IA: Can you give us more details about your esthetic choices for this film?

RG: First, I got some books on traditional cartoons which helped me to create actions, exaggerated animations and in short, gave me more freedom. The graphical choices play a very important role for composition, moods, forms and contrasts. In fact, I really wanted to experiment how an image can be felt, even more what can this image make the viewer feel, by playing with extremes in the contrasts of the forms and with the clear and the obscure. The colors and their dominations are very important since they reflect the mood of the scenes, sometimes being very energetic and other times very calm.

IA: CABLE is a voyage into sensations as much as it is visual. Can you tell us more about the work you have done to get the music and the sounds?

RG: For the sounds and the music I worked with Eric Cervera, who is a very talented artist. Before meeting him, everybody told me that Eric loves working on short films, but also that he is very straight forward. If he doesn’t like the idea, he will directly say no, but in the case that he likes it he will completely invest himself into the project. After hearing this, I was really flattered that he accepted to work on CABLE, and what I was told about him was totally true. Eric put all his experience and technical knowledge into the project and it was a pleasure working with him, especially that he had the same attraction as me to the black dark universes. There was a lot of work to do and Eric helped with his refinement and delicacy until we got multiple versions of the audio mix and had what we wanted to help create the right mood.

IA: The plot takes place in a labyrinth of futuristic forms in a cybernetic atmosphere. Why did you choose to have the story evolving in this scenery?

RG: CABLE is a short action film that I wanted to be dark and nerve racking and the décor is meant to create a feeling of discomfort. The main character is sinking deep in a cold metallic universe where there is not one safe area where she can rest. In this world danger is expected to come out at anytime and from anywhere. Working in a metallic world also allows the creation of multiple frameworks that goes with the story.

IA: Where did you get the inspiration for this film?

RG: I have been inspired for this work by various artists and movies such as Akira, Ghost in the Shell, Kaena, Dave Mc Kean, Disney and many others that I can’t think of right now. Whenever I felt short of inspiration I would go to a neighboring library and I would pick up comics, art books and photo-albums randomly until I found something that inspired me and set my imagination free again.

IA: What do you want the spectator to feel while watching your film?

RG: I think that the main thing I would like the spectator to feel is that sad liberation that comes at the end of the movie. Actually, I just hope they will feel something, anything. If I was able to shake their emotions, even slightly, that’s good enough for me.
IA: And now, the inevitable question, what is art for you?

RG: I’m going to talk about the art of animation; I won’t venture to define Art with a big A. I think that animations are as meaningful as regular movies. Animations are less catchy of course, since the characters look like drawings it is harder for the viewer to identify himself in a cartoon. The major advantage in animation is the variety of choices, such as the unlimited universes, expressions and styles; it is really infinite, just like Art.




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