Zack Bernbaum

After honing his craft in the US, Europe and his native Canada, recent Ryerson film graduate Zack Bernbaum has earned accolades for his 2009 film, So Soon Forgotten - a story of humanity, personal struggle and the capacity for good in the midst of the Holocaust.

Shot entirely in German and Hebrew, the 15-minute short revolves around the true story of SS Officer Otto Teibeth who tries to save a train full of Hungarian Jews on their way to Auschwitz. First featured at the Ryerson University Film Festival, So Soon Forgotten officially premiered at the Montreal World Film Festival and went on to screen in Europe and across North America, earning praise for its originality, authenticity and earnestness.

Crediting his unique style to his diverse professional training, Bernbaum has also worked on music videos, commercials, television and as a director of photography on a variety of shorts - which worked to his advantage when realistically transforming areas of Toronto and the GTA to war-torn Eastern Europe.

I had a chance to speak to Bernbaum about the concept of history on film, what sets Canadian filmmaking apart from the rest and what projects he hopes to approach in the future.

Have you always been interested in history on film? What initially sparked your intrigue?

My interest in historical film is an extension of my upbringing. As a grandson of Holocaust survivors, history - especially the 1930s & 1940s - has always been of special interest. I learned of my grandparents' war experiences firsthand and those narratives are best told on film.

How did you come across the story of Otto Teibeth and the events that inspired So Soon Forgotten?

I came across an article detailing this story while researching a very different project. Otto's story and journey so inspired me that I decided to focus on translating a portion of his story to film. The outcome of that inspiration is So Soon Forgotten.

Once I had the basic story structure, I continued my research in Canada, Germany and Poland - including travelling to Auschwitz.

With so many historical dramas in our midst, what do you believe sets this film apart from the rest?

So Soon Forgotten is a story of ingenuity and heroism in the face of oppression told within the broad scope of war. It is an underdog story with a twist, and I believe it resonates well with audiences because of this. I would say that the film also reaches a higher level of authenticity than most other WWII films by being shot entirely in German.

The film's realism is expanded upon by utilizing a working steam train, one hundred extras in period wardrobe, and a built-to-scale replica of a section of Auschwitz. All of these elements add to the grand nature of the film, but never overshadow the personal connection to the hero.

Why do you think seeing history on film resonates so much deeper than simply learning or reading about it?

While reading about history is interesting, it is difficult to connect with the facts without putting a human face to what is read. Film provides the audience with that tangible personal and emotional connection to the story and characters. The visuals and audio of film create an enormously powerful experience. In my view, the emotion and entertainment components enable greater ease of learning.

Were you surprised by the wide reception and critical acclaim you received following the film's release? Is it a challenge to tune out critics when thinking about your next step?

I am extremely grateful for the positive reception the film has received. We all like to be appreciated, and for me hopefully the recognition results in bigger and more challenging projects.

Prior to your work on So Soon Forgotten, you worked on music videos, commercials and television shows. How did these experiences influence your filmmaking techniques? Or do you attribute your directing to your education?

School education provides filmmakers with the basic tools, but I believe the best film education is through on-set experience. A lot is learned through osmosis and a lot is learned in what not to do. Every set teaches something new - in time you build your own sense of timing and cadence.

My experiences prior to So Soon Forgotten allowed me to properly deal with the scope of the film, and as a director get into the right mindset required to bring the story to life.

Speaking of education, you've attended schools in Toronto, California and Germany which allowed you to learn Canadian, American and European styles of directing. What have you found sets Canadian filmmaking apart from the rest? Do you consider So Soon Forgotten to embody one?

I don't necessarily see a specific trend that sets Canadian filmmaking apart, but I have noticed that the character driven, docu-drama technique is clearly present within the Canadian style of filmmaking.

I have had the benefit of the places I've studied at, and my style is an amalgam of those inputs. For example, the film's colour palette has a distinct European feel (the film is also in German with English subtitles), while the camera movement, set pieces and scale of the film are more evocative of the broader Hollywood style.

I try not to limit myself to one style over another - it all depends on the material.

Do you hope to continue work on historical films in the future or do you see yourself moving in an entirely new direction?

I really like historical films. History is a very long narrative - the stories of the human condition, intrigue, amazing heroes and villains in conflict - it is limitless. However, as a young director looking to build a career I am delighted to show my versatility and undertake virtually any project. I am currently working on a number of music videos, as well as a feature documentary which I hope to make so entertaining that the audience will forget that the 'story' is all factual.