Vancouver, BC-based filmmaker Cameron Labine premiered his first feature, CONTROL ALT DELETE at Toronto this year.  A black comedy concerning the onanistic joy of the computer age (and stuff), CAD has been described as “so completely originally that it defies comparison” (Slashdot) and “fun, strange, and a whole new road for geek-themed cinema” (Collider).

Infinicine [I]: Your film is about tech addiction, the internet, and the relationship between people and their computers, among other things. What do you think the relationship between people, their computers, and film is at this point– and where do you see that heading?

Cameron Labine [CL]: My main character, Lewis, is definitely addicted to technology, especially internet porn, but it was important to me not to demonize computers, or the internet, or even porn. Maybe that’s why I decided to make his fetish so absurd. These things are just tools, and they can be used constructively as well as destructively. Lewis uses his computer to avoid the challenges of human intimacy. But computers can just as easily be portals of communication and closeness. I think people will continue to use these machines to achieve their goals, whether they are to escape the world or participate in it.

[I}: In considering the way you would make the film, and how the film would get out once it was finished, how did digital strategies (digital screenings, DVDs, online distribution, VOD, etc) play a part? Were such considerations a major part of how you approached the project?

[CL]: Well, the film is currently being screened on HDCAM, which is, of course, waaay more affordable than 35mm. And when it comes through a high quality projector, I think it looks better than a film print would. In terms of other digital strategies, we’ve found social networking platforms very effective in building awareness, especially our facebook group and my filmmaker blog. I am very interested in the future of VOD and on-line distribution, as I think the film would do well in those streams.

[I]: Do you feel that your opportunities as a Canadian filmmaker are equal to an American in terms of distribution in general? Specifically in terms of digital distribution, do you think you have greater access to funding and markets or do you think you are limited in any way?

[CL]: I think Canadian filmmakers are somewhat more limited in our access to distribution. Although, I know it’s no picnic for Americans either. The viable streams of digital distribution are controlled by the establishment, but I see that changing as costs come down and technology improves. In terms of funding, Canadians have it pretty good with our public system. If you have a good script that can be produced relatively cheaply, you can get it made here. The trick is getting seen.

[I]: How does being in a festival like Toronto benefit your film? Is there any downside?

[CL]: For a Canadian filmmaker TIFF is a dream opportunity. You rub elbows with the big boys but within the safety of a supportive community. Torontonians are committed cinephiles, so you’re assured packed houses and great Q & A’s. Not to mention the amount of business that gets done here, which is quite impressive for a Vancouverite. We came into this festival with no distribution and were quickly picked up by Maximum Films for world-wide rights. That kind of thing doesn’t happen anywhere else in Canada.

[I}: Any tips for filmmakers who want to meet people online?

[CL]: There’s no shortage of online communities for filmmakers. We used our local filmmaker co-op board to crew up (Cineworks). And craigslist is a surprisingly effective way to find collaborators. Other than that, myspace and youtube seem to be where it’s at for finding like-minded filmmakers. Put your stuff online and start sharing.

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