‘Memoir of a Snail’ Director Reflects on ‘Gratifying’ Response From LGBTQ+ Audiences and Proclaims: ‘There Shouldn’t Even Be an Animated Category’
In a category that is often filled with animated films geared toward children and families, “Memoir of a Snail” and its themes of depression and conversion therapy immediately stand out in this year’s Best Animated Feature category. But this isn’t the first time that director Adam Elliot has found himself at the Academy Awards, with his short “Harvie Krumpet” winning 21 years ago.
Elliot notes how the success of “Harvie Krumpet” helped get “Mary & Max” off the ground, which released to critical acclaim after its 2009 Sundance premiere. On the campaign trail for “Memoir of a Snail,” Elliot finds himself back in the artistic hub of Los Angeles after 15 years, meeting agents and representatives from major studios like Netflix and Sony. “They’re all very lovely and nice but they all want me to direct one of their films,” he explains. “So far, it’s always been something for kids or something that’s very predictable. And ultimately, I just want to keep making my own films.”
More from Variety
When securing funding in Australia for “Memoir of a Snail,” an often dark but ultimately life-affirming film about two separated twins, Gracie (Sarah Snook) and Gilbert (Kodi Smit-McPhee), Elliot was often encouraged to push the envelope even more. He recalls being told to give Ken (Tony Armstrong), the neighbor that Gracie falls in love with later in the film, a fetish. “Ironically, it’s the government who pushed me and I had final cut … I don’t ever want to offend people, but I certainly want to challenge them.”
Elliot feels strongly about animation not being a genre but a medium. “In some ways, there shouldn’t even be an animation category. I’m always fighting against the notion that stop-motion is [just] for children.” Ahead of the 97th Academy Awards, Variety had the opportunity to chat with Elliot about the achievement of his film’s nomination during a time of political upheaval, his feelings on Disney’s “token” queer characters and his goal of finishing out a trilogy of feature films.
It’s been a few weeks since you found out that ‘Memoir of a Snail’ was Oscar nominated for Best Animated Feature. How are you feeling now, has it sunk in?
I’m feeling a lot of déjà vu because I went through this 21 years ago with “Harvie Krumpet” but that was in the short animation category. That was before social media, that was before campaigning became a big thing and lobbying, so things have changed dramatically. To be honest, I didn’t think “Memoir of a Snail” would get a nomination, even with all the accolades and awards and things we have been winning just because it’s been a really strong year for animation. You know, you’ve got “The Wild Robot” and “Inside Out 2.” When “Wallace and Gromit” had come out, I thought, “Oh, then how can we compete?” We’re low budget, we’re independent, we’re the only film that’s not for families, it’s for mature audiences. But I was wrong and pleasantly surprised. It’s a shame because I’m not a competitive person and I’ve always felt uncomfortable. I don’t even like board games, yet here I am in this horse race and I feel like I’m the donkey down the back. It’s all about the next project, too. So I always feel that any sort of award or trophy is about how that can help get the next film up and running.
‘Memoir of a Snail’ is the only R-rated animated feature in the category. What do you think the importance is of awarding animated films with these darker themes that aren’t necessarily geared toward children?
Not just in America but in Australia and now Europe, independent voices and marginalized groups are being silenced. Our film is all about differences and “the other” and people who are misfits in society. The big studios are terrified of having gay characters, they’ll have a token character every now and then but particularly Disney films have traditionally ignored the LGBTQ+ community. They’re much more inclusive now than they used to be. If you look back at Disney films from the ‘40s and ‘50s, they were incredibly sexist, incredibly racist. I would always argue that Disney films are really not for children because they’re sending very wrong messages. But they’ve certainly changed and will keep changing. And Disney certainly is progressive, and it knows it has to change and pivot. So at [Arenamedia] we have always tried to be a point of difference … Even agents have told me that Hollywood has to pivot and start looking outwards. I think a lot of the big studios are making stuff that’s become very formulaic and safe, and a lot of IP with “Toy Story 5,” “The Incredibles 3.” Come on, something new!
One of the themes your film tackles pretty head on is organized religion and conversion therapy. Did you face pushback about including that storyline or did people encourage you to include it?
Some of my films have tackled religion in a slight way whereas in this film, I really wanted to comment on organized religion, more so cults, and how damaging they can be to people’s psyches. I’ve had friends who’ve gone through gay conversion therapy and they’ve been extremely damaged by it. It’s ridiculous, really. It’s 2025 and it’s still legal in many countries. It’s like trying to change the color of somebody’s eyes, it’s just pointless. But it’s very cruel and it’s done by religious groups. And I was brought up with religion, I was sent to Sunday school and had some dodgy priests and so the film is really just a comment on organized religion. It’s certainly not a comment on belief or religion, per say, but groups who get together purely to exploit the congregation. That’s why in the film, I burnt the church down.
Have you been able to connect with LGBTQ+ audiences after the film’s release, and if so, how have they reacted to it?
It’s been wonderful, so many people [have reacted well] from the LGBTQ+ community but also people who relate to Grace because they have felt lonely at some point. It’s really appealing to teenagers in a positive way and as a writer, that’s really gratifying to know that the film is bringing some comfort. I wouldn’t say as a filmmaker that we save people’s lives but we can certainly make a difference in terms of validation and knowing that there are other people out there who’ve gone through these experiences. It’s all been positive. I’ve been surprised I haven’t had a death threat yet. I’ve had a few people question my jibe at Christianity and yes, the Bible’s in there and the word God is mentioned quite a lot, but it’s more of a comment on cults. Weirdly, the only death threat I ever got was after “Harvie Krumpet,” when I thanked my boyfriend at the Oscars.
You mentioned your hope for the ‘Memoir of a Snail’ Oscar nomination to help fund future projects. Have you started thinking about your next project yet?
Unlike other writers, I don’t have six other scripts in my back pocket ready to go. I finish one project and then I start on the other. Usually toward the end of each project, I start to get the kernel of an idea. For my next film, I want to make a road film. I haven’t started writing it yet. I’ve got the basic idea in my head, but I think audiences may be a bit tired of me making films about people stuck in their bedrooms in suburbia. So I still want to tell an Australian story, it’s about a character who travels across the country on a road trip, but it’s more of a psychological and philosophical journey. I want to make this trilogy of trilogies and the thing that ties the three features together is the letter writing.
When did you decide you wanted to make a trilogy of films? Has this always been the end goal?
29 years ago when I first started making these, I had a vague plan. I knew I wanted to write films about my family and friends, and then I came up with this idea of a trilogy of trilogies, which is three short films, three long short films and three features. So I’ve done the three short shorts, I’ve done two of the long shorts and two of the features. I love directors who link their films together somehow. I love that Quentin Tarantino wants to make [exactly] 10 films. I love motifs, repetition, repeating a joke, revisiting characters and having them appear in other films … I’ve only got two left and then I can retire or die.
This interview has been edited and condensed.
Best of Variety
Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
Solve the daily Crossword
