What fun it was to sit down with the extraordinarily talented artist Chris Paluszek. In many ways his career is just getting started as he’ll be helping create all of the upcoming LEGO Movies in the next few years.

Enjoy!

Matthew Toffolo: What job has been your most valuable experience so far?

Chris Paluszek: I think the first film I ever worked on, “The LEGO Movie.” The crew was relatively small and I had a lot of opportunity to work with really smart, talented people who were very patient and answered a lot of questions I had about storyboarding, storytelling, and the film industry.

MT: How is the LEGO MOVIE experience? It seems to be a franchise in the making and you’re on board for the creative experience.

CP: The first LEGO film was a bit of an outlier. The franchise hadn’t been established, so there weren’t many boundaries on what we could or couldn’t do. So, we had a ton of fun trying lots of crazy ideas that you just don’t usually have the freedom to try on other films. Definitely a highlight of my career.

MT: Is there a type of film that you haven’t worked on yet that you would love to work on?

CP: I would love to work on a short film, like the Pixar shorts that precede an animated feature. Small, self-contained narratives like that are great opportunities for artists to push themselves and experiment.

MT: What is the typical job storyboarding animation movies?

CP: It can depend, but usually there’s a working script that is constantly evolving in conversations between the writer and the director, and a story artist “boards out” a scene from the latest draft. The story artist draws whatever the scene calls for, whether it’s a high speed car chase, or two characters talking in a coffee shop. Whatever case, it’s up to the storyboard artist to depict the action and decide on what shot language best tells the story.

MT: What’s the general working relationship and process between a storyboard artist and the director?

CP: The director has a vision for their movie, and as a story artist you’re there to support that vision. When you’re given an assignment you meet with the director, who lays out how they imagine the scene. You ask lots of questions and at the end of the meeting you should hopefully have a clear idea of what the director wants to see. Within that framework, you can bring some of yourself into the scene, whether it’s acting choices, or maybe a really cool composition that frames the action, or even a small comedic beat (if it suits the tone of the scene).

MT: What film, besides the ones you’ve working on, have you watched the most times in your life?

CP: I’m always awed by Hayao Miyazaki’s “Kiki’s Delivery Service.” It’s fantastical, yet down to earth. It’s lighthearted and also deeply emotional. Everytime I watch it I see something new.

MT: Do you have a storyboard mentor?

CP: My first story position was an internship on a TV show, and the Story Lead for that crew really helped me out. He was patient and helped me with the basics, like maintaining shot continuity as you “cut” (draw a new shot) around the action.

MT: Where do you see the future of storyboards in the motion pictures?

CP: Most story jobs are within a tight crew of artists that work intimately with the director, so they can nimbly address major story changes in time for deadlines. However, some studios have made whole films by sending work out to freelancers, working from home. While I can’t say I love my commute, working alongside incredible talent has been the chief way I’ve improved as an artist and storyteller.

MT: Where did you grow up? How did you get into working in the film industry?

CP: I grew up in Virginia, and always loved art as a way of telling stories. I went to school for animation, and moved out to Los Angeles thinking I could be an animator. Unfortunately my animation skills weren’t very good! But I was lucky to bump into someone at the right time, who took a chance and offered me a production internship at a small TV animation studio. While there I crossed paths with the Storyboard department, who were looking for extra help. I was able to become a full-time Story intern, which eventually led to an official job as a Story Artist! It was a strange path, threaded with a lot of luck and kindness.

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Stakaya, 12min., Canada
Directed by Bruce Crawford, Malcolm Sparrow-Crawford
In the heart of a corrupt city, David, a young Indigenous man trapped in the criminal underworld, encounters Raven, a mystical guide who awakens his inner strength and leads him on a transformative journey to become Stakaya, the wolf. With newfound power, Stakaya must navigate world of mystical beings, balancing the fight against corruption with the threat from those who seek to exploit their abilities.

Get to know filmmaker Malcolm Sparrow-Crawford:

1. What motivated you to make this film?

As an Indigenous filmmaker and actor, writing and telling our stories has always been very important to me. Both my father and I have been in the film industry for many years. My dad’s been a stunt performer/coordinator for nearly 30 years and I’ve been an actor for 11. At a certain point we started writing together. Being an Indigenous man, I want to see our stories be brought to life. Stakaya was heavily influenced by my culture. A lot of elements were inspired by my culture. Stakaya was a name given to me by my great grandfather when I was 7 years old. It means Wolf in our language. I’ve always loved that and it inspired me to make something fun and heartfelt. Filmmaking is scary. It can leave you feeling very vulnerable because you’re putting yourself out there. But my father and I combined what we knew through our individual experiences to make this film and we’re both extremely proud of the final result.

2. From the idea to the finished product, how long did it take for you to make this film?

It actually took a lot longer than expected. We did this film with almost no budget. It was just a bunch of friends that got together to make something fun. The idea came about when the strikes were going on and we were all itching to get back on set in some way. But then things picked back up slowly and shooting days were fewer and farther in between. Overall I’d say it took about 6 months to finish filming.

3. How would you describe your film in two words!?

Spiritual Awakening

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle was simply time and getting everyone together to film. After writing the script with my Dad, we decided to just film it. We were fortunate enough to be able to use free locations on my reserve as sets and they were absolutely stunning to shoot in. But we started the shoot during the writers strike. Everyone had more open schedules, but shortly after we started, the industry started to pick up again. Fortunately for us there were little to no constraints on the filming locations we chose because it was all free. So we were able to take our time and get the shots right rather than rushing to get the finished product.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I’m just glad people were able to enjoy something that was so fun to make. Any time you put your ideas onto the screen there’s a bit of fear as to whether people actually enjoy it. Fortunately we had an amazing cast and crew full of extremely talented stunt performers to bring some of that action we were aiming for into the film. The story itself is one of finding your own voice and it made me really happy to see that people enjoyed that and wanted to see more.

6. When did you realize that you wanted to make films?

Like most other actors there’s always been that thought in the back of my mind wanting to make films and for me it was always about timing. I wanted to do something fun that was enjoyable to show up to perform every day we were on set and I think we did that.

7. What film have you seen the most in your life?

This may sound funny, but it’s the Lion King. If we’re talking about sheer numbers that wins by a landslide. I was addicted to it as a child to the point where my parents started calling me Simba. It’s still one of my favourite movies of all time. The older I got the more I realized that it was inspired by Hamlet, which definitely lead to my love of Shakespeare and pushed me towards getting an English Literature degree in university.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Nothing. It’s really been an amazing experience as a first time filmmaker. I will definitely be recommending it to filmmaking friends in the future.

9. What is your favorite meal?

Well I grew up in a Native fishing community. Anything prawn related, you have my heart.

11. What is next for you? A new film?

My father and I are looking to continue developing the Stakaya story. We have a lot more written, but as of right now it’s just a timing thing for everyone who was involved.

Oasis, 9min., Mexico
Directed by Hugo Hernández Jiménez
An immersive and vibrant journey into the heart of Mexican lucha libre, where Arena Querétaro emerges as a living protagonist, welcoming its spectators and inviting them to delve into the essence of the fight. Through the accounts of local wrestlers, the magic and myth of pancracio intertwine with the culture and emotions of a community that gathers around the ring, rejoicing, cheering, and raging alongside the protagonists of the fight.

Get to know producer Denisse Guerrero Amador:

1. What motivated you to make this film?
For starters, this student film worked as the final project for our Documentary Narrative course within our communications degree. Our teachers wanted us to represent certain neighborhoods of Queretaro. We decided to think out of the box and choose Queretaro’s Arena as the main character, instead of focusing on a personal story.

2. From the idea to the finished product, how long did it take for you to make this film?
About 8 weeks

3. How would you describe your film in two words!?
Excitement and adrenaline.

4. What was the biggest obstacle you faced in completing this film?
We had a creative block during post-production, mainly because we lost material due to a technical error.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Pride and happiness; we never expected to generate such an impression.

6. When did you realize that you wanted to make films?
Since I was a conscientious human being, I have loved cinema. When I was younger, I used to draw the scenes that I saw on TV on a sheet. Eventually, I learned that I was doing storyboards sketches, plus I enjoyed watching the behind-the-scenes exclusive content on the DVDs.

7. What film have you seen the most in your life?
Probably Mean Girls (2004). I believe that is a satire that reflects certain issues of American society and how liberal feminism responds to them.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Probably more presence on social media like Instagram, Facebook, TikTok, etcetera.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Great, it was easy and practical.

10. What is your favorite meal?
Shrimp tacos.

11. What is next for you? A new film?
The Oasis team is currently working on a dramatic short film. The final cut is estimated to be released by mid-June.

Home, 11min., Belgium
Directed by Hanne Schillemans, Ralph Timmermans
Home is a short film about the fragility of life and the virtue of solitude. A faceless figure attempting not to resist the endless waves of pointlessness.

Get to know the filmmaker:

1. What motivated you to make this film?

Home grew out of a shared fascination with the fragile, often uncomfortable terrain of solitude. We were both navigating a kind of existential tension: the absurdity of life, and the strange peace that can arise when one stops resisting it. The idea that everything is ultimately out of one’s control and perhaps even pointless and the realization that this, paradoxically, can be liberating. That thought, oddly enough, gave us comfort. The film became a way to give form to that feeling.

2. From the idea to the finished product, how long did it take for you to make this film?

It’s hard to say exactly when the idea began. We think Home found us during a hike through desolate nature, when we unexpectedly came upon an empty house. It felt like stumbling into the middle of a concept. We didn’t plan it, we just recognized it. From that moment to the final cut, the process took about 18 months. Much of that time was spent letting the idea unfold, allowing it to simmer before taking shape.

3. How would you describe your film in two words?

Existential surrender

4. What was the biggest obstacle you faced in completing this film?

The most significant challenge was trusting enough emptiness into the film. We are often conditioned, especially in film, to fill gaps, explain, dramatize, entertain. But Home demanded restraint. We felt that allowing the film to breathe, and not over-directing it, was both difficult and essential.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was moving to hearing how the different viewer had a personal, often emotional responses and interpretations. We come from dance and music, so it was rewarding to see how those languages translated to the screen and how they resonated with an audience across the world, in Toronto.

6. When did you realize that you wanted to make films?

There wasn’t a single moment, it was more like a slow unfolding. With our backgrounds in dance and music, we’ve always worked with time, space, rhythm, and emotion. Film felt like a natural evolution, a vast canvas that could hold all our interests and sensibilities in one place.

7. What film have you seen the most in your life?

Honestly… for Hanne it’s probably Dumbo. As a child, she watched it so often that it had to be banned at some point. Every time she saw it, she cried uncontrollably, moved by the unjust treatment of the little elephant and his mother. And yet, she kept watching it again and again, perhaps needing to feel those emotions repeatedly. As a child, me (Ralph) and my friends would often get lost in the adventures of Marty McFly and Luke Skywalker. I’m not sure which of the two films I watched more, Back to the Future or Return of the Jedi, but I’ve easily seen each of them over ten times. I’m still working on that time machine…and practicing my Jedi skills, mostly so I can go back and rescue Dumbo and his mother. 😉

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

We’d love to see more opportunities for interdisciplinary conversations. Events that foster artistic exchange between filmmakers, performers, musicians, philosophers, scientists. Less about networking, more about community and curiosity. Also, support for experimental work through residencies or labs would be valuable, especially for those of us working outside conventional formats.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?

It’s been straightforward and convenient. The platform makes it fairly easy to discover festivals aligned with our artistic values.

10. What is your favorite meal?

Something slow-cooked and with an aftertaste

11. What is next for you? A new film?

Between the two of us, creativity is always in motion. Ralph is working on a new music album, and I (Hanne) am performing and creating in various formats. Together, we’re dreaming up a new project where video and live performance intertwine. We’re not entirely sure what it will become yet, but the wave is moving, and we’re riding it.

Med Selkies, 11min., UK
Directed by Kelly Ann Buckley
Med Selkies is a poetic film exploring a near-future climate crisis where land is ravaged, and a lone human drifts at sea. Succumbing to the depths, the human encounters an ancestral, aquatic force – beings who once diverged from humanity to adapt to life beneath the waves.

https://www.instagram.com/k_a_b_art_n_sound

Get to know the filmmaker:

1. What motivated you to make this film?

~ This was an expansion of a project I did for Focal Point Gallery – a wonderful contemporary arts gallery in SouthendonSea, UK. I was lucky enough to be commissioned to create an exhibition for their FPG Sounds programme. My project – Echoes in the Fossils – was a sound-led audiovisual 5 part piece – focused on rising sea levels and lost past & imagined future soundscapes, ranging from Mesolithic to Anthropocene epochs, which touched upon futuristic polymer-human hybrids. Med Selkies was a continuation of that exploration, after Echoes in the Fossils had finished. I am interested in the Aquatic Ape theory and the idea that there may be some human cousin out there in parts of the ocean we don’t know about. Med Selkies evolved from my thinking about that, and what may happen if we are forced to return to the ocean, living with them, because of climate change. This was combined with the thinking about humans carrying micro plastics in their bodies vs the plastic eating microbes scientists are now working with. What if these grow huge, and we become the food? It’s all very mixed up thinking and dreamlike and I suppose this vibe was carried through to the film.

2. From the idea to the finished product, how long did it take for you to make this film?

It’s hard to be precise because I suppose the idea was growing alongside the Echoes in the Fossils project although it wasn’t fully formed. It may have been something like 6 months to a year or just over.

3. How would you describe your film in two words!?

Fantastical truth

4. What was the biggest obstacle you faced in completing this film?

I had a very small but very powerful underwater camera that I was initially using to film some underwater scenes in the North Sea, which is where I also filmed some underwater footage for Echoes in the Fossils. Unfortunately one of my teenage sons then lost it in the sea. I was very distraught at the time but he’s forgiven now. 😊 I ended up licensing footage, which I’m sure is much better to watch anyway, than the very mirky and silty underwater views of the Thames/Estuary North Sea.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I had a big smile on my face. It was so lovely to listen to – I think as an experimental film, you don’t expect people to immediately ‘get it’, but they did, and that felt good, like I achieved my goal. It was funny to hear someone say they thought I worked with AI. There was no AI in this film! Also someone said about the music/sound filter. I’m not sure what they meant, but there wasn’t one filter I used. The underwater sound was a result of lots and lots and lots of hours of sounddesign and many many layered tracks; the majority being hydrophone recordings of myself underwater screaming and swooshing around plastic crisp bags and suchlike.

6. When did you realize that you wanted to make films?

I mainly make sounddesign or sound-art/compose music and write. For many years I have documented a lot of these processes with video or moving art/imagery/visuals, so I suppose it has been a natural evolution that has run alongside. I’ve always been interested in filmmaking – I did an A level in film studies and did multimedia studies at college, but I didn’t really think of myself as a filmmaker in the obvious sense as I know so many brilliant filmmakers in the traditional sense – amazing knowledge, and tech, and camera skills and whatnot. I suppose I would say I’ve become more of a filmmaker (actually feels imposter-ish even saying that now) in an experimental/art sense.

7. What film have you seen the most in your life?

Oooh. Lots. Ummm… a few faves I’ve watched multiple times are Withnail and I, Couscous, Caramel, Betty Blue. The whole Godfather series too.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I think you guys are doing a wonderful job, which seems to go way beyond the norm (judging by the limited film festival experience I have), in helping get people’s names out there and help raise profiles, with your feedback, blog and podcasts etc.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Really good so far! I am quite new to it!

10. What is your favorite meal?

Sunday roast dinner with all the trimmings.

11. What is next for you? A new film?

I have just finished co-writing a screenplay with Tom Keenan for a feature film. I have been a journalist of 30 years and so was partly brought on board for those transferable skills – the film is inspired by the true story of Steve Camps – but also my passion for Cornwall and it’s rich heritage, for story, and ecological issues. Steve Camps is an artist based in Cornwall who had never picked up a paintbrush in his life until recently when he retired, and then was very quickly catapulted into fame and fortune because these paintings are so special and enchanting – buyers have been coming in from all over the world! His story started appearing across national newspapers and TV. My partner Tom read one of these stories in a British National newspaper called The Observer (The Gaurdian’s Sunday paper), and secured the life rights of the story towards the end of last year. We then received early development investment. We also formed a partnership with the Sound/Image Cinema Lab in Cornwall. So we have been working together on it since around October/November 2024. I’m co-producing the film too, and at the time of answering these questions, we are currently in Cannes to form partnerships and push it forward. It’s title is The Prince Of Whales and people can find out more at powfilm.net if they’d like to.

La Ghostification, USA, Musical
Directed by Lena Glikson
A surreal and symbolic journey through the inner world of a girl processing abandonment and emotional distress. Through haunting imagery — from mirrored selves red to threads like tears and disturbed dancing — the video explores the psychological aftermath of being ghosted. Set to a dark, emotionally charged track, the visuals blur the line between dream and nightmare, revealing a desperate attempt to communicate with someone who has vanished without a trace.

https://www.instagram.com/lena_glikson_mx/?hl=en

Get to know the filmmaker:

1. What motivated you to make this film?

I was going through a very dark and isolating period in my life, where I felt completely abandoned. As a musician, creating music has always been a natural form of healing for me. I wrote, produced, and recorded the song as a way to process those emotions—but it didn’t feel complete. Since I spend most of my professional life shaping music for films as a film and TV music editor, it felt instinctive to add a visual layer to the storytelling. That’s how the music video for La Ghostification was born.

2. From the idea to the finished product, how long did it take for you to make this film?

It took around two and a half months to complete the project, with most of that time spent in pre-production. I initially planned for just one shoot day in a photo studio, but during the editing process I realized we needed more footage to fully support the visual story—so we went back and shot additional material.
Since I normally edit music to picture, it was exciting (and intense) to work the other way around—editing picture to music. I’m incredibly grateful to my editor and cinematographer, Eduard Asaturov, who trusted me and gave me the space to be as detailed and specific as I needed to be.

3. How would you describe your film in two words!?

Expressive madness.

4. What was the biggest obstacle you faced in completing this film?

There weren’t any major obstacles—just a lot of responsibility. As the driving force behind this personal project, I had to think through every detail: from writing the music and lyrics to finding the crew, designing the visuals, and sourcing all the props. It was creatively fulfilling, but also very demanding.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was truly amazed by the depth of the responses. People picked up on nuances I hadn’t expected and connected with layers of meaning I had only subtly hinted at. It was incredibly rewarding to see the audience so engaged and thoughtful.

6. When did you realize that you wanted to make films?

My entry point was through music. I studied at Berklee College of Music, where I focused on film scoring. I was drawn to film because it brings together so many artistic disciplines—music, storytelling, visuals. I’ve been working as a film music editor for nine years, but when I wrote a song that felt deeply personal, I felt compelled to tell the story visually as well. Making this video felt like a very natural extension of my creative process.

7. What film have you seen the most in your life?

Probably A Star Is Born or Joker, both of which I worked on for many months as a music editor.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I truly love your format—especially the audience feedback video. It offers rare and valuable insight for filmmakers. The only addition I’d suggest would be finding ways to help filmmakers connect more directly with one another, perhaps through a community platform or virtual meetups.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?

Very smooth. The platform is convenient, well-organized, and makes the submission process easy to navigate.

10. What is your favorite meal?
Anything my mom or grandma used to cook when I was little. It was pure love in the food form

11. What is next for you? A new film?
Right now I’m working as a music editor on Stranger Things Season 5, but I’ve started writing a new song—and who knows, maybe it will turn into another experimental music video.