Last year started with our film The Last Job On Earth for The Guardian. That was a great project for us in terms of client, content and experience and lay the foundations for our second collaboration with them on a film for the Woodlands Trust. We also started working closely with Headspace on some new content, which meant experimenting with some fun 3D. CNN commissioned a film called Blue, which we really enjoyed making, and we got to make some fun work for Facebook’s events team, which also sparked further collaborations with them. We also really loved working with illustrator Benjy Davies on the trailer of his book The Stormwhale in Winter. It was also a great award year for us, the highlight being an Annecy Cristal for our film Modern Love for The New York Times.
When a brief comes in, we all brainstorm individually and then bring our ideas to the table. The most important thing when working as a team is to be able to push your ego to the side, and allow for the best ideas to flourish. Depending on time and schedule, one of us will take the lead on the boards, someone else on design, someone on colour exploration or production. We then pass these around so that everyone can add their voice to them and make them into a big Moth mesh! Freelancers come in at different times during production. The first people we bring in are the ones who will have a leading role in the project.
Growing as a studio obviously means we take more commercial projects on, but we always try to balance out the type of work we do. We use the resources from the commercial projects to fund the lower-budget ones that offer more creative freedom, while maintaining our ethical standards about the clients and organisations that we work for. Running a studio is effectively a learning curve; we learn from mistakes and bring that experience into the next project.