Seed Story/ 12:27 minutes
Artist name: William D. Caballero

As a lone dandelion blossoms in an abandoned parking lot, it divides the lives of several miniature people in this experimental narrative short film that examines the role of religion, capitalism, environmentalism, and fascism shot in macro perspective. This excerpt occurs halfway into the 12 minute film, and deals with the subject of capitalism and pollution.
Seed Story is the latest short film created by MTV Movie Award nominated filmmaker William D. Caballero.  The project took eight months to complete and required props to be conceptualized and created from junk, hundreds of miniatures to be meticulously painted by hand, and rigorous shooting, usually on the cement ground during hot summer days.
Seed Story is an experimental narrative shot in macro perspective featuring a cast of hundreds of one-inch plastic figures and junk props. It focuses on the the negative addictions humanity has suffered throughout the ages. Directed and conceived by William D. Caballero, it premiered at the 2013 Slamdance Film Festival and at numerous festivals across the world.

To see a new short film consisting of deleted scenes from Seed Story, click here:
For more information on the project, visit
Special thanks to the art crew and production team. I couldn’t have done it without you.
Directed, produced, shot, edited, animated, and scored by William D. Caballero

William D. Caballero is an eclectic artist working in a variety of digital media. He is a professional filmmaker, composer, animator, violinist, writer, and educator. Graduate of Pratt Institute (BFA, Digital Art, 2006) and NYU (MA The Arts and Humanities in Education, 2008), Caballero has created award-winning documentaries, multimedia advocacy concerts, experimental short films, television pilots, and corporate productions. He currently freelances as an editor and motion graphics designer in the NYC/NJ area.

Artist Statement
From behind a camera lens, I tell big stories using small figures.  My childhood action figures, model railroad set miniature people, and 3D printed polymer-resin models become an army of actors that I position amongst life-sized backdrops of urban decay. This allows me to tackle issues as somber as religious-genocidal warfare and as lighthearted as character-driven biopics using the same creative approach I used when playing with toys in my youth.
The narrative short films I create may vary thematically from project to project, but they always carry the same unifying thread: tiny immobile actors placed into the mercy of a world and issues far larger than they. In doing so, they cease to become toys to me, and instead, become representations of humanity, warts and all.


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