As anticipation builds for “Wildwood,” LAIKA’s upcoming stop-motion fantasy film arriving in theaters this October, audiences are eager to step into the richly imagined world inspired by the Pacific Northwest. One of the artists helping to bring that world to life is Martin MacPherson, a set dresser at LAIKA whose work focuses on creating miniature environments that feel authentic and visually compelling.
Before joining LAIKA, MacPherson studied at Sheridan College and began his career in animation at Cuppa Coffee Studios in Toronto, where he discovered a passion for building and dressing sets.
I had the opportunity to connect with MacPherson through email. In our conversation, he shared insights on his career path, the challenges and rewards of stop-motion filmmaking, and the creative mindset that continues to inspire him after years in the industry. From hidden details to the lessons he’s learned throughout his career, Martin offers a fascinating look behind the curtain of one of animation’s most meticulous art forms.
What exactly does a set dresser do in stop-motion animation?
A set dresser for stop motion animation is like a liaison for the art department on the shooting floor. It is a multifaceted job that requires a variety of different skills, painting skills, people skills, carpentry, composition etc. Usually on a large project there will be a team of set dressers that split up the work and focus on specific sets or scenes in order to maintain consistency.
How did you first get into set dressing and working in animation?
I interned at Cuppa Coffee Studios, an animation studio in Toronto, in 2009 while attending Sheridan College. After graduation, I was hired to work on the stop-motion animated show “Glenn Martin, DDS.” It was an amazing experience where I met many interesting and talented people. I worked in the art department and quickly learned that set dressing was the most exciting role within the department.
What drew you to LAIKA specifically?
I remember gathering around a computer at Cuppa Coffee in 2009 to watch a behind-the-scenes video from “Coraline.” It looked so impressive, and standing there with so many people whom I considered incredibly talented, watching their jaws drop, was an experience that stayed with me.
What skills are most important for someone in your position?
Adaptability. Most projects will have a variety of different shots with different set ups and often a project may have different shots being animated at the same time. Being able to switch from one shot to another and then back again with ease while making sure the production continues to move forward is a valuable skill to have. Having a good eye for detail and composition is also very helpful.
How closely do you collaborate with other departments such as lighting, costume, or animation?
Very closely. Large projects are always a team effort. There is always a back and forth with lighting and set dressing taking turns with each other as well as accommodating the animator and what they are planning to do. Knowing where the animator wants to put their puppet informs the dressing so that we don’t hinder their performance.
How long does it usually take to complete or dress a single set?
It depends on the set. Usually you will spend more time on a set when you are first dressing it to develop a look and feel but as a production moves on you are generally making less adjustments and more likely just doing quality control to make sure each individual shot looks the best it can. However, every once in a while a specific shot may require some extra work and modifications to the set that is outside the norm and takes up more time.
How do you make miniature environments feel realistic and lived-in?
Making sure everything is in the same scale and style is usually the first thing you do when trying to make something look realistic. If a prop or object looks like it is breaking the style then it will usually be too distracting to leave in the frame. When trying to make something look lived in, I will imagine myself in the shoes of whoever is on screen and try to set it up in a way that feels natural to me from their point of view.
Are there any unexpected challenges people wouldn’t think about when building miniature sets?
I think one of the most important things to think about when building a set is to really think about how you personally are going to interact with it. Making sure you build it in a way that allows you to animate without bumping into things, getting yourself into a weird position or even just being able to walk away from it without the floor shifting are all factors that will help you get the most of your experience.
Where do you find inspiration for your work?
I am fortunate that a lot of work that I have done comes pre-loaded with inspiration. When making a music video I usually listen to the song on repeat and let the song be the inspiration for how I proceed. When working on “Ultra City Smiths,” the inspiration was gritty ’70s movies, like “Drugstore Cowboy” or “Serpico,” so channeling that look was the mission while dressing those sets.
Are there any artists, films, or designers who influence your style?
My friend Winston Hacking is a really great artist and director who is always innovating and forcing himself into new creative territories. I find his drive and passion to push his own artistic experience to new places to be inspiring and I’m lucky to have him as a friend. You should check out his work!
What’s one thing you wish more people understood about stop-motion filmmaking?
So much of it is just about problem-solving. How do I make this look like that? How do I stop that from moving? Why did everything shift overnight? There are so many craft-specific responses to each problem and it is always kind of exciting to learn new tricks.
Has working in stop-motion changed the way you look at everyday objects or environments?
Definitely. When you spend a lot of time trying to replicate the way something looks in reality, you start noticing lots of little details that you maybe didn’t before, and suddenly a piece of sidewalk isn’t just gray — it’s also yellow and weirdly kind of purple. There are so many invisible little details that go into every object and are integral to its appearance, but they only really reveal themselves when you’re looking at your stop-motion set and wondering why it doesn’t look right.
What keeps you inspired after working in the industry for so long?
It is just fun. The people are fun. Sharing something you made is fun. I’m grateful that I get to work in this industry because I’m aware of how much harder and uncomfortable other ways of making a living can be. I’m lucky to be where I am and appreciating that keeps me motivated.
If you could build a set for any story or universe, what would it be?
When I was in high school I read a book by Margaret Atwood called “Oryx and Crake.” I always thought that would be a pretty interesting world to explore.
What advice would you give to students interested in creative careers like yours?
I think that, especially when you are just starting out, it is more important to finish a project than it is to make it perfect. It can be really easy to dwell on all the things that could be better but it’s a lot easier to learn something after you can step away and look at it as a complete entity.
Also, it is a lot easier to make things when you are having fun and it’s a lot harder to have fun if you’re always wishing something were different. Maybe it is corny to say but it is about the journey, not the destination.
How did it feel when you eventually went from admiring LAIKA's work to actually becoming part of the studio?
At first I was pretty nervous and kind of in disbelief but there are so many cool, nice and talented people that work at LAIKA and welcomed me to the studio. It really is such a rare combination of personality and talent.
How has your artistic style or approach changed since you first started in the industry?
Well, I know how to do more things, so that is a big change. But I think overall I am just more confident when approaching a project and more collaborative overall. A big lesson I learned early on is that it’s OK to accept help when a project is beyond an individual scope. The final product almost always will differ from how I saw it in my head so keeping an open mind and being open to adding some variation and adapting to new developments is always key, especially when there is a tight deadline.
Is there a personal project you've worked on that you're especially proud of?
I’m not too big on picking favorites but I’ve always been really proud of the way the music video for Anyway Gang and their song “Big Night” turned out. I think it’s a really cool blend of live action and animation and it comes across really slick thanks to the cinematography from my good friend, Ian Carleton.
What do your personal projects allow you to express that you might not get the opportunity to explore elsewhere?
I like to try and add some level of humor and levity in my work. Sometimes the subject matter can get a bit morbid in some of the music videos I’ve worked on but I always try to add some color or brightness to bring it back around. You don’t always have that freedom when you are working within a predetermined look.
How does directing your own projects differ from contributing to a larger studio production?
There’s a lot less budget and a lot less time. However there’s also a lot more decisions for me to make. Will I involve a friend? Will I do it all myself? Will I try a new approach? So much is up in the air in those situations that there is almost a decision paralysis. I think this is where the thought process of just getting something done and not being too critical in the early stages really comes into play.
Many of the animated music videos you've directed have a very distinct visual style. How do you approach translating a song into a visual story?
I like to create an animated storyboard (or animatic) set to the music. It can be very rudimentary in style but I will try to let that form as a stream of consciousness approach while listening to the song. I try to do this quickly in order to not overthink it and then flesh out the scenes afterwards. The style will often come from my stream of consciousness approach and is not really something I am strictly aiming for as I work.
What is it about the world of Oryx and Crake that appeals to you as a set designer?
I think I liked the blend of technology and biology and the intersection of that within the atmosphere of the book. Imagining all the futuristic combinations of those two elements just feels like endless fun to me.
Looking back at your younger self, is there advice you wish someone had given you when you were first starting out?
I think it would just be the same advice, make lots of things and don’t be too critical while you’re doing it. There’s always more projects and there’s always more chances to make something fun and find your voice.
At A Glance:
Martin MacPherson
Occupation: Set Dresser for stop-motion animation
Age: 38
Hometown: Grimsby, Ontario, Canada
Education: Sheridan College, Media Arts Program
Years at LAIKA: 4
Before: Immediately before LAIKA, worked on a stop-motion TV show called “Ultra City Smiths.” Before then, worked freelance, directing music videos.
Other Interests: Guitar, drawing, playing roller hockey.
More: martinmacpherson.ca
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