Waltz with Bashir

Tên bộ phim tui tính điểm cách nay vài tuần rồi, nhưng quên mất tiêu, giờ chợt nhớ, hi hi, nói chung khá hay, nếu không nói là vô cùng mới, dùng animation để kể chuyện (manga dùng để kể chuyện sex không có gì lạ bên Nhựt). Bà con thích thì coi thêm ở đây http://waltzwithbashir.com để thấy nền điện ảnh của Vn cách thế giới bao nhiêu chục năm.

À, cái mà có liên quan, hay chính xác là khiến tui chú ý và đề cao cái phim này chính là phương pháp phỏng vấn (8 người bạn, narrative để mở lại tiềm thức, có thể coi là social psychology, hơn là thôi miên để tái hiện như psychoanalysis) và kể lại câu chuyện, kết hợp thêm cách kể animation tức là ngôn ngữ (semantics) của điện ảnh. Giống như bữa nay đọc bài trên HNM http://www.hanoimoi.com.vn/vn/43/188455/, không hiểu có bao nhiêu nhà văn ngồi nghe, và cả pv viết bài nữa, hiểu được cái ý của chị Thi này nói về no-tự truyện-in-VN?

Nói chung học được rất nhiều từ trang web của phim Waltz with Bashir, nhứt là trang Production Notes http://waltzwithbashir.com/film.html


1. Production of Waltz with Bashir took four years from the moment research began until the final cut. For one whole year research was conducted during which dozens of testimonies from the First Lebanon War were gathered.

2. Following the research, Ari wrote a precise screenplay for a full feature film that was shot entirely in a studio while attempting to maintain the called for authenticity at the process’ end. For example: if Ari interviews Carmi in the film inside a car traveling to Holland, the interview with Carmi took place as the two, Carmi and Ari, sat on two adjacent studio chairs while Carmi held a toy steering wheel in his hands. Opting for studio photography stemmed from the recognition that ultimately, the viewer’s ear cannot tolerate the noises of location documentaries in terms of animation. In every animated film the sound track is exceptionally clean.

3. Studio photography was conducted for a 96 minute full video film. The editing process took eight months and was then inspected in pilot screenings before the future animation team, production partners and other individuals considered to have the ability to analyze and critique documentary films.

4. After the final version of the video film was decided upon, Ari, together with animation director Yoni Goodman, broke down the video film into a basic storyboard. This process took another four months. After the storyboard phase, the pioneer animation team was established and included six animators who began the animatic stage, or as it is known in the USA, the video board – the most basic illustrations of the future film in the most basic motion.

5. The animatic stage took another six months and was followed by another round of screenings. This time on a big screen. The central objective of this round of screenings was to make changes to the largest extent possible at the animatic stage in order to avoid corrections at the final animation phase, which is several times more costly.

6. After final approval of the animatic, the art team began sketching the film based on the reference of the final video copy and the storyboard. In total, four illustrators drew close to two thousand individual illustrations and 80% of the illustrations were drawn by the film’s super designer David Polonsky.

7. At the same time, the animation team, comprised of 10 animators, began animating the illustrations. If at the beginning the production forecast was that the team would complete 6 minutes of screen time per month, the intricate and Sisyphean technique developed by animation director Yoni Goodman caused the production to be 50% arrears as opposed to the plan and the progress rate was 4 minutes per month.

8. The average progress rate of an animator on the film “Waltz with Bashir” was 37 frames per 9 hour work day, which are a second and a half. When an animator finishes such a work day, he returns home and does not have the mental stamina even to watch a pathetic football game on TV.

9. The animation work in the case of Waltz with Bashir became especially complex due to the man who developed it: Animation director Yoni Goodman. They say he developed it according to his abilities, which are absolutely phenomenal and do not represent human beings what so ever, which means it took an animator on the film one month to establish a normal work pace.

10. Yoni Goodman not only possesses phenomenal skills, he is considered the “eutopic man” by the team. He is extraordinarily talented and was born with an incorrigible optimism. He is also a “deadline freak” who can exist for days and nights on end on an excellent diet of coffee, cookies and the lowest form of junk food. He is also a great admirer of the Rambo films, especially Rambo 3, which serves as tremendous artistic inspiration for his animating skills.

11. Illustrator and artistic director David Polonsky drew 1720 illustrations for three whole years all by himself, and these comprise 80% of the film’s illustrations. At the onset of production, David was an introverted fellow, who drew two drawings a day and did everything he could to justify his reputation as a talented artist and Russian immigrant who is ill at ease in Israeli society. After three years, we found this same David performing at exclusive karaoke events and dubbing with a powerful and loud voice the main character of Bridget Folman’s next animated production “Atomic Family”.

12. Ari Folman knew British musician Max Richter only by playing his records over and over again. Folman contacted Richter on line, offered he compose music for the film Waltz with Bashir and received a positive response that same night. Until their first encounter in Edinburgh in the winter of 2006, Max and Ari had never spoken on the phone. They had only corresponded.

13. Four sessions in Max Richter’s studio in Edinburgh completed the writing of the sound track for Waltz with Bashir. The preliminary sketches were done on the computer and later Max’s band, a bow instruments quartet, was flown from London, and recorded the main theme.

14. When production started out it was exclusively supported by Israeli channel 8 in the amount of 120 thousand dollars. Final cost of the film is two million dollars.

15. In the beginning Ari wrote a 3 minute scene – the terminal scene as it appears in the film and which within six weeks without sleep designer David Polonsky and animation director Yoni Goodman turned into what is known as the “pitch scene” that helped to raise production funds.

16. The scene was screened for the first time in the now famous pitch at the Toronto Documentary Film Festival. Forty TV station managers from all over the world attended the event and only two expressed
an interest in the project: the French Pierre Marla Marta. Ultimately, these two entities supported the film and joined the co-production. The other 38 attendants at the pitch did not comprehend why a film should be animated.

17. Yael Nahlieli joined the production as soon as the initial sum was raised and for three years she managed every aspect of the production, including daily monitoring of the progress of each and every animator. The initial pace, by the way, was 24 frames per day and this constantly grew by 50% to 36 frames per day.

18. Head designer David Polonsky did not take part in the production and illustration of the film’s porn scene because he is an artist who did not consider porn a reasonable option for a film such as Waltz with Bashir. In his place, Yoni Goodman, animation director, took artistic charge of the porn aspect.

19. Individuals with a sharp eye will be able to make out a famous 1980’s singer as part of the backdrop of the porn scene. The scene itself was dubbed in Berlin by German producer Roman Paul and the wife of the other German producer, Gerhard Meixner.

20. Chief animator Tal Gadon, is an obsessive motocross buff and after we could not insure his priceless hands against spills in the field and his refusal to give up riding during production, he had director Ari Folman join him on his road trips, Thus actually ensuring that Folman would get injured three times during production. A third of the production Folman limped on crutches because of the chief animator’s cruel road trips.

————————————————End quote

Đồng chí Do Thái từ Nga này thì đúng là trên cả tuyệt vời http://www.dpolonsky.com/editorial.html.

www.hotgirl93.com/2008/11/27/rino-tomoa-116-mins#more-1742 con cai link nay thi danh cho nhung ai thich coi phim Nhat – tat nhien loai cho nguoi lon – hi hi


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