November 30th, 2023 
Jackson Murphy 
Awards season is in full swing, with the Best Animated Short Film Oscars shortlist announcement coming in December, as well as the official Academy and Annie Awards nominations in January. One short hoping to make an impact this year is Rosemary A.D. (After Dad), from director Ethan Barrett. He narrates an exploration into his thoughts — about what his young daughter’s future might be like if he committed suicide. Barrett animated the short using crayons, and he shares insights on that process and the complexities of the story in this Animation Scoop Q&A. (This interview was conducted as an Email Q&A and was edited for length and clarity.)
Jackson Murphy: How did you want to balance the humor and the legitimate drama?
Ethan Barrett: I like to say it’s not a coincidence that many of the world’s greatest comedians struggle with mental health: they’ve learned to see humor in everything. No one will voluntarily watch a film about “some guy’s problems.” So I thought if people laughed for a few minutes first, it would ease them into the heavier subject matter. Depression and suicide are weighty and universal, so I took every opportunity to add in some levity. It came quite naturally and in fact, by the final edit I had taken out at least half of the original jokes.
JM: You are not afraid to make bold statements. How did you organize the structure of the narration?
EB: I thought that this might be my last film ever, so I wanted to be as direct and vulnerable as possible. I said what needed to be said and cut out anything unnecessary. I skipped the philosophizing. As a father, this meant running down some rabbit holes as I imagined the drastic turns my daughter’s life could take. I tried not to hold back, but to dig deeper and deeper until it seemed I couldn’t go any further. I do think the random twists and turns say a lot about my subconscious, but I’ll leave it to the viewers to interpret.
JM: What did you want to say about the challenges of thinking about the future?
EB: In making the film I tried to convey the good or bad ways that my daughter Rosemary’s life could go as a result of my suicide. In doing this, I realized I was making her life revolve around me. So finally I imagined Rosemary living a fulfilling life completely separate from me, never once giving me a thought. In taking myself out of the center, strangely I realized my tiny role in this universe and to be happy in the life I have.
JM: Can you share your thoughts on children having a strong support system and that component of “Rosemary A.D.”?
EB: I think it’s really tough for children in America. You’re lucky if you have any adult who cares for you and when it comes to your own parents, it’s like a lottery system. You win if you get good ones and the rest—better luck next time. Children don’t need to be shielded as much as we think. They can see through our lies and hypocrisy. I know this because I was a child once. What children need is to know they are loved and safe. This film was a way for me to convey to Rosemary all that I was feeling but also letting her know that she may feel this way someday too. Hopefully this film gives parents the courage to be more vulnerable with their children.
JM: What’s the most surprising thing about creating animation with crayons?
EB: It’s actually much harder than I thought it would be. It’s incredibly messy. The lines are so thick that details are almost impossible. And coloring—which we all enjoyed so much as children—is so arduous I thought my index finger would break off. It wasn’t enough to simply “fill in the colors.” I had to press so hard that I’d run through a crayon every couple minutes. Would I do another film with crayons? I actually don’t know.
JM: You had a little assistance with the voice performances… What was the highlight of this aspect?
EB: I did most of the voices myself, but other voices were provided by my wife and producer Tiffany and of course Rosemary herself. Directing Tiffany was one of the best parts of the production, because she brought so many of her own takes and ideas to her performance. It was just nice to be collaborating with someone for a change. And with Rosemary any interaction is joyful. She was a very cheerful baby so it was a cinch to get happy, cooing sounds from her.
JM: Would you like your daughter Rosemary to become a storyteller someday?
EB: As someone who is very, very different from his own parents, I want my child to become whoever she becomes. She could be a filmmaker, scientist, teacher, rock star, janitor, stay-at-home parent, or even work at a fish hatchery. If she doesn’t have a storytelling bone in her body, I love her exactly the same amount.
JM: What advice would you give to someone who wants to make their own, personal animated short?
EB: You can do it. I have no art background, no animation experience. Instead of trying to impress people with beautiful art, I leaned into my lack of skill. Everything is very simple, childish, and messy. Everyone in this world is unique in some way. Your job as an artist is to find who that is and strip the rest away. Like Picasso said, “Art is the elimination of the unnecessary.” Don’t be afraid to be vulnerable and dig really deep. Be honest about yourself with yourself.
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