Disney Short Film ‘Versa’ Creator Discusses New Perspectives on Grief in Storytelling
Walt Disney Animation Studios’ artistic director Malcon Pierce channels personal tragedy in his Oscar-qualifying short film, Versa. The six-minute work presents a profound journey of two celestial lovers grappling with loss after the death of their baby during the final stages of pregnancy. Despite its lack of dialogue, the film eloquently conveys emotions through stunning animation and a poignant score, guiding viewers through a spectrum of feelings from joy to grief and acceptance.
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DEADLINE: Where did the idea of Versa come from?
MALCON PIERCE: About 15 to 20 years ago, I went stargazing with a friend, who introduced us to the Albireo star system—two stars orbiting each other. At that time, I was intrigued by how performing arts could translate into film. I explored numerous ideas but ultimately set them aside, sensing they weren’t the right stories. Over time, the notion of stars lingered in my subconscious.
During the production of Moana in 2016, my wife and I faced complications during her pregnancy, culminating in the loss of our son, Cooper. This profoundly altered our lives, prompting me to reflect on grief as something monumental and haunting.
DEADLINE: How did you manage to push through that to make Versa?
PIERCE: My wife played a crucial role in how I dealt with our loss. She confronted her grief by reminiscing about our son—often asking what he would look like or recalling happy moments. I, however, sought distraction, avoiding the nursery when I felt unprepared to confront our loss.
My wife, a photographer, emphasized the importance of capturing our memories, documenting moments connected to Cooper. Gradually, with her encouragement, I overcame my reluctance and stepped into the nursery. The weight of the experience was overwhelming, but revisiting those moments eventually became pivotal in shaping the narrative for Versa.
As we navigated our grief, symbols of Cooper became significant. For instance, my wife launched a non-profit for foster children, Cooper’s Totes, reflecting our ongoing connection to him. Further, our later pregnancy was described as having a “rainbow baby,” symbolizing renewal. The loss and subsequent birth echoed the cycle of life, reshaping my understanding of storytelling.
DEADLINE: Disney has never tackled stories about pregnancy loss. How did you pitch this? Were there any concerns?
PIERCE: Our experiences informed my approach. Attending support groups for infant loss opened my eyes to the struggles many couples face when navigating grief differently. I recalled my own feelings of despair during that hospital visit, thinking I might never laugh again. This realization motivated me to create something that resonates with those enduring similar losses.
In pitching the idea, I relied on my rapport with Jennifer Lee, former CCO of Disney Animation. I admired her personal storytelling approach and shared my vision with her. She encouraged me to explore it further, which eventually led to rich collaborative efforts, including with production designer Paul Felix, bringing my concept to life.
One of the most rewarding moments occurred recently at the Ottawa International Animation Film Festival. A father shared a photo of his rainbow baby after viewing the short, revealing the connection we hoped to foster through the film. Observing the audience connect over shared experiences of grief and hope highlighted the film’s impact.
DEADLINE: The animation is stunning. What inspired that vision?
PIERCE: Crafting a non-verbal dance about infant loss posed creative challenges. Initially conceptualizing the story within a nebula allowed me to focus on a minimalistic approach, creating a landscape that resonates without overwhelming the narrative. The inclusion of a bassinet became essential, symbolizing the loss we were unable to embrace fully.
We created a nebula nursery to serve as the film’s emotional backdrop, balancing simplicity with symbolic representation. My goal during production was to employ minimalism effectively, ensuring the story’s emotional weight lingered without the need for extensive dialogue.
DEADLINE: What about the choreography? They float like ice skaters.
PIERCE: Animation’s expressiveness parallels dance’s emotive nature. I researched various dance forms to capture the right movements for the characters. Eventually, ice dance emerged as the perfect vehicle, allowing for both lyrical grace and controlled simplicity consistent with our narrative.
Collaborating with ice skaters and choreographers helped refine the characters’ movements. The unique combination of animated storytelling and detailed choreography was pivotal in portraying the couple’s profound emotional journey.
DEADLINE: Why choose red and blue for the parents? The gold cracks evoke Japanese Kintsugi, correct?
PIERCE: During character development, I envisioned a peachy color for the mother and purple for the father. However, my wife’s feedback prompted a reevaluation of their colors, leading to her embodying the blue hue to reflect her emotional depth.
The use of Kintsugi—highlighting broken pottery with gold—symbolized the transformation I wanted for the characters. They undergo a significant loss and emerge stronger, embodying resilience and beauty shaped from their experiences. This theme of embracing scars as part of one’s identity is a cornerstone of the narrative.
Chris Buck once advised me to read Tom Zuba’s book, Permission to Mourn, which discusses grief’s profound impact. This sentiment resonated with me, informing the narrative arc: while grief changes individuals, it ultimately becomes a part of their existence, reminding them of love and loss. By depicting the characters’ journey of transformation and healing, I aimed to resonate with those navigating their paths through grief.
[This interview has been edited for length and clarity]
