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Cut-out animation turns a flat collage into a sequence of quick, surprising movements: arrange paper shapes, photograph them, shift them, and photograph them again. Terry Gilliam used the technique for Monty Python animations because it was practical and expressive—and because abrupt visual changes suited it better than graceful, continuous motion.
What cut-out animation is
Cut-out animation is a stop-motion technique using flat pieces—such as paper, cardstock, fabric, or similar materials—arranged against a two-dimensional background. You photograph the arrangement, change the position of one or more pieces, and photograph the new arrangement. Played in sequence, those incremental changes create movement.
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The method is not exclusive to Gilliam or Monty Python. The National Film Board of Canada describes cut-out animation as a broader technique and points to work by Norman McLaren, Evelyn Lambart, and Gerald Potterton as examples. Explore the National Film Board’s animation collection.
How to make a simple cut-out animation
1. Make a small scene
Cut a few recognizable shapes from paper or cardstock, then arrange them on a flat background. Keep the first scene simple: a figure entering, an object falling, or a face changing expression gives you a clear action to animate.
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2. Photograph the starting position
Take a photograph of the arrangement. The essential process is simply to record each position as you go; the sources describing the technique do not prescribe a particular camera, software, lighting setup, or frame rate.
3. Shift the pieces and repeat
Move one or more cut-outs a little, then take another photograph. Continue changing and photographing the scene until the action is complete. When the images are viewed in order, each new position becomes the next moment in the movement.
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4. Build toward a visual punchline
For a first attempt inspired by Gilliam, make the action sudden: a character can pop into the scene, collide with something, or reveal an unexpected image. The point is to use the movement and collage to communicate an idea or joke, not to make every action look naturalistic.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Why Terry Gilliam chose cut-outs
Open Culture reports on Gilliam’s appearance on Bob Godfrey’s Do It Yourself Film Animation Show in 1974, where he described cut-out animation as spontaneous, relatively easy, and less costly than traditional animation. The article reproduces his explanation of what animation should do:
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“The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn’t really matter. Whatever works is the thing to use. That’s why I use cut-out. It’s the easiest form of animation I know.”
Read Open Culture’s account of Gilliam’s cut-out animation techniques.
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Design movement for the technique
Gilliam’s approach also reflects a practical limit of working with cut-outs: Open Culture says he found graceful, elegant movement difficult, while swift, sudden movement was easier. That makes a quick entrance, abrupt change, or visual gag a more natural starting point than a flowing dance or smooth walk. Treat the restriction as a creative prompt: a cut-out can jump, snap, or transform in a way that makes the joke stronger.
Cut-outs can be physical or digital
The same broad method can be made with physical pieces or digitally. The National Film Board identifies The Hungry Squid as digital cut-out animation. Its other cited examples include Le Merle by Norman McLaren and Evelyn Lambart, My Financial Career by Gerald Potterton, and Mr. Frog Went A-Courting by Evelyn Lambart. These films illustrate the wider technique, not necessarily Gilliam’s particular collage style.
What you need to begin
Paper or cardstock is enough to make figures and a background. Start with a few shapes and a short action; the defining work is arranging, moving, and photographing them repeatedly, rather than assembling elaborate materials or equipment.
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