Melbourne Documentary Film Festival 2020 – What Goes Wrong in Cancer?
The Peter MacCallum Cancer Centre is a Melbourne institution and world leader in cancer research, treatment and diagnostics. Our award-winning Peter Mac biomedical animation reveals the invisible molecular world within cells and how this can become disrupted, leading to cancer.
Interview with Writer/Director/Animator Dr Maja Divjak and Writer/Narrator Dr Clare Fedele
Watch What Goes Wrong in Cancer? on YouTube
Congratulations! Why did you make your film?
Many people are frightened of science, both the ideas and the language; we wish to remove this fear by making science accessible, through the use of captivating 3D representations, rather than abstract concepts. As 60% of our brain is devoted to processing visual information or performing vision-related tasks, human beings are visual creatures. With the advent of the internet and the rise and dominance of social media, we are becoming ever more visually focused. Indeed, visual content is the best, if not the only way to engage and educate our younger generations.
At the Peter MacCallum Cancer Centre, we have used 3D animation to compare normal biology with cancer biology, enabling cancer patients and the interested layperson to understand some of the molecular and cellular processes at play in cancer and so connect with their own bodies and biology. The ultimate aim of our animations is to help people appreciate the complexity and drama unfolding in their own bodies at any given moment. To that end, we have created a visual resource that is not only informative but is also a work of art.
Imagine I’m a member of the audience. Why should I watch this film?
Cancer is something that we all find uniquely terrifying. And it is very sobering to learn that 50% of us will likely develop cancer in our lifetimes. We all know people or have had family members affected by cancer. Yet, very few people have any understanding of the biology of cancer and how it actually works. This tour de force biomedical animation takes you right inside your cells to the invisible, microscopic world of molecules to explain how DNA damage and repair processes work and how sometimes these processes can go awry, leading to cancer. We have given the viewer a glimpse into an unseen world that resides in each and every one of us, that most of us are unaware of and that we rarely, if ever, think about. We hope that by giving the viewer an understanding of the incredible complexities in our cells that people will connect more with their biology, appreciate the body they have and be responsible for their health.
We also wished to inform the viewer about the Peter MacCallum Cancer Centre, which is a Melbourne institution conducting world-leading cancer research and which offers the most cutting-edge diagnostics, treatments, education and psychological support to those affected by cancer.
How do personal and universal themes work in your film?
As mentioned above, most of us will be affected by cancer at some stage during our lives, either personally, in our working lives or through our relationships with others. In the developed world, the prospect of cancer is a frightening thing that many of us will have to face in some shape or form. Many people feel that they have no control over the effect of cancer on their lives. This stems from an overwhelming opinion that cancer is a monster we have no understanding of and that we can do little about. On the contrary, scientists are making great inroads into understanding the mechanisms of many cancers and developing effective treatments to combat them. This is actually a time of great optimism in cancer research, diagnostics and treatment. In order for cancer to be no longer viewed as a death sentence, education is key. An understanding of biology is inherent in this mind shift and we see our biomedical animation as contributing to a positive change in opinion about cancer.
How have the script and film evolved over the course of their development?
The animations we create are based on actual scientific data; the protein and DNA molecules you see are actually how they look, they are not just artistic interpretations. We spend large amounts of time researching these molecules and how they interact and many, many hours building them based on scientific data available in the Electron Microscopy and Protein Data Banks. Once we have our storyboards in place, there is little deviation from these, as getting the facts correct is paramount in biomedical animation. Where we can push things is the level of detail. As a scientist, it is very easy to wind up ‘down the rabbit hole’ exploring biological pathways that may excite other scientists, but add little to the overall concepts you are trying to illustrate. Getting this balance right is key to a successful animation. There has to be sufficient detail to have scientific rigour, but not so much that clarity and the overall message is lost.
The script we view primarily as a complement to the visuals and we keep it minimal, as we want the visuals to speak largely for themselves. We strive to avoid the use of jargon and abstract scientific concepts as much as possible.
We do, however, use artistic license when it comes to colour. This is contentious as most molecules are not inherently coloured. However, we feel that colour can be employed to great visual effect as it directs the viewer’s attention, can imply disease states and engages through sheer beauty.
What type of feedback have you received so far?
The feedback has been overwhelmingly positive. Many people have commented that previously they had no idea what the inside of their cells looks like. Nor had they ever really thought about it. Most people are amazed at how beautiful and complex this world is and that it functions without us even being aware of it. It has inspired people to view their bodies in a different light: as beautiful machines worthy of care and respect. Some comments include:
‘Phenomenal visuals showing DNA changes and protective mechanisms! Wow!’
‘You make disease look so pretty’
‘I would like some of those images hanging in my house’
'Great work..in fact, the terminology ...Biomedical Animator...I am hearing it for the first time in my life. Thanks & all the best.'
Has the feedback surprised or challenged your point of view?
One comment particularly resonated: 'You make disease look so pretty'. I wasn’t quite sure whether this is a good thing…
Often I select colour schemes for animations because I find them beautiful, but in the case of animating cancer biology, there is a conflict- is it appropriate to make something people find collectively frightening look appealing? I’m hoping the colour, although beautiful, makes no comment on the relationship of cancer to human beings, that it instead highlights the complexities and patterns of biological molecules and how they interact. Perhaps by making these molecular interactions look more appealing we can allay the fear associated with cancer?
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We hope this will bring more exposure to biomedical animation as an informative art form. As one person commented above, most people have never even heard of this as a concept before. It is amazing how little people understand about their own bodies, especially the infinitesimal molecular world inside cells. We feel that 3D animation has the power to change that and the way people feel about science in general. Being able to see a biological narrative unfold before your eyes is very different from trying to make sense of abstract concepts or 2D images in a book. Hopefully, We Are Moving Stories will open peoples’ eyes to the power of biomedical animation as a tool for education and engagement.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
As we are a not for profit research organisation combined with a hospital, our primary goals are education, outreach and engagement. To that end, we feel distributors, film festival directors and journalists will be the people most able to give our production exposure and reach.
What type of impact and/or reception would you like this film to have?
We want people to appreciate that they have a whole universe of cells inside their body and a whole universe of molecules inside each cell. There is a drama unfolding inside each of us all day, every day, that like breathing, we are often unaware of. We want people firstly to learn of the existence of this world, then to acknowledge that it is extraordinary and finally to come to the realisation that in spite of the complexity and the levels of control, that things can and do go wrong. Disease is possible as a result of these mishaps, but in this day and age, this needn’t be a death sentence.
What’s a key question that will help spark a debate or begin a conversation about this film?
How do you know what these molecules look like so you can animate them?
Would you like to add anything else?
Yes, we would also like to draw attention to the sound design in this production. I have worked closely with Adam Hunt, our sound designer, for a number of years now and am always amazed at the extra dimension his work gives our productions. For us, the sound is not a secondary consideration. All those pops, squeaks, clicks and buzzing noises serve to direct the viewer’s attention and facilitate understanding. As with colour, there is no perceptible sound associated with molecular interactions, so in this setting, the sound design serves to entertain, beguile and reinforce the message of the visuals. It is an interesting and enjoyable experience sitting with Adam, explaining the actions that need to be punctuated and watching him create the perfect accompaniment to bring those moments to life.
What other projects are the key creatives developing or working on now?
We are currently working on a new biomedical animation explaining the process of chimeric antigen receptor or CAR-T cell therapy for the treatment of cancer. This process involves genetically modifying a patient’s own immune cells to better recognise and kill cancer cells. CAR-T cell therapy is a revolutionary new treatment that for some patients can mean a miraculous cure after first-line treatments such as chemotherapy or radiotherapy has failed.
We are also working on a visual resource for use in patient treatment clinics that uses 3D animation to explain cancer biology and treatment. We hope that using visual methods of explanation may better help patients understand their diagnosis and make informed decisions about their treatment.
Interview: July 2020
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
What Goes Wrong in Cancer?
The Peter MacCallum Cancer Centre is a Melbourne institution and world leader in cancer research, treatment and diagnostics. Our award-winning Peter Mac biomedical animation reveals the invisible molecular world within cells and how this can become disrupted, leading to cancer.
Length: 14:37
Director: Dr Maja Divjak
Producer: The Peter Maccallum Cancer Foundation
Writer: Dr Maja Divjak
About the writer, director and producer:
DR MAJA DIVJAK is a biomedical animator at the Peter MacCallum Cancer Centre, where she is creating 3D animations about the cellular and molecular mechanisms leading to cancer. She earned a PhD studying the molecular biology of asthma before training at the Australian Film Television and Radio School in 3D animation. Following this, she was privileged to undertake a fellowship with world-renowned biomedical animator Dr Drew Berry at the Walter and Eliza Hall Institute.
THE PETER MACCALLUM CANCER CENTRE is internationally recognised for helping to lead the search for cancer cures. Our researchers are dedicated to preventing, treating and curing all types of cancer. The Peter MacCallum Cancer Foundation supports this research by funding new research opportunities and providing researchers access to the specialised resources needed to discover cancer cures.
Key cast: Dr Maja Divjak (Director, Writer, Animator), Adam Hunt (Sound design), Dr Clare Fedele (Narration, Writer), Reuben Street (Cinematography), Frank Guarnaccia (Cinematography), Talia Raso (Sound design)
Looking for: journalists, film festival directors
Twitter: @maja_divjak
Website: FilmFreeway
Other: Vimeo
Funders: The Peter MacCallum Cancer Foundation
Where can I watch it next and in the coming month? The Melbourne Documentary Film Festival/Melbourne, Australia June 30 to July 15,