Once upon a time, there was a little mouse who worked relentlessly to achieve a single goal: becoming somebody. Driven only by her ambition, she slowly became mean and arrogant, pushing away everyone else. Until one day, she accepted a job offer from the most prolific toymaker in the world: Santa Claus. The little mouse was about to find out that climbing the corporate ladder was not all that she hoped it would be… The sad story of the little mouse who wanted to become somebody is a biting satire of corporate life in the form of a VR Christmas tale.
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It on January 13th 2018, 1.4m people across Hawai’i received an SMS from the state’s Emergency Management Agency: BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.
In the minutes that followed, they were forced to confront existential questions that had been unthinkable just moments before: where could they go for shelter? What would remain of their communities if they survived a nuclear blast? How could they explain to their children why we live in a world where such unimaginable destruction was possible? And how could their own Government continue to pursue nuclear policies that threaten the entire global population every day?
By the time FEMA managed to retract the incorrect warning message, it was too late to pretend that normality would resume. Their collective experience had laid bare the growing threat that nuclear weapons pose to the world. In the words of Kauai resident Cynthia Lazaroff, ‘Nothing happened, but everything changed’.
With ‘The sad story of the little mouse who wanted to become somebody’, we are first and foremost trying to speak about how difficult it is for artists to find their place in a hyper-competitive and automated world. On one side, there’s the struggle to exist, to be seen, when you’re as “small” as the little mouse and need to earn a living. On the other, there’s the difficulty of protecting your craft and your skills in an increasingly mechanized and automated world, where machines could even replace creators altogether.
Nicolas has worked for the last 15 years in advertising, documentary or fiction as a graphic designer and director. In 2016, he combined his know-how and devoted himself full time to virtual reality and new formats, supporting live shooting or immersive 3D projects. His back and forth between directing and graphic creation allows him to understand, set up and preview projects before putting them into production.
JORGE TERESO is a director & digital artist from Buenos aires. His work ranges from playful and lysergic animations to realistic VR experiences and interactive installations. He’s a partner at 3dar studios, where he created its first award winning short film, Shave It (2013).
Since then he’s been creating 3dar’s original content, always in search of new ways to expand the possibilities of animation.
Directed by
Nicolas Bourniquel
Written by
Floriane Cortes
Producer
Aurélie Leduc, Adrien Pflug, Arnaud Colinart, Antoine Cayrol, Katharina Weser, Viviana Hochstätter, Jan Hammeeuw, Florence d’Haeyer
Cast (EN)
Kaycie Chase, Paul Bandey, Sharon Mann, Andy Chase
Cast (FR)
Kaycie Chase, Philippe Catoire, Barbara Tissier , Eric Metayer
Music
Cyrille Marchesseau
3D Supervisor
Jef Dehouse
Lead animator
Eric Giessman
Technical Director
Julio Quiroz
Sound Design
Martin Rieger
Lead 2D artist
Thanh Huyen Hoang
A production of
Atlas V, Reynard Films, The Pack
With the support of
BNP Paribas Fortis Film Finance, CNC, Creative Europe Media, Middle German Media Fund, The Jungle Group, Wallimage (Wallonia), FFF Bayern and the Bavarian State Ministry for Digital Affairs, Medien Board Berlin Brandenburg, FLANDERS AUDIOVISUAL FUND (VAF), City of Paris (in partnership with the CNC), PROCIREP-Société des Producteurs, ANGOA
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