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Hey there! Big fan here, eagerly awaiting his copy of “Late Fragment” in the near future (hopefully!). I’ve always wondered, and, I hope this isn’t a to broad of a question to ask, but, I thought it would be interesting to know a bit about how exactly “Late Fragment” was shot and how its treatment in terms in plot and script and other similar elements were developed, considering that this is such a unique movie just standing alone and is on top of that an interactive movie which gives it a whole new element to it.
Hope to hear a reply soon! -Preston
Thanks for the question. Later this year we will be publishing a site called interactivefilm.org which will contain all our process documents, our scripts, our tools, etc. and made available to everyone. So stay tuned for that and hopefully that site will give you all the answers you are looking for.
Thanks for your enthusiasm! You can purchase Late Fragment through Amazon.ca where they have international shipping. Please keep checking back!
Your Web Site is really wonderful and I bookmarked it. Thank your for the hard work you must have put in to create this wonderful facility. Keep up the excellent work!
– from Tramadol_Hentented
Yes! You can purchase through Amazon.ca. They have international shipping. We’re currently also in negotiations with some US distributors. We’ll let you know when that comes through.
Sorry for taking so long to answer.
Thanks for your question, Jon!
We’ve actually done a number of different theatrical screenings. Typically, one of the producers or writer/directors will VJ the film in front of the audience. In this case, the VJ “performs” the film by deciding when and where to click and the audience has a passive viewing experience. In other screenings we have allowed the audience to collectively perform the film by passing a remote control around. In our screening in Zagreb, for the first time ever, we allowed our audience members to VJ the film one at a time. Whichever way we’ve decided to go, each screening has always been a totally unique one.
I think Late Fragment will be playing in this outdoor cinema space. (Is this place called Kino Barbican?) At any rate, we will likely do a performative cinema screening followed by a demo of “how the film works”.
You can also go to the Motovun Film Festival page to get more specific answers.
We are just trying to figure out if we will release in Blu-Ray. The problem is that we will have to author all the links entirely, all over again. That gets expensive! If the demand is there, then we may just have to bite the bullet. The next interactive film will definitely be on the Blu-Ray platform.
Keep in touch though for the HD updates!
The LF team.
We know there’s a stampede to get the DVDs and start playing with them. We will most definitely get in touch with Amazon.ca to replenish their stock. We promise that they will have copies in hand in the next couple of days. If not send us back another note and we will put the pressure on!
In the meantime, play with our interactive trailer and/or convince Blockbuster to sell you one of their copies (we didn’t say that.)
Actually, the theme of Restorative Justice came after knowing the technical and process parameters. At the CFC Media Lab, we knew were going to distribute using the DVD-video as our technology platform, that we will expand on the interface model work by Lars von Triers and Morten Schodjt from Denmark, and that we will work with three emerging writer/directors.
When you think about it, those are very specific parameters within which a story needed to live. So in our effort to find the right story, some of the questions we needed to answer included:
- which stories or genres best work interactively?
- how do you give three different writer/directors creative freedom in their storytelling while also keeping the entire narrative as a whole?
- can we find a narrative that conceptually fits the interactive model?
It takes a long time to find answers to these questions. But I remember the day vividly when everything clicked. We had been speaking with a lot of different production companies, independents, writers, creatives, new media and otherwise. One day I finally had a chance to visit with Xenophile Media who shared with me that they were doing a documentary on Restorative Justice. Specifically, they were working with the Centre for Restorative Justice in Montreal where they take victims and offenders of similar crimes (not the *same* crime) and put them through a 6-week “facilitated storytelling” process. Thomas Wallner, Patrick Crowe and I immediately understood as Thomas was describing this process that *THIS* was what we, as in the CFC Media Lab, have been waiting for in terms of the story framework for the interactive film. I immediately hired Xenophile Media as our research development team to come up with a workshop that will engage all three writer/directors and the two producers in a restorative justice process. They worked with the Centre for Restorative Justice in Montreal with Jean-Jacques Goulet (pictured above with the three directors), and the rest, as they say, is history. I should note that the experience meeting the RJ participants was tremendous and we’d like to thank them for being so generous with their time.
The track is called Navy Brown by Gentleman Reg. He’s a singer/songwriter from Toronto. And currently he’s hard at work on his new album. Check out this awesome video of his show at the Comfort Zone just this March 2008.