Sketches of sets that I was going to need.

My mom draws a kitchen in AutoCad.

The kitchen-set.

My younger sisters old room, a perfect place to shoot a movie.

The carpenters built a "table".

The "table" was going to be used in several sets.

The carpenters also helped with making the kitchen-set.

Heniek & Janek, two good polish carpenters.

I'm drilling holes to make some animation-tests.

The dollhouse before renovation..

..and after.

I had two houses to choose between, but the smaller one was better.


There wasn't any wall left to put up the storyboard on, except for in the bathroom.

Every scene on the storyboard was marked with a color, indicating which set it was going to be shot on.

The first scene to be shot.

In the beginning I used two cameras to get double angles of everything.

Union Express train, excellent miniature dolly.

I read "Painting with light" by John Alton to learn how to illuminate the sets.

I made a hole in the drawer so that I could
tie the robot down to the dollhouse from inside.

The robot opens his case to get the screwdriver.

Tied down to the ground.

I built a copy of the bedroom to get the right camera-angles.

Marks after drilling holes for a "walk-path".

I used between two to four lights in each scene.

Move the robot a little bit..

..and then tie down his other foot to the set.

The sofa became my bed during the animation, 6 weeks, 7 seven days a week.

Time to shoot the 16mm-footage.

Trolle, a good DP helped out..

..he had a key to turn off lights.

The police paid a visit to make sure that we
weren't "punkrockers burning rubbish".

Runa is inspecting the dollhouse.

Runa and her dad Daniel were the actors for the evening, after a while
Runa got tired and Daniel took her home. My dad jumped in as 'the dad'.

And finally we're done for the day/night..

Filip, Trolle and his baby.

Sto.pp helped with scanning the 16mm-material.

Carl at Sto.pp knows which buttons to push.