Back recuperating in Paris and so it’s time to talk Cannes!
The festival was great experience, and completely different than any I have attended due to its overwhelming international presence. It really put into perspective for me that, despite its massive box office earnings, America is only a small portion of the global film market, a market that caters to every story and every culture, popular or minority.
I really came away feeling that if your particular project doesn’t seem to fit the mold of films your country or community is focused on, there truly is an international audience waiting to see your work, if you can only find the right way to connect with them.
ONE SMALL STEP had its official Short Film Corner screening on May 20th to a full theater. I WANTED to post an awesome update full of pictures of amazing filmmakers with the D16 CNC model, but my phone, er, “eloped with a local” an hour before I left for Paris, and with it went the majority of the photos and videos I took. So you’ll just have to imagine the great time I had talking to people about the camera. (Also, if you could imagine it was sunny & warm, I’d appreciate it!)
I tried to see as many short films as I could at the festival, and I was shocked by the quality of the ones I was able to catch, and immensely pleased to be selected beside them.
In the recent past selling a short film was a pipe dream and making a short was merely a directorial calling card, but with so many new distribution channels these days, there’s a huge future for shorts, which is really exciting for me as a filmmaker who often prefers to create short content. I don’t think there should be anything amateur about being a “short filmmaker”; concise, well-paced films can be just as difficult (or harder) to create than a feature.
But back to Cannes!
I think Asternauts is a perfect example of how short films can stand on their own as strong, high-concept narratives. It’s also an example of how crowd funding can help new filmmakers execute projects that can be competitive in production value with anything shot by a studio. This film in 20 minutes is better than all 120 minutes of Cowboys & Aliens.
I wrapped up my Cannes trip with the party sponsored by Les Machineurs, a cool rental and all-purpose production house based in Paris that worked on films in the Short Film Corner and Quinzaine (Director’s Fortnight). I had a blast showing off the D16 model to directors and producers, and raygun photo poses were made by all!