“you.matter” is an animated sci-fi drama about an astronaut dislodged from her mothership, left with only her final thoughts as she grapples with why this has happened to her. The film, created by John J. Budion and Elizabeth K. Budion, blends hand-drawn animation with photo-real visual effects to tell a story that feels both intimate and urgent. We sat down with the creative duo to talk about their journey, the inspirations behind the film, and what’s next.
The short film will premiere this Friday, September 26, at the Catalina Film Festival in the Drawn to Life (Animation) short film block, taking place from 2–4 PM at the ACC Theater. The program also features Cinema Femme’s 2025 film festival selected short, “The Finger Wife.” Buy tickets here.
Elizabeth (Liz), can you talk about your journey into this project?
Elizabeth K. Budion (EKB): John is the one behind all the animation, but my path was different. I started as a dancer, then moved into musical theater, and eventually into acting for the camera when I moved to New York City. I got my SAG card, did some acting work, then later joined the Peace Corps where I focused a lot on women’s issues. I worked with women and children in The Gambia, and when I came back, I did a master’s in international development and humanitarian assistance with a focus on women’s studies. I became more involved in this project after the overturning of Roe v. Wade, but we started writing this together years before.
John J. Budion (JJB): Originally, we talked about making this as a live-action project, but the budget was enormous—and then the strikes hit, both the writer’s and actor’s strikes. That’s when we pivoted to a graphic, photo-real style, which we realized we could do much more affordably with our backgrounds in visual effects.
We brought in our friend, comic book artist Rolo Ledesma, to help design the look of the film. Liz would act out some of the dialogue, we’d record it on our iPhones, and then bring that into our VFX program to help drive the animation. On our Instagram (@youmattershortfilm), you can see an example of how it evolves—from a black-and-white sketch, to color, to compositing, and then fully animated with Laura Benanti’s voice and Liz’s movements driving the character.
That’s amazing—and you didn’t use AI at all, which is rare these days.
JJB: Right. Everything was hand-drawn and scanned, then layered with our visual effects. We wanted to be clear that no AI was used. Someone literally put pen to paper. I think as filmmakers, there’s still something very powerful about the craft and authenticity of hand-made work.
Let’s talk about the story. It really feels like a gut punch, especially given what’s happening in the world. Can you share some of the influences behind it?
JJB: Definitely. One of our big inspirations was Ray Bradbury’s The Illustrated Man. There are two stories from that book in particular. In Kaleidoscope, two astronauts are cast adrift in space. They don’t even like each other, but in their last moments, all the truths come out. One just wants to mean something to someone, and in the end, a child on Earth sees him burning up like a comet and is inspired.
Another story, The Other Foot, is about how the white race has banished the Black race to this planet because they didn’t want them on Earth, only to then need them, because they destroyed Earth. Through the eyes of a little girl, we see their first encounter with a white visitor—someone coming to say Earth is destroyed, and asking if they can now live together. My wife and I were struck by those themes, and it sparked our own “what if”: what if there was a planet just for women, and they alone decided which men could live there? That became the seed of our story, especially in light of the Roe v. Wade decision.
EKB: Yes, we actually wrote the script before the overturn happened, but once it did, it made the project even more urgent.
JJB: My wife also shaped a lot of the imagery—for instance, she suggested the opening should feel like an umbilical cord, leading to the idea of the “mothership.” Those connections resonated deeply with Laura Benanti, who is very outspoken about reproductive rights.
Speaking of Laura—what was it like working with her?
EKB: She was incredible. So professional, but also incredibly warm. We recorded with her at Sound on Sound studios in Montclair, and she was completely on board with the message of the film. She told us she read the script in bed next to her husband and immediately felt, I have to do this.
JJB: We also had Cody John—who voices the AI character Charles—and he’s fantastic. And our friends’ daughter, Sofia Arata, plays the child’s voice in the film.
The music with the visuals was amazing, who was your composer?
The original music composition was created by award-winning composer Justin Matley. We were lucky to have him.
Did the subject matter affect who you brought in?
JJB: Definitely. We had to be cautious, because politics can be polarizing. Even in terms of where we submitted, we were selective—Tribeca and Hamptons felt like safe spaces, but we avoided certain other festivals.
This feels like the kind of film that will spark conversation.
EKB: That’s what I hope for. We both have family on opposite sides of the issue, and while it makes me nervous to screen it for them, sometimes that’s how you break people out of their bubble.
JJB: Exactly. I just hope people see how relevant the themes are—AI, trust and betrayal, women’s rights. These aren’t abstract ideas, they’re real and immediate.
And what’s next for you both?
JJB: This was our first big collaboration, and we’re looking at possibly expanding it into a feature. But we’re also developing a new project—it’s kind of like a modern-day, female-led “Goonies”. We’re only a few pages in, but the concept revolves around a retro View-Master toy that leads the girls on an adventure.
EKB: We want to keep creating stories that are fun and adventurous, but also meaningful—something people can talk about long after they leave the theater.
