Director: Kim Noce

(short clip of the film Courtesy of the National Film and Television School)

‘After’ is a documentary animation that traces the emotional journey of three people as they journey from isolation and despair to discover a newfound hope in their lives.

Clay, Paint on glass, Sculpture

Courtesy of the National Film and Television School

Director & Animator Kim Noce

Press Pack



2005 6 mins 30 secs DigiBeta/Beta SP 16:9 FHA Colour Dolby Surround

Principle Crew
Director: T. Kim Noce
Producer: Annalise Davis
Director of Photography: Matthias Hauer and Kamaljeet Negi
Editor: Benjamin Binderup
Sound Designer: Leo Sedgley
Composer: Peter Gosling
Sound Recordist: Ivor Talbot/ Adele Fletcher
Assistant animator: Ali Charmi
Kaori Hamilton

Cast/ interviewee voices: Helen Barnes
Henry Moore
Original music
Title: “After” 6 minutes Peter Gosling

The music is an original composition for the film “After” where the music itself, the sound and the voices of the interviewee are intertwined and merged into each other

Clay, Paint on glass, Sculpture, AFX composite

Short Synopsis
‘After’ is a documentary animation that traces the emotional journey of three people as they journey from isolation and despair to discover a newfound hope in their lives.

Long Synopsis

‘After’ is a documentary animation that uses the voices of three people, intertwined into one emotional journey. They begin the film feeling isolated and alone. The clay animation shows a lonely vulnerable figure, who does not know how to cope with life.

Slowly their depression deepens and turns into something more visceral. They totally reject their bodies, and move into their heads. The voices overlap and grow panicked and incomprehensible, while the clay becomes increasingly messy. Desperate, the voices try to find a way out of the world, out of the chaos in their heads, out of life itself. The clay turns into a bottle of pills being swallowed.

And suddenly the chaos and panic turns into blackness. Slowly, out of the void we begin to hear slight sounds. We hears the words ‘You either kill yourself…or you don’t.’

Slowly, very slowly, the blackness disappears, and we see flecks of gold flit across the screen. The voices talk about beginning to find hope, as the animation turns into paint on glass: red and gold images becoming more fluid and more peaceful.

Finally, the voices talk about coming out of that very dark place and approaching life from a new, fresh perspective. They learn to accept who they are and stop looking for the dark in everything. The paint on glass turns into a warm, vibrant gold clay sculpture. We see fragments of a gold person as it slowly comes together to become a whole human being. The music swells as the voices become increasingly optimistic, talking about finally having hope and finding enjoyment in life. The final image is of a gold face staring into the camera.

Production Notes

Kim, the animation director, had thought about doing a documentary animation for some time. She was interested in exploring the experiences of people who had been suicidal but got over it. When she teamed up with Annalise, her producer, she had an idea of the sort of people she wanted to interview in order to get this emotional journey.

Our first step was to find the right people to be interviewed. This proved very difficult and took some months. We advertised on websites, through counselling centres and word of mouth, none of which gave a response. Eventually the most successful route was when we asked the local newspaper to do an article on the film, asking people in the area if they would like to be interviewed. This got a good response and in the end Kim was able to interview four people.

These interviews gave us hours of sound footage. We went through each of the interviews and tried to come up with similarities and consistencies between the emotional journeys. The key to this film was in finding the universal journey that they had all experienced - this film was always about one emotional journey, not three separate ones.

Slowly, as we became more familiar with the material, we started to find a structure and similarity within the interviews. They could be divided into four ‘sections’ – initial feelings of isolation, leading to desperation and suicide. Then there was a ‘bridge’ between the suicidal thoughts and the beginning of recovery, finally leading to a new, hopeful ending. Not perfection, not total happiness, but an understanding and acceptance of who they were. We wrote out a two-page outline, which used sentences from the interviews to tell the emotional journey of the film.

Once we had these four sections, we asked each member of the production team to come up with some kind of material for each section. Peter the composer wrote some music, Leo the sound designer some sounds, Kim some images, and Annalise wrote four pieces about the emotional part of these sections. Even though none of the team had a direct personal relationship to the interviewee’s experiences, it was important to us that the film was something everyone could relate to: it should not just be a film about and for suicidal people. Therefore, all our emotional responses to the material were valid and relevant.

After that Kim and Benjamin, the editor, cut the voices into a four-minute soundtrack, which Kim could animate to. Then, finally, it was time for Kim to start animating. She used three different techniques: paint on glass, clay (both under the rostrum camera), and 3-D clay sculpture. We had various setbacks along the way (flares on the rushes, ten days material lost!), but by the end of the animation period we had several minutes of absolutely fantastic, stunningly beautiful and unique rushes.

The postproduction period proved to be a time of exploration and discovery. Because there was no script, no animatic, and even the soundtrack was a rough one, everything could – and was – changed. Each step along the way was an experiment in finding out how much we could and could not say in order to tell the story without being at all explicit. It was vital that we did not mention up front that the film was about suicidal people – we felt this would emotionally distance an audience and make them think it was about something they could not relate to. In the end we were all surprised by how explicit we needed to be in order for an audience to understand that the film was about suicide.


Director: Kim Noce (20/06/1973)

UIP Scholarship
After graduating from the University of Art in Italy, Kim exhibited her work in several galleries across Europe, mixing different medias (from photography to installation, painting, sculpture and video). She then moved to London and worked as an animator, editor and production designer on a number of small independent productions (selected in several international festivals including Cannes, Clermont Ferrand and Edinburgh).

Combining her eclectic skills and interests Kim then moved towards Animation, and Documentary. This “marriage” created Kim’s graduation film “After”; an animation-documentary that explores the power of sound, music and voices on traditional techniques including clay and paint on glass

Kim has recently been selected for the prestigious Air Scheme, a project founded by Channel 4 to produce her next film in 2006. She is interested in pushing her boundaries and curiosity yet further into commercials, pop promos and any other form of moving images.


2002, Director- Animator; The whole of Amaranth
2001, Co-Production Designer ; Look of Happiness Cannes,
Clermont Ferrand,
2001 Co- Animator; The Belly of the Whale
2003 Assistant animator; The Metempsychosis of Objects Edinburg


2003, Director- Animator; In the middle
2003 Director- Animator; Magpie Castelli Anmati,


Producer: Annalise Davis

Before attending the National Film and Television School Annalise Davis worked for years at a Business Communications Agency as a producer of videos, websites and corporate events. Originally from Berkshire, she completed a BA in Philosophy and Film, Television and Media Studies at the University of Auckland in New Zealand.

Editor: Benjamin Binderup

Before being accepted at NFTS, Benjamin Binderup was based in Copenhagen as a freelance editor. He worked for a wide range of Scandinavian production companies and has edited acclaimed commercials and promos.

Cinematography: Matthias Hauer

Born and raised in Austria, and initially coming from a still photography background, Matt received cinematographic educations at New York University, the University of Southern California before coming to the National Film and Television School. So far, Matt’s work as a cinematographer has included documentaries, shorts, pop promos, commercials and one feature film. His films have shown in film industries in France, Spain, Austria, the UK, Italy and the United States.

Director of Photography: Kamaljeet Negi

After a degree in Political Science and while completing study in law, Kamaljeet started work as a researcher for a news and current affairs weekly tv programme in New Delhi. He picked up the mic as a reporter for a short while. His knack for the visual aesthetics led to the camera, to project the socio-political conditons of human life. Since 1997, he has worked as a freelance cameraperson shooting for production houses in India, US, Spain and Germany, on a variety of interesting projects ranging from investigative documentary to single shot 23 minute corporate documentaries. He trained in Steadicam operation at IFTW Maine in 1997 then attended a year long training in Cinematography at the Polish National Film School in 2001-02 before joining the Masters programme specialising in Cinematography at the NFTS in UK.

Composer: Peter Gosling

Born in Kent in 1977, Peter played piano from an early age, later taking up the clarinet as well as writing his first pieces. He studied composition with Malcolm Lipkin from 1993, and in 1995 was offered a place at the Guildhall School of Music and Drama to study composition with Simon Bainbridge.

Whilst at Guildhall, Peter also studied conducting, and has since directed a number of concerts with repertoire ranging from Mozart to Stravinsky. His own music has been performed at the Wigmore Hall and the National Portrait Gallery, whilst a collaboration with the choreographer Clare Parker was premiered at The Place in London.

In 2003, Peter was offered a place at the National Film and Television School, with a Scholarship from the David Lean Foundation, to study film music. He has recently been awarded another scholarship from the Performing Rights Society.

After Dialogue Script


You can’t stop the way you feel.

I can’t stop who I am.

(‘After’ title) (Clay)

It was the darkest period. I couldn’t see a way out.

The body didn’t exist at all. It was like I lived in my head.

(whispered) I don’t want to talk about it. I don’t want to talk about it. I don’t want to talk about it.

(overlapping with above) In my head. In my head. In my head.

I was frightened. I was fearful of everything. It was like a constant scream.

Struggling to get away.

It destroyed me.

I was just a fucking mess.

It’s like a nightmare.

Round and round.

They’re only going to let you down.

Someone wanted a piece of me. Aaah. Fear.

Panicking. Shaking.

Not eating, not sleeping. Really really low.

I took those tablets. Plus some of the tablets.


Really, really low.

Very little control.

You couldn’t win.

What a horrible place to be.

Take me out of this fucking world. I cannot do this.

I can see myself doing it.

Thinking that was it.

(Blackness) (Paint on glass)

You do kill yourself.

Or you don’t.

I’m still here.

I don’t want it back. I don’t want hell.

Instead of feeling alone. I started to see myself.

You don’t think you’re going to get over it.

But you do.

I don’t stay where the – the darkness is.

I move out of it.

And it didn’t happen overnight. You know, it wasn’t a bang – this is a life changing thing. But slowly.

Seeing beauty in a lot of things. Just normal every day life. Just things that are meant to happen. Just normal things.

I’ve put some sense in my head.

Feeling that I’m part of life. Not just enduring it.

It’s just me. It’s what happened to me.



After - Credits


Director: T. Kim Noce
Producer: Annalise Davis
Story by: T. Kim Noce and Annalise Davis
Director of Photography: Matthias Hauer and Kamaljeet Negi
Editor: Benjamin Binderup
Sound Designer: Leo Sedgley
Composer: Peter Gosling
Sound Recordist: Ivor Talbot

After Effects Assistant: Ali Charmi

Voices: Helen Barnes
Gareth Entewhistle
Henry Moore

Scholarship Donors
British Cinematography Scholarship Trust
The David Lean Foundation
The Leverhulme Trust
Mike Francovich/Columbia Tristar Scholarship
PRS Foundation
Nordisk Film Fond

Key Partner Sponsors
British Broadcasting Corporation
Channel 5 Broadcasting
Channel 4 Television
The CIC/UCI Charitable Trust
Discovery Communications Europe
The Film Distributors’ Association
The ITV Companies
United International Pictures
Warner Bros

Key Partner Funders
The Department for Culture, Media and Sport
PACT via the Independent Production Training Fund

© National Film and Television School 2005

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