King Karno, 3min. USA
Directed by Richard Thompson
A clown falls passionately in love with a mannequin, embarking on a mad courtship that is ultimately shattered by a sudden return to reality.
https://www.instagram.com/r_crosbythompson/
Get to know the filmmaker:
1. What motivated you to make this film?
I am extremely interested in the connection between clowning traditions and character animation. “King Karno” tells the story of a clown who embodies a fusion of Commedia dell’Arte’s Arlequino (through his outfit and mask), Charlie Chaplin and other music-hall–trained comedians (through his bowler hat), and the modern clown (through his oversized, colorful boots). His name honors Fred Karno, an acrobat and comedian who became the most influential producer of British pantomime and discovered both Charlie Chaplin and Stan Laurel. Throughout the film, I drew on specific clowning traditions, using one of Chaplin’s iconic scenes – demonstrating his mastery of pathos – as a structural and emotional template for the film’s concluding shots.
2. From the idea to the finished product, how long did it take for you to make this film?
18 months. However, I have responsibilities as a university professor, which include teaching and service. So the way I generally break it down is 10 months of modeling, texturing, and rigging all the 3D models. Three months of performing motion capture and then retargeting the movement data onto the character. And then five months of animating, lighting, and rendering.
3. How would you describe your film in two words!?
Comic pathos.
4. What was the biggest obstacle you faced in completing this film?
Time. Working almost exclusively alone from start to finish. Pixar takes — on average — 170 hours of individual work per second of completed animation. For one individual completing a 180-second film, that would mean working 40 hours a week for a dozen or so years. So sacrifices have to be made, and economical design needs to take place at the pre-production stage.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Truly wonderful! It was great to hear what they got out of it, how much they understood since there is no dialogue, and how much they picked up of the vaudeville background. Also, I am thrilled that they picked up on the undying optimism of the main character. The protagonist is, in fact, partially inspired by Charlie Chaplin’s Little Tramp character, who never gives up hope, despite all the obstacles, mishaps, and bad luck that get in his way. And, yes, you ARE supposed to laugh when the mannequin’s head rolls off!
6. When did you realize that you wanted to make films?
Frankly, with the success of my previous short, M0D3RN T1M3Z. It gave me motivation to try something more expansive and complex. And now, the success of King Karno has me planning for even bigger productions.
7. What film have you seen the most in your life?
Either Lord of the Rings or the BBC TV series of Pride and Prejudice with Colin Firth.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
An active social media presence, a professional updated website, and recently I very much appreciate festivals that create and post a linked webpage to each selected film that includes imagery and information the filmmaker has provided.
9. You submitted to the festival via FilmFreeway. How have your experiences been working on the festival platform site?
Fine. Helpful. However, I still do as much due diligence as possible on any festival I submit to. Unfortunately, there definitely are some fraudulent festivals looking for your entry fee. This time around I focused only on long-standing festivals with in-person screenings.
10. What is your favorite meal?
Ouch. Tough one. Octopus appetizer with steak tartare entree. And chocolate for dessert.
11. What is next for you? A new film?
Yes, two, in fact. One called Legacy and another called La Piazza — both of which are larger and more expansive than what I have so far produced on my own. So I am applying for funding that will enable me to hire a couple of my students and a performer for the motion capture.
