LESSON IN HUMILITY
by THOMAS ZINSLI - Special Prize to Best Short Film

As a filmmaker I'm interested in people and how they tackle difficult situations. I like to create interesting characters, put them in challenging situations and see how they get out - if they get out.
In "Lesson in Humility", David, the protagonist, thinks he has his life all figured out; therefore it is all the more shocking when he suddenly is being fired. I intensively worked with lead actor James Bartz on the character arc. At first David is a strong, self-confident manager. He tries to fight back after his dismissal by immediately finding a new job - no need to tell his family. As time goes by, it becomes clear that he won't be hired anymore in an executive position and he has to face the situation at home and finally tell his wife. We reflected this development through the acting as well as with the progressively darker lighting and varied camera movement.

We also emphasized the "three worlds" David transitions through. Among other elements, production design and color palette were crucial ingredients for this. In the beginning,  David is in his symmetric and tough business environment. Later he transitions through an unstructured and sad state of unemployment, for which we mainly used exterior locations. Finally we show the warmth of his home, where the real conflict takes place.

LIMINAL
by STEPHEN KEEP MILLS - Best Integral Realization

Dear Festival Du Cinema De Paris, Francois Rubinger and Jean-Yves Gauvin--it is a great thrill for me to have caught your eye with my film and to receive recognition in the category of La Realisation Integrale. I've seen some of the films in your line-up and I'm proud indeed to be included with LIMINAL. There are so many phases to making a film, yet the truth of the matter is that the making of the story is entirely secondary to getting that story seen by an audience. This means that the most important task of the filmmaker is not have perfect sound, picture, performance, and story, but rather to cast the seeds of your work into a strong wind in the hopes that some may land and prosper at as many festivals as possible, though that will most likely be at a number far less than those entered. This means, too, that along with the many disappointments that will be heading your way, the moments of actual acceptance will come with a special weight and bring a total joy. And it is in that state that I find myself with the news of your festival's selection of this work.

Now, let's pare the possibilities down even further to those of winning awards. Here we are talking about the eye of the needle. I have learned to live without awards, but it is a lovely occasion to win one and one I thoroughly appreciate. It means some very wise, nuanced, and experienced eyes and souls have paid some attention and have given my mortal film a heavenly nod. Now, here below, I will spread this great news among our cast and crew. We are all scattered here and there now that the pulse of filming is over and this award offers me a great reason to reconnect with those who gave so accurately and efficiently of their talent and time and to again assure them their work was fantastic and that what we achieved together became a greater creation than any individual effort. And they don't have to take my word for it this time--I will give them yours!