Ottawa 2009

[Esn]

Hello! Is there any potential of a release in Toronto, Canada?

I know that it screened at the TIFF. I was going to see it until I found out that it was also going to be shown at the Waterloo Festival for Animated Cinema in November, which I was planning to attend, so I decided to see it there instead. But apparently the distributor withdrew it from WFAC to prevent "overexposure", so I never did get a chance to see your film (I did see some fantastic other animated features, though).

[Paul Fierlinger]

I'm sorry, but I don't have a clue anymore about what's going on with that film. The producer has given me too often misleading information and too many trick answers to my simple, straightforward questions and I've completely lost interest in the subject. It's a sleazy business is all I can say and have no taste for delving into it any further. If I told you everything I've been told by the producer you would think I'm talking about four or five different films, the information he dishes out is that contradictory. But thank you for your interest -- if you ever pass through Philadelphia, let me know and I'll give you a private screening.

[Esn]

Thank you for the honest answer, it is much appreciated.

I'll just hope for the best, then.

Good luck with your next film, too! I mostly love what I've seen of your work (especially the animated documentaries from the last two decades).

I only wish that it was more widely available. (actually, just an idea... I'm not sure what rights you own to your past films, but have you considered releasing any of your currently-unavailable films via CreateSpace? It's a self-publishing service that allows custom-made DVDs or online videos to be sold on Amazon with nonexistent or very low startup costs. Good for publishing independent work with uncertain commercial returns)

P.S. I apologize if my words offend in some way. I'm a little nervous writing a message to such an accomplished artist as yourself, to be honest.

[Paul Fierlinger]

No offense in what you said. The fact is that I typically make films on commission so once I'm done, I have been compensated for my work and it becomes the property of the client. But I also don't like most of the films that I've made in the past -- they age very quickly and I cringe when I see one still around because I know that I could do better than that by now ; either because technology got better, or I got better at drawing, or I wasn't given enough freedom or time to do better, or even that I knew already back then that I could have done better, or others have done better with the topic making my work obsolete -- there just always seems to be a good reason not to dwell in the past.

Films in general are very perishable goods and thank God for that too, because we would all be running out of work by now. Take the Sesame Street spots as an example; the target audience is so young that a new audience comes along every 5 years or so and in the view of the company all those films are as good today as they were when they were made (as far as five-year olds are concerned). This means that very few new ones are commissioned anymore. Personally, I think all those spots are hopelessly dated and the Children's TV Workshop has fizzled into oblivion by now because of this stupid policy. They have let time pass them by.

[Esn]

The fact is that I typically make films on commission so once I'm done, I have been compensated for my work and it becomes the property of the client.

That sounds like a good way of working, as long as you have stable clients.

But I'm conflicted about your words about films being perishable goods. We've seen how art can be rediscovered much later and given a valuable second life - i.e. the films of Buster Keaton and the music of J.S. Bach. New artists are constantly inspired by their predecessors. And in animation, the rediscovery of Lotte Reiniger's work provided inspiration for modern directors such as Michel Ocelot.

Also, speaking personally, many or most of the films I love (including in animation) were made before I was born. I'd be losing a lot if I had been unable to see them. They are closer to me than most modern movies I see.

I can definitely see how your technique has improved over the years, and I see the benefit of avoiding "competition against yourself" when you're paid by-the-film and not by royalties from past films. All the same, I do hope that more of your films become more widely available eventually, because they tell worthy, human stories... and people never really change much.

[Paul Fierlinger]

What you say is true in some rare cases but there is too much danger in holding on to the presumption that one's films should be protected for posterity. I would think that such thoughts might slow down anyone's progress. Looking back at my work, I don't like anything I've done up until now all that much (except I always like the film I'm working on currently) I don't see how they would fit into the category of rare films. I really enjoy the process of drawing a film and I like to get feedback as soon as it is released because how else can I learn from the experience, but what happens to it later is of little interest to me.

People remain the same but people are also trendy and I don't put too much stock into trends. Trends reflect a shallow, passing view and are usually motivated by the commercial interests of a few to dupe many. If someone has true talent and unique ideas, they will excel and serve their community even without building themselves up on the ideas of others.

[Esn]

Paul, I just want to congratulate you on the good news:
http://www.boxofficemagazine.com/news/2 ... -dog-tulip

I hope this will finally mean that I'll get a chance to see your film.

[Paul Fierlinger]

Thanks E,

There were a few false alarms, and reversed deals and outright lies, but this one is the real thing! The premiere is in NYC on Sept 1st, then it goes to Philadelphia, Washington D.C., San Diego, Denver, Los Angeles, San Francisco, and a few other places I have forgotten, all between Oct. and November and after that to all fifty states. Tulip will be playing only in art houses and New Yorker Films is heavily concentrating their PR on dog lovers through such venues as pet store chains and veterinarian services.

Jose Lopez explained to me that it was a bad mistake of our producers to follow the traveled promotional path of Hollywood films to find distribution (the big film festivals and everything that glitters associated with them). He said that films of our type get eaten alive in these places. He further explained that independent films have to find independent audiences and New Yorker Films have specialized in this since the 1960's. If you look at their website (which they are rebuilding right now) but on that one page they show the list of European directors they have distributed and I think it is very impressive.

It'll be an interesting experience for me to watch these people promote Tulip because I had just about given up on expectations. Whatever the outcome; good or bad, I don't want to make another theatrical release again. Sandra and I are working on our next feature (Slocum) but that one is designed entirely for Internet distribution, which I find thrilling. For us it involves a complete remake of what we had done so far because here we are making a film to be watched by one person at a time -- hopefully thousands or even hundreds of thousands of people, all watching the movie alone. That's a brand new concept and open to zillions of new ways of thinking!

[Elodie]

Paul, I just want to congratulate you on the good news:
http://www.boxofficemagazine.com/news/2 ... -dog-tulip

I hope this will finally mean that I'll get a chance to see your film.

I add this link in the topic about TVP users =)

[Svengali]

Paul,

Congratulations to New Yorker Films on their wise choice and good fortune! Perhaps I'll see you at the premier?

Sven

[Paul Fierlinger]

Thanks Sven... we'll be having a Q&A at the opening.