Dustin Woehrmann
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Contact Information*:
Los Angeles California USA |
Contact Type: Artist |
| web: http://www.studioprometheus.com | |
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Bio:
Filmography/Awards Info: The Planet Unscrew'd 1996 The Year of the Bug 1997 Everybody Bowl 1998 The Rape of Ganymede 2000 SEXY 2001 1. Why did you make this film? "Everybody Bowl" actually started out as an experiment in sound. I started with the interviews, and edited them together, then started adding pictures. It worked so well that it became my thesis film to graduate CalArts. 2. How long did it take to make this film? It took about 15 months, keeping in mind that I was in school and produced another film at the same time. 3. What was the biggest challenge you faced in making this film? When you start with sound, sometimes things that are funny in audio lose their punch when picture (especially the wrong picture) is added and vice versa, so it was a major balancing act. Also trying to decide how simple to keep it, I kept swaying back and forth with the amount of texture and depth and detail I put in. Its such a strong film graphically, that I didn't want to muck it up with too much extra fluff. 4. Do you have any "war stories" that you would like to tell us about the making of this film? If you've ever shot on an oxberry, you know that you never know what you get until you screen the dailies. so I'd shoot as much as possible and cross my fingers that it'd come back right. I think the hardest scene was Lana's smoke. It was done on a chalkboard under the camera. I probably re-shot it six times. 5. What can you tell us about the technology/equipment that you used? Camera? Editing? Software? Hardware? Film stock? Video tape stock? Sound equipment? Etc. This film was completely shot on a 16mm Oxberry camera and edited on flatbed. I recorded the sound with a Nagra, and did all the sound editing on the flatbed. I loved working with the film, and the Oxberry is such an amazing camera. 6. Do you enjoy one aspect of filmmaking more than any others? It's a package deal for me. I love when elements begin to come together and tell a story. 7. In what country or region do you live? Is it important to your art? If so, in what way? I grew up in a small town in Utah, and now live in Los Angeles. LA is a hodgepodge of different people . I think I'm more influenced by the people around me, than necessarily the place. 8. What does "Microcinema" mean to you? It means a chance for people all over to see my film, not just in the larger cities where the festivals take place. 9. What does "Independent" mean to you? 'Creatively independent' means that I have control over the art I'm making. 10. What are a few tips you can give to other filmmakers? Keep experimenting and finding new ways to make your animation come alive. Don't get too caught up in the 'right' way to animate... the amazing things come from exploring 'your' art and the way it moves. 11. Do you have ideas for another film? If so, will you share them with us? I'm currently working on a film that should be finished later this summer, based on the myth of Ganymede. 12. Who is your favorite film director? Yuri Norstein is one. I love the UPA style of animation. I also love Hitchcock, Greenaway, Norman McLaren... 13. What is your favorite film? There are so many films that have influenced me... Hedgehog in the Mist and Tale of Tales (Norstein), L'Idee (Bartosh), Gerald McBoing Boing... This Contact appears in this database if Microcinema International has screened a film directed by the Contact, a film directed by the contact is featured in a DVD distributed by the Blackchair Collection Shop, or featured an organization or activity linked with the Contact. This database is used for commercial as well as informational, non-commercial purposes. It is a historical archive of Microcinema International's activities. Inclusion in this database and archive in no way implies a continuing formal relationship or affiliation with Microcinema International or the Blackchair Label nor an endorsement of its activities by the Contact. Contact details are not displayed in order to protect privacy. If you wish to contact this artist please see their website as listed above or write Microcinema International and we will be happy to forward your e-mail.
Microcinema Interview/Article:
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