TED2013
Martin Villeneuve: How I made an impossible film
Martin Villeneuve: Kako mi je uspelo ustvariti nemogoči film
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Filmski ustvarjalec Martin Villeneuve govori o spektakularnem kanadskem znanstveno-fantastičnem filmu Mars in Avril, ki ga je posnel z zelo majhnim proračunom. V tem očarljivem govoru pojasni, kako je premagal finančne in logistične prepreke in tako ustvaril enkratno in domiselno vizijo prihodnosti.
Martin Villeneuve - Graphic artist, director
In his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life. Full bio
In his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life. Full bio
Double-click the English transcript below to play the video.
00:13
I made a film that was impossible to make,
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Ustvaril sem film,
ki ga je bilo nemogoče ustvariti,
ki ga je bilo nemogoče ustvariti,
00:15
but I didn't know it was impossible,
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toda nisem vedel, da je to nemogoče
00:19
and that's how I was able to do it.
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in tako sem ga naredil.
00:22
"Mars et Avril" is a science fiction film.
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Mars in Avril
je znanstveno-fantastični film.
je znanstveno-fantastični film.
00:24
It's set in Montreal some 50 years in the future.
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Dogaja se v Montrealu,
čez približno petdeset let.
čez približno petdeset let.
00:29
No one had done that kind of movie in Quebec before
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Nihče v Quebecu
še ni ustvaril takega filma,
še ni ustvaril takega filma,
00:31
because it's expensive, it's set in the future,
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saj je stal veliko,
postavljen je v prihodnost,
postavljen je v prihodnost,
00:34
and it's got tons of visual effects,
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vsebuje na tone vizualnih učinkov
00:36
and it's shot on green screen.
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in je posnet z green screenom.
00:39
Yet this is the kind of movie that I wanted to make
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Kljub temu sem si želel
ustvariti takšen film
ustvariti takšen film
00:41
ever since I was a kid, really,
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že od otroštva,
00:43
back when I was reading some comic books
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ko sem še bral stripe
00:45
and dreaming about what the future might be.
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in si zamišljal,
kakšna bi lahko bila prihodnost.
kakšna bi lahko bila prihodnost.
00:48
When American producers see my film,
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Ko si ameriški producenti
ogledajo moj film
ogledajo moj film
00:51
they think that I had a big budget to do it,
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mislijo, da sem imel
na razpolago visok proračun,
na razpolago visok proračun,
00:54
like 23 million.
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okrog 23 milijonov.
00:57
But in fact I had 10 percent of that budget.
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V resnici pa sem imel
le deset procentov tega proračuna.
le deset procentov tega proračuna.
01:00
I did "Mars et Avril" for only 2.3 million.
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Mars in Avril sem ustvaril
s samo 2,3 milijona.
s samo 2,3 milijona.
01:03
So you might wonder, what's the deal here?
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Najbrž se sprašujete, kako?
01:04
How did I do this?
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Kako mi je to uspelo?
01:07
Well, it's two things. First, it's time.
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Najprej sem si vzel čas.
01:10
When you don't have money, you must take time,
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Če nimaš denarja, si moraš vzeti čas
01:13
and it took me seven years to do "Mars et Avril."
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in potreboval sem sedem let
za dokončanje filma Mars in Avril.
za dokončanje filma Mars in Avril.
01:17
The second aspect is love.
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Potem pride na vrsto ljubezen.
01:20
I got tons and tons of generosity from everyone involved.
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Vsi sodelujoči so bili
neizmerno velikodušni.
neizmerno velikodušni.
01:23
And it seems like every department had nothing,
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Vsak oddelek se je spopadal
s pomanjkanjem,
s pomanjkanjem,
01:26
so they had to rely on our creativity
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zato so se vsi morali zanašati
na svojo kreativnost
na svojo kreativnost
01:29
and turn every problem into an opportunity.
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ter vsako težavo dojeti kot priložnost.
01:31
And that brings me to the point of my talk, actually,
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To me pripelje do bistva mojega govora,
01:33
how constraints, big creative constraints, can boost creativity.
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kako lahko velike kreativne prepreke
povečajo kreativnost.
povečajo kreativnost.
01:37
But let me go back in time a bit.
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Naj vas najprej popeljem
malce v preteklost.
malce v preteklost.
01:41
In my early 20s, I did some graphic novels,
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V svojih zgodnjih dvajsetih
sem ustvaril nekaj risanih romanov,
sem ustvaril nekaj risanih romanov,
01:44
but they weren't your usual graphic novels.
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ki pa niso bili običajni risani romani.
01:46
They were books telling a science fiction story
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To so bile knjige, ki so
s slikami in besedilom
s slikami in besedilom
01:48
through images and text,
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pripovedovale
znanstveno-fantastično zgodbo.
znanstveno-fantastično zgodbo.
01:51
and most of the actors who are now starring
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Večina igralcev, ki zdaj nastopajo
01:55
in the movie adaptation, they were already involved
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v filmski priredbi, je že bila vključenih
01:57
in these books portraying characters
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v teh knjigah, ki so like prikazovale
02:00
into a sort of experimental, theatrical, simplistic way.
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na skoraj eksperimentalen,
teatralen, poenostavljen način.
teatralen, poenostavljen način.
02:06
And one of these actors is the great stage director
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Eden izmed teh igralcev
je veliki gledališki režiser
je veliki gledališki režiser
02:10
and actor Robert Lepage.
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in igralec Robert Lepage,
02:11
And I just love this guy.
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ki ga preprosto obožujem.
02:13
I've been in love with this guy since I was a kid.
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Občudujem ga že od otroštva
02:16
His career I admire a lot.
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in zelo občudujem
tudi njegovo poklicno pot.
tudi njegovo poklicno pot.
02:19
And I wanted this guy to be involved in my crazy project,
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Želel sem, da bi tudi on
sodeloval pri mojem norem projektu
sodeloval pri mojem norem projektu
02:22
and he was kind enough to lend his image
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in bil je dovolj prijazen, da je upodobil
02:26
to the character of Eugène Spaak,
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Eugèna Spaaka,
02:28
who is a cosmologist and artist who seeks relation
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kozmologa in umetnika, ki išče povezavo
02:32
in between time, space, love, music and women.
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med časom, prostorom,
ljubeznijo, glasbo in ženskami.
ljubeznijo, glasbo in ženskami.
02:38
And he was a perfect fit for the part,
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Bil je popolna izbira za to vlogo
02:41
and Robert is actually the one who gave me my first chance.
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in Robert je tisti, ki mi je
tudi ponudil prvo priložnost.
tudi ponudil prvo priložnost.
02:44
He was the one who believed in me
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Bil je tisti, ki je verjel vame
02:47
and encouraged me to do an adaptation of my books
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in me vzpodbujal,
da sem svoje knjige priredil
da sem svoje knjige priredil
02:50
into a film, and to write, direct,
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ter da sem sam napisal, režiral
02:53
and produce the film myself.
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in produciral ta film.
02:55
And Robert is actually the very first example
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Pravzaprav je Robert
že prvi primer, ki pokaže,
že prvi primer, ki pokaže,
02:59
of how constraints can boost creativity.
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kako lahko prepreke povečajo kreativnost.
03:03
Because this guy is the busiest man on the planet.
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Robert je najbolj zaposlen človek
na planetu.
na planetu.
03:06
I mean, his agenda is booked until 2042,
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Njegov urnik je zapolnjen do leta 2042,
03:09
and he's really hard to get,
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zato je do njega res težko priti
03:13
and I wanted him to be in the movie,
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in jaz sem si želel, da bi prav on
03:16
to reprise his role in the movie.
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upodobil dano vlogo v filmu.
03:17
But the thing is, had I waited
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Toda, če bi ga čakal
03:20
for him until 2042, my film wouldn't be
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do leta 2042, moj film ne bi bil
03:23
a futuristic film anymore, so I just couldn't do that. Right?
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več futurističen, zato tega
preprosto nisem mogel storiti.
preprosto nisem mogel storiti.
03:27
But that's kind of a big problem.
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To je predstavljalo velik problem.
03:28
How do you get somebody who is too busy
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Kako prepričati nekoga, ki je prezaposlen,
03:32
to star in a movie?
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da bo igral v filmu?
03:34
Well, I said as a joke in a production meeting --
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Na produkcijskem sestanku sem se pošalil
03:38
and this is a true story, by the way —
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- in to je, mimogrede, resnična zgodba -
03:40
I said, "Why don't we turn this guy into a hologram?
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da bi Roberta prikazali kot hologram.
03:42
Because, you know, he is everywhere
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Na planetu je njegov lik istočasno povsod,
03:45
and nowhere on the planet at the same time,
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hkrati pa ga nikjer ni.
03:46
and he's an illuminated being in my mind,
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V moji domišljiji je dobil
obliko razsvetljenega bitja,
obliko razsvetljenega bitja,
03:49
and he's in between reality and virtual reality,
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ki se nahaja med
resničnostjo in virtualnostjo.
resničnostjo in virtualnostjo.
03:53
so it would make perfect sense
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Zato bi ga bilo popolnoma smiselno
03:55
to turn this guy into a hologram."
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prikazati kot hologram.
03:58
Everybody around the table laughed,
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Vsi prisotni so se zasmejali,
04:00
but the joke was kind of a good solution,
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toda šala se je izkazala za dobro rešitev,
04:02
so that's what we ended up doing.
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zato smo se zanjo tudi odločili.
04:05
Here's how we did it. We shot Robert with six cameras.
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Naredili smo sledeče.
Roberta smo posneli s šestimi kamerami.
Roberta smo posneli s šestimi kamerami.
04:09
He was dressed in green and he was like
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Oblečen je bil v zeleno,
postavili smo ga v neke vrste
postavili smo ga v neke vrste
04:11
in a green aquarium.
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zelen akvarij.
04:13
Each camera was covering 60 degrees of his head,
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Vsaka kamera je posnela
šestdeset stopinj njegove glave,
šestdeset stopinj njegove glave,
04:15
so that in post-production we could use
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tako da smo v postprodukciji
lahko uporabili
lahko uporabili
04:18
pretty much any angle we needed,
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katerikoli zorni kot,
04:20
and we shot only his head.
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ki smo ga želeli.
04:22
Six months later there was a guy on set,
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Šest mesecev kasneje smo uporabili
04:25
a mime portraying the body,
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telo nekega drugega igralca,
04:27
the vehicle for the head.
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ki je služilo kot vozilo
za Robertovo glavo.
za Robertovo glavo.
04:29
And he was wearing a green hood
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Igralcu smo glavo pokrili z zeleno masko,
04:32
so that we could erase the green hood in postproduction
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da smo jo v postprodukciji lahko izbrisali
04:36
and replace it with Robert Lepage's head.
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in jo zamenjali z glavo Roberta Lepagea.
04:38
So he became like a renaissance man,
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Postal je neke vrste renesančni človek
04:40
and here's what it looks like in the movie.
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in lahko vidite kako to izgleda v filmu.
04:42
(Music)
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(Glasba)
04:54
(Video) Robert Lepage: [As usual, Arthur's drawing
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Kot ponavadi Arturjev načrt
04:56
didn't account for the technical challenges.
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ni zadostil tehničnim izzivom.
04:59
I welded the breech, but the valve is still gaping.
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Zvaril sem zaklepišče,
toda ventil še vedno zeva.
toda ventil še vedno zeva.
05:03
I tried to lift the pallets to lower the pressure in the sound box,
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Poizkušal sem dvigniti palete,
da bi spustil pritisk v zvočnem polju,
da bi spustil pritisk v zvočnem polju,
05:07
but I might have hit a heartstring.
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pri tem pa sem morda
zadel občutljivo območje.
zadel občutljivo območje.
05:11
It still sounds too low.]
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Še vedno zveni prenizko.
05:13
Jacques Languirand: [That's normal.
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To je normalno.
05:14
The instrument always ends up resembling its model.]
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Inštrument je na koncu
vedno podoben svojemu modelu.
vedno podoben svojemu modelu.
05:17
(Music)
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(Glasba)
05:38
Martin Villeneuve: Now these musical instruments
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Ti glasbeni inštrumenti,
05:41
that you see in this excerpt,
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ki jih vidite v izseku,
05:43
they're my second example of how
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predstavljajo drugi primer kako
05:46
constraints can boost creativity,
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lahko prepreke povečajo kreativnost.
05:48
because I desperately needed these objects in my movie.
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Te inštrumente sem
v svojem filmu krvavo potreboval,
v svojem filmu krvavo potreboval,
05:51
They are objects of desire.
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po njih sem hrepenel,
05:53
They are imaginary musical instruments.
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saj so obstajali samo v moji domišljiji.
05:56
And they carry a nice story with them.
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Zgodba njihovega nastanka je zanimiva.
05:58
Actually, I knew what these things would look like
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Že vrsto let sem imel vizijo
06:02
in my mind for many, many years.
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kako naj bi izgledali.
06:04
But my problem was, I didn't have the money
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Toda problem je bil, da nisem imel denarja
06:08
to pay for them. I couldn't afford them.
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zanje. Nisem si jih mogel privoščiti.
06:11
So that's kind of a big problem too.
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To je predstavljalo velik problem.
06:14
How do you get something that you can't afford?
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Kako dobiti nekaj,
česar si ne moreš privoščiti?
česar si ne moreš privoščiti?
06:17
And, you know, I woke up one morning with a pretty good idea.
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Nekega jutra, ko sem se zbudil,
mi je v glavo šinila dobra ideja.
mi je v glavo šinila dobra ideja.
06:21
I said, "What if I have somebody else pay for them?"
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Kaj če bi nekdo drug plačal zanje?
06:25
(Laughter)
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(Smeh)
06:28
But who on Earth would be interested
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Ampak koga pri zdravi pameti bi zanimalo
06:32
by seven not-yet-built musical instruments
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sedem še ne izdelanih inštrumentov
06:35
inspired by women's bodies?
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navdahnjenih po obliki ženskega telesa?
06:37
And I thought of Cirque du Soleil in Montreal,
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Pomislil sem na Cirque du Soleil
v Montrealu,
v Montrealu,
06:40
because who better to understand the kind of
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edine ljudi, ki bi lahko razumeli to
06:43
crazy poetry that I wanted to put on screen?
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noro poezijo, ki sem jo želel
prezrcaliti na ekran.
prezrcaliti na ekran.
06:46
So I found my way to Guy Laliberté, Cirque du Soleil's CEO,
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Zato sem poiskal Guya Laiberteja,
ki je generalni direktor podjetja
ki je generalni direktor podjetja
06:49
and I presented my crazy idea to him
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in mu predstavil svojo noro idejo
06:52
with sketches like this and visual references,
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s pomočjo takšnih skic
in vizualnih pripomočkov
in vizualnih pripomočkov
06:55
and something pretty amazing happened.
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in zgodilo se je nekaj neverjetnega.
06:58
Guy was interested by this idea
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Guyu je bila ideja všeč.
07:00
not because I was asking for his money,
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Ne zato, ker sem spraševal po denarju,
07:03
but because I came to him with a good idea
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ampak zato,
ker se mu je zdela to dobra ideja,
ker se mu je zdela to dobra ideja,
07:07
in which everybody was happy.
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s katero so bili
vsi sodelujoči zadovoljni.
vsi sodelujoči zadovoljni.
07:08
It was kind of a perfect triangle
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Bil je popoln trikotnik,
07:11
in which the art buyer was happy
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kjer je bil kupec umetnin zadovoljen,
07:14
because he got the instruments at a cheaper price,
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saj je dobil inštrumente po nižji ceni,
07:17
because they weren't even made.
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ker še niso bili narejeni.
07:19
He took a leap of faith.
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Moral je skočiti v neznano.
07:20
And the artist, Dominique Engel, brilliant guy,
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Dominique Engel, krasen umetnik,
07:24
he was happy too because he had a dream project
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je bil tudi zadovoljen,
ker je lahko celo leto
ker je lahko celo leto
07:27
to work on for a year.
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delal na tem sanjskem projektu.
07:29
And obviously I was happy because I got the instruments
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Jaz sem bil zadovoljen,
ker sem dobil inštrumente
ker sem dobil inštrumente
07:32
in my film for free, which was kind of what I tried to do.
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za svoj film zastonj,
kar je tudi bil moj cilj.
kar je tudi bil moj cilj.
07:37
So here they are.
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Tu jih lahko vidite.
07:39
And my last example of how constraints
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Zadnji primer, kako lahko prepreke
07:42
can boost creativity
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vzpodbudijo kreativnost pa
07:44
comes from the green,
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prihaja iz zelene,
07:48
because this is a weird color, a crazy color,
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saj je to nenavadna, nora barva,
07:51
and you need to replace the green screens eventually
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zaradi nje moraš green screen
sčasoma nadomestiti z nečim drugim,
sčasoma nadomestiti z nečim drugim,
07:54
and you must figure that out sooner rather than later.
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kar je prej ali slej potrebno storiti.
07:57
And I had, again, pretty much, ideas in my mind
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Znova sem se zatekel
k domišljijskim podobam
k domišljijskim podobam
08:01
as to what the world would be,
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o svetu, ki sem si ga zamislil.
08:03
but then again I turned to my childhood imagination
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Znova sem se vrnil
k svojim zamislim iz otroštva
k svojim zamislim iz otroštva
08:09
and went to the work of Belgian comic book master
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in si v Belgiji ogledal delo
belgijskega striparskega mojstra
belgijskega striparskega mojstra
08:12
François Schuiten in Belgium.
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Françoisa Schuitena.
08:15
And this guy is another guy I admire a lot,
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Tudi njega zelo občudujem
08:18
and I wanted him to be involved in the movie
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zato sem želel, da bi on
sodeloval pri nastanku filma
sodeloval pri nastanku filma
08:21
as a production designer.
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kot oblikovalec.
08:23
But people told me, you know, Martin, it's impossible,
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Toda ljudje so mi govorili,
da je to nemogoče,
da je to nemogoče,
08:25
the guy is too busy and he will say no.
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da je preveč zaposlen
in da bo zavrnil ponudbo.
in da bo zavrnil ponudbo.
08:28
Well, I said, you know what, instead of mimicking his style,
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Toda odločil sem se,
da njegovega stila ne bom posnemal,
da njegovega stila ne bom posnemal,
08:32
I might as well call the real guy and ask him,
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ampak da ga bom kar poklical in vprašal.
08:34
and I sent him my books,
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Poslal sem mu svoje knjige
08:36
and he answered that he was interested
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in odgovoril je, da ga
08:38
in working on the film with me
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sodelovanje zanima,
08:40
because he could be a big fish in a small aquarium.
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saj bi bil velika riba v majhnem akvariju.
08:44
In other words, there was space for him to dream with me.
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Z drugimi besedami, odločil se je
sanjati skupaj z mano.
sanjati skupaj z mano.
08:48
So here I was with one of my childhood heroes,
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Tako sem s svojim herojem iz otroštva
08:51
drawing every single frame that's in the film
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izrisal čisto vsako sličico,
ki sestavlja film,
ki sestavlja film,
08:54
to turn that into Montreal in the future.
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in vse spremenil v Montreal prihodnosti.
08:57
And it was an amazing collaboration
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Bilo je čudovito sodelovati
08:59
to work with this great artist whom I admire.
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s tako enkratnim umetnikom,
ki ga občudujem.
ki ga občudujem.
09:02
But then, you know, eventually you have to turn
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Toda sčasoma je potrebno
09:06
all these drawings into reality.
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vse te skice preslikati v realnost,
09:08
So, again, my solution was to aim
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zato sem znova ciljal
09:11
for the best possible artist that I could think of.
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na najboljšega možnega umetnika,
ki sem ga poznal.
ki sem ga poznal.
09:14
And there's this guy in Montreal, another Quebecois
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V Montrealu živi še en quebečan
09:17
called Carlos Monzon, and he's a very good VFX artist.
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Carlos Monzon, ki je zelo dober
na področju vizualnih učinkov.
na področju vizualnih učinkov.
09:21
This guy had been lead compositor on such films
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Bil je vodilni v filmih
09:25
as "Avatar" and "Star Trek" and "Transformers,"
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kot so Avatar, Star Trek in Transformerji
09:28
and other unknown projects like this,
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ter pri drugih
neznanih projektih kot je ta.
neznanih projektih kot je ta.
09:30
and I knew he was the perfect fit for the job,
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Vedel sem, da je idealen za to delo,
09:33
and I had to convince him,
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zato sem ga moral prepričati
09:34
and, instead of working on the next Spielberg movie,
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in namesto, da bi delal
na naslednjem Spielbergovem filmu,
na naslednjem Spielbergovem filmu,
09:38
he accepted to work on mine.
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je sprejel delo na mojem.
09:40
Why? Because I offered him a space to dream.
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Zakaj? Ker sem mu ponudil možnost sanjati.
09:44
So if you don't have money to offer to people,
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Če ljudem ne morete ponuditi denarja,
09:47
you must strike their imagination with something
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morate razvneti
njihovo domišljijo z najbolj
njihovo domišljijo z najbolj
09:50
as nice as you can think of.
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privlačno stvarjo,
ki si jo lahko zamislite.
ki si jo lahko zamislite.
09:53
So this is what happened on this movie,
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To smo naredili pri tem filmu
09:55
and that's how it got made,
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in tako je tudi nastal.
09:57
and we went to this very nice postproduction company
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Zelo prijazno postprodukcijsko podjetje
10:00
in Montreal called Vision Globale,
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iz Montreala, Vision Globale,
10:02
and they lent their 60 artists to work full time
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nam je posodilo šestdeset umetnikov,
ki so posvetili
ki so posvetili
10:06
for six months to do this crazy film.
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šest mesecev svojega časa
temu noremu filmu.
temu noremu filmu.
10:09
So I want to tell you that, if you have some crazy ideas
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Kar vam želim sporočiti je,
da če imate kakšno noro idejo
da če imate kakšno noro idejo
10:14
in your mind, and that people tell you
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in vam ljudje govorijo, da jo je
10:16
that it's impossible to make,
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nemogoče uresničiti,
10:17
well, that's an even better reason to want to do it,
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je to še boljši razlog, da jo uresničite.
10:20
because people have a tendency
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Ljudje težimo k temu,
10:22
to see the problems rather than the final result,
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da vidimo le probleme
in ne tudi končnega rezultata,
in ne tudi končnega rezultata,
10:25
whereas if you start to deal with problems
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ampak, če se začnete do problemov obnašati
10:28
as being your allies rather than your opponents,
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kot da so vaši zavezniki
in ne nasprotniki,
in ne nasprotniki,
10:31
life will start to dance with you
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bo življenje zaplesalo z vami
10:33
in the most amazing way.
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na najbolj osupljiv način.
10:35
I have experienced it.
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To sem sam izkusil.
10:37
And you might end up doing some crazy projects,
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Mogoče boste delali
na kakšnih norih projektih
na kakšnih norih projektih
10:40
and who knows, you might even end up
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in kdo ve, mogoče boste celo
10:43
going to Mars.
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odleteli na Mars.
10:45
Thank you.
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Hvala.
10:47
(Applause)
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(Aplavz)
ABOUT THE SPEAKER
Martin Villeneuve - Graphic artist, directorIn his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life.
Why you should listen
The musician who plays otherworldly music on one-of-a-kind instruments, the genius who designs the instruments inspired by a woman's body, and the photographer they both love. An old-fashioned love triangle is at the heart of Mars et Avril, a bold and dreamy sci-fi story set in a future Montreal where the Champ-de-Mars subway line takes you right out to Mars. While many sci-fi films have budgets exceeding $100 million, this incredible arthouse version was made for just $2 million thanks to the bold creativity of filmmaker Martin Villeneuve.
By taking his time on the project, asking the best creatives for favors and approaching problems as exciting challenges, Villeneuve has made a movie that seemed impossible. The film has shown at festivals, and is available on DVD. Villeneuve is currently working on securing international distribution for the work.
Villeneuve made the film based on his two graphic novels, also titled Mars et Avril. Villeneuve is the former artistic director for the ad agency Sid Lee that works with Cirque du Soleil. Among other projects, he's now working with comic book masters Benoît Sokal and François Schuiten on an animated fantasy feature film, Aquarica, and on a sci-fi movie with Pressman Film, tentatively titled The Other World.
Martin Villeneuve | Speaker | TED.com