[Interview] Nikon Film Festival

On the 15th of January we are closed the registrations for the 5th edition of the Nikon Film Festival. On the 1091 short films presented (on the theme of “I am choice” and a length ranging between 30 and 140 seconds) , 50 films were selected (the list here) to compete in the various prizes that will be awarded on 12 February. In this list I’m a mustache, I am Uterly Stupid, I am chosen and I am at the time , had already been noticed in our article in the December 21, 2014 , which announced the festival. These films are added in this pre-selection I am a migrant, I am a regulation of the tales, I am always a choice, I’m in competition, I’m a scenario , and I’m a chick to form our top 10.

While it remains to users until February 11, to vote and to designate the Price to the Public, we have met between the two sessions of deliberations, two members of the jury of the festival. Pascale Faure is responsible for the short programs of Canal +, and Vincent Muller chief operator. They told us in this interview, their impressions on the Nikon Film Festival, about the films and their take on the world of short films.

 

Can you summarize for us your background ?

-Vincent Muller : I am the chief operator. I am a film school in Brussels, which is called the INSAS, and where I obtained a diploma in image. At first I was for ten years assistant operator before becoming ten years ago, chief operator of the television. I worked for Canal+, for example, on the series Braquo, Sycamore, Hard… It is thanks to Sycamore, I met Eric Judor and with which I am in preparation for The Tour Montparnasse infernale 2.

-Pascale Faure : I worked on Canal for many years after being passed by France Television and festivals. Ten years ago I returned to the head of the section of the courts and creations. I am also the producer of shows such as Eye Links, Mensomadaire and before that the Eye of The Cyclone.

Speaking of your work in the canal+ Channel, why the channel, which is notably a partner of the festival, – door-does she have an interest in short films ?

-P. F. : In the short film there is no return on the investment that is other than artistic. The idea is to make entrance doors to the young talents. Of course you do not invest a lot of money in the short-film, it is not an industry, but there is a willingness of the chain to invest on the films and writings of scenario. It is currently in the process of thinking about a link between the short format and the long-to switch the one in the other.

Where does your interest for this type of format ?

-P. F : By chance, in fact. I discovered the short film by the issuance of France 2 : The short Story. This is where I saw Star Suburb (1982), a science-fiction film quite mythical directed by Stéphane Drouot, and the films of Pascal Aubier. Seeing these movies I say I love this form. I then had the chance to broadcast to the tv and get me a recruit Channel for it. I find that it is a passion that is demanding because it is necessary to be interested in everything that comes out. It is a cinematography hyper emerging, therefore, it is necessary to be open to everything and never stay on the acquis.

Vincent, I assume that you have worked on short films.

-V. M. : Yes I do a lot. It is also making the film Piece is detached (2006) Sébastien Drouin to me life has changed. With this science-fiction film I met the team with whom I am still in the last eight years, I have found an agent, directors have contacted me… It really has been a milestone in my career. And I continue to do it. In general one a year, but on the condition that it rotates in the province, that we live all in the same house and we had a big screen for watching movies and playing Guitar Hero (laugh) !

The report with a director is different on a short or a long ?

-V. M. : Often the makers of short films are young people, so they must be reassured. But it is also the case with directors of long.

-P. F. : Yes, from our side when receiving director of short one has more latitude to talk about their project, their doubts.

-V. M. : It was the case with the New Trilogy begun by Gilles Galud on Canal+ that I’ve been doing for three years. The concept is to take young directors of short, and carry them into the world of the tv telling them to do a series in freedom, but only if it is their first experience. They are then put in the hands of a close-knit team who will follow.

Today, and the festival proves, everyone has the means, by the image quality cameras and camera phones, to make a film. What do you think ?

-V. M. : I filmed with a camera, such as on a Plane , for example. I think that there has been interest to follow this evolution. Now we can use a decent devices, with more low-end. With the democratization of the video there is a wider choice of formats and materials. I love the fact that the manufacturing process is more simple. Even if in the details it is more complicated. But it is open to all.

The festival consists of exactly 1091 movies, this is huge !

-V. M. : We think that as everyone has access to the court, it will denature. But I think it is the opposite. In a large range of the interesting people are going to emerge all the better. And this is what we note in the rankings of the jurors. There are a bunch of movies of excellent quality that emerge, on which we can discuss. And this is possible if there are thousand people which have made a film.

”It is wonderful for a young person to be broadcast on television and in room. The price that’s all it is, it is to be seen.”

Does it still sometimes repeats the theme or style ?

-V. M. : What I notice a lot, it is the permutations of the characters. A lot of scenarios start the plan with a person and end up with another. Ca is part of the mounting tips. If I had to declare a theme that would be the permutation. It is not a matter of the relationship of one man to another, but from one human being to a number of human beings. This is what I noticed on I’m Célib’ or I’m beating the drum. There is this trick of editing that I find to be very intelligent.

-P. F. : It is incredibly hard as an exercise of style, I am appreciative of the proposals that we have seen. There are pure ideas that set the scene. And even if sometimes the topics are not necessarily relevant, the tips of achievement are amazing.

Vincent, as chief operator, do you manage to make abstraction of an image quality less worked ? And, finally, that you look for in a film ?

-V. M. : I let myself be surprised. My scale of value is not an amateur or a pro, nor well filmed or poorly filmed. Me what I love is the visual links between the plans. This is the cinema. Create invisible connections in life and show them to the image. There are a few badly filmed, but the hints are so righteous that I think it’s great. For example I am beating the drum looking for very rich graphic. Even if it’s awkward you can feel the direction.

-P. F. : For me when there is A great quality in a film, it is enough for me. The rest may be better, but at least it is finally rare.

What could be improved on the films proposed, and for the next editions of the festival ?

-V. M. : One of the problems of small films is the sound. It is the big shortcoming for now. You are full of ideas and visual qualities are excellent, but often it is there that sin.

The festival is open to both amateur and semi-professional. What do you think of this opening to the greatest number ?

-V. M. : That’s good. It is wonderful for a young person to be broadcast on television and in room. The price that’s all it is, it is to be seen. Before the Internet there was not a lot of ways to show their work to millions of people. Now there’s a kind of enthusiasm to make films, to experiment, to be pushed for the creation.

-P. F. : I’ve seen the festival start, grow and rise to an impressive level. Now, the Nikon Film Festival appears as an issue. In the five years it has established itself as a slider. And a professional, with this festival, I know that I will have the material to make pre-purchases for Canal+.

How did you become a member of the jury ?

-P. F. : It is party of a desire to collaboration just. I proposed to make a Price Channel+ and as a result they have asked me to be part of the jury. It has also been decided with the chain of him to dedicate a program, Microciné, 8 march, during which we will broadcast some of the films. A sort of top 15 with interviews with the filmmakers.

-V. M. : From my side I am putting the pressure on to death. In fact my 15 year old daughter participated last year. It is at this time that I met Ludovic Drean (responsible for the service Nikon Pro) in which I proposed that we agree with the AFC (Association of French directors of photography Film) to include a jury director of photography, a different one each year. A way of making the link, the junction between young people starting out and the old heads operators who complete (laugh).

How did the viewing of movies ?

-P. F. : We had the opportunity to see before us, but we knew that we would see the selection on the big screen all together to have the reactions a little hot. I realized that in fact we do not see the same in these two cases. The context changes the relation to films. After we have set up a rating system and it has been discussed on this basis.

Without we reveal the winners of the jury, which will be announced on the 12th of February, have you had any favourites ?

-V. M. : I love I’m Célib’ ! Very ironic and light, but with a message which is very dark at the same time.

-P. F. : For me it would be I am a mustache. Super funny and original. The side absurdity of the thing, the symbol of the father, the repetition out of the water… there is something surreal that I liked a lot.

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