Verbrande Aarde
1998 | 10mins | 16mm

Wooww
2000 | 16mins | 16mm

Maria
2000 | 18mins | 16mm

Why do you make shorts?
Short films are the perfect start to develop a film career. They are the perfect opportunity to search for an own identity in cinema. But that doesn‘t mean they‘re only exercices or a test for ‘the bigger work’. At the contrary, for me a short film is something that stands on its own and is as imprortant as a feature film. The beautiful thing about it is that you can do extremes without being afraid that it will affect box offices.
When a director succeeds in telling a beautiful story in such a short time, it‘s like magic. A good short is like a tresor, something you can carry with you for the rest of your life.

Feeling My Way
1997 | 6mins | 35mm

The Man With Beautiful Eyes
2000 | 5mins | 35mm

Camouflage
2001 | 8mins | 35mm

Why do you make shorts?
Making a short film is the closest a man can get to carrying a baby. Conceived in the brain, it soon takes on a life and mind of its own and towards the end of its gestation it is huge and demanding and bossily telling me what my next move should be. Making short films can be terrifying, frustrating, exhausting, insanely labour intensive and financially disastrous, but when despair and ruination can be averted, making short films can be totally exhilarating. Each new film is potentially a step forward; a reaction to the last and an attempt to learn from my mistakes. A chance to explore new territory, to surprise myself, to search for new ways of communicating ideas and experiences that on face value are so commonplace, no one ever thought to express them before. I’ve been doing it so long now, I don’t know what else to do. I make short films to prove to myself that I still exist.