![]() So I became interested in the role of the caregiver in the family and what that means for societies with aging populations as well. She was completely paralyzed and in a wheelchair. Can you tell me the genesis of the story?ĭJ: My Gram had Parkinson’s and for her last three years was completely disabled. The unfortunate reality of caring for our elderly in their years of decline can be devastating to families. These things are all very important to me.ĭS: This film is based in part on your own experiences with your Grandmother. And people who know about film, people who make films, they’ve told me I’ve gotten something right. It’s very rewarding when people connect to it. It’s great when someone comes up to me and says, “Oh, that happened to me” or “Oh, that’s my story.” What’s been so nice for me is that people who know a lot about mental health say I’ve touched on things that are important. I always hoped that people would get a chance to see it and enjoy it. Did you ever dream your film would achieve such notoriety and critical acclaim, culminating in BAFTA and Oscar nominations?ĭJ: Not really. From my vantage point, your film has been extremely successful and received numerous awards and accolades. I was obviously seriously delighted but it hasn’t really sunk in until now.ĭS: There are many ways to “measure” the success of a film. What were your first thoughts when you heard you were nominated?ĭaisy Jacobs: It didn’t really sink in particularly. I recently had a chance to talk with filmmaker Daisy Jacobs about her chosen animation medium, the rigors of working with life-sized hand-painted characters and the reasons she chose to tell this particular tale.ĭan Sarto: Getting an Oscar nomination caps a tremendously successful festival run for your film. Married to a funny and poignant story about the sometimes tender, sometimes distressing realities of dealing with an elder parent in decline, The Bigger Picture is a thoughtful, engaging and truly enjoyable film. It uses a technique I’ve never knowingly seen before - life-sized sets filled with full-sized characters painted on walls in 2D, interacting with hand-painted paper mache constructed appendages and other 3D elements, shot in stop-motion. Jacob’s film is unique, cool, cutting-edge and visually stunning. Is it fair or just lazy, in this case, to say I really mean it this time? However, in describing Daisy Jacob’s multiple-award winning graduate student film The Bigger Picture, one of this year’s five Oscar-nominated shorts, it’s hard not to conjure up the whole lot of superlatives we seem to throw around so haphazardly. When talking about interesting animated short films, it’s easy to overuse the superlative - we constantly toss around words like “unique” and “cool” almost as often as phrases like “cutting-edge” and “visually stunning.” So many good films, so few good words - you do the math.
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