Road to Sundance 2014: Crime: Marcus McGhee (a short), directed by Alix Lambert and Sam Chou

What made you decide to become a filmmaker?

Alix: My name is Alix Lambert, I am a director and producer. I co-created Crime: Marcus McGhee with Sam Chou. I have been directing for 20 years. My background is in the fine arts where I made installation and conceptual work that often involved video. I've always been a visual thinker/storyteller. 

Sam: My name is Sam Chou. I am a filmmaker, Director of Animation and co-director of Crime: The Animated Series. I've been animating by hand for over 15 years, working on Feature films, TV and commercials and eventually started directing. It was a natural evolution to start creating my own stories, and telling them through the medium of animation

Tell us about your film (include title of film and category your film will play in Sundance). What inspired you to make it?

Alix: I published a book titled CRIME. The book is a collection of interviews in and around the intersection of crime and the arts. What do real life criminals think about the way they are depicted on film? What do film directors want to know about criminals when they depict them in their movies? I interviewed bank robbers, victims, law enforcement, directors, writers, actors and many other people. I went on to develop stage plays using verbatim texts from further interviews about crime in specific geographic regions. How does crime differ from city to city? How is it the same? One of these plays, Crime, USA: Hartford, was commissioned by Real Art Ways in Hartford, Connecticut. One of the people I interviewed for the play was Marcus McGhee, the subject of our short film, Crime: Marcus McGhee. Sam Chou had purchased my book and actually contacted me while I was in Hartford working. We talked about our mutual interest in using some of the audio I had from these many interviews and turning them into animated shorts. That is how we ultimately came to make the series together.

Sam: Yes, the book was a great source of inspiration. Throughout my career, I've always wanted to tell stories that are grounded in reality and a bit darker than typical animated films. So after reading Alix's book, CRIME, I was blown away, I couldn't get those images out of my mind. I was like "YES! These are the stories I need to tell!!"

CRIME: Marcus McGhee is playing in documentary short program 1.

What do you love about your film?

Alix: I love Marcus! He is a wonderful storyteller. Pardon the pun, but he is so animated when he tells a story. I think in four minutes he is able to use humor to illuminate a very real problem in Hartford. I also love the animation style of this particular episode.

Sam: I agree, Marcus is a great story teller and I love his enthusiasm when he tells it.  It really helped inspire the quirky animation design and technique.

How long did it take you to make your film?

Alix: Once Sam and I had the idea, the problem always is finding a way to finance a film. We made a trailer and used that to talk about what we wanted to do.  I had a meeting with Emma Reeves from MOCA tv about the possibility of working together. She liked the animated crime series idea and MOCA tv committed to producing the first six episodes. I loved working with them and went on to create a second series, Ambiance Man, with them. 

Sam: All in all, we created 6 episodes of CRIME: The Animated Series in just over 3 months. 

What was the most challenging part of the filmmaking process and how did you overcome it?

Alix: Filmmaking is full of challenges, both practical and creative. For this film, we had to make some decisions in order to stay within a small budget (limited color palette, less expensive animation choices) and we also had a very tight production schedule once the project was green lit. Additionally, Sam lives in Toronto and I live in NYC, so there were a number of virtual meetings. While, it's great that that is possible now, it would have been preferable if we had been in the same city. We didn't meet in person until the night the series screened at MOCA.

Sam: I agree. On the production side, the challenge was creating 6 different completely different visual styles but using the same color palette. Then producing the animation within the schedule and budget was another challenge.

Tell us about your experience getting into Sundance.

Alix: We applied and we got in! Thrilled to be included.

Sam: When we submitted CRIME, we actually submitted the entire series, 6 episodes back-to-back. It was a 20 minute film that thematically worked really well. When the Sundance programmers got back to us, they explained that they loved the CRIME series but a 20 minute film is much harder to program than a 5 Min one. They kindly asked for just 1 episode, Marcus McGhee's episode. We had no issues with that, we were thrilled to be accepted!!

If you had to make the film all over again, would you do anything different?

Alix: I always make mistakes and learn so much on any film that I make, but I never want to go back and make the same film over, I would rather take what I learned and do things differently the next time around.

Sam: Yes, we made many mistakes during production.  If I had to go back, I'd make better mistakes.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?

Alix: The six episodes can be viewed on MOCAtv. We do not have distribution and are currently discussing possibilities in that regard. We hope to make more episodes and continue the series.

Sam: We'd love to continue the series. There are so many CRIME stories to tell!

Can you provide any advice to other filmmakers who dream of getting their films made?

Alix: Kill your babies.

Sam: Just do it. Keep doing it. Don't stop.  And when you are done, do it again but better.

Road to Sundance 2014: Chapel Perilous (short), directed by Matthew Lessner

Matthew Lessner

What made you decide to become a filmmaker?

I decided to become a filmmaker immediately upon seeing Home Alone for the first time.

Tell us about your film. What inspired you to make it?

My film Chapel Perilous is an official selection in the short film section. It's a metaphysical comedy about a door-to-door salesman with nothing to sell. He has an encounter with a stranger, which forces that stranger to confront his true mystical calling and the nature of reality itself. The inspiration for the film came when I was soaking in a long hot bath infused with apple cider vinegar. It came in a flash, like the whole film was instantly downloaded into my brain. I suspect some kind of otherworldly intervention.

What do you love about your film?

The thing I love most about the film is the performances our actors give. I think they're each really amazingly talented and I feel lucky to have worked with each of them. They make me laugh again and again.

Still from Chapel Perilous

How long did it take you to make your film?

The inspiration for the film came on a Monday and we shot the film the Friday and Saturday of the same week, so that part of the process was exceptionally quick, no time to over-think or over-analyze anything. The editing took a few months though.

How did you finance your film?

That's a good question.

What was the most challenging part of the filmmaking process and how did you overcome it?

The snake wrangling. They don't always do what you want.

Tell us about your experience getting into Sundance.

The experience of getting into Sundance was really exciting. I howled like a wolf. This is my third time back (By Modern Measure '08, The Woods '11). It feels like coming home. . . to a home you only visit once every three years.

If you had to make the film all over again, would you do anything different?

I may have allowed a little more time for the snake stunt photography, and perhaps pushed a little harder for the big jet-ski finale. It's hard to say really.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?

The film is available to watch now on YouTube throughout the Sundance Festival. You should totally watch it. We're planning to develop the short into a series based around the character of Robin. I think it's going to blow minds. We're currently in talks with several potential sponsors, including, but not limited to a luxury vehicle company with a big heart and the world's first eco-airline. Also a GMO free sport water brand. Chapel Perilous the series, coming soon.

Can you provide any advice to other filmmakers who dream of getting their films made?

Just do it. Stop talking and thinking and dreaming and just do it. Work with your limitations, don't let em hold you down, reach for the stars. You had a goal, but not that many 'cause you're the only one, I'll give you good and plenty. . . and if you don't know.

And here it is:

Road to Sundance 2014: My Sense of Modesty (short), directed by Sebastien Bailly

Sebastien Bailly

What made you decide to become a filmmaker?

To be a director is an old desire. When I was a child, I wrote a lot of stories in my bedroom, because I was a unique son. I discovered cinema when I was a teenager. First, I discovered the American movies I could watch on television and, after, the French and European cinema in an art theater which was in my little city in the South West of France. At college, I was in an art classroom which specialized in cinema. I shot my first own little movies there and discovered cinema history.

Tell us about your film. What inspired you to make it?

"My Sense of Modesty" is a short fiction film which was selected in the Sundance competition (Short Program 1). I was inspired by all the young Arabic women I saw in the streets or in the subway in Paris. A lot of them have a Hijab in their hair. The Hijab is a debate question in France, but the media presents it as a strong religious symbol. I spoke with a lot of Arabic women and I discovered it is not only a religious symbol but also a cultural habit. A lot of these women receive a Hijab at twelve years old but they are not really believers. Then when they grow up, the question to remove it is often a really difficult, and important, choice. With this movie I would like to open up minds and let people see the Hijab differently.

Still from My Sense of Modesty

What do you love about your film?

In my previous movies, I loved to show the portraits of women. It´s the same here. I like to show women with a sweet eye, with a comprehensive approach. And it was a pleasure to work with Hafsia Herzi, who is a famous actress in France (Cesar Award Winning). She was very generous and attentive. She was completely involved in the project - and now she loves the movie, which is important for me also.

How long did it take you to make your film?

Writing the script was really easy and very quick. It’s the process of searching for money which takes the longest.

How did you finance your film?

The movie has traditional financing for a French short. The French public TV gave us money after reading the script, before we even began shooting. We also received financial support from the City of Paris, and from the CNC (National Film Center).

What was the most challenging part of the filmmaking process and how did you overcome it?

The most important for me in this movie was how I can speak about this subject with a smooth approach. I'm not for or against the Hijab; I just want to tell a story, to show another reality than the one the French media shows. This movie had to be very touchy and direct.

Tell us about your experience getting into Sundance.

I was really surprised by the selection, it was like a dream! It´s so important for a French director to be here! I'm really happy about the positive feedback on the movie. I have had a lot of interesting meetings and encounters at Sundance. It´s a wonderful experience. And I must confess it’s my first time in America. It was a wish for me: go to America and present a movie. Done!

If you had to make the film all over again, would you do anything different?

That´s not a question for me actually. I enjoyed when the film was selected for festivals and I'm interested by the feedback, but I don't want to go back or change anything. I'm thinking about my future projects, that´s the most important now.

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?

At the same time of Sundance, the film is in Sofia Festival (Bulgaria) and in a French film festival. I hope there, some people from all over the world will have a chance to see it.  A company is working on the world sales for TV and we have a project for a release in France with 3 of my short films.

If someone wants to watch my film, they can contact me directly by email, and I will send them a link: bailly2000@gmail.com. I will be happy to receive feedback, and discuss it with people.

Can you provide any advice to other filmmakers who dream of getting their films made?

Just believe in yourself and your projects. Listen to what other people say about your script, but stick to your own desire; don't forget the first desire of your project.

Road to Sundance 2014: 130919 • A Portrait of Marina Abramović (short), Directed by Matthu Placek

Matthu Placek

What made you decide to become a filmmaker?

My background is still photography. I have always focused on portraiture in my photographs with an emphasis on narrative and environments. Filmmaking was always on the horizon but there were a few other things I wanted to learn first about how to tell a story within the limitations of still photography. That approach to story telling is quite clear in my moving images I think.

Tell us about your film. What inspired you to make it?

My film is called "130919 • A Portrait of Marina Abramović" which is a selection of the Sundance narrative shorts and New Frontier categories. The film is a dramatic narrative made in one-take without dialogue. My goal was to tell the story of Marina Abramovic's past present and future without interruption. Marina is an iconic figure in the world of performance art. In her 40+ year career she has paved the way for her genre in a remarkable way. Many say she is "overexposed".... image that....a performance artist is over exposed in the general public?! BRAVO to Marina...who would have ever imagine such a thing would happen. Beyond her notable status, I consider Marina a friend and collaborator. I have made images for her and taken her portrait many times since 2006. The incredibly intimate nature of this film is made possible by that relationship. She put her full trust in me for which I am eternally grateful. 

What do you love about your film?

That the subject feels I did her justice. 

How long did it take you to make your film?

I first conceived of the film 3 years ago however it evolved as things do when you have the luxury of time. That being said, it was simmering on a back burning and then took a nap for about 2 years. The project resurfaced in the spring of 2013 and miraculously came together at light speed. 

How did you finance your film?

My film was funded with the generous support of The Rockefeller Brothers Fund and The National YoungArts Foundation and my executive producers VisionaireFilm. 

What was the most challenging part of the filmmaking process and how did you overcome it?

To not make compromises on my vision. I'm never one to compromise but it's always difficult to stand your ground and listen to your gut when you want everyone to be happy. The important thing is to be diplomatic and considerate of everyone involved. 

Film Still

Tell us about your experience getting into Sundance. 

My executive producer and dear friend Adam Whitney Nichols called me at 11:30 PM and asked me if I was sitting down. This was at the end of November and I was preparing for a massive installation of this film's premiere in Miami for Art Basel Miami Beach. Just when I thought I couldn't be more excited to present this work in the best possible way he said, "Matthu, your film got into Sundance!" Even as I sit here in Park City, Utah, watching the ski lifts outside my windows, it still hasn't sunk in. I am incredibly honored to be included! The film world is all new to me so I am just riding the wave and keeping my eyes and ears wide open to better understand my surroundings. 

If you had to make the film all over again, would you do anything different?

In all honesty.... No. 

What’s next for your film? Do you have distribution? If so, when and how can people see it and if not, what are your hopes for the film?

"130919 • A Portrait of Marina Abramovic" is an ongoing series of one-take dramatic 3D portraits of people I have a personal relationship with. This is how I want to tell a person's story, through personal experience and the gift of their valuable time. In an age where everything is accessible at any moment, I wanted to take a step back and respect the relationship, the process and the time. These films are made as artworks which are created in an edition of 6 with 2 AP's. The film will not be available online and it will not be distributed. However, I will be showing this work and the subsequent portraits in fully immersive installations such as the Miami installation. The next scheduled installation will be a week long project in New York during the Frieze Art Fair in May 2014.

Can you provide any advice to other filmmakers who dream of getting their films made?

If you are facing endless obstacles and brick walls...let your project have a rest to the side. Perhaps it needs to simmer. Work on something else. You'll know when it's the right time to charge forward again. 

Here's a Making Of to enjoy: