MIKE WEISS - Toronto ON - www.deliciousnougat.com
As a kid, Looney Tunes and Weird Al. As a teen, Tool videos and anything where people were unhappy. Drawn and Quarterly, Fantagraphics comics and Kids in the Hall. Actually, I really, really love watching television and movies and books to the point where I think I’m doing this only because I enjoy what other people are doing so much, not necessarily because it’s my purpose, or anything.
Where do you do most of your work, can you explain a bit about your set up?
I pretty much do it all in my tiny bachelor apartment – build sets, props, puppets, shoot animation, even record most of the voices. I record using a mini-disc recorder, so I could even take it on the road for those gracious enough to lend their voice, but who couldn’t make it to my place to record.
For building materials and supplies, I always keep it cheap. It’s fun taking a cheap piece of crap and enthusiastically injecting creativity into it – it gives it a sad, flawed charm. Dollarama, Value Village, Active Surplus and art stores are where I get most of my props. My friend Arlen made the costumes for the puppets out of clothing items I purchased from Value Village (and washed). Here are a few photos from the set of Mike's stop motion short "Debt" that was shot at his house.
For instance, puppet sweatpants are made from people sweatpants, and so forth. I constantly keep my eyes open for props I need for the film – I needed a garbage can prop and, while in a candy store, I found some candy that came in a gimmicky garbage can container, sized at the perfect scale for my film! The candy was terrible, though, so I guess that was a ‘single win’.
What I can’t find, I build using Sculpey, foam core, hot glue (12 sticks for a buck at Dollarama!) and acrylic paint. My advice for anyone looking to shoot stop-mo at home: find a place where hydro is inclusive.
What do you eat while working on your films?
Upon reading this question, I realized I ate an amazing number of shawarmas while making this film.
What are you working on now?
I’m working on a lot of shorter films at once right now. For me, it’s so much more satisfying doing a long story, but it takes forever.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I do have a day job and finding an appropriate balance is an ongoing struggle. I never try the “I’ll work during the day and then come home and work on my film at night” approach. It’s too much. I tend to work contract jobs, so quite often making a film during down-time works out nicely.
Is there a purpose to screening work outside of the internet anymore?
I definitely think there’s a purpose to screening work outside of the internet – have you seen that David Lynch iPhone clip? I mean, I love the sheer volume of content and exposure that’s accessible through the net, but it doens’t really do the works justice. The online screening of indie films also lacks the personal touch of an immediate audience response. Small scale shorts tend to be personal works, and it’s a huge payoff for the artist to experience people enjoying your work. I would also never open a comments section if I were to post a film online.
MIKE JUNEAU - Canmore, AB - www.heisthefuture.com
After taking photography through high school, and first year of university I realized that I was not totally satisfied just creating one image, or even a series of photos. So I switched to video. I wanted every frame to be able to stand alone as a beautiful photograph. I'm still working towards that goal, it's something that I think about each time I direct.
I love listening to music, but since I don't yet have the skills to create something worth listening to, the closest thing I could do was document musicians that I enjoyed. I started with early Born Ruffians shows in high school back when they were Mornington Drive, the first music video I ever made was for their song "Hello Sincicago".
Where do you do most of your work, can you explain a bit about your set up?
I work on my desktop Mac and using Adobe Premier to edit. For studio work I have only really had one for my thesis at school, it was really great to have a whole space dedicated to just creating work. I'd like to get another studio one day. I really enjoyed having a completely separate space, then the one you live in. Even for my paintings I did them all in my bedroom, and my carpet really suffered from it. Plus my computer mouse and keyboard are smeared with paint.
My creative process usually begins with one image in my head, and then I work around that. For brain storming I find it best to have someone to talk to. With music videos I just listen to the song over and over until something comes into my head.
What do you eat while working on your films?
I work on a reward system, so once I complete a section of a video I allow myself to eat a bag of Ruffles Sour Cream and Onion Chips, or Jalapeno Doritos. I survive mostly off pizza and burritos.
What are you working on now?
I just finished another music video - this time for Bellewoods, the song is called "Kneel on the Apron". This is my 4th or 5th time working with Kyle McCreight, he is my partner in Humble Empire. This video features my Dad in his acting debut. I am really excited to show people; I think it's the best video I have ever made.
For future projects I want to try out a new medium, I just moved to western Canada and am thinking of pursuing street art. I don't have a video camera out here, so I probably won't make any videos unless I can find a sweet deal at a garage sale or something. I also want to learn to sing and figure out how to write songs. I am out here with my girlfriend Meghan and she is really motivated to become a great guitarist, singer and song writer, so she is inspiring me to focus on that too.
Here are some stills from Mike's music video for dd/mm/yyyy.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I've been lucky for the last few months I've got to help out and work for my friends. I was assisting Jesse Ewles for the month of October, he is a great guy to work with and be around. My other part time job through out the summer was as a painter. I showed my work at the Outdoor Art Show and had a solo show at Earth & Fire Gallery they both went really great.
Getting paid for my paintings really opened up my eyes to other possibilities for making money. I never thought I could make money off of my paintings before. Video work has always been the medium I thought I'd succeed in, I had just painted for fun for a few years, until I was convinced by my friends that I should do more than just hang them on my own walls.
Is there a purpose to screening work outside of the internet anymore?
I definitely think that work needs to be screened outside of the internet, unless you have a home theatre or something hooked up to your internet. I think most videos need to be seen big, and if it can be also with a group of people in the dark it gets even better. I realized the importance of this after seeing one of the first successful videos I created for Rock Plaza Central - "I am an Excellent Steel Horse" play at a screening at Bloor Cinema. I had watched it dozens of times on my computer, and liked it but never loved it. When I saw it huge and in a theatre I realized that it was something I should be proud of.
FELIX KALMENSON - Toronto ON - Felix's Site
I would say my strongest influence would be my mentor Tracy German who taught me everything I know about hand processing, scratching and painting on negatives. She teaches part-time at Sheridan now, but I got to know her through some film tutorials at the Hart House.
As for people whose films inspired me, that would have to be Arthur Lipsett, Norman Mclaren, Stan Brakhage, Guy Maddin, Jan Lenica, Chris Marker, Svankmajer, Artavazd Peleshian, and most of all Fassbinder.
Where do you do most of your work, can you explain a bit about your set up?
I work mostly at home. I edit negatives on a light box with surgical blades, picks, sandpaper, india ink, and markers. I get my camera rentals and do my handprocessing and final cut pro editing at the Hart House, which has been an indispensible resource. They also award small grants that have been really helpful in funding my work. They require you become at Hart House member or a U of T student to join the Film Board, but it's really worth it since their rentals are so cheap. I get my digital transfers at Photoplays, they are sweetest people, plus they have the cheapest tranfers in town.
What do you eat while working on your films?
I mostly just drink copious amounts of tea.
What are you working on now?
I'm working on a music video for the band Brides and another one for Little Girls. Other than that I'm mostly just working on scripts for upcoming shorts. Here are some samples of Felix's photography taken from his site.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I'm a student right now, so it's pretty difficult to find a balance, I usually wait till breaktimes to work on film. I don't really think I'll be making a living off my work, I couldn't see anybody paying big commercial bucks for my kinda work but I don't really care, I'll just have a shitty job and work on my own stuff, that way I'll have complete creative control.
Is there a purpose to screening work outside of the internet anymore?
I do think there is value in screenings because it provides a platform for face-to-face feedback which means so much more to me than youtube comments, plus it works to foster a local creative community which is really important to me.
JESSE EWLES - Toronto ON - www.jesseewles.com
I have a strong protestant work ethic which lead me to habitually
overwork any paintings or illustrations I'd do. Switching to film
makes it harder to nitpick; the project is so big, you're forced to keep
moving forward or you'll overshoot the deadlines.
Where do you do most of your work, can you explain a bit about your set up?
I've shot most of my work with cheap still cameras; the advantage was
that you could get a great picture quality without having to buy a 20k
video camera. Plus civilians tend to ignore you more readily when
your shooting with a tiny point and shoot. Luckily, since then,
Canon has come out with great SLRs that shoot HD. It'll be amazing in
5 years or so when anyone can have a pro camera for a few hundred
bucks. The price of equipment has been prohibiting a lot of good
films from being made over the years I think.
What do you eat while working on your films?
Doritos and Instant Breakfast, sadly. Mostly veggies and catfish the rest
of the time.
What are you working on now?
A short derived from the Aesop's Fable The Frog's That Wanted a King.
It's a remake of a stop-motion animation Ladislas Starevich made in the
20's. Here are some stills below of the puppet making process.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I live with two roommates and I scrimp on fun stuff like vacations and
buying new clothes. I'm probably going to get a part time job this
spring I think. Just to regain a bit of routine. There's a danger of
being swallowed by the work if I'm allowed to do whatever I want all
the time.
Because I come from an illustration background, I think I'm as
prepared as anyone for the changes that are going on in the film
industry. Basically I think we're headed for a future where pictures
are made by small crews of multi-talented people who self-finance and
distribute their work. The educated generalist will replace the
specialists (ie Director's won't be able to afford to JUST boss people
around and Gaffers will be able to afford to make their own films if
they choose.)
Budgets will dry up, but so to will the prohibitive
expenses of making a video. It's the same direction indie music has
gone, and much like indie music, the most talented people will be able
to make cash. If I work hard enough, get good and find an audience,
I'll be okay. If not, I'll go back to school and persue my first
love: Rain forest scientist, like Conery in Medicine Man.
AMY LOCKHART - Montreal QC - Amy's Blog
What or who got you into animation/music videos/film?
Helen Hill and Trixy Sweetvittles really got me into animation, and opened me up to different ways to make things, and animations. Mostly just don't take things too seriously and don't be brought down by the limitations of things, just find your own way to get around them. Like making hand crafted films.
Where do you do most of your work, can you explain a bit about your set up?
I work mostly in my apt. Our place is kind of small right now so I am having a bit of trouble getting back to the standard. I first started making films on a 16mm oxberry film stand. So I would make all the art for it at home, then go in and lock myself away until it was all filmed. Devil Lives In Hollywood took around 6 hours to film, or less. But Walk for Walk took around 3 months of 9 hour days, 5 days a week, sorta thing. Eek. Anyways.. now I work in video mostly.
My set up is super simple. I use Framethief, a share ware program that lets you capture single frames using a video camera. And Then I attach the camera to a shelf that is affixed above a table top. Yep. Oh yeah, for Walk for Walk I built this isolation booth in my living room. Basically like a sound proof cardboard fort. It was tiny and had no air inside, with a mic, some earphones and a mouse, that was attached to my laptop which was outside the fort. I could see it through a double paned plexiglass window I made. And that's how I recorded the sounds for that one.
What do you eat while working on your films?
Gum. I really like chewing gum while I am working, especially writing or something. Gets my brain going.
What are you working on now?
Hmm...... I will be in the Pulp Fiction group show at St. Mary's (I think) in Halifax in January. A book of mine called Dirty Dishes (with a painting of two ladies on front with no title) just came out. Drawn and Quarterly Published it. I am also working on a live action film (with some animation mixed in).
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I babysit sometimes, which is a fun and rewarding odd job. Heh... I also tend to live cheaply so I don't have to stress too much about work, etc.
Is there a purpose to screening work outside of the internet anymore?
Yeah, I have seen some great video stuff on the internet, especially outsider/folk art type stuff. But I don't know... It would be great if local tv got really cheap or accessible again and it turned into a public access type thing. But really I kind of see everything becoming more internet based, and people become more and more alienated from the people around them, bwahahahahahaaa!!! Heh... But I think and hope there will always be screenings of things in theatres.
SINBAD RICHARDSON - Montreal QC - www.viennapitts.com
What or who got you into animation/music videos/film?
I started doing stop-motion animation when I was quite young with my father's Hi-8 camera. I started by creating a character in clay and making him go from sitting to standing up. I remember when I saw the playback for the first time and seeing it come to life and being amazed that I was able to do that with so little. I remember watching Pingu and wanting to do animation like that.
Where do you do most of your work, can you explain a bit about your set up?
My set up changes from project to project. When I'm working on personal projects I like working from home where I have complete control of my time and snacks.
I use whatever is available to me to achieve telling a story in an interesting visual way. If there is budget then I can afford tools and space that make it easier, but with or without a budget if you are the single animator it's going to be a lot of work. It's good to do tests, even if it's just a few frames. Personally I work at 10 frames per second and the results are great. For the Have You Seen In Your Dreams music video for Miracle Fortress I worked at 10 fps.
What do you eat while working on your films?
Szechuan and Breaktime cookies.
What are you working on now?
I've started writing dialogue for a webisode series. The story's main character is "Jennifer Harris", a talk show host who has recently gone from daytime AM radio to a hot late night spot.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I spend most of my time working as a graphic artist for bands which also branches out into creating videos for bands.
Is there a purpose to screening work outside of the internet anymore?
I think there is a purpose to screening work because it can give you particular exposure to a community which can be great to get more screenings or even paying work. Real life word of mouth has been great to me and I think that kind of exchange is an important part of creating a name for yourself in your area. As for the future of video, I think more and more advertisement in cities and public trasit will all be video, my advice would be to start learning Flash.
BRANDON JAN BLOMMAERT - Montreal QC - www.pandaclock.com.gif)
What or who got you into animation/music videos/film?
I never even thought about animation until I tried it in 2004 in some art school elective. The teacher, Kevin Kurytnik, was my first major influence. He really encouraged me to play and not worry about making things that make sense and he showed me the most insane things I had never seen before. Then I realized a lot of my friends were really into animation at the time and they where also really encouraging.
Where do you do most of your work, can you explain a bit about your set up?
I always have different working situations and have yet to have a steady space. If I have no space I work digitally, if I have space (and time and money) I will do things with objects. I think all art is is about solving problems creatively, even if the problems are self created. On a film like Greycon4 (made in the living room of my apartment at the time) every shot was created differently. I have no real formal training and I really had no idea what I was doing, so every frame was kind of an adventure. So yes, always building things. I got good at making paper sculptures. I would like to make another movie like that, but I need time, money and lots of space that I don't currently have. If I make a film that is all digital (like batmilk) it is still time consuming, but it is kind of a vacation.
What do you eat while working on your films?
I basically live on bagels, apples and coffee.
What are you working on now?
I am trying to make a music video today. I am obsessed with making tiny minimal loops and I am going to start a little claymation movie in December.
Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?
I should do the responsible thing and get a real job but I get fired from things pretty quickly. I do a lot of projects that are not animation related. Animation/video stuff rarely pays me. There is a pretty huge chasm between what I want to make, what I get paid to make and what I am technically able to make.
Do you think there is a way of making a living doing what you're doing?
I feel like I know very little about video stuff, as far as venues, funding, technology, ideology etc... so I don't know much about the future, past or present. I would like to make money doing what I like doing. I don't think I will ever get paid to make the movies I want to make, but I will find a way to make them, even if I have to go to jail as a result.
I might get into product placement. I've been trying to figure out how to approach big companies to see if they would pay me to work their logos or products into my movies. I made this as part of a proposal to Burger King, I was imagining making a movie set in a Burger King of the future or something. I haven't sent in the proposal yet. I feel like that would be easier than trying to trick the government into thinking there is artistic merit to what I do. Trying to get money for movies is a great mystery to me but it also seems like a big part of the adventure.
Is there a purpose to screening work outside of the internet anymore?
Yes, screenings are very important. If someone is going to put an ass load of work into a film I want to see it big, loud, bright and in an awkward sweaty social setting. I like going to screenings because I know that someone has picked things for me that are amazing that I need to see (as an audience member). It's like being handed a plate of delicious pre-made food, rather than trawling through a giant infinite bin of junk, sure you might find something amazing in that pile but I find the pile is so big I just want to keep digging. The internet is obviously good for spreading weirdness rapidly around the world, in this workaday world of flash frying, cubicle warfare, and booty bass we have to admit that this is the future of cinema
You can see some of Brandon's loops during Film Fort intermission this Saturday!
