spread of COVID-19 closed theaters, we were excited to have confirmed a new screening with the Rocky Mountain Puppet Guild. Although we had always accepted films from any loca- tion, I believe going completely online expanded the accessibility and inclusivity for filmmakers and audiences regardless of their geography.
“I am a screenwriter and a filmmaker, and I worked with pup- peteer Patricio Crom,” said Diego Labat, a filmmaker from Buenos Aires who worked on Donde Tenemos Que Estar. “In Argentina, we have a strong quarantine, and so [Crom] was in his house while I was in mine. It was pretty awesome because he didn’t have a camera, so he had his cell phone. We had to write everything down he had to do with it, and it was a very nice flow of work.” Labat noted, “For us, this was an opportunity to show what we like to do to people who appreciate it.”
The 48hr Puppet Film Project was able to expand around the world, with submissions from the United Kingdom, Israel, Argentina, Australia, and more. No matter where the filmmakers were based, the impacts of COVID-19 were still felt. Like Patricio Crom and Diego Labat, many people had to innovate and find ways to use just what was on hand.
“For us, the name of the game is pick an idea and run with it as fast as possible, and kind of use what we had as much as pos- sible,” said Beach Day filmmaker Stacey Weingarten. “We had paintings on our walls that we did at the ‘Drink and Paints’ at the Disney Aulani Resort. I thought, wouldn’t it be nice to go there? Why don’t we just have a puppet do that? I had left New York City after
the technique helps to elevate it.” “Because it’s a puppet film and because that’s my background as a performer,” admitted 2020 judge Victor Yerrid, “the first thing that I see is the puppetry. And I try not to let that influence me as far as a rating, but that’s the first thing my eye goes to. As with any film, though, story always wins out no matter what our differ- ent criteria are, because you get drawn in.” “You have to keep in mind that there is such a broad range of skill level,” noted 2020 judge Liz Hara. “There are people who have never made a film, never touched a puppet. There were seven-year-olds that turned in beautiful work. So you have to ap- proach every film thinking, are we seeing what they wanted us to see given the resources and skill level this particular person had? There were beautiful moments, with that in mind, in every single film.” Ultimately, the 48hr Puppet Film Project is about giving a nudge to get up and create a film. It will never be as polished as a film you spend months (or years) planning and creating, but that’s the point. It limits the mental obstacles of thinking I’ll start this next week when I’m ready. You have to do it right then, and it lights a fire un- der you. Now as we face a rapidly changing entertainment and arts environment, that instigation is all the more vital.
Hope's Fodder by Matt Andrews. Photo: courtesy of the filmmakers
Sesame [Street] was no longer filming. I didn’t have most of my puppet stuff here in LA… We had to make do with what we had.” Many people were stuck inside with their families and found that this event allowed them an opportunity to do something creative while together during the quarantine. A number of films were written or performed by families working together, or with adults giving technical help as children made a film. “For the last ten years, as a drama therapist, I’ve been work- ing with children that didn’t have the basic feeling of safety and love in their homes. In my creation for the contest, hope was a recurring theme,” noted Sigal Kiewe, a first-time filmmaker from Israel. “A nine-year-old helped me with creating the puppets and the operation… It was hard work, but the benefits of team work, creativity, and patience learned during this project were priceless.” Few things build excitement like prizes, so awards were given to the top three films based on reviews from the judges. We have been very grateful to have professional puppeteers and filmmak- ers as judges for the event, including past judges Kirk Thatcher, Tim Lagasse, Trish Sie, Bill Watterson, Christine Papalexis, and Heather Henson. This year’s judges were Sam Koji Hale, Victor Yerrid, and Liz Hara. Especially in a year with a record 135 sub- missions, the top three prizes barely scratch the surface of all the amazing films made. Nevertheless, there is value in each judge’s unique perspective when approaching the films, and every film- maker gets their own specific private feedback. “For me, it’s trying to watch the film in and of itself and seeing what instinctively moves me,” said 2020 judge Sam Koji Hale. “Technique is second, but then if the story is good, as I rewatch it,
“This is not just something that is a fun thing to do on the side,” noted filmmaker and 2019 judge Christine Papalexis, “but professionally this is something we need to work on, and encour- age, and find those skills. I’m not technically that adept. I’m used to working collaboratively where somebody brings the camera, somebody brings the lights. Doing
this by myself was challenging, but also I think may be where we are headed professionally.”
“It was such a gift to be able to do this,” noted There Must Be
More filmmaker Michelle Finston. “There have been so many events like this where I haven’t been able to participate. I was able to collaborate with somebody who I don’t live with, another musician, and to just be able to immediately connect with people online was just really special. That was one really beautiful thing that came out of this experience.”
“Mostly I’m just inspired watching all this work,” professes Vic-
tor Yerrid. “I think a lot of these films you could just show anytime, and I don’t think anybody would think ‘oh this must have been from the quarantine.’ It’s great to see all the community here. Pup- peteer brothers and sisters in arms during this wacky time.” I like to say that every obstacle is just an opportunity for cre-
ativity, and these films are the proof. With over 130 newly created films from around the globe, the 48hr Puppet Film Project 2020 is certainly a success. Moreover, it was able to give inspiration and opportunities of creativity to folks who, during the COVID-19 shutdown, were all the more impactful. Hopefully, it can continue to challenge and inspire people, and build community, in future years. Making a film is hard, and making a puppet film is even harder. Making a puppet film in just 48 hours is an amazing ac- complishment. I tip my cap and congratulate every single person who took the challenge and came out victorious!
Alex U. Griffin is a filmmaker, puppeteer, and produces the 48hr Puppet Film Project for the Los Angeles Guild of Puppetry.
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