IA: How was the public reaction?

JB: For Papiroflexia, I received a very good reaction. I think this is because it touches on a contemporary subject matter that is very important today. The only bad reactions were by people who took the idea way too literally, criticizing the film as utopist and pointless and as de-humanizing since it somehow pretends to "obliterate" mankind. With Sebastian's Voodoo I've had a very good reaction so far, but it's too early to tell; it's only been out for a couple of days. We'll see where it goes.

IA: Sebastian's Voodoo, even if it is a really dark short, still illustrates this unusual poetry. Was it one of your goals in this film as well?

JB: Yes, poetry influences pretty much all of my work. As you put it before, I try to create visual poetry in a way. Maybe that is why all of my works so far have been without dialogue, purely visual.

IA: Can you tell us about the making of this short? Where does the idea come from?

JB: The idea came from nowhere. It originated in my head as a crazy idea about two voodoo dolls fighting each other, but instead of attacking each other they wouldn't hurt themselves. It was just a silly idea that popped in my head and then I thought I could use that concept to make something more meaningful. From that point on I let it grow on me for a bit before storyboarding it and starting to work on the computer. It took me 10 months from the moment I had the idea until I finished the film.

IIA: What tools did you use?

JB: It's almost completely done in Maya. I did the compositing in After Effects and edited the rough animatics in Premiere to lay down the timing of the shots. For my textures, I used a lot of free online textures and my Canon Digital Rebel to take pictures of different materials.
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