"Swiss talent for export"
Events Karl Spoerri and Tim Geser bring Onedotzero, the world's most important digital film festival, to Switzerland.
Events Karl Spoerri and Tim Geser bring Onedotzero, the world's most important digital film festival, to Switzerland. WW: From October 29 to 31, Onedotzero will take place for the first time in Switzerland at the Zurich University of Art and Design, just three weeks before the similar festival Viper in Basel. Karl Spoerri: No, especially since we are presenting a completely different program that we did not conceive and generate ourselves.
Tim Geser: Our aim was to bring the internationally successful platform, the ready-made digital film program, from London to Zurich, where there has been nothing comparable to date. I don't think Onedotzero will divert the audience away from the Viper; those interested will certainly continue to go to Basel.
From the domestic self
her, your program could be compared to the Cannes reel screenings.
Geser: In terms of content composition, organization and tour logistics, which happen in London, the comparison is quite permissible. At Onedotzero, too, there is no franchise concept that restricts us. In terms of content, on the other hand, our event, which showcases the state of the art of artificial film, has little in common with the Cannes role, which, for all its originality even with new media, is always close to the
remains committed to basic commercial ideas. That's why instead of a cinema, the classic festival location, we sought out the university as a partner, because we want to showcase the creative concept in a place where creativity is lived. Accordingly, we offer a packed program - Music Video Directors' Clash, where international VJs compete, a documentary about the sneaker cult and the fusion of fashion with the animated graphics, a visual ideas laboratory of several artists.
Spoerri: With us, the spectrum is broader. You don't just see works that were produced with huge budgets, but also smaller works: Great ideas that were created on the home computer or implemented with completely new animation techniques that serve as sources of inspiration for the commercial context and are used in conventional advertising clips.
Are there also Swiss contributions?
Spoerri: Not this year.
What are your target groups?Geser: People from the creative industries such as advertising, photography, film or art. In terms of content and technology, we also appeal to the broad masses who can easily consume the program.
In London, the film festival attracts a good 12000 spectators. You're expecting over 3,000 visitors at the first Swiss edition. Where does this optimism come from?
Spoerri: On the one hand, the importance and audience acceptance of digital film have grown in recent years. On the other hand, we can benefit from the festival's several years of advance and its constantly expanding package. In addition, with the School of Art and Design behind us, we automatically generate an interested audience.
Geser: We won't settle the accounts until after the three days, but the response from all sides has already been positive and motivating.
Artists such as Spike Jonze (Being John Malkovich, Adaptation), Tim Hope (REM, Coldplay) or Chris Cunningham (Madonna, Björk) were discovered by Onedotzero, which is now considered a hotbed of talent for up-and-coming directors. How do you assess the potential in Switzerland?
Geser: From the e-mail correspondence with London, it's clear that they know many creatives from Switzerland there. And: Swiss graphic art - even of more recent origin like François Chalet - still has a very good reputation abroad. There are always people who manage to make it big from the frolicking meadow of digital film, but it's
it is also obvious that high-flyers like Michel Gondry cannot be discovered every year.
In the small Swiss market, however, the conditions for success are not promising.
Spoerri: Film is a very expensive medium, and if the audience for it is not there, financing rarely works out. You have to be able to deal with that.
Geser: But the problem is exacerbated by the very conservative advertising clientele in Switzerland, although advertising would have more possibilities because it is not as language-oriented as classic film. The talent and potential therefore usually have to be exported. The Bernese office Destruct, for example, is enjoying great success abroad, especially in Japan.
"Float: In digital film, fashion and graphic design enter into previously unseen symbioses.
"Take me out": Onedotzero presents a laboratory full of creativity.
"River": Even in the digital world, there is room for dreams.
Interview: Luca Aloisi
Tim Geser: Our aim was to bring the internationally successful platform, the ready-made digital film program, from London to Zurich, where there has been nothing comparable to date. I don't think Onedotzero will divert the audience away from the Viper; those interested will certainly continue to go to Basel.
From the domestic self
her, your program could be compared to the Cannes reel screenings.
Geser: In terms of content composition, organization and tour logistics, which happen in London, the comparison is quite permissible. At Onedotzero, too, there is no franchise concept that restricts us. In terms of content, on the other hand, our event, which showcases the state of the art of artificial film, has little in common with the Cannes role, which, for all its originality even with new media, is always close to the
remains committed to basic commercial ideas. That's why instead of a cinema, the classic festival location, we sought out the university as a partner, because we want to showcase the creative concept in a place where creativity is lived. Accordingly, we offer a packed program - Music Video Directors' Clash, where international VJs compete, a documentary about the sneaker cult and the fusion of fashion with the animated graphics, a visual ideas laboratory of several artists.
Spoerri: With us, the spectrum is broader. You don't just see works that were produced with huge budgets, but also smaller works: Great ideas that were created on the home computer or implemented with completely new animation techniques that serve as sources of inspiration for the commercial context and are used in conventional advertising clips.
Are there also Swiss contributions?
Spoerri: Not this year.
What are your target groups?Geser: People from the creative industries such as advertising, photography, film or art. In terms of content and technology, we also appeal to the broad masses who can easily consume the program.
In London, the film festival attracts a good 12000 spectators. You're expecting over 3,000 visitors at the first Swiss edition. Where does this optimism come from?
Spoerri: On the one hand, the importance and audience acceptance of digital film have grown in recent years. On the other hand, we can benefit from the festival's several years of advance and its constantly expanding package. In addition, with the School of Art and Design behind us, we automatically generate an interested audience.
Geser: We won't settle the accounts until after the three days, but the response from all sides has already been positive and motivating.
Artists such as Spike Jonze (Being John Malkovich, Adaptation), Tim Hope (REM, Coldplay) or Chris Cunningham (Madonna, Björk) were discovered by Onedotzero, which is now considered a hotbed of talent for up-and-coming directors. How do you assess the potential in Switzerland?
Geser: From the e-mail correspondence with London, it's clear that they know many creatives from Switzerland there. And: Swiss graphic art - even of more recent origin like François Chalet - still has a very good reputation abroad. There are always people who manage to make it big from the frolicking meadow of digital film, but it's
it is also obvious that high-flyers like Michel Gondry cannot be discovered every year.
In the small Swiss market, however, the conditions for success are not promising.
Spoerri: Film is a very expensive medium, and if the audience for it is not there, financing rarely works out. You have to be able to deal with that.
Geser: But the problem is exacerbated by the very conservative advertising clientele in Switzerland, although advertising would have more possibilities because it is not as language-oriented as classic film. The talent and potential therefore usually have to be exported. The Bernese office Destruct, for example, is enjoying great success abroad, especially in Japan.
"Float: In digital film, fashion and graphic design enter into previously unseen symbioses.
"Take me out": Onedotzero presents a laboratory full of creativity.
"River": Even in the digital world, there is room for dreams.
Interview: Luca Aloisi
