Inside the Stirring Stop-Motion Film Inspired by the True Story of a Man Who Found a Baby at a New York Subway Station

Klick Health is behind this gem for Second Nurture

On August 28, 2000, Danny Stewart found a baby abandoned in a cardboard box in a New York City subway station. Stewart and his partner Pete Mercurio decided to adopt the infant. In the process, the two gay men endured a media circus and lots of legal hurdles. But they succeeded in creating a beautiful, thriving family. Their son, Kevin, is now 25 years old.

The story of how this family came to be is lovingly chronicled in “18 Months.” The film was conceptualized by Klick Health to back Second Nurture, a nonprofit that supports foster and adoptive families.

Zombie Studios created the stop-motion effort using hand-sculpted puppets, backgrounds fashioned out of pages from pregnancy handbooks, 2D animation, CGI and shadow productions. Jamute handled sound design and produced a custom version of Christina Perri’s “A Thousand Years.”

Here, Andrea Bistany and Amy Fortunato, both group creative directors at Klick Health, take us inside the project.

MUSE: How did “18 Months” originate?

Amy Fortunato: When we first learned about Pete, Danny and Kevin’s incredible story, we knew it was one we had to share to help elevate issues like adoption stigma, belonging and LGBTQ+ rights. Early in our conversations, Danny mentioned his role on the board of Second Nurture, a nonprofit dedicated to supporting the creation of new families through fostering and adoption. His deep commitment, along with the organization’s mission, made them the ideal partners to help amplify the impact of our film.

Why is this film exactly what’s needed to get their message across?

Andrea Bistany: This story wasn’t just about a lucky twist of events. It was about the creation of a family. It had the emotional power and universality to connect with people on a human level, beyond politics or preconceptions. By telling this one beautiful, serendipitous story, we could express everything Second Nurture stands for.

Take me through the writing process and whittling this saga down to 6 minutes.

Amy Fortunato: It was an exciting challenge to translate Pete, Danny and Kevin’s years-long adoption journey into a script that made an immediate emotional connection with the audience. We kept the core story intact, but we crafted scenes to reflect themes of the societal stigma we are combating. Danny’s anxiety dreams of losing Kevin and the tension in the courtroom scene helped reflect the emotional complexities of the family’s experience. And while Danny, Pete and Kevin never met Kevin’s biological mother, we wanted to honor her part in the story. The film opens with a tender moment as she searches for a safe place for her baby. Her love and desperation are palpable. The story pays tribute to her role at the beginning of Kevin’s life.

Here’s a brief trailer:

How did you work with Danny and Pete while making this film?

Andrea Bistany: Danny and Pete were involved from the beginning, sharing their story, helping shape key moments, giving notes on the script. But they also trusted us to bring their story to life. It was important that the heart of the story—the love, the vulnerability, the sense of belonging came through. 

What were the benefits of making an animated film as opposed to a live action or documentary film?

Amy Fortunato: Animation gave us something live action or documentary couldn’t—timelessness and emotional abstraction. We weren’t just recreating events, we were evoking feelings. Stop-motion allowed us to tap into a visual language that’s tender, handcrafted and full of texture. There’s something magical and fragile about it, which echoed the vulnerability of the story itself. It also allowed us to avoid literal representation. This wasn’t about what Danny or Pete looked like. It was about what they felt. And that gave viewers room to project their own emotions and connections onto the story.

And why did you choose Zombie Studio to bring this idea to life?

Andrea Bistany: We’re lucky to have great creative partnerships like Zombie and Jamute. Both studios brought so much value to the project. Zombie was able to take our vision and bring it to life in ways we never imagined. Each set was crafted using collage and papier-mâché techniques to create a layered story about a gay man who discovers a newborn baby in the subway and the journey he and his husband embark on to adopt him. Over 180 artists spent hundreds of hours animating 18 Months by hand with great detail. The puppets have tiny, detailed features. Some of the miniature subway sets used actual MTA signage, reprinted and distressed. Nothing in the film is digitally faked—it’s all practical, tactile animation.

What kind of reactions have you gotten to 18 Months?

Amy Fortunato: People have been deeply moved by the film, which you can watch at 18Monthsfilm.com. They’ve cried. They’ve told us they see themselves in the story. We’ve heard from LGBTQ+ families, adoptive families, foster parents and those who’ve felt on the outside of what a “traditional family” is supposed to look like. They’ve said the film made them feel seen. And that’s exactly what we hoped for—that it would start conversations, stir emotions and shift perspectives.

I love that you are entering the film into festivals. Are you hoping for a distribution deal down the line?

Andrea Bistany: We believe this film deserves to be seen by the widest possible audience. Festivals are a powerful way to introduce it to curators, distributors and international audiences. Of course, we’d love a distribution deal. But even without that, we’ve already seen the film spark conversations that matter.