A Quote by John Polson
You can do a short film in three to four days, and then you can show it. Look at the careers you seen go either through Tropfest or outside of Tropfest. You can make a short film in a couple of days, and if it's great, it can go in the Internet or go to a film festival like this one or another.
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I have a great team. A lot of my focus every day is with my television and film career, directing and producing, and I guess you can say that my moonlighting gig is Tropfest. Obviously, when I am not working I am in the Tropfest office full-time.
I've done a lot of independent film, which are short shoots that are usually four to six weeks, max. I enjoy everything. After one particular experience of work, I like to go in the opposite direction and do a short film, or something else.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.
I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.
Back in the days before the Internet, there was no place to put a short film, so Mike Gribble and Spike Decker had this festival of animation. My student films got selected.
I would love to live stream them all, so if you're in New York and you come along, you can watch Tropfest N.Y., and six weeks later you are watching Tropfest Arabia or Tropfest Australia live stream, and so they are all connected.
I remember watching the Twin Towers collapse. Because it was another country and looked like a film, I just sort of thought, 'Oh.' I didn't think that much. Then three days later, it hit me. I was in a terrible state, and I was tearful for three or four days.
As an actor, my attitude towards using of film versus digital is, if you have film, filmmakers have to cut eventually so you don't have to learn all that dialogue. With digital, they can just go on forever and it's a nightmare. So, I like film - nice short takes.
Voice work is usually not that big of a time commitment. You can go in for a couple of days or a couple of months, here and there, and just go in and play. I like being able to do that. You don't have that luxury on film sets or television sets.
Tisch has a great film program and a great acting program, but they are segregated; you don't really intertwine. My peers knew I liked acting, so they'd be like, 'Go get that guy Gubler. He'll be in your student film.' I was in the same building. I became their go-to guy. So I left NYU having been in probably one thousand short films.
When you go into a movie and you're surprised by it - these days with brand recognition being such an important thing and essentially trailers, the way trailers have evolved encouraging people not to see the film unless they've already seen the film which is kind of the paradox of marketing these days anytime that you enjoy genuine sense of wonder and surprise in the movies it's priceless.
The film that I go on about and drive people mad is 'Don't Look Now' with Julie Christie and Donald Sutherland. It's the best married couple acting you have ever seen in any film, the way they are together.
People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year.
I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.
It'll be the Internet and piracy that will kill film. There's a philosophy that the Internet should be free, but the reality is that piracy will destroy the film industry and film as an art form because it's expensive to make a movie. Maybe you'll have funky little independent movies, and it'll go back and then start up again some other way.
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