Sandwich? Stop. Motion.

OOh I could eat a sub sandwich…..


And here’s how it was made:


The money to make this film came from Nikkon who provided the camera and some very special lenses – to income generated from a Kickstarter project.  So far, PES has been funding one short film per year by making many commercials.  However, he is aiming to make more of his own creative projects, increasingly.

In conversation with Dan Sarto of Animation World Network, PES gave more insight into his film-making

DS: So what’s unique about this film? What’s Submarine Sandwich about?

PES: When I made Western Spaghetti back in 2008, it was an experiment. Until I start making a film, I really don’t know if it will work. I thought, why don’t I make a cooking film but instead of using real ingredients, everything I use will be inedible. It became one of my best known films by the way people responded online. I discovered I really liked the format, the genre of the cooking film. [Laughs] I think about eating a lot. I had a bunch of other ideas in my head that ultimately became Fresh Guacamole. I’d go into a market and think a pile of avocados really looked like grenades.

So Submarine Sandwich is about a deli slicer. A couple years ago, I stumbled upon this amazing deli slicer in the Museum of Modern Art of all places. An exhibition on industrial design had this Hobart Streamliner deli slicer sitting on a pedestal. It was beautiful. Taking inspiration from the world around me, I thought, “What would I cut in that thing? What would my meat be?”

I immediately thought that a boxing glove would serve as a great Italian ham. That image of a boxing glove being put into a deli slicer was enough to ignite the idea of doing a third cooking film.

I worked again with Dillon Markey, who worked with me on Fresh Guacamole. He’s great. My hands are in the film again, so it’s only possible to do one shot a day, sometimes two. Sometimes a shot setup took two days. All together shooting took seven weeks. There are always a combination of easy shots and difficult shots, but I don’t want to get caught up in that.

Over the last year or two, we’ve been trying to shift our business model to be centered on me creating more content. Even if that means doing two shorts per year. I’m looking to do more of what I do best and find out how that can feed itself.

For Kickstarter as you know, we’ve had to create some merchandise related to Submarine Sandwich. That has been quite an important step for me because I’ve never done any product merchandising tied to the launch of a film. The thinking is, “These films get so many hits, how can we sell some t-shirts to make some money to finance the next one?” What would people be interested in buying from us? How can we turn some of those views into revenue we can use to create new stuff? Kickstarter forced me to take that leap that I’ve been hoping to take for some time.

(These are excerpts from a long and excellent written interview – particularly insightful on funding yourself as an animator.  You can read it all over at:


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