The Games We Play Q&A
This is the first thing I’ve done that I didn’t personally get to build or decorate the set, but It was important that the set didn’t fall over or collapse and kill anyone, so it needed to be made by pros. I’m used to just being able to keep things inside my head, but for this one I had to talk to a lot of people each day. The crafty kid’s fort aesthetic that I wanted was really hard for the construction guys to do and even harder for me to articulate. They are used to making kitchens that look like real kitchens and to get beyond that requires some unlearning. If I wanted something to be uneven I’d have to give them a measurement for how uneven it needed to be, preferably in inches. A month later, at around 3 AM, we were unloading these giant letters off of semi trucks and on to a soundstage.
Obviously, a lot of coordination and synchronization had to go into filming the action in these films. How did you go about planning all the action with the actors and camera crew?
There is a sort of visual compartmentalization in the narrative of these stories, both in the selective lighting, and the different layers of action and rooms within the Puma letters. What benefits do you think this approach lends to a film?
How long did this whole project take from concept to delivery?
Did you script the films along with the music or was it decided later, in the editing stage? It really “narrates” the action of the films well quite well.
Who was responsible for the illustration and art direction?
Do you have any upcoming projects that you’re excited about?