Mon. Sep 26th, 2022

Hello Kandice Kathleen Zimbleman, it’s a pleasure to have you with us for this interview. Congratulations on your award at last season of the “Casablanca Film Factory Awards”.

Q: Your new movie is “Succor Forlorn”; in a few words, what is it about?

A: “Succor Forlorn” is an animated, Sci-Fi, experimental, emotive short film, which was based on my poem “Stargazed Yearning” which uses repitition with variations to coveny the long passage of time of a woman stranded on a planet, and abandonned.

Q: When did you plan to do this film?

A: The 1st inspiration came to me in the winter of 2019 while I was walking outside playing Pokemon Go. I was playing an old album by Blümchen with the song “Ganz bald” and remembered I was learning Outer Space VFX, the I realized I could make a story. I started to feel a story in my head, then went home and sketched some ideas. I decided to write the story but it turned into a poem. When I posted my concept art on Twitter, it got so many comments & attention for many days. Then I planned the rest of it from there. I was also inspired by the May  16, 1961 audio radio recording by Achille & Giovanni Battista brotehrs of an Unknown Woman Cosmonaut whom fell to the Earth & burned up in the Atmosphere (allegedly) which cpatured what sounded like a woman trying very hard to maintain her professional composure but was clearly terrified & trying to hide it in her voice. I also drew inspiration from Peter Schilling’s “Völlig losgelöst/Major Tom” song, and “Allein im all” by Paso Doble. I wanted to utilize the conceptual junxtaposition of blind nostalgic hopefullness to a fault with hopelessness, but also mystique. Fragments of someone who lived, and did something, but an incomplete picture. Who was she? Then, she is like a ghost, because it becomes clear she’s been there for so long, and that’s it.

Q: What got you into filmmaking in the first place, and did you receive any formal training on the subject?

A: I 1st studyies animation at UARTS Philadelphia on scholarships while I was still in high school on the weekends. Then I went to The Art Institute of Philadelphia for Computer Animation and graduated a few months before the Twin Towers in NYC were attacked. There were no jobs for women, only men, and I knew many of them personally. They only wanted you to work for free. I did YouTube when it 1st started around 2006 and made many kinds of experimental films, and was a a little bit popular back then talking about inter racial dating. Then I went back to school and studdies at UMASS Boston 2016-2018. I majored in Art & Philosophy, and minored in Cinema Studies which was totally new at the time. The video instructor got me me to switch my major from Philosophy to Art, then I was entered in many contests while I was at UMASS and helped teach my fellow students because I was much older than them.

Q: What can you tell us about your film work prior to this film?

A: I worked on projects for HBO Family, Nick Jr., NOGIN, and PBS Kids in 2001. I was not paid anything because women didn’t get paid. I also worked at Top Cow Comics Inc for a few month which also did not pay anything. I was many times persued by Disney but with very bad contracts, and they would harass me on my cellphone & e-mail me. I was told I was very talented but the contract said I needed to sell tickets at the theme parks for 1 year, and was like a prison. Disney would not pay for transoprtation but I.T., Programmers, and Tech INTERNSHIPS for the same companies like Disney would pay for flights JUST FOR AN INTERVIEW, and paid $13 per hour, Hotel, and HOUSING JUST FOR AN INTERNSHIP. But they would take the artwork from someone like ME, take away the right to HAVE MY NAME ON IT FOR CREDIT, and MAKE A BILLION DOLLARS FROM IT. I was also told MANY TIMES in the 2000s that I would not get hired because the studios ONLY HAD MEN workers AND IT WOULD MAKE THEM UNCOMFORTABLE if I was there because they might want to look at pornography sometimes. I was told this BY MANY MANY MEN I personally knew who had jobs at Nickelodeon, Disney, and other smaller studios that had contracts with the bigger studios.

Q: Can you explain or tell us some of the important elements of this film that makes it interesting?

A: I think because it’s less narrative bias based, like most comercial films are, and uses MOOD, TONE, Repetition with changes in variations to convey time passing and emotive feelingings. It also uses fragments of images, noise, and audio also drives the very loose plot. Its more conceptual in some ways. If I had the ability to produce an actual pop-song I would do that. But, instead I decided to make art. It’s like a Painting that moves, and cut together like beads on a string.

Q: How big was your team and what were the cameras that you used?

A: ONLY ME.

Q: Directors (and indeed actors) who inspire you and what are your favourite movies?

A: Me, Me, Me, also me, and Me AGAIN

Q: Where can people see your work?

A: It’s currently on FilmFreeway, YouTube (but hidden because some Film Festival Contracts don’t like it Easily Available), Some Film Festivals have it on their websites, and it is booked for several Film Festivals and potentially until 2023.

Q: What are your future projects?

A: Ying Qilin, Oppressed By Violet (LoFi Animation channel), Oppressed By Purple (ASMR & LoFi or Meditation Content Channel), I was also the DP, VFX Artist, and Chief Editor on Roland Khorshidianzadeh’s film “The Holy Maple Tree” which is mostly complete but not released yet, and also contributed to his film “What’s In A Fortune?”

Q: Thank you for this very inspiring interview, Kandice Kathleen Zimbleman. Here at the “Casablanca Film Factory Awards” we look forward to seeing and appreciating your new film productions!

A: I love Casablanca Film Factory Awards!

Kandice Kathleen Zimbleman:

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