Tuesday, July 28, 2009

A Taste of French Animation

Check out these animated shorts by the amazing French-people !
I find it delightful how they've managed to marry 3D and 2D in such an effectual way.

"Gary's" a fairly recent one.

"Fear(s) Of The Dark" (in two parts on youtube), on the other hand, dates back several months. I do hope it's new enough to any animation connoisseurs, here.

001.


Gary from Gary on Vimeo.

002.
PT1



PT2

Monday, July 13, 2009

Raamat: Siim Kera “me vaatame kuud, kuni jääme pimedaks”

Raamatu kaas
See luulekogu ilmus alles hiljuti ning on autori debüüt. Noormees lõpetas sel aastal keskkooli, kuid luule kannab hoolimata autori noorusest tugevat oma käekirja. Praegu, raamatu kohta kirjutades, peaksin ma hoopiski asju pakkima, sest paari tunni pärast pean jõudma Moskva rongile, et Siberisse sõita. Üheotsapiletiga. Ja mõtlen, et see kogugi oleks nagu üheotsapilet, kuskile maailma, mis jääb omamoodi sisse elama. See raamat vajab süvenemist ning seda ei saa õnneks ühe päevaga läbi lugeda nagu pahatihti juhtub. Mingi kvaliteedimärk seegi, kui kiiresti läbi seedida ei saa. Valik, kas Kera maailm meeldib või ei, on muidugi igal juhul oma teha. Oma küllaltki linnaliku postmodernsuse ning ajalis-ruumilise ilmselge kaasaegsusega, peegeldab teos just seda, mis siin toimub, sest ühtlasi on see ka hea vaade hetkelisele Eesti tänavakorrale. Jah, paariks nädalaks jääb see raamat mulle seda halli maad meenutama.

Kera luuletustes on tüüpilist ängistust vaadeldud pigem suuresti läbi omalaadse humoorika helguse prisma. Seda peegeldab minu meelest enim kogumiku viimase luuletuse viimane salm:..ma kuulsin et sa surid/ ja saatsid vanematele/ poolsöestunud postkaardi/ sisuga/ jumal tervitab [lk 63]
Naljatledes võib öelda, et ma ei olegi vist vaimselt nii tervet luuleraamatut kaasaja eesti luules lugenud.

Autori enda väitel ta luulelugemist ise eriti ei armasta ning peamise inspiratsiooni ning mõjutused saab muusikast, näiteks Radiohead'i tekstidest. Mõneti paistab see välja, kuid vahel kaldub ta siiski lauspoeesiasse, ehkki jääb mulje, et just seda on ta püüdnud vältida. Vahel tundub, et täielikult romantika vastane luuletaja on saanud hakkama väga romantilise koguga. Kurioosne, kuid siiski (me ei pea/ vaatama koos/ tähti või kuud/ ja neid hiljem/ alla tooma/ ma tooks sulle/ nad kõik/ aga sina ei taha/ ja mina ei jõua [lk 32]).

Kui hakata mõtlema, et kellega Kera kaasaegses eesti luules kõige enam sarnaneb, siis otsest vastust ei leiagi. Võib-olla stiililiselt meenutab luuletus “akendel on aasade mälu” [lk 12] veidi Andrus Kasemaa eelmise aasta debüüti, kuigi kahtlen, kas Kera üldse seda lugenud on, sest ülejäänud luule ning autorite isiksused poeesia põhjal tunduvad väga erinevad. Ehk see sarnasuse puudumine tulebki sellest, et ta ammutab inspiratsiooni enam bändide laulutekstidest kui luulest. Ei tea. Aga võib öelda, et ehkki temaatikalt on ta rohkem sarnane praeguse aja popluule sotsiaalsusega, ei tundu see stiililiselt siiski ühtivat teiste eesti luules sotsiaalset poeesiat kirjutavate luuletajate loominguga. Paralleelide tõmbamine ongi tegelikult ju halb, sest mõjub pinnapealsena ja nii on nende vähesus autorile pigem plussiks kui miinuseks.

Muidugi oleks võinud raamat olla veidi rohkem läbikammitud ja tekstiliselt tihedam, kuid norida saab alati. Tasemeliselt on tekstid siiski küllaltki ühtlased ning mina leidsin enda jaoks vähe nõrke tekste. Seetõttu ei saa lemmikut valida. Siiski on kohati tekstid tunnetuslikult väga erinevad (nt: “matemaatik”[lk 25], mis on eelkõige humoorikas ning “naftatanker” [lk 58], mis on nukker, sümbolistlik ja sisemusse pugev). Hea, et vahel ilmub midagi värsket, mille kallale ma kohe oma hambaid lüüa ei taha, vaid suudan minna ka luuletaja teksti sisse ja selle lugemisest rõõmu tunda. Kaasaja luulet lugedes juhtub minuga seda väga harva. Kuid naljakal kombel on ometi Kera väga kaasaegne ning kannab pigem just selle koolkonna vaimu, mis mulle tavaliselt ei meeldi.

Läbivateks teemadeks kogus on nafta, bensiiniaurud, terve suur ja üüratu keskkonnateema, mida ainult linnalüürika õigesti kanda oskab. Aga samuti on Kera üks korduvmotiive kahe peaga/näoga neiu, ja seda motiivi kandva tekstiga ma ka lõpetan kirjutise. Jäägu Kera sisemusse kaks tarkust, mis seovad luule dramaatilisust ning elutervet huumorimeelt, mis selles kogus oskuslikult seotud on.

kahe näoga neiu

ma käisin poes
võtsin kapsa käte vahele
ja nägin
kahe peaga neiu
ma naersin
kõik naersid
panin kapsa kotti
ja läksin

kodus mu naine
sel ajal sünnitanud oli aga
kahe peaga tütre
ning mina
ma uppusin
nende kuue silma
pisaratesse”

[lk 17]

Le grande interview circulaire, volume 4

Vastab Natali Lohk, küsib Eia Uus.

Kui tavaliselt võib kütist saada saak, siis suures ringjas intervjuus saab igast saagist kütt. Sellest ajast, kui nägin Natalit etenduses "Marat/Sade", on kõik mu juttude ja romaaniideede peategelased tema nägu ja graatsiat ja vormi. Ja on tohutu tahtmine talle näidendeid ja filme kirjutada... Ma kahtlustan, et sedamoodi inspireerivat inimest kutsutakse muusaks.
(Natali, muuseas, on naisterahva nimi ning ametiks seega "näitlejanna". Ja "Marat/Sade", no "Marat/Sade" is a fucking awesome play, eksju - toim.)


1. Sain üllatusega ETV saatest teada, et sa olid praktiliselt 8-aastane kui Eestisse kolisid. Miks? Ja kas enne oli ka eesti keelega või Eestiga mingi suhe? Sest sul on 100% aktsenditu keel, mida ei ole mõnedel näitlejatel, kes on Eestis sündinud ja kasvanud.

Me tulime Gruusiast ära sel ajal kui asi hakkas väga hulluks minema. Seal oli seesama jama Abhaasia pärast. Käis sõda ja inimestel polnud elektrit ja vett ja üldse oli raske periood. Koolid ei toimunud normaalselt jne. Vanemad otsustasid Eestisse tulla kuna siin oli noor Vabariik ja kõik hakkas paremuse poole minema. Keele ma õppisin alles siin ära ja kohe esimeses klassis, nii et kui suvi oli vahel ja ma kooli tagasi läksin teise klassi, siis ma rääkisin juba soravalt. Eks see laste asi on, väiksena omandatakse kiiresti.

2. Milline on su pere?

Üliemotsionaalne. Ema, isa ja mina. Kolm karu ... või põrsakest. Peale selle on mu pere mu sõbrad. Ilma nendeta ei saaks ma toime tulla.

3. Lemmik hetk lapsepõlvest?

Kui sai Gruusia talveõhtutel vanaisaga lotot või doominot mängitud.

4. Kui te Eestisse kolisite, mida sa algusest mäletad?

Õismäe tornelamut ja paksu paksu lund... Ma ikka imestasin, et kuidas saab nii vedada, et kuskil on nii nii paks lumi.




5. Ma ei saa küsimata jätta: miks näitlejaks?

Kui ma veel Gruusias elasin ja lasteaias käisin, siis ma juba teadsin, et tahan näitlejaks. Mäletan, kui ema või vanaemaga seebikaid või mingit India filmi vaatasime, siis peale filmi lõppu panin teleka kinni ja mängisin sarja või filmi kangelanna rolli kõik algusest lõpuni läbi. Kusjuures vene ja gruusia keele segus, sest filmid olid ju vene tõlkega siis.

6. Kas sul oli teisi koole ja erialasid ka plaanitud juhuks, kui sisse ei saa?

No ikka mõtlesin läbi stsenaariumi, mis siis saab kui lavakooli uksed mul nina ees suletakse. Üks idee oli proovida psühholoogia erialale (nüüd ma mõistan, et see ala ei ole kuigi kaugel näitlemisest, psühholoogia on üks suur osa näitlemisest).

7. Kas sa ei muretsenud elupikkuse kindla teenistuse pärast?

Ma muretsen vaid selle pärast, et mul jätkuks tööd ja et lastaks mul mängida. Ma usun, et ma tahaks seda tööd elu lõpuni teha. Olla seotud teatri ja kinoga. Kas siis lavastades, näideldes, filmides, seriaalides mängides või kunagi isegi ise filmi tehes. Ma olen õnnelik, et nüüd kus ma olen neli aastat seda eriala õppinud ja rabelenud, nüüd kus ma juba lõpetan ja ees on tühi maa, et ma ikka veel tahan seda teha ja ma ei kujuta enda elu ilma selleta ette.

8. Kui sa kohe teatrisse tööle ei saa, majanduslangus ja nii, siis kas sa pigem nälgiksid ja elaksid tänaval kui läheksid ettekandjaks?

Heh, ei nälgiks, mulle ei meeldi mitte hakkama saada. Kui ma kaotan asjade üle kontrolli siis ma ärritun, nii et ma kindlasti ei saaks niisama istuda. Kui tõesti ei tule rollipakkumisi, siis mul on igasuguseid ideid, aga eks ole näha. Loodan, et saan ikka enamus ajast laval või kaamera ees olla.


9. Kuidas sa suhtud (enda) alastusse laval või filmis?


See peab olema põhjendatud. Kui lavastaja või režissöör teeb mulle selgeks, miks ta nii mõtleb, et miks alastus just sel hetkel ja just antud olukorras vajalik on, siis on kõik korras. Ma ei kannata seda kui minnakse alasti naise keha abil lihtsamat teed ja ma ei saa ka öelda, et ma olen selle vastu.

10. Ufodesse, vaimudesse, vampiiridesse, libahuntidesse, üleloomulike võimetega inimestesse usud?

Ufosid mitte, vaime mingis mõttes küll... Ma arvan, et nad on olemas. Libahunte ka ei usu. Jah, üleloomulike võimetega inimestesse usun. See ei ole nüüd nii võimatu ja müstiline. Kõik on seletatav. Mingitel inimestel on tugevam side enda alateadvusega.

11. Kui sa saaksid elada möödunud elu kellegi teisena, kes see oleks?

Carl Jung või Leonardo da Vinci või Shakespeare.



12. Mis juhul sa valetad?


Et teisel kergem ja parem oleks.

13. Mis oleks kõige tobedam viis surra?

Enesetapukatsest ümber mõeldes.

14. Mida sa kardad?

Surma. Üksindust. Et kaotan lähedasi tänu kellele ma tahan üldse elada.

15. Mis lauset sa endale kõige tihedamini ütled?

Ma tahan armastust.

Sunday, July 12, 2009

Surprise Me Please

Surprise is a key word in the film world. When we talk about surprises then we deal with expectations, lust for experience, for something new, anything a film (ideally) is supposed to provide. There's a surprise always present when it gets to developing, evolving, educating oneself. One learns from making mistakes. One is influenced through a surprise, a discovery.

As a young boy I was very surprised when I understood that it's basically possible to see a film every day on TV. Each night there's a possibility to escape to another world. And so I did. In fact I still believe that film-watching is a kind of a travelling to another world, with another rules, colours, atmosphere... Film-making is creating these new worlds. So, as long as a film deals with that or just pulls me in itself, it is a good film.

My first „holy triangle“ was Trainspotting (by Danny Boyle, 1996), Kids (by Larry Clark, 1995) and Fight Club (by David Fincher, 1999). These films I would never get tired of. Each time I saw them was a new revelation. Each time things and happenings were delivered in a different perspective.

The most powerful part of these three is that they create such a complete and maybe even a little bit desirable ( at least for a 16 year old ) worlds. Back then I didn't know anything about camera movements or scriptwriting tips but these films, they created a wanting to be and feel the same way as those characters. I feel and I breathe along. I think this is where good film-making starts.

Well, then came Godard. I saw Pierrot le fou (Pierrot Goes Wild, 1969) in the only art-house cinema (thank God we have one) in Tallinn and these rules that had earlier surrounded me without me even knowing it – these rules were cancelled. Jean-Luc Godard showed with this one film that film can be a piece of art, yourself, memories, a message, a piece of the director's world, a piece of his heart. That it is something more than plain storytelling. Film is creation.

And hereby I don't mean to say that it's a creation of one but of a group. Still, in the centre of it all there has to be one person who pulls the whole thing going. To my view, film is just like painting a picture or composing music, writing poetry. ...

You see, I grew up with films being shown on TV every night and they had become a common view for me. Just like any other program on television. A disease of the generation? Maybe. But with the help of Godard it came to me that film directors make films not only to satisfy a viewer's taste but also in order to say something, to express something hoping that the audience would connect it to it's own ideas, thoughts. Film awakens and asks questions.

Ferdinand (Jean Paul Belmondo), a recently fired TV advertiser, weary of shallowness of his bourgeois family and friends, whose dialogue at the party sounds like TV advertisements, leaves his family with Marianne (Anna Karina), who for reasons unknown to Ferdinand keeps calling him Pierrot. They flee to the Mediterranean, where they live by hunting and fishing, or telling stories to tourists. Soon Marianne gets fed up with it and leaves Ferdinand. Ferdinand finally sees her with her boyfriend and shoots at them killing both. He paints his face blue and wraps the strings of (yellow and red) dynamites around his head, ignites the wire, then changes his mind trying to put it out, but it is too late and it goes off.

When Jean-Paul Belmondo walks through a window to enter a cafeteria, or eats a humongous piece of cheese with pasting mustard on it, or when with Anna Karina they perform with a little show about the Vietnamese war to the American soldiers - that's where rules are broken. People in films may do anything, like in dreams. Everything looks kind of real but acts kind of different. We believe it while we see it, when it's over we think about it, try to understand what we were shown and then hope to see it again.

I saw Pierrot le fou once again in a local London film theatre. It was a refreshing experience. It is pure cinema and should stay in film-theatres and I refuse to see it on any other medium.

Then there is Rainer Werner Fassbinder. There was a Fassbinder week in the same art-house cinema, SÕPRUS. Many new surprises came along with Warnung vor einer Heiligen Nutte ( Beware of a Wholy Whore, 1971 ) and Götter der Pest ( Gods of Plague, 1970 ). I was intruduced to a wholly different style of film-making. The key scene for it would be the ending of Der Amerikanische Soldat ( The American Soldier, 1970).

R.W. Fassbinder was the director, scriptwriter, artist, actor and composer for this one. He plays Franz Walsch, best friend of the main guy – Ricky, who( working as a hired killer ) fulfils some assignments, spends some time in childhood haunts with Franz, visits his mother and brother, waits in his hotel room, murders his whorish mistress, and, in the last scene, gets cornered by the cops. Ricky's mother and brother appear at the same moment when he and Franz get shot.

It is hard to describe and deliver the feeling that I got but I must say that I hadn't seen anything so rude (and cool!) before. The image tells such a great story without any words being spoken.

A 3-minute sequence of dead guys falling in slow motion, mother (totally frozen from the sight of her son getting shot) in the background and the brother coming running towards Ricky to hug him tightly before he dies. On top of it, a track composed by Fassbinder himself is playing. The words go like:

„So much tenderness is in my head,

so much loneliness is in my bed,

so much tenderness all around the world...“

It was the ending I had never seen before. It was perfect with it's sad and melancholic touch while all the film had been black and white and kind of dark, film noir style. It's longitude gave just the right tone for the ending, creating a chicken skin feeling and for a second it seemed to me that Fassbinder made the whole film in order to reach the ending sequence.

R.W.Fassbinder has said: „American film-making method gave the audience emotions and nothing else. I would like to give the audience emotions WITH an opportunity to think and analyse what he/she feels.“ I couldn't agree more with this statement. Have emotions and analyse what they mean, why and where they come from? ...

Then for a time it became rare being surprised by films. All the boundaries had been crossed. Everything was done. And then came film school. I started to watch the classics.

Just when everything seemed to be clear, there came Antonioni. During the first time I saw L'Eclisse (Eclipse, 1962), it was already giving me a strange vibe until it reached the end – the lonely street. Empty street, camera-angles change, time passes, wind blows in the treetops, waiting for the lovers to meet at 8 o'clock. The meeting is never shown. The film ends a moment earlier. They will meet at some time but so far the street stays empty.

It's not easy to create an atmosphere. But I believe that if a director manages to create one, he has also the ability to surprise us. The Waiting is in the air and very present in L'eclisse. We are held in the hands of the artist until the very end.

The ending of L'Eclisse is one of the best endings for a film I've ever seen. It proves (once again) that images tell such a more powerful story than any script ever could.


Vittoria (Monica Vitti) feels alienated from her lover Riccardo (Francisco Rabal) and her mother and finds a moment of happiness with the young stockbroker Piero (Alain Delon). How long will it last? ...

Just like the title already indicates - the whole film is an eclipse, eclipse of feelings, a choice of the director, what will be seen and what not. We will never know if Vittoria and Piero met in the usual place at 8 o'clock. Time passes, light changes, people pass by, new faces appear that haven't been shown before, but no news of the main characters.

The ending shot is of a street lamp filling the screen with strong light reminding the eclipse of the sun. Antonioni has been accused of keeping secrets from the viewer – I believe it's just his way of storytelling. His way of cinematic language. There are no written rules to it. Sometimes incompleteness is the most complete way.

...

I've been making a film inspired by Ultramelanhool for many years now. First I wrote the script for 4 years, then started shooting (which took another 8 months) and now am editing it (maybe another year). Then I saw Control (by Anton Corbijn, 2007) and saw there a lot in common with the film I was working with. It was a different kind of surprise. It was surprising to see my ideas in other's films. Well, not totally one-to-one my ideas, but there were similarities. Surprising to see that I think alike with some others. Is it a good thing? Am I influenced or are they my own thoughts?

This is an important question, especially for a film student, a going-to-be director. The question of keeping one's personality, own thing, special atmosphere – whatever you may call it, not just copying others. ...

Just like the little child never ceases to stop wondering, film-makers should keep their ability to continually be amazed by the wonders of the world, try to present them in cinema and provide a viewpoint, an experience unseen and unheard of...

Some films are a must see, others are advisable-to-see, and then there are these films that pop up every once in a while (introduced by a friend or seen unexpectedly on TV) and put a spell on me with just one tiny detail.

The rain scene in Ma mere (by Christophe Honore, 2004) where Louis Garrel is running on a street screaming a paragraph from the Bible into the falling summer rain – almost a cliché in its simplicity and yet so convincing and inspiring in its honesty.

London (by Hunter Richards, 2005) was another kind of surprise. A text so clever, funny and (once again) honest, delivered far-better than believably by the actors and the whole simple storyline being told so well. For those simple reasons London keeps it safe place in my top 3.

I could go on listing influential films but I will try to somehow sum up what I've said now. It's up to the Beginning to pull the viewer into the film-world and it's up to the Ending to make the final impact. These two play a big part. Actors play their part. Good camera work has it's own impact. A surprise may hit us from anywhere. ...

Because, in the end, it is in the eyes of the viewer - the ability to stay surprised. A child gets tired of one game, he starts another one. As long as the will to play, to create and accept new worlds never stops.

Wednesday, July 1, 2009

kolm_maailmalõputeemalist_oO

#1 Timsmiti nimeline visuaalkunstnik. Tõeliselt vapustav ja õige lähenemine. Kui oleks selline täispikk film, siis see oleks "Cloverfield". Kae, vaata, kui sünge. What's in the box?

nr2 Kuidas sile maantee mõne minutiga tulvavee käes laguneb. Vaatemäng on kirjeldusest üle. Näha saab siit.

3. Üks tuikava südamevalu ning maailmalõpumeeleolupala. Einstürzende Neubauten "Total Eclipse of the Sun" - ♫♫♫♫♫♫♫

*
* *
*
'Ah!' says everyone.
Just the birds are silent
with surprise.
*
* *
*