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: 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: What about the duration of the film? It’s a long short for an artist working alone…

RG: As I mentioned before, I did not choose, nor set a time limit for the movie. Even if that ended up creating a hell of a challenge, I learned so much from this project. It was a long and painful road that was very enriching to me regardless of the short doing well or not. It is clear to me that I changed through the course of this project.

IA: Can you tell us about your passion for animation?

RG: It is a passion that I discovered at 22 years old while I was in the CFT Gobelins School. It was then that I knew what I wanted to do with my life. I have always loved animation, even the silliest ones. I used to draw on all the corners of my notebooks at school, but I never imagined that I would do this for a living. It has been ten years that animation is my profession and I’m lucky to be able to work in what I like.

IA: Who would you consider to be your favorite authors or artists?

RG: I am impressed by Rodin’s work, I like what Dave McKean does and I like the nude photography of Howard Schatz. In drawings and paintings I don’t really have a favorite, but I do like the new wave of matte painters, such as Craig Mullins, Dusso and Ryan Church.

IA: Do you think that through your film you were able to fully express your artistic convictions?

RG: CABLE was a difficult and tiring project. It is a very personal movie and I am so proud that I was able to finish it. This short helped me recognize my limits. CABLE is part of the darkness that I can have in me, but I am also an optimistic person and I would like to create comedies and satyrs too. I would like to continue exploring my skills while refining my style.

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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