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.