One long year, I waited, and I hoped: when will I be able to see it? And where? For Wolves in the Walls promised nothing short of greatness. I finally got the chance to try the VR experience for myself at this year’s Tribeca Film Festival. Not only that: after the fact, I sat down with the producer, Jessica Shamash, and the director, Pete Billington, who let me in on some of their secrets. This article is the first in a series revolving around the project that holds such importance for storytellers.
It is starting to get colder in Berlin, and I find myself reminiscing about our snug little nook in sunbathed Venice: for the second time, we were given the chance to meet VR and AR professionals from around the world at the Lazzaretto Vecchio. The green courtyard became a setting where creatives, enthusiasts, critics, investors, distributors, and sceptics came together in tranquil harmony to sip their morning cappuccino and chat cheerily about virtual worlds. The talk of the town: how theater and VR came together in Venice. Read in this article more about the two stunning experiences The Horrifically Real Virtuality and Umami.
Venice VR showcased a number of top-class VR films. These films prove narrative works’ ability to stand as an individual genre of virtual reality. Within the contest and alongside Lucid, The Great C – a filmic adaptation of one of Philip K. Dick’s short stories – demonstrated the vast potential of VR animated film in particular. I had the privilege of discussing this with its director, Steve Miller.