Tod Polson’s powerful new animated short, The 21, chronicles that story of the Coptic men who were brutally murdered by ISIS in Libya in 2015. Produced in the style of Coptic iconography by a global team of more than 70 artists from over 24 countries, the short has been qualified for Oscar consideration by exhibition. Polson, an animation veteran who has worked on acclaimed projects such as The Secret of Kells, The Book of Life and El Tigre: The Adventures of Manny Rivera, was kind enough to discuss the making of his short in a recent email interview:
Animation Magazine: Can you tell us how and when you decided to tell this story in animation?
Tod Polson: Producer Mark Rogers was traveling in Egypt when he had a vision to create something in animation to honor the martyrs of Libya and Coptic Christians. Mandi Hart partnered with Mark on the film with her production company MORE Productions. They carried the initial vision, and raised the funds to make the film.
When Mark and Mandi approached me to direct The 21, I had been working for several years to create films that explored themes of faith. I vividly remember the ISIS video of the martyrs — it left a profound impact on me and felt like an answer to prayer. At the time, I had been studying iconography for a previous project, and this opportunity seemed to bring everything together. Initially, there was an event but no clear story. That changed when I met the families of the martyrs in Egypt. Despite their immense loss, they held no hatred toward the men who killed their loved ones. Instead, they wanted to share a message of forgiveness and mercy. Their grace impacted me deeply, and I strived to bring their message of forgiveness into the film.
Why did you decide 2D animation was the perfect medium to tell this important story?
Polson: There was never any doubt that this film would be anything but 2D. The story of the martyrs is deeply emotional and tender, and hand-drawn animation brings a warmth and fragility that would be hard to achieve with CGI or live-action. Traditional animation also has a unique ability to make challenging subjects more approachable. For Copts, iconography is central to their faith, and 2D animation allowed us to seamlessly incorporate the rich imagery and symbols of the Coptic tradition. This style helps draw the audience closer to the faith of the martyrs and their families, creating a more intimate connection to their story.
When did you start working on it and how long did it take to complete?
Polson: I began working on The 21 in the autumn of 2019, and the production spanned about five years. Most of the work was done during nights and weekends, as I balanced a full-time job and dealt with several moves during the challenges of the COVID-19 pandemic. It was a particularly difficult time for me personally, I nearly lost my vision, and there were months when I couldn’t fully focus on the short film. The first year was dedicated primarily to research and developing the story, as I needed to gain a deeper understanding of Coptic life and iconography. Had I been able to work on the project full-time, it likely would have taken only 8 to 12 months to complete.
Did the team at Cartoon Saloon help produce the animation in any way?
Polson: Cartoon Saloon didn’t directly contribute to the production, but they played an important role in connecting me to Mandi and Mark. I had recently left my position as Creative Director at Saloon to focus on personal film projects and Cartoon Saloon recommended me for the role, and I was thrilled to take on the challenge. Tomm Moore, one of the studio’s co-founders, offered his support as a consultant, and several former Cartoon Saloon artists contributed their talents to the animation, lending their talents to the production.
Which animation tools were used by the team?
Tod Polson: The animators of The 21 utilized a variety of tools, including TVPaint, Toon Boom Harmony, Adobe Animate, Procreate Dreams, and even traditional paper. To maintain a cohesive visual style, most of the cleanup drawings and animation coloring were completed in Toon Boom Harmony.
For background and design work, the team primarily relied on Procreate, Photoshop, and traditional paper, blending digital and analog techniques to create the film’s unique aesthetic.
Can you talk about the visual style and the inspiration for the overall look of the short?
Polson: One of the biggest influences on the visual style of The 21 was iconography. Iconographers from the U.S., Egypt, Syria, and Ukraine contributed insights that helped shape the film’s aesthetic. During my research, I looked at artists and art that resonated emotionally with the story we were telling. Art movements such as Cubism, Precisionism, Futurism, and Vorticism all played a significant role in shaping the film’s visual language.
To me, it was important not to mimic any one style, including iconography, too closely. Instead, I soaked in all of the visual inspiration and tried to develop something unique to our film—an approach that allowed each story moment to be visually and emotionally distinctive.
What would you say were your biggest challenges as you set out to realize this project?
Polson: Story! Crafting the story was a delicate balance between portraying the idea of forgiveness and the violence endured by the martyrs. I’m a Christian, but I tried to take a neutral stance and present the narrative from both the Coptic and ISIS perspectives to provide a fuller context. Throughout production, I would continuously read new interviews and uncover additional details about the events. This led to frequent adjustments in the film to ensure accuracy. While I’m certain that some details may still be incorrect, it wasn’t for lack of effort — every attempt was made to faithfully reflect the truth of the story. Or at least the truth that I was given through eyewitnesses.
Who are your biggest animation influences?
Polson: I trained under the great Warner Bros. art director Maurice Noble for about eight years. One of the first lessons he taught was the importance of studying the art of other cultures. We traveled to places like Turkey, Thailand, and Indonesia, immersing ourselves in their rich cultural art and mythology. Maurice emphasized that it was essential to interpret the art and understand its deeper meaning, rather than merely copying it. These invaluable lessons have shaped my work throughout my career, and were especially influential while creating The 21.
Other filmmakers who have had a profound influence on me are too many to list, but include: Chuck Jones, Tex Avery, Richard Williams, Frédéric Back, Michaël Dudok de Wit, Joanna Quinn, Jan Svankmajer, Isao Takahata, Yuri Norstein, Ivan Ivanov-Vano, and many of the remarkable films from Shanghai Animation. Each of these artists has shaped my understanding of animation, inspiring me with their unique storytelling, artistic innovation, and ability to convey deep emotion through the medium.
What do you hope audiences will take away from The 21?
Polson: My aim is for the story to inspire compassion, understanding, and spiritual reflection. Based on the trailer for The 21, some have mistakenly assumed that the film is anti-Islam or glorifies violence. This is not the case. The film is a reflection on faith, forgiveness, and human resilience in the face of tragedy. In a world filled with so much pain and conflict, we could all benefit from a moment of reflection and understanding
Watch the trailer for The 21 below:
For more info, visit the21film.com.
