Daniel Ebner, Künstlerischer Leiter von VIS, hat den diesjährigen Stargast David OReilly für den Festival-Katalog vorab in Los Angeles interviewt.
What is the most important thing for you when you make a film?
I think it depends on the project. In any short film the most important thing is to make sure, that it?s totally your creation. There is absolutely no reason to compromise when making a short, there is a million reasons to compromise with almost everything else. With a short, I think you have no excuses: You just have a duty to follow as clearly as possible whatever your original idea was. The only constraint is time and everything else should be allowed.
Do you prefer to work on your own or in collaboration?
I used to work alone. At the beginning it was a sort of necessity or my default. But now almost everything is collaboration. I am much more happy writing with a writing partner, much more happy delegating things like animation and different parts in 3D. When I was younger I just wanted to do the best and learn every single part of a process but I realized that there are people who are specialised on a thing where I would never be as good in as they are.
What inspires you?
I get inspired by watching stuff, by observing things. And also dialogue. I find a process of co-writing way better for getting new ideas because you?ll have half an idea and you put it together. Then it becomes like a motor, it?s like constantly changing polarity to passing one thing back and forward to get faster.
What has changed for you after moving from Berlin to Los Angeles?
It sounds really stupid but I really like an English-speaking environment. L.A. is a difficult place to visit for a lot of reasons. But even if you are a little bit integrated here, everyone is sort of in the same industry, it?s incredibly creative ? I have more creative friends I ever found anywhere else. So that aspect has changed. I definitely feel less isolated in what I do. That sounds strange because Berlin is a very creative place and it?s known for it but for animation and its advantages the best place is here.
How difficult is it to keep the balance between commercial and artistic work?
It?s easy for me. I came here wanting to do commercial things. I felt creatively satisfied in Berlin and I never worried too much about the compromising thing. I?ve been also very lucky that I got a few good commercial jobs where I didn?t have to compromise much. It?s really good to have your head screwed on here creatively and know what direction you are going in. Certainly I do get offered jobs that involve a lot of money but are creatively really dumb. It?s obvious to me that those things should be turned down. If I had not have time to do my own thing (like in Berlin) I probably would have had this horrible taste. I?ve been lucky to notice what is compromising for me.
What would you like to achieve in your career?
There are a few projects I care but I never talk about it ? I wouldn?t talk about it. I just do it day to day and I?m just trying to make sure that I make good stuff that I?ll be proud of. Even if a lot of people are involved in so many parts of everything I do ? I care about every single detail, that?s why I like animation so much. If you are an aesthete, a real visual nerd, it?s super satisfying as a medium. So I care about making all the details right and that keeps me happy. The projects, the bigger stuff and what?s maybe going to be happen ? it?s better not to think about it.