Oliver Stiller: Passion for film fuels the journey to success

What are the most formidable challenges inherent to the profession of filmmaking?

As an independent filmmaker, the big problem is that I have to finance my films myself. I spend most of my time doing work other than making films. I work at sea for many months to finance the work on my films what costs me time. The market is dominated by funded films. As an independent filmmaker, I have to be twice as good without money to break into this phalanx. So I do!

Could you elaborate on the wellspring of your creative inspiration for this particular short film?

With a social documentary, it’s the sheer belief in the project that drives me to realise it. The belief in the importance of the result, the film. In the case of the film Survivors, it’s the people, the protagonists, who impressed me. The more I knew about the subject: the life of the protagonists, the more I admired the two persons.

Could you elucidate on the central thematic underpinning of your film?

The protagonists of the film Survivors experienced 10 years ago how their fellow students and they themselves were attacked, the friends killed and kidnapped by Mexican security forces. The fate of the victims and their own were and are closely linked. This connection has not ended to this day.

How do you navigate the task of strategizing cost-effective promotional efforts when operating within a constrained budget?

There is no such thing as cost-effective advertising in short film making. Film festivals or streaming services are important. And film festivals don’t usually pay money for screenings. To that day also streaming services do not pay the costs I had making the film. So no advertising measure is efficient. As a filmmaker, you are quite low down in the hierarchy, you make films for other “higher” reasons. Most festivals now charge submission fees. So the filmmakers, who are often also the producers, finance the film festivals. There are laudable exceptions, festivals that pay the filmmakers. But short film is always associated with loss.

In today's dynamic marketplace, how pivotal do you consider the role of film distribution?

I haven’t heard of any independent short film that has been seriously refinanced by a film distributor.

For individuals contemplating the path of self-distribution, what counsel or insights can you offer?

Short films are a chance to get into the film world. As a filmmaker, short films give you the chance to meet above all, audiences at the screenings of festivals. You can see where you stand. Short films can be the gateway.

In your estimation, what level of significance do short films hold for aspiring filmmakers seeking to embark on a career in directing?

The biggest challenge is to survive as a film maker. Living for the film, your film is the biggest difficulty. Because that means to skip things in life. Can you afford to have a family if you invest everything in the film? It’s a thin line.

Reflecting on your professional journey thus far, could you share an instance of the most formidable challenge you encountered and how you surmounted it?

The biggest challenge is to survive as a film maker. Living for the film, your film is the biggest difficulty. Because that means to skip things in life. Can you afford to have a family if you invest everything in the film? It’s a thin line.

What, in your view, are the critical factors that contribute to the creation of a cinematic masterpiece?

I don’t think you can plan a masterpiece. You need a good idea and yet openness to the film and to your own inabilities. For the realisation of an idea you also need the right team. Choosing the right people is important. The chemistry on set should be right. The right cut is important. And at the end of the day, it’s the viewer who decides whether the spark is there. Only the viewer decides whether the film is a cinematic masterpiece.