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Features

Beyond Machinima: Rudy Poat and John Gaeta on the Future of Interactive Cinema
JG: I've been there with film, I've been in the exact position. Should we make all virtual humans and environments to do the next exponential leap of Bullet Time? Is it worth it? Is it not? Why bother? Having gone through some of those painful decision-making times, I realize that the best thing to do for trying to birth a sort of hybrid medium is to try a bunch of small experiments.
People in the film and game industry, and I know some who definitely are, should engage in small experiments to prove out how engaging this idea could be. I think that the machinima guys are in some way a branch of this, it's not what I'm aiming at, but it's a branch. Those kinds of small movements are of great interest. People need to do this right now. Technically we're a couple of years out. That's not long at all, literally a couple of years out. There are enough people working on this project from different angles to conceive serious projects in this area. Whether that's real time episodic content for television, something happening on line or games and movies that have navigations nodes. All of those experiments fit nicely in a three to five year time frame.
In a nutshell, our experiment was to take it from conception to a screen. Ours did, it was in the Toronto Film Festival, so it made it all the way out to a wide screen. I don't know if the movie will make it into theaters exactly, but it was satisfying to make it to the screen.
GS: Rudy mentioned Deep Dark, can you talk about that?
JG: I can't really talk about that in detail. How can I put it? It's fragile and fertile.
GS: Well, we don't want to screw that up. Other than Deep Dark, is there any other projects you're working on?
JG: I have another project; I directed another short film. It'll come in under and hour. It's called Homeland, and I shot it in HD. It's a live action anime shot in Tokyo. It's all digital effects and entirely shot in Japan. I have a real fascination with the potential of a live action anime.

Homeland
GS: It's stylistically very interesting.
JG: I think so. It was a labor of love. It's a project that allowed me to collaborate with people in Japanese cinema, concept guys that I've only really just stolen their work. I've been so influenced by them that I wanted something more direct. It was really awesome to work with those guys.
GS: When do you think that it will be available?
JG: The live action portion without the anime may get released ahead, maybe by spring. I'm waiting to see exactly what the time table is with the anime bit. We're planning on doing some episodic stuff. We have some very different spin away content pieces, interactive, short form bits of content that are purely distributed over the web also. I can't really explain it better than that. It's experimental web stuff. It's going to be a pretty good interactive experience, I think.
GS: Sounds great! Thanks for taking the time to talk to us.
JG: Thank you for your patience. I'm glad you guys are interested in what we're doing.
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