What can you tell us about the Cannes Film Festival 2017 and its influence?
“Although the Cannes Film Festival 2017 Official selection didn’t change my life, still the best aspect of being chosen in such an important event in the film sphere is that it will help a lot to find some funds for new projects. When I say that my short film was in Official selection in Cannes, I see a little light in the eyes of my interlocutor. Everybody knows this festival and it’s a symbol of cinephile and quality, so yes, it helps to build my reputation! Moreover, I have got a great awards from the USA, another one from Canada, and also from Brazil.”
Where did the idea for Grandpa Walrus come from?
“Concerning the idea for Grandpa Walrus, I wanted to talk about death, the loss of a relative, and also about the complex links that exist in a family. I was inspired by the photographic works of Shoji Ueda: empty sand lands, lonely human beings, a touch of the absurd… All of this eventually found reflection in my film. I tried to create a cinematographic transcription of hard feelings and deep emotions about loss. The children’s point of view interests me the most because they don’t have all the keys to understand the adult matters, so they have to build their own interpretation that can be mystical, blurry, frightening. I also wanted to describe a ‘divided’ family with tough relationships, a realistic and quite vulgar language. It is a short film I decided to do as if it was a piece of a feature film. I wanted to try a rather classical way of writing and editing, a realistic rendering of atmosphere and space, credible characters and feelings, closer to ‘real’ cinema. Animation is often a tool to make more conceptual or visual experiments, or to describe an ‘archetypal’ world or a fantasy world, I wanted first of all to tell a story, that is what cinema brings to me everyday.”