

One of my larger fears when I began working on the film was that it would wind up being a solitary and lonely experience. In reality it was anything but, and I am deeply grateful to my friends and associates whose names bulk up the credits for making an effort, be it small or large, and for no other reason than 'just because'.
It is a nice feeling.