Granny’s Dancing on the Table is a story about the 13-year old girl Eini, who grows up isolated from society, living in a house in the woods with her father. The film is a mix of stop motion animation and live action. I was involved in the script development (initially meeting writer and director Hanna Sköld at a script workshop I held for Boost Hbg in Helsingborg in 2009) and I headed the transmedia development. Among other things, I took part in and co-organized the Granny Labs for our international development team, as well as securing funding for the development from, among others, New Danish Screen and the Nordic Council.
A brief introduction to our Granny-development and production:
Granny was pitched at Power to the Pixel in London in 2010 and won the ARTE Pitch Prize. I joined the project shortly after and was invited to participate in the first Granny Lab in December 2010 where the definition ‘Granniverse’ was born. At this time the project was identified as a transmedia project and received various support. New Danish Screen supported the project for the further development including a Story World Bible, which I was the main editor of. In 2011, Granny won MEDIA’s European Talent Prize for best script and the main producer and director were invited to the Cannes Film Festival to receive the award; the project also received MEDIA development support. The 2nd Granny Lab was held in June 2011 and 18 people (representing 6 nationalities) joined during 3 days in Sweden. The main goal for this Lab was to define and deepen Granniverse further. A pilot-film was shot in the Fall of that year and the transmedia project was presented at TorinoFilmLab’s Meeting Event in November 2011 (as part of the Pixel Lab selection) and at the When East Meets West (WEMW) co-production forum in Trieste, January 2012.
Hanna Sköld, the writer and director of Granny’s Dancing on the Table, has the overall artistic vision of the film- and transmedia project. Hanna Sköld is known for her unconventional way of producing and distributing her first feature Nasty Old People, which premiered end of 2009 on the front page of The Pirate Bay. She also stood at the front of the successful Granny Kickstarter campaign that we launched in May 2012, raising over $50.000, which went into producing over 20 minutes of the live-action part of the film.
Eventually, by the end of 2012, the feature film had to be postponed while the development of Grannyday, Eini’s Forest and other project elements, including the claymation continued.
In 2014 the film received production support from the Swedish Film Institute and is currently in post-production, set to premiere internationally during 2015. The aim is to premiere as widely as possible on a global scale. Pebble is attached as Danish co-producer and the film is produced by Helene Granqvist (Nordic Factory Sweden).
Granny’s Dancing on the Table
Eini is 13 years old. She grows up in the woods, isolated from society, with her father, a man who is afraid of the world, who keeps Eini very close. His biggest fear is to be left alone. He does everything he can to make her believe that the world outside and the people out there are evil, and that everything to do with sexuality and adulthood is dangerous.
His control and everyday-brutality pushes Eini to almost lose her sense of self. Her contact with and exploration of the force of nature, and her invincible fantasy enable her to create a world within from which she can draw her strength to survive, “You may kill me, but you will never own me!”.
One day, Eini knows, she has to leave.
The story about Eini’s grandmother and her twin-sister is told through animated sequences, the animated dolls allowing the story to explore fantasy and violence, through generations, conveying a state of the real and the imaginary, of the past and the present, interlocked.