This was maybe our most draining day at the festival.
We had a large break in between our screenings and plenty of time to sleep before our first screening. However the Bus System in Park City Utah is confusing at best to an outsider, so we managed to stay downtown for most of the afternoon and evening, which as you will see in Part 5 took it's toll on Monty and I. If you are attending a film festival, I highly recommend that you see at least one shorts package. This is a way to feel like you're getting more bang for your buck because you see several films for the price of one. Sort of an "Artistic Sampler" and the up side is, if you don't like one short, there's another one coming up that you may enjoy. It's an excellent way to hedge your bets. We had the pleasure of seeing seven films in our package as well as having the pleasure to chat with three of the filmmakers. Two of these filmmakers were the creators of our two favorite films of the set. John Patton Ford, Director of PATROL was a natural in front of an audience. He was funny and provided interesting anecdotes about his film. He also noted that it was through this short, he landed a job writing a script for another film. Pablo Larcuen, Director of My Invisible Friend was funny and honest as well, and it was Larucen and his crew we got to chat with the most. The Crew of My Invisible Friend was super cool and were more than willing to stay after and chat with us. In talking to them we learned, that in their native Spain, you make shorts for fifteen years so that you can work your way up to a feature. In the words of Pablo "you make shorts for fifteen years so they know they can trust you because...that's the way it is." After seeing these movies and talking about the short format we found that we couldn't stop talking about the process and future behind shorts...seeing as how that's where we're spending most of our time. As mentioned in the Video Diary, it seemed liked the shorts were relegated to the sidelines and this distressed us a tad. I think the question on our lips was: "If we continue to make shorts, how can we get the respect we deserve and move forward into features, which is where we really want to be?" Upon reflection, though, it seems that shorts are a jumping off point for aspiring writers, actors and directors (particularly those of us who don't live near the "industry" or aren't readily plugged into it.) While the main goal for most is to do features, there are many artist who have gotten their start doing shorts and many artists have made careers out of doing nothing but (Don Hertzfeld) Also, if you intend on making the trek to The City of Angels to seek your fortune in picture shows, wouldn't it be better to go out there with something to show them? Anyway, I found it interesting that this particular part of our festival experience generated the most discussion. I'm still not sure what to do with these questions, but perhaps they will spur us on to greater work and fresher ideas.