Interviews: City & State Short Film Directors at 51st Chicago International Film Festival

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CHICAGO – The future of filmmaking was on display at the 51st Chicago International Film Festival at the City & State Short Film program. Subtitled “Feel the Illinoise,” the collection included works by directors Bradley Bischoff, Joel Benjamin, Ed Flynn, Andy Berlin, Jake Zalutsky and Weija Ma.

As technology evolves, the short films are more masterfully created, either through student work or independent production. Some of the genres represented were animation, short documentary and examinations of the human condition. HollywoodChicago.com was there, talking to the young directors about the films that represent them.

Bradley Bischoff, Director of “Nomad”

‘Nomad,’ Directed Bradley Biscoff
Photo credit: Chicago International Film Festival

“Nomad” is yet another notable submission from director Bradley Bischoff, a festival favorite from past years. The edgy psychosis in the film is in contrast to the seemingly normal couple having a gathering in their apartment. Surely there can’t be a breakdown in the middle of it all?

HollywoodChicago.com: You love mood and emotion in your films to create atmosphere. How does this match your application to everyday life?

Bradley Bischoff: What I would say about that is I went through a phase in my life where I wouldn’t take off my jacket or my shoes. It took me awhile to break that phase, I still only take them off at a unique point in the day. There are so many things I want to do and get it done, I just have a hard time sitting still.

HollywoodChicago.com: Within the context of ‘Nomad,’ how alone do you feel we are?

Bradley Bischoff of ‘Nomad’ Photo credit: Patrick McDonald for HollywoodChicago.com

Bischoff: Everybody has to fall asleep at night on their own terms, whether surrounded by people or living a single life, everybody falls asleep alone. I can only fall asleep if I’m satisfied with the decisions I have made that day. It’s not a weekly or monthly decision, it is that day. In that sense, everyday is a struggle to be honest with yourself, to be honest with what you’re doing in your life, to hit that pillow.

In the film, the main character wears his jacket, and takes it off only until he is connected with his wife. That informed me that he would sleep that night. The next morning he’s shirtless, having a cup of coffee, and f**k, it starts all over again. Every day is a challenge.

HollywoodChicago.com: When do you call ‘cut’ when you are directing…when you have what you want in the scene being shot in front of you, or beyond that barrier?

Bischoff: One of the big things I learned was when I was taking acting lessons in Los Angeles from Jeffrey Tambor. He made me consider the moment before the action and the moment after. That changed my life as a director. I will always roll early, and keep rolling afterward, to see what happens. What Tambor said was ‘I don’t have life figured out, how the hell can I have a movie figured out?’ In a film, we’re trying to recreate a life’s moment. There should be imperfections, there should be the ‘moment afterward.’

Often I will light another part of the set and shoot that, unbeknownst to the actors who are doing their lines elsewhere. Life is then happening, and if I did my job right, the actors will react accordingly, with a more honest portrayal. So I never say ‘cut’ too soon, it has to feel real.

Joel Benjamin, Director of “Chasm”

’Chasm,’ Directed by Joel Benjamin
Photo credit: Chicago International Film Festival

Joel Benjamin makes his second appearance in a row at the City and State program, with his particular view and style on animation. “Chasm” is a science fiction morality play set in outer space, which pits knowledge and technology versus the human determination of connection.

HollywoodChicago.com: What is different about ‘Chasm’ than any other animated film you’ve done, especially from last year’s ‘Drifting’?

Joel Benjamin of ‘Chasm’ Photo credit: Patrick McDonald for HollywoodChicago.com

Joel Benjamin: The biggest difference was that I worked with other people – as an independent animator I hadn’t done that much. So I got to bounce ideas off of other people, and it was fun to work through the challenge of creating different ideas.

HollywoodChicago.com: Since it was your original story, how did it evolve as you collaborated?

Benjamin: When Shelley Dotson [co-producer] and I began to work through the story – which is about an astronaut – we talked about how technology can be amazing, but you can still do a stupid thing like drop a screwdriver, and the amazing technology doesn’t matter anymore – that could be the end. We were figuring out how to make that basic story work, and it was a lot of fun with other people involved.

HollywoodChicago.com: The early movie projectors were called ‘The Magic Lantern.’ How does that magic lantern illuminate your path in filmmaking, and how does it continue to illuminate cinema in general?

Benjamin: Part of it is the recognition that other people want to tell stories as badly as I do, and that no matter what that story is about, if it’s good we can all relate to it. And that’s the best things about movies, we can escape into the reality of somebody else and relate to it.

Ed Flynn, Director of “Unknown Unknown”

‘Unknown Unknown,’ Directed by Ed Flynn
Photo credit: Chicago International Film Festival

Ed Flynn’s “Unknown Unknown” was on of the more memorable short films in the program, an allegory set in a grocery store, under the glare of florescent lighting and unrealized dreams.

HollywoodChicago.com: Why did you cast yourself in the lead? Was it because of your deeper understanding and mood regarding the film, since you wrote it?

Ed Flynn of ‘Unknown Unknown’ Photo credit: Patrick McDonald for HollywoodChicago.com

Ed Flynn: Well first, it was easier for me. I knew what that guy needed to do, just be impressionable and take it in. And second, it was practical. I have more experience as an actor than any other element of filmmaking. So I thought if I acted in it, maybe it would make up for what was lacking in the experience of my first film.

HollywoodChicago.com: Since your film was set in a grocery story, how do you feel these place feed our souls as much as supply our sustenance?

Flynn: A grocery store is this magic place, where we know there are several levels of function going on. There is a presentation going on, and there are less-than-savory things going on behind that presentation, that allows for the pretty, well-lit and colorful label thing possible. The grocery store was a good place to explore levels of things we notice, and levels we don’t notice, which was the basis for my film.

HollywoodChicago.com: Which film seems so close to your style, that it would almost seem as if you’d made it?

Flynn: The movies that I watch that are tied up into what I do in film are ‘Nashville,’ ‘The Shining’ – which played a big role in ‘Unknown Unknown.’ as you might guess – and the early short films of comedian Louis C.K., even before his TV series. And also, Robert Downey Sr., and his film ‘Putney Swope.’ They all give you the feeling that you can do anything.