Hello Reader 👋

Ten days.
That’s all that’s left before we head back to France.
And today, we’re checking into our very last hotel of the trip — number thirteen. (Yes, thirteen! When I think about how many times we’ve packed and unpacked these past two months, it feels a little insane.)

By the way, if you ever plan a trip to Bali, don’t hesitate to write me an email. I’ve already shared our full itinerary and tips with a couple of friends — what to see, what to skip — and it turned out to be super helpful. Always nice to have some insider notes before you go. 🌴

Now, as much as I’ve loved these weeks in Bali, I can feel myself getting excited for what’s waiting on the other side — the projects, the momentum, and the big creative year ahead.

Financially, I’m still on the verge. Not quite “comfortable” yet, but at the very first rung of the ladder — ready to climb. Securing a big client has given me peace of mind and stability, but it’s still just the beginning. From here, it’s about building step by step, until Animator NOW becomes strong enough to stand on its own.

My number one focus when we’re back? Finishing the Animation Mastery courses. I don’t want to open the Animator NOW community to the public until there’s enough valuable content inside. That’s my top priority.

Beyond that, this year is all about building systems. What I mean by that is SOPs — “standard of procedures,” which is really just the formal name for pipelines. Clear, repeatable steps that let you go from A to B without reinventing the wheel each time. With automation tools, with better organization, with less wasted energy.

And then, there’s this newsletter — we’ll be redesigning it and trying to reach more people. Sharing it further. Making sure more animators join us here every Sunday.

One thing I won’t be doing this year? Teaching. Last year, I drained myself in teaching across so many schools, and while it was valuable, it was also exhausting. Those long train rides to Bordeaux nearly broke me. This year is about building — not burning out.

So the plan is clear: healthier routines, more surfing, more gym, better cooking, and a life where balance fuels creativity. Last year was chaos. This year, I want alignment. That’s when I create my best work.

And I can’t wait to bring that energy back to France. 🇫🇷

So here we are: almost the last newsletter of the Summer Edition.
Let’s dive in.

Ok guys, I'm blown away.
It’s been a long time since I’ve watched a stop-motion film that truly blew me away like this. The last time I felt this level of impact was with Negative Space — a short that still lingers with me today. But Good Intentions hit me on so many levels, both technically and emotionally.

​

First, the animation itself is exquisite. The movement is smooth, precise, and full of weight — I’d bet it’s animated on 24 frames per second, which is no small feat in stop-motion. The arcs flow beautifully, the gestures feel alive, and what I love most is how it all disappears into the story. You’re not distracted by the “look at me” smoothness — you’re immersed in the world.

The acting is also top-notch. No dialogue, no words — just expressions, body language, and subtle choices that carry so much weight. The cinematography pulls you right in: angles, framing, lighting, composition — every shot feels deliberate, almost cinematic in how it builds tension.

And the story? It’s a small thriller, but one that stays with you. A young woman is responsible for a car accident. She escapes the scene, but guilt follows her everywhere — gnawing at her, twisting her perception, until strange and unsettling things begin to happen. It’s about responsibility, guilt, and those impossible moments where good intentions collide with human weakness.

One detail I can’t get out of my head: the supermarket scene. Just look at the shelves. Every product, every tiny detail is crafted with such care — it’s an entire world, alive with texture. That kind of craftsmanship is rare.

Good Intentions (2018) is an eight-minute stop-motion short, directed by Anna Mantzaris as her graduation film at the Royal College of Art. And honestly? It’s easily in my top five stop-motion shorts I’ve ever seen.
​
You’ll probably see more Anna Mantzaris films in the future in this newsletter. I just discovered she’s an animation director and director at Passion Pictures and has directed many other short films prior to this one.

PS: Some links in the newsletter are affiliate links.😊
​PSS: Was this forwarded to you? 👉 Subscribe here​
​PSSS: Loving this newsletter? Buy me a coffee to say thanks! 🤗

Hit reply any time! I love hearing from you 😊 and I reply to every single email.

​Come say hi 👋 on LinkedIn​