Natan Castay, a filmmaker from Brussels, shares insights into his debut film HUMAN, NOT HUMAN (En Attendant les Robots).
In this candid interview, the filmmaker, who is affiliated with the Centre de l’audiovisuel a Bruxelles – which is represented on T-Port via our partners at Wallonie Bruxelles, he discusses his inspiration, creative process, and the challenges of documenting the realities of Amazon’s MTurk workers.
With his graduation film already earning recognition at international festivals, Natan reflects on his journey, his unique approach to filmmaking, and what the future holds for him in the world of cinema.
While working on the film, where did you draw your inspiration from?
My personal experience. Amazon MTurk (described on its website as “a crowdsourcing marketplace that makes it easier for individuals and businesses to outsource their processes and jobs to a distributed workforce who can perform these tasks virtually”) was my student job during lockdown. I worked as a Turker for months before deciding to start a new film script to talk about this website.
How did you first start working on this film? What was the process like?
At first, I did a lot of research because there were almost no resources on this unknown topic. I met hundreds of other workers to gather their testimonies. Then, I had a ‘eureka’ moment—the discovery of the task of erasing faces on Google Street View. That’s when I knew it would be the story of someone who erases faces until they start to erase themselves.
Tell us a bit about your filmmaking process – what did it take to make your film?
It’s a hybrid film that balances documentary, experimental, and fiction, a mix that truly emerged during editing. The fictional part was about bringing all the testimonies I received into one character.
What were the biggest challenges you encountered during production?
Meeting other Amazon workers. Amazon designed a platform where everything is set up for you to stay alone, with no reason to meet other Turkers. It was tough, but eventually, I met hundreds of them.
How was it to collaborate with your cast and crew? Have you formed any particular meaningful connections from the crew?
The cast and crew were people from my school, and we were a small, tight-knit team. We all shared ideas, and everyone had input on the creative process. We’re still working together on new projects.
Tell us about the visual choices in your film. What were your main goals and techniques in creating the visual style of your film?
We shot one scene per shot, like photography, and filmed in chronological order. This allowed us to blend fiction and documentary and react to what happened in the documentary discussions, writing new scenes for the actor as we went.
What are the most important lessons you learned through making this film?
Cinema is a craft you can only learn by doing. Filming is about combining various elements, which come together instinctively during editing. I don’t believe in rigid dogma; directing is deeply human.
If you could go back in time to pre-production, what advice would you give yourself?
Don’t stress too much about it; it’s only cinema. No one will die in the process. Keep trying new ideas, and see if they work in the end.
What was it like working with the actors you cast? Do you have a technique for directing actors?
My process was unique because the main actor worked with real Amazon Turkers. He didn’t have a script and acted as a sort of director himself. We locked ourselves in a room, and he worked on Amazon MTurk like a real Turker. It was amazing to have such creative freedom.
What festivals has your film screened at? Any awards or recognition so far?
- Magritte of the Best Documentary
- Vision du Réel – International Competition
- DocLisboa – Jury Award
- Gothenburg Film Festival
I’ve been to many festivals, but I’ve lost track of the full list.
How does it feel to have your work accepted into festivals?
It’s always an honour and a privilege to share my work with new audiences.
What have you learned about the distribution process?
Distribution is a long, complicated job and just as important as making a film. Directors and producers often forget how critical it is—what’s the point if no one sees the film?
What do you wish you’d known before distributing your film?
Don’t go at it alone. Try to secure funds or support, because distributing a film as a broke student is tough.
What are your expectations from T-Port? Has working with T-Port taught you anything?
I hope it opens doors to new collaborators who can help promote the film even further.
What are your plans and dreams for the future?
To continue! Finding new sparks that I feel compelled to explore and tell in the most human and beautiful way possible.
We are Seeking the Future of Film – Submit Your Short Today
All films uploaded to T-Port before our deadline of November 30, 2024 will be automatically considered for our T-Port Lighthouse Selections – a curated selection of films picked by leading industry programmers. The T-Port Lighthouse Selections is considered our premium collection and given increased exposure to our network of film professionals.
T-Port films are only accessible to professionals, so your premiere status will not be affected.
Stake your place in the next generation of filmmakers waiting to be discovered for only 15 Euros / year. Find out more on our website and get started with T-Port today.
Back to T-Port Blog