Some have made a compelling argument that the global water crisis will be the central issue facing us this century. That view has been articulated, for instance, in the feature documentary Last Call at the Oasis, which played at the South By Southwest (SXSW) Film Conference and Festival last month in Austin, Texas, and was then shown at the still ongoing Dallas International Film Festival (see separate story). Last Call at the Oasis was directed by Oscar winner Jessica Yu (for the docu short Breathing Lessons: The Life and Work of Mark O’Brien) who’s handled by Nonfiction Unlimited for commercials and branded content.
For this week’s “The Best Work You May Never See” gallery, we examine another film–albeit a short–that dives into what too can be waters which are tricky to navigate. But whether or not you agree with the assertion of Last Call at the Oasis, clearly water and the lack thereof represent a pressing problem calling for innovative solutions, meaning that the work of such places as the Columbia Water Center (CWC), part of the Earth Institute at Columbia University, is vital.
Director Gabe Askew of New York-based multimedia studio Hornet had to do justice to the good work of the CWC, explaining and making it accessible to audiences in the context of an animated short film, Deeper Than Water, for agency GOOD/Corps, Los Angeles.
Through carefully crafted imagery in a series of boxes, compartments and drawers which open up before our eyes, Askew lays out the world’s water situation, the problems involved, and areas where solutions can be found even when bucking against the daunting challenges of deforestation, climate change, pollution and urbanization.
With 70 percent of the world’s water going towards farming and 22 percent to industries, there’s but eight percent left for everyone and everything else. Plus there’s the struggle of getting precious water to communities both near and far.
But from the boxes and drawers unfold insights which show that the answers entail more than just digging for water.
For example, we can implement the right crops and planting methods, modernize water supply systems, institute environmental restoration, have governments and industries embrace water sustainability, even improve climate forecasting to reduce the impact of droughts and floods. The drawers reveal what CWC is doing to address the problem and improve prospects worldwide.
Childhood inspiration “It’s easy to see the value of an organization that simply hands out food, but the complexity of Columbia Water Center’s mission is hard to totally comprehend at a glance,” observed Askew. “So my task was to not only clearly describe that mission, but play on the curiosity of the audience–to draw them in so they can absorb how drastic an impact scientific research and policy involvement is. And ultimately, to make an emotional connection that will call them to action.”
The means toward realizing that connection came from Askew’s childhood.
“To find that spark of curiosity I traced the history of my own love affair with science,” he related. “Back through technology, back through high school science classes, all the way back to when I was seven years old. I had a rock collection. I kept said collection in a giant tackle box. When I opened this box there were shelves that folded out mechanically, drawers that pulled out, compartments that snapped closed, hidden areas that I would return to over and over to explore my splendid minerals. Like that tackle box, I proposed that we start with a simple looking wooden box. As the lid lifts open, a scene is revealed inside. That scene pulls apart to reveal another below with pockets of color and materials nested in drawers. As the box continues to unfold, we dig deeper and deeper into this surreal box. Each layer unfolding into a miniature scene portraying the problems we humans are facing and the solutions CWC brings.”
Ensemble cast The creative ensemble for GOOD/Corps included executive creative director Kirk Souder, creative directors Driscoll Reid and Jason Nichols. A production partner in the short was the PepsiCo Foundation.
Askew’s supporting cast at Hornet included executive producer Michael Feder, head of production Greg Bedard and producer Jan Stebbins.
