Hello Sascha, you did Globosome in your final year at Filmakademie Baden-Württemberg and it went very big, did you ever imagine that it would go so far?
When I start a film, it tends to get epic in my mind. In that stage the film can be anything and yes I think that it could go big because it feels that way. But then you have to actually create all the stuff in your head and that’s when you get humble. It took me three years from storyboard to finished stereoscopic version. Since then it’s been quite a ride that brought me all the way to San Francisco.
How did the idea originally come into being? Is it a warning for what humans are doing to earth?
There were three core inspirations: climate change, how cells communicate and how, with our new tools, we can watch ourselves on this planet like we can watch bacteria under a microscope. What makes humans actually different from bacteria in a petri dish if you look at the world with this long lens approach? We have yet to move from an age of consumption to something more sustainable. It’s a huge paradigm shift and frankly I got worried when I realized how little people seemed to care. (This was before Al Gore’s Inconvenient Truth)
I imagined how maybe other planets in the universe have to move through this transition to renewables as well and sometimes fail to do so. The Story of a planet going through several stages was born.
The landscape you have created in Globosome is incredible, any particular landscapes, real or fictional, that you took inspiration from?
I always loved Nature! I grew up on the countryside half of the week. The other half was Hamburg City in Germany. Later I was lucky to travel to Norway, Scotland and Ireland as well as some tropical and places like India and Sri Lanka. I tried to design the plants very different from the efficient connections between the Globosome’s. Mix in some good old english landscape gardening techniques and you get the world of Globosome.
“Get to know your subject like a scientist before you
talk about it like a poet.”
Globosome was turned into a game, how was it turning an animation into an interactive game?
It was quite an experience – I certainly learned a Lot! The interactive medium is a very interesting and challenging one that I’m about to explore further with with my current and future projects. I perceived the iOS platform as a pretty potent one in terms of inputs and the types of games you can build but the graphics power was still way to slow for my liking.
Has that experiences changed the way you look at animation and would you work in game format again? What is up next for you?
Yes, I actually loved it! I’m working on something game related right now. We’re developing a new way of making games based on precomputation. The idea is pretty radical but if it’s working out, we might be on to something big. Think of games looking exactly like movies running on any device. The demo that we’re building here in San Francisco is based on Globosome as well.
Having a look at your other work, you seem to comment a lot on human nature and human emotions?
Every new project brings something else to observe. Sometimes it’s “just” light or cream in water, other times it’s climate change or death but human emotions are the basis for everything related to telling stories. I’m a big fan of the “get your research right” approach. Get to know your subject like a scientist before you talk about it like a poet.
Globosome, though a dark tale, ends with a sense of hope, is there always hope?
I’m not concerned about life itself – it will find a way. But we humans might not share the same fate and there might not be hope for quite a few. In this very moment, people are fleeing their home because of rising sea level and failed crops. Runaway climate effects might kick in and lead to millions of people migrating to safer places. It might be our generations task to help not letting this world slip into chaos. I strongly believe in the role of films and games in this process – both as a warning and a way to imagine a future worth striving for.