“I had to set up the movie studio and wanted to set up the characters that we were going to be dealing with and I wanted to get the audience’s attention, to tell them that they had to pay attention. And I actually built a scale model of the set with a crane to see where I could go. Then we choreographed all the positions. We introduced this [film] in one reel, which was nine minutes.

All of the various things that happen were all planned pretty well, but none of the dialog was. It was all improvised…We did about 15 takes, with 11 microphones. We rehearsed it for a day, we lit it and came back the next day, which was a Sunday, and we shot it in half a day. It turned out to be a very efficient way to get ten minutes of film. And you save your editor’s fee. It’s a very conceited thing, this shot with no cuts, it draws attention; it’s of the mode of people who make pictures. It is showing off. It sets the picture up…it’s like music [in that] it tells you what kind of deal you’re in. It’s a satire on the way people behave in these movie studios.

There was such a fuss about it. People were afraid I was going to do this or that. The more afraid they got, the more ideas they gave me. Looking back on this picture, it is a pretty tame satire. This is no big indictment. Things are much, much worse than this picture seems to say. The truth of the matter is I cannot make the kind of movies [Hollywood] wants to make. The kind of movies that I like to make, and can make, and make are not the kind of films they know how to distribute. So we basically aren’t in the same business. There’s no point in calling me to make a pair of gloves for you when I make shoes.”

“Welcome to the 1958 release cut of “Touch of Evil.” This little egg timer is set for precisely three and a half minutes. Tick, tick, tick we’re embarking on a combination thrill-ride morality tale bursting with the energy of its co-star, writer and director Orson Welles. I love the fast-running shadow along the wall. Of the three versions that exist of Touch of Evil this is the fastest-paced, the most energetic. It’s missing about six minutes of material Welles would have preferred to include. In harmony with our ticking timer and our deadly bomb this astonishingly complex master shot is going to unfold across precisely three and a half minutes. Shadows are like a Greek chorus commenting on the action in Welles-O-Vision, so is this airborne camera moving like a winged serpent over these rooftops and streets.

We are in the mythical U.S./Mexico border town of Los Robles. Connoisseurs of L.A. architecture will recognize the looped arches and fanciful galleries of Venice, California [which was] built in the 1920s by Abbot Kinney, a developer with a mad crush on Venice, Italy. These magical facades were ideal for Welles’ purposes as storyteller. They anchor us in a place apart from either the U.S. or Mexico. We can think of it as a geographic Twilight Zone.

Here are the two great romantic leads, the two greats of their time, Charlton Heston and Janet Leigh as Mike Vargas and Susie.

Henry Mancini’s music here is sensational. He organized a latin-style band using talent from outside Universal Studio. It’s a perfect counterpoint to the sensuous muscularity of the camerawork and the very precise criss-crossing of all the people; an enormous operation. Welles originally intended that the music blasting from the cantinas would create a surf of sound and atmosphere (for that see the 1998 Restoration cut where those intentions are scrupulously honored). But I have to say, as a life-long fan of the film, I find Mancini’s magnificent overture indispensable to the power of this opening, I even prefer it, with all due respect to Welles.

Small wonder there is an explosion when these two kiss. The blast plunges us into another world altogether. We are free of the elaborate crane and we are running with the characters [the camera is] handheld.”

James Naremore: “This is the second version of “Touch of Evil.”"

Jonathan Rosenbaum: “[This] was found in the mid 70’s and it 15 minutes longer, but we should emphasize right now that there is no such thing as a director’s cut, nor could there be. This is another version that was found that has more material by Welles but also more material not by Welles.”

JN: “One of the things we are seeing that he didn’t originally plan is the credits are playing over this sequence that [Welles] wanted without the credits…the photographer for this film is Russell Metty, a contract photographer at Universal and he was well known for his use of crane shots.”

JR: “This is the most famous shot of the film, but Welles himself was much prouder of a couple of other shots he did later in the film because this is the kind of thing that calls attention to itself whereas he thought that the most effective virtuoso work was the kind that wasn’t noticed by the audience.”

JN: “This shot is not simply a flamboyant tracking shot, it also has to do with the theme of the film. The film is very much about the ambiguous border between the U.S. and Mexico…the two leading characters are representatives of either side of the boarder and there is a kind of racial/ethnic theme running through the film. It’s almost as though the kiss between the Mexican character and the woman from Philadelphia sets off racial tensions. The timing of the kiss is important in relation to the explosion.”

JR: “This has got to be Orson Welles most politically incorrect movie, which is one of its strengths.”

JN: “Yes, and it is very much a political movie…with the explosion, the film shatters into montage. We might want to keep in mind that this film was shot not too long after the Supreme Court desegregation decision of 1954, the integration of Little Rock high school had taken place, the Civil Rights Movement had begun, and Welles had a long history of being involved with activities of that sort. And, in this case, he had completely transformed the novel that this film is based on (Badge of Evil by Whit Masterson) and made it into, I think, an indirect commentary on racial tensions in the United States.”

Art of the Title: How was the sequence put together?

Todd Hemker: We took our cues from directors Phil Lord and Christopher Miller, who wanted to end the film on an absurdly happy note set in a utopian trippy wonderland made out of food. We worked from story ideas already developed by them that would help provide some sense of resolution with the storytelling of the film (i.e. food did NOT destroy the planet, the formation of a tight bond between father and son, the corrupt mayor getting his just desserts, etc…). The unpredictable nature of the titles was already “built-in” by the directors’ original vision for the piece. However, when you know the story and characters from the film, you see that the titles are a mix of tying themes from the film together with things that are just plain silly.

Our inspiration in many ways mirrored that of the directors and designers at Sony. At our initial meeting with them they referenced the Muppets, the film Twice Upon a Time, the illustrator Miroslav Sasek, Yellow Submarine, Monty Python, Schoolhouse Rock, and Xanadu. We were thrilled… and it was all relevant in terms of getting us into the right frame of mind for establishing the look of sequence (for example, the quality of character animation was influenced by the Muppets and Twice Upon a Time while the FX were very Xanadu inspired).

Overall, it was a very collaborative effort. Since there were many unknowns to be addressed, we started a back and forth process with the directors / designers of refining the boards and building animatics to figure out transitions, character performances, and timings. It took close to two months to get a “locked” animatic, because each version brought fun opportunities that pushed the sequence even further over the top. Whenever we would show them something as a suggestion, they would send back sketches that brought it to the next outrageous level. There was also cause for some concern, because at one point we ended up a full minute over the mark we were supposed to hit (2 minutes 30 seconds). So we had to figure out how to trim it back to that length – which was difficult considering that almost everything was built with a continuous camera move.

One of the more interesting developments was the evolution of the Bruce Campbell / Andy Samberg card. Originally, it was just the fat mayor (Bruce Campbell) floating and dancing with the title hovering somewhere in the sky. The camera was supposed to fly into his mouth and down into his stomach, where there would be a conga line of characters dancing with various fruits and vegetables. Then we learned that Bruce Campbell needed to be paired on a card with Andy Samberg, and we introduced them floating together on clouds. Chicken Brent (Andy Samberg) danced with a shish-kebob as the mayor sneaks a bite – which leads us down his gullet. This lead to the final solution of clouds being food items that the mayor could eat as he floated across the sky… so the mayor became a hot-air balloon, with chicken in tow, and all of our problems were solved. This is what you see in the final version of the sequence.

The background designs were primarily handled by the team of artists at Sony, led by Justin Thompson. They did all the backgrounds up until the molecules. We designed backgrounds and titles from there to the end. The Sony team also designed all the main characters for animation, led by Paul Rudish. We designed all incidental characters and FX. Once we received artwork from the Sony artists, everything was prepped and rigged for animation by our team at Duck.

Technically speaking, the project was done entirely with Photoshop and After Effects. The scenes were built in 3D space and done multi-plane to give the environments some dimension for the final 3D stereoscopic output. There were no plug-ins or third party applications involved, since we were going for something that had a much more traditional and hand made feeling to it. Justin and Paul were extremely generous and helpful in the process by providing character pose sketches and layouts for some of the more difficult shots.

ATS: What was the most difficult aspect of the piece?

TH: Because all the title cards needed to be on screen for an equal and set amount of time, it was extremely difficult to get as much out of the character performances as we were really hoping for. An additional challenge was to make sure that whatever we did with the character animation didn’t compete too much with the readability of the names – so in many cases we had to force ourselves to “hold back” on what the character was capable of doing (or what it’s personality was begging us to do). Along these lines, there were a lot of moments that would have been nice to spend more time on – and it was difficult to let that go. For instance, we all loved the goat animation that Morgan Williams (our lead animator) did but it got lost in a camera move as part of a transition. It was a similar case with the plants, near the end, that were designed by Soyeon. Because they were mainly transitional, you don’t have a lot of time to appreciate the nuances of the artwork and the motion.

ATS: Do you have any interesting stories related to the development of this sequence?

TH: The mayor in the jail suit was an odd development that came near the end of the project. Several weeks before our deadline there was a “final” review of the piece and it came back to us with a “request” that the mayor character needed to be punished, or separated from the rest of the characters in some way (as a form of resolution). His character in the film was quite corrupt. This forced us to go back to the drawing board to figure out how we could insert that concept at this late stage of the game and still meet the deadline. It turned out to be really fun for us – because we got to sit in with the directors and designers to brainstorm / problem solve the issue.

ATS: How did you work with the musical element?

TH: Phil and Christopher had a fondness for the Xanadu theme by Olivia Newton John, so we set everything to that track (on an 11 frame beat). Once that was established it was critical not to mess with it, since all the character animation was timed to be in sync with that beat. The most amazing thing was that no one seemed to get sick of hearing that song over and over again. In the end, they weren’t able to use the track and we were pretty nervous that the animation might suddenly be out of sync, or that it wouldn’t match the fun energy of Xanadu – but our fears were put to rest by the “Raining Sunshine” track by Miranda Cosgrove.

“The brief for the project was to produce opening film titles reflecting the quirky quality of the movie itself which features strong performance from Peter O’Toole and Sam Neil amongst others.

Every element was hand drawn by artist Jason Dickinson, these were then scanned in at a high resolution and prepared in Illustrator in order to be then animated in After Effects by Peter Dickinson. For the typography, a William Morris style font was created and animated by Julia Hall.”

Art of the Title: How did you become involved with the project? How did the idea of animating the type come about?

Tom Barham: We were approached by HBO to pitch the series titles. I was familiar with Jonathan Ames’ work. When I found out that the series was semi-autobiographical — the story about a writer who hires himself out as a PI – it made sense that the entire world should be a fictional one created from the text of his imagination. We used the original copy from the short story in McSweeney’s for the characters as well as all of the backgrounds.

ATS: Including elements of noir or neo-noir seems an obvious choice. What lead you away from that?

TB: Exactly that — it was too easy. We did include a few noir-esque touches like the book cover and general lighting of the pages.

ATS: What was your approach to directing the opening credit sequence?

TB: I wanted to do a combination character and flip-book animation to move the Jonathan character from location to location in a book format. Additionally, since the characters were made from text contained within the book where they exist they needed to move and interact with each other as if they were emitting or leaking letter forms and words.

ATS: What were the first questions you had and how were the answers arrived at?

TB: What’s the idea here? How can we create a sequence that is organic to the subject matter and that communicates both the intent of the show and the intent of the author?

ATS: What was the process for working with the artist Dean Haspiel?

TB: Dean had worked with Jonathan on his novel “The Alcoholic” and done some drawings for the show.

ATS: Do you have any interesting stories related the development of this sequence?

TB: What was most unique was working with Jonathan Ames. It’s unusual for the author of the story to be so intimately involved with the production of the title sequence. He provided a great deal of insight about the characters.

ATS: Can you give us an example of something you took away from this collaborative project? Which gives you a greater satisfaction, collaboration or a project that is entirely your own?

C&A: Both have their merits. For the most part though, I think collaborations provide the greatest opportunity for personal growth. The challenges are more numerous and involve a greater levels of understanding of people and their points of view versus your own personal take on things. The best ventures are usually those that tap into other people’s talents as well as your own.

Art of the Title: Your petite reproductions of classic and cult titles are beautiful. Tell us about your love for title sequences.

Chic & Artistic: Attaching great importance to the graphical aspect of films in which we’ve already seen, we are always very sensitive to their title sequences. No matter what level of quality a film has, title sequences always give us an impression of the film and its spirit, an essential taste that plunges the viewer into a movie.

ATS: What gave you the idea for the video?

C&A: “Symphonies,” the song, is a mix of Dan Black, between a Rihanna beat and the musical theme of the 1980’s film “Starman.” The spirit of Black’s composition and lyrics are very cinematographic, so it seemed logical to link it to cinema. This brought us to the idea of a video clip in which Dan Black, in a series of title sequences, pays tribute to the legendary 7th art. The song’s subject is the desire for a less ordinary life, and the music and film titles share something magical, an introduction which keeps us in suspense. We loved the idea of a movie that never starts, passing from one title sequence to another, without the film in the middle, as if the title sequences in themselves were enough to tell a story without the film. The idea of using the title sequences also allows for an immediate recognition of the film genre.

ATS: How did you arrive at the specific title sequences used in the video?

C&A: The title sequence selections we made is a combination of our artistic preferences and those of Dan Black, in order to develop a story in which he goes from adventure to adventure, universe to universe. To make our selection, we set a main objective of integrating all time periods and all film genres, from the 1930s to today, drawing from horror films to those of cartoons. From the outset we wanted to mix the chronological order, so that we could maintain a great level of surprise throughout the video clip.

We wanted to give the impression that Dan travels through a large diversity of films, time periods, and locations, but it was also important that it was a type of film that was consistent with the world of Dan and his inspirations. We could not use a title sequence in which he would feel uncomfortable. There are so many legendary cinematic sequences, that it was sometimes difficult to make choices.

ATS: Tell us a little bit about how you were able to emulate the essence of each title sequence.

C&A: We viewed a large number of title sequences by genre and time period. The Art of the Title website was incidentally very useful for us! We needed to reproduce the image and original graphic design through lighting, film grain, color grading, costume design, accessories, as well as typographical choices. We didn’t have a lot of time; one day of shooting and 3 weeks post production, with little preparation. The difficulty was not being able to use the same cameras that were used for each time period. It was therefore necessary to find tricks to emulate the essence of the original image.

For example, at the beginning of the video clip, the convertible in the black and white title sequence is deliberately poorly integrated into the landscape; we can see the cinematic tricks, as if it was made in the 1950s. The title sequence in tribute to Tron reflects an 80s image with somewhat runny to washed out colors. The differences are quite visible from the beginning to the end of the video clip, so that we have a distinct impression of going from one universe to another.

ATS: Dan Black’s song has a comforting depth to it. It is complex, accessible and fun. Did you take any cues from the quality of Black’s lyrics?

C&A: Yes, completely. “Gimme, gimme more than life I see…” is one of the lyrical highlights that had much inspired us during our reflection, the idea that Dan searches for another life, one elsewhere, in a world of fiction. The lyrics are very present in the clip, as they often become movie titles. Furthermore, it was amusing to keep only part of a phrase and transform the meaning, to give a new connotation to the lyrics.

ATS: Did you learn any tricks from designing a “cut and pasted” aesthetic?

C&A: It was a very interesting experience, a little like scientists trying to reproduce experiments, adding new things to it, and using it as inspiration to make them evolve. These experiences have already given us ideas for other videos. For us, the general tribute that we wanted to give to the movie title sequences needed to flow as if all the sequences, edited piece by piece, made up a fluid partition all together. To do this, we tried to work particularly on the transition of each sequence so that the changes of time period flowed harmoniously, transporting Dan Black with the rhythm of the song.

ATS: Do you have any interesting stories related the development of this sequence?

C&A: Since each title sequence in this video clip is different, we could say that each title sequence holds a story in our eyes. And it’s true, without revealing all of our production secrets; we think they all have something special. For example, in the tribute to 2001: A Space Odyssey, the background of the inside of the vessel is actually an image of the inside of a washing machine. We filmed the images of the title sequence “New Wave” without authorization, camera on shoulder, as did directors from that time period.

Something that was interesting about this clip was to work one day on a science fiction, another on a silent movie, moving from a cartoon to a western. Concerning Dan, we decided that he should not be too “active” in the title sequences, so that his presence wouldn’t be ridiculous or overplayed, but in tune with each universe, in perfect harmony.

In speaking about harmony, it may not necessarily be obvious at first sight, but Dan is dressed the same throughout the entire video clip, even when his image is changed graphically into an animation or to a marionette in the spirit of Thunderbirds. However, sometimes he wears accessories like a Sheriff’s star, or a pair of glasses, to help him blend into the title sequence better.

ATS: Did any part of the process take you by surprise?

C&A: The order of certain title sequences seemed somewhat improbable on the storyboard. Nevertheless, the final result seemed generally fairly homogeneous despite the challenge of trying to coincide title sequences, which were very different from each other.

ATS: Did Dan take part in the conceptualization of the video?

C&A: As with all of the videos we have done for him, Dan is always very involved, from the idea to the realization of it. For this video, he was particularly involved in the selection at the outset, because it was necessary that each type of film corresponded to him. Since the beginning of his new album “((un))” (we also worked on the graphics and photos for the album) he wanted to do something cinematographic. By the way, he owns a book on film title sequences.

ATS: Would you give us a few of your favorite elements of this sequence and tell us why they are special to you?

C&A: There are some that we love because they pay direct homage, and we hope to have succeeded in recreating these legendary title sequences, like those of Saul Bass, Goldfinger or that of Se7en. There are others that we also love because they have less obvious references and raise doubt about their original models. That fact is that they were all interesting to work on. We find it interesting that, until this video, we have never done a title sequence in a film. We would love to make a real one now, so if a film director reads this, don’t hesitate!

ATS: Is there a modern artist whose work inspires you?

C&A: There isn’t one; there are evidently a 1,000 varied artists whose work inspires us: writers, filmmakers, musicians, artists… from Bret Easton Ellis to David Lynch, Radiohead, or Mattew Barney… we like all existing media. That said, the director Michel Gondry is an irrefutable model for us, by the proliferation of his ideas over the years, from video clips to cinema, and by his notable willpower to give meaning to graphical concepts, as otherwise seen in director Sean Ellis’s film Cashback.

The creative multi-talented Kuntzel & Deygas duo inspire us a lot as well, through their ability to create very eclectic things in the field of graphics or design, in a multitude of projects, to the point of being contacted by Steven Spielberg in person for the title sequence of Catch Me If You Can. We are also waiting for Steven to call!

Reminds Art of the Title of another music video’s ode to another era’s visual art: Justice’s “DVNO.” Funny, this song also grooves and thrusts and clacks its teeth.

Terry Gilliam: “One great thing about Python is we used to always play around with titles and text. Since there was nobody to stop us we just had fun. The first time we showed this to an audience they just couldn’t believe the world could be turned upside down…normally we watched films with people speaking Swedish with English titles but [not us], we did it backwards.

This is as cheap as you can get when it comes to titles. When maintaining a very low production standard you can get away with murder. It’s always dangerous when you try to make good, proper films where you just cannot do these kind of jokes.”

Terry Jones: “It’s very dangerous to look for significance in Python’s stuff; it just seemed like a silly idea to us. We realized we needed mock-heroic music but at that stage we couldn’t afford to record more music [for the titles] so the only thing I could do was go to a music library, DeWolfe in London and I spent weeks sorting out bits of music.”

John Cleese: “No one had ever mentioned to me about these hilarious credits that Michael Palin had written so I sat down expecting to see a perfectly normal set of credits at the front of the movie and there was all this wonderful Nordic stuff about moose.

We first screened this at the Cannes Film Festival. These subtitles got huge laughs and right at the end of [the sequence] the film stopped and everyone laughed and applauded. Then these men in French fireman uniforms with gold helmets came racing in and stopped the film and we had to go outside. It was a bomb scare. And everybody thought it was part of the film. It was perfectly timed because it was just after the credits so it didn’t interrupt anything. That was a good start.”

“SHORT FILMS 1 showcases…filmmakers and 30 of their ideas. Intriguing, hilarious, weird, thoughtful ideas made all the more awesome by the series of headaches, excuses, glitches, hurdles, burning hoops and absolute impossibilities that once stood in their way.”

“For this opening title sequence, we decided to use a literal element from the show to reflect one of its strong underlying themes…things aren’t always the way they seem and rarely go as planned. The series, Météo+, is a French, comedic drama about a staff of eccentric characters operating an independent weather network.

And stylistically, we wanted to keep the feel pretty organic and not use a lot of effecting or compositing. The graphic device of the floating forecasts seemed to be a great subtle touch – both clean and slick at the same time.”

Art of the Title: How did you become involved with the project?

Nirvan Mullick: The title sequence was produced by The Picture Mill. Mark Osborne (Kung Fu Panda, More) was scheduled to direct the sequence, but then had a scheduling conflict. Mark was my teacher at CalArts, and for some reason called me up and asked if I wanted to take over the job. Being fresh out of school and terrified, I said no, but Mark talked me into it. So this ended up being my first commercial directing job. Mark helped me estimate a budget as I had no idea how much to charge. I met with the producers, bluffed my way through a meeting, and then was off to the races.

ATS: With the opening sequence you dove headlong into the small madness of angry, oppressed rats – what was your approach to directing this?

NM: The idea was to move through Willard’s basement as if it was the character’s mind, treating the physical space as a metaphor for his mental decay. I wanted things be a little off at first, and then unravel into madness as we introduce more animated elements. We only had 2 weeks to built all the sets, puppets, and shoot the sequence, so the challenge was to find a way to create that feeling within the production limits.

ATS: This sequence holds a dense diversity of process including montage, live action, collage, stop motion, clay and more. How does this diversity reveal itself to you?

NM: Gradually. The sequence starts in a seemingly real space, and then slowly moves into abstraction, finally ending in the black of a rat eye as the opening shot of the movie begins. Gravity defying water drips up from rusty pipes as the camera reaches the main title card. We then continue into an air vent- as the grate disintegrates, we let loose and begin introducing many different elements. The camera continues to move through the walls, into the drywall, the insulation, and the electrical wiring, and the inbetween spaces. The feeling of rats is everywhere, an infestation. It builds toward a breaking point.

Incorporating so many techniques was a challenge, but I had a great crew that helped pull this off in a very short time. A great idea came from Rick Orner, who suggested incorporating elements of Crispin Glover’s book Rat Catching into the sequence. We called Crispin’s mom (the book’s publisher) to get permission, and got word back that Crispin thought it was a cool idea. Kathleen Lolley then made some great wall paper textures from the art in the book that were peeled layer-by-layer. The red spine of the book can also be seen in the shot with the zombie rat skeleton. This was actually a real rat skeleton made from a dead rat my friend Jonathan Silsby found downtown; he inserted small aluminum wires into the bones to make it a functional puppet for stop motion. We only had time to use stop motion sparingly, but we tried to use it in ways that amplified the creepy texture and emotional tone of the story.

ATS: To what degree is your approach to the work clinical and at what point does it become emotional?

NM: The clinical side revolves around technical details, budget, and meeting deadlines. But we were all emotionally engaged with the ideas. My whole crew was excited to be bringing stop motion to the big screen, and everyone brought a lot of themselves to the project. We were only involved in creating the stop motion and live-action elements- all of the post and compositing was later handled by separate team, so we had to distance ourselves from the final piece, which was a bit frustrating. The post ended up being delayed, and then the final compositing and editing was rushed, and we later found out that we were given the wrong aspect ratio to shoot in, so a lot of our work got cropped out. It’s cool people still like the sequence, but I remember feeling a bit disappointed by the final piece, because I know it could have been better. That probably speaks to whatever emotional attachment I had. I think stop motion animators tend to invest themselves into every frame.

ATS: In your opinion, how important is music and sound design for a sequence like this?

NM: Extremely. In this case, the music was done first. I listened to the music before storyboarding and fleshing out the sequence. The music set the tone and the timing for the animation and the piece as a whole.

ATS: How does connectivity effect art?

NM: I believe people make unique connections based on their own perspective and experience. Everything is inherently connected, but Art succeeds for me when ideas are put together in interesting and unexpected ways.

ATS: What is your take on the Surrealists and other influences on your art?

NM: When I first stumbled into experimental animation, Jan Svankmajer was a huge revelation. Surrealism and stop motion are a great fit. There is a great mix between the real and the unreal in stop motion. I’m also a big fan of Yuri Norstein, Egon Schiele, Henry Selick, Michel Gondry, and the work of micro-miniaturists like Hagop Sandalgean and Nikolai Sydristy.

ATS: Are there any new artists whose work has surprised you?

NM: I’m stunned by the artists at CERN who conceived and built the Large Hadron Collider. I know it’s a physics project, but I think it’s the best collaborative experimental work of art ever. Ron Mueck and Arthur Ganson also blow me away. Street artist Blu has been doing some really cool pieces, and Jeff Lieberman’s Absolut Quartet piece is brilliant- you can find it on YouTube. In general, I’m digging art that is playing with scale, exploring new media, pushing limits, and engaging audiences in new ways.

ATS: What are you working on now?

NM: The 1 Second Film project- a non-profit collaborative movie being produced by Stephen Colbert, Kevin Bacon, Michel Gondry, Spike Jonze, and over 11,000 participants from 66 Countries. I’ve been working on it for the past 8 years, and probably have another 2 more years before it’s done.