Interview by Bob
Ignizio
When Calvin and
Hobbes debuted in the newspaper
comics section in November of 1985, I was a sophomore in High School.
Still, even though the main character was a six year old boy whose
best friend was a stuffed tiger (or was he real?), I instantly
related to the strip. So did a lot of other people, including
filmmaker Joel Schroeder, who recently finished his debut documentary
feature DEAR MR.
WATTERSON. The film
examines the impact that Calvin and Hobbes
had on both regular fans and Watterson's peers in the comic strip
industry, while opting to leave the famously reclusive artist himself
alone. The film will be screening at the 37 th Cleveland
International Film Festival on April 9th, 10th, and 11th. Schroeder
proved much less elusive than his subject, graciously agreeing to be
interviewed for the Cleveland Movie Blog.
CLEVELAND MOVIE BLOG: How did
you become interested in filmmaking, and how did you get started in
the business?
JOEL SCHROEDER: I think my story
is pretty typical: in junior high school my friends and I started
shooting videos on an old Hi8 camera, most of which I'd be afraid to
show many people today. Then, towards the end of high school, I
made a video about our cross country team, and when I saw the effect
that it had on our team when we all watched it, I saw the impact you
could have as a filmmaker, and I was hooked.
CMB: I see you directed a
few shorts prior to DEAR MR. WATTERSON,
but this is your first feature. Why a documentary, and why this
particular subject?
JS: After college, I'd had a lot
of ideas for films that would come and go. I'd lose interest in
most ideas, but with Dear Mr. Watterson, it was an idea that I
couldn't let go of. It was the first time that I just simply
knew it was a film that I had to make. I grew up with Calvin &
Hobbes, and I'm truly fascinated at how it has become something so
special to so many people. I went into film school wanting to
make narrative features, but I think documentary filmmaking is just
more fitting to who I am.
CMB: You used Kickstarter
to fund your project, and almost doubled your goal. What did that
extra money allow you to do beyond what you had hoped for? Is
kickstarter just a fad, or do you see it as being a viable way long
term to finance projects like this?
JS: We've actually done two
separate Kickstarter campaigns, doubling our goal the first time in
2010, and nearly doubling the second time, in summer of 2012, raising
a total of over $121,000 all together. By raising nearly double
our goal in the 2nd campaign, we were able to do more in several
areas, most noticeably with our motion graphics, sound, music, and
final color correction and mastering. Everything on the film
was still low-budget, but we were able to do a little bit more in
those areas than we originally thought we'd be able to do. I'm
a huge fan of Kickstarter, and it was an absolutely perfect way for
us to make this film. We were able to make a film about the
impact of Calvin & Hobbes, and it was 100% funded by fans of
Calvin & Hobbes. Isn't that in and of itself evidence of
the impact of the strip? I think Kickstarter has been so
successful because it fills a need that exists out there for creators
and artists and designers--as well as people who want to encourage
creativity and independent *fill-in-the-blank*. As long as
people don't start viewing Kickstarter and similar crowd-funding
platforms as a just regular retail environment, then I don't see it
being a fad. We clearly had great success with Kickstarter for
this project, and I hope all of our Backers feel that way as well.
And that's the key: creators must respect the commitment
that they are making to their Backers to follow through with what
they plan to do. Happy and satisfied Backers will continue to
want to find projects to support.
CMB: Bill Watterson has
reached the point where, like J.D. Salinger, he almost as famous for
being out of the public eye as he is for his work. Making a film
about someone that you know isn't going to make himself available to
you obviously presents a problem. How did you decide on what approach
to use to get around that obstacle? Were there any other ways of
making this film that you considered?
JS: From early on, I knew the
film would be from the perspective of Watterson's fans (including
myself), colleagues, and other cartoonists. We knew that
Watterson would not be involved, and that was simply the reality we
were dealing with. Sometimes the limitations or obstacles in
front of you can set you up to create something even better than what
you may have done without those limitations. We didn't have
Watterson, so we used my own exploration to guide the film. This
was never going to be about following me on a quest to find Watterson
though. That was never something I wanted to do.
CMB: You interview quite a
number of Watterson's peers in the comic strip business. Was there
anyone you wanted to talk to who proved as elusive as your subject?
I'm thinking hearing Mort Walker talk about his disagreements with
Watterson in particular might have been interesting.
JS: I'd
prefer to not go into specifics about names, but there were
definitely interviews that took time to get on the calendar. I
sometimes needed to reassure people that this was not about finding
Watterson, but rather it was about trying to understand his impact.
If we had unlimited time and money, there are definitely many
more interviews that I would have liked to film. Of all the
people we wanted to interview but were unable to for one reason or
another, Richard Thompson, creator of Cul de Sac, is the one
person who I regret not being able to involve above all others. Cul
de Sac is amazing, and Thompson and Watterson are mutual fans.
CMB:
All the other cartoonists you spoke with seem to genuinely
admire Calvin and Hobbes.
Isn't there someone out there with an ax to grind with the
strip, or is it really that universally loved?
JS: Calvin & Hobbes is very
widely respected and loved among cartoonists. Even if someone
had a critical thing or two to say about Watterson or his strip,
nobody could deny the impact and influence the strip has had, or the
genius it took to make it.
CMB: If Bill Watterson had
by some miracle agreed to answer just one question from you, what
would you have asked him?
JS: Honestly, I think I'd mostly
just want to know if he really understands how beloved he and his
comic strip are. But since I'm not sure if he can even answer
that question, I think I'd want to ask him if there's anything he'd
do differently if he were repeating the decade of Calvin & Hobbes
all over again.
CMB: What is the main
thing you want people to take away from watching this film?
JS: Bottom line, I hope viewers
see the possibilities and power of art. Bill Watterson
dedicated himself to honing his writing and drawing skills, he had
respect for his medium, and he pushed himself to push his comic strip
to the limits. If he can have such a powerful and positive
impact with a simple comic strip, then I think that illustrates how
important art is in our world, and the possibilities that exist in
all forms of self expression. And even if you don't care too
much for the film, if you go home and read your Calvin & Hobbes
books afterwards, we've succeeded.
CMB: Have you heard
through the grapevine if Watterson plans on seeing your film, or
maybe already has?
JS: Oh, I have no idea. I
certainly welcome him and invite him to see it, but I have no idea if
he has any interest at all in watching it. Although I hope he
does someday.
CMB: Any plans for your
next film?
JS: I have a variety of
ideas...just need to see what sticks with me this time around.
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