A Nearly Perfect Blue Sky (France | 2016, 35 min)

Directed by: Quarxx

You might think that Simon lives a monotonous life. You would be wrong... Contrary to appearances, he does not live alone among the ruins of an old farm. Between kidnapper and guardian angel, he never takes his eyes off his roommate. Convinced of having contacts with beings from elsewhere, Simon is getting lost one step at a time while border between reality and nightmare is progressively fading away.


Quarxx directed A Nearly Perfect Blue Sky, which will screen at the 7th Annual NYC Independent Film Festival. Interview by Kerby Pierre He is a film director and an artist painter from Paris who has directed 10 short films, one feature and a few documentaries. Quarxx graduated from UCLA in cinematography. Interview by Kerby Pierre.

KP: What genre/s would you say your film falls in?
Q: I think it could be referred to as paranoid surrealist drama with a twist of comedy and SF! I like blending genres. I think a good movie should have a multiple personality disorder!

KP: How did come up with this concept? How did you beginning the process of filming such a difficult subject?

Q: I had this idea of a strange and secluded brother and sister relationship for a while. It was indeed quite difficult to put things together as the script was frightening to some producers. I wanted to make a strong dark movie with no compromise on how I was going to shoot my story. Once I found the right people and the budget, I still had to find the right duet for playing the role of Simon and Estelle and convince the actors of doing things I’m not sure I would have done myself! It also took me a while to find Estelle (the sister). I searched for the right comedian for more than a year when I finally met Melanie Gaydos, a famous underground model from New York who had an amazing performance in the film. I was also very lucky to be able to work with Jan Luc Couchard who is a well-known and acclaimed actor in France and Belgium.

KP: What were major influences in the making of this film?
Q: Some of my previous films were very referential to some filmmakers or movies I like, but with A Nearly Perfect Blue Sky I really didn’t have too much influence on the writing or making of the film; I wanted to have a more personal vision of the story.

KP: What kind of makeup and special effects were used for the protagonist’s scene in the mirror and the protagonist’s sister?
Q: For the mirror scene it’s a combination of Fx (Prosthetic for the face) and Vfx (For the texture, the blinking of the eyes and the gunshot). I think the combination of those two techniques is what works best. I don’t like strictly CGI, it gives a standardized look and is not emotional for me. As for Estelle, we used a Prosthetic for her scar. I wanted to work with Melanie Gaydos because she has such an incredible physique and aura. Since the beginning I wanted to use as little fx on the sister character as possible.

KP: What was the hardest part of making this film?
Q: The film was very difficult to make and nearly never happened. Of course it was not easy to put together the budget and also because we had many difficult situation to face during shooting. Our main comedian broke his arm 3 days after shooting started; we had to stop production for 2 months. That news was a nightmare since the farm used as our main location was set to destruction in a few weeks. We had to negotiate for days with the owner for him to delay the destruction of the place. We also had a fire that burnt the whole field we were supposed to shoot in. But looking back, it’s all good memories now!

KP: How did you choose the excellent locations?
Q: The farm we shot in was, to me, one essential character of the story. I found it by chance as I was invited in a party at that location. One minute after arriving I decided that was the place I had to shoot the film! It reflected the perfect atmosphere I wanted to give to Simon’s place.