Watching Odin’s Afterbirth for the first time felt like someone spiked the punch of videos we normally come across on Vimeo. It was refreshing, fun, and notably strong. Gnarly even. What began as a passion project for Staff Pick alum Joseph Bennett soon snowballed into a three-part epic, touching on viking themes via one warrior’s courage and opening a door into Bennett’s mind, where a herd of monsters have been waiting to cascade outwards. We were curious how an idea like this is born and where the drive to complete a side project of this scope comes from, so we dove behind the video with Joseph.

Vimeo: What initially interested you in making a short film about viking warriors? Was this an idea that you’ve been kicking around for a while?

Joseph: I remember what sparked it all was the trailer to Valhalla Rising. [I] really don’t know why it resonated with me so much. What’s funny is I didn’t care for the movie when I watched it.

Along with Valhalla Rising, did you have any Nordic lineage to pull influence from? Or was it more of an excuse to draw warriors, monsters, gods, and guts?

None that I know of. I think I just had a real strong urge to go nuts.

The first chapter of Odin’s Afterbirth was released four years ago, giving the viewer the impression that they were watching a side project of epic proportions. Did you ever think it’d turn into a three-chapter ordeal? Did you have a goal in mind when you started working?

I really didn’t plan on making three chapters. Instead, as I was making it, I kept thinking of where it could lead. Eventually, by the end of Chapter 3, I lost interest. I feel like I did what I wanted with it. Scratched the itch. Now I’m focusing on my softer side :)

After you released the first chapter, what kept you coming back to working on the subject? How did the story line develop?

It was very organic from the start. I started doing it for my own enjoyment.

Do you always have a side project of this nature in the works? Is this helpful for your creative process? Or do you like to concentrate on one project at a time?

I guess it depends on the project. Usually I’ll have one project I put most of my energy into and a few others on the side that I mess with. I also try and keep a pile of ideas around for future projects. I think more than anything, I have to make sure [that] whatever I start, I finish. Even if I’m sick of the idea, I make it work and finish it.

While watching, it felt like we were getting a glimpse into your wildest nightmares. Where do those ideas come from? Which monster are you most proud of?

Well, with the third chapter, I definitely got a lot of help from the team: Caleb Wood, Lizzi Akana, and Dylan Hayes. They did an incredible job. I remember digging into a lot of Frank Frazetta, Boris Vallejo and Julie Bell stuff. Also I think I was reading a lot of “Hellboy” at the time.

For a favorite, I’ll go with the spider sack freak with mascara at the end of Chapter 3.

When you’re starting to design a monster like Spider Sack Freak or the other characters, where do you start? Did that process change throughout the three chapters?

With Odin, my process didn’t change, but I definitely learned a lot from working with so much talent. You can see an obvious difference [between] Chapter 1 and Chapter 3.

My general process begins with doodling ideas, shots, characters, taking notes, reading related things — immersing myself in that world . Then I put together a crude boardomatic that I spend a lot of time mulling over and over until everything is in place. I hate locking things [in] early on because when I get to animation, things usually change for the better.

Tell me about the people you collaborated with on this project. When do you call on them for help?

For Odin, I worked mostly with Caleb Wood, Dylan Hayes, Ted Wiggin, and Lizzi Akana. They are all so insanely talented, so it made things much easier for me. I will say I always prefer to get fairly far into the project on my own before involving other people to help out.

Were there any animators that you especially looked up to growing up that influenced your style today?

Well, I didn’t start getting into animation until my last year of college, but since then I’d say some big influences [have been] Priit Pärn, Christy Karacas, Masaaki Yuasa, and Katsuhiro Otomo.

How about animators you’d find on Vimeo? Are there any videos or creators that you’ve really enjoyed lately?

Currently I’m really enjoying the work of Calvin Frederick, Max Hattler, Lee Kyutae, and Eran Hilelli.

Thanks, Joseph! 

To venture even further behind the videos, read our past posts.