TED2013
Martin Villeneuve: How I made an impossible film
Martin Vilnev (Martin Villeneuve): Kako sam napravio nemogući film
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Filski stvaralac Martin Vilnev govori o filmu "Mars i Avril", kanadskom naučno-fantastičnom spektaklu koji je napravio gotovo bez novca. U zanimljivom govoru, objašnjava različite načine na koje je prevazišao finansijske i logističke probleme tokom nastanka ove jedinstvene i inventivne vizije budućnosti.
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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Napravio sam film koji je bilo
nemoguće napraviti,
nemoguće napraviti,
00:15
but I didn't know it was impossible,
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ali pošto ja nisam znao
da je to nemoguće
da je to nemoguće
00:19
and that's how I was able to do it.
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ipak sam uspeo.
00:22
"Mars et Avril" is a science fiction film.
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"Mars i Avril" je
naučno-fantastični film.
naučno-fantastični film.
00:24
It's set in Montreal some 50 years in the future.
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Smešten je u Montreal,
nekih 50 godina u budućnosti.
nekih 50 godina u budućnosti.
00:29
No one had done that kind of movie in Quebec before
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Niko ranije nije napravio
ovakav film u Kvebeku
ovakav film u Kvebeku
00:31
because it's expensive, it's set in the future,
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jer je skup,
smešten u budućnost,
smešten u budućnost,
00:34
and it's got tons of visual effects,
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ima gomilu vizuelnih efekata
00:36
and it's shot on green screen.
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i sniman je na zelenoj podlozi.
00:39
Yet this is the kind of movie that I wanted to make
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Ipak, želeo sam da napravim
takav film
takav film
00:41
ever since I was a kid, really,
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još otkad sam bio dete, zaista,
00:43
back when I was reading some comic books
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dok sam čitao stripove
i maštao o tome
i maštao o tome
00:45
and dreaming about what the future might be.
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kakva bi budućnost
mogla da bude.
mogla da bude.
00:48
When American producers see my film,
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Kada američki producenti vide moj film,
00:51
they think that I had a big budget to do it,
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misle da sam imao
veliki budžet za njega,
veliki budžet za njega,
00:54
like 23 million.
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poput 23 miliona.
00:57
But in fact I had 10 percent of that budget.
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U stvari sam imao 10% tog budžeta.
01:00
I did "Mars et Avril" for only 2.3 million.
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Napravio sam "Mars i Avril"
sa 2,3 miliona.
sa 2,3 miliona.
01:03
So you might wonder, what's the deal here?
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Možda se pitate u čemu je stvar?
01:04
How did I do this?
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Kako sam uspeo?
01:07
Well, it's two things. First, it's time.
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Dve stvari su u pitanju.
Prva je vreme.
Prva je vreme.
01:10
When you don't have money, you must take time,
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Kada nemate novac,
morate uložiti vreme.
morate uložiti vreme.
01:13
and it took me seven years to do "Mars et Avril."
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Trebalo mi je 7 godina da snimim film.
01:17
The second aspect is love.
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Drugi aspekt je ljubav.
Svi sa kojima sam radio
Svi sa kojima sam radio
01:20
I got tons and tons of generosity from everyone involved.
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bili su više nego predusretljivi.
01:23
And it seems like every department had nothing,
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Izgledalo je kao da nemamo ništa
01:26
so they had to rely on our creativity
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i da moramo da se oslonimo
na našu kreativnost
na našu kreativnost
01:29
and turn every problem into an opportunity.
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i pretvorimo svaki problem u priliku.
01:31
And that brings me to the point of my talk, actually,
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I ovo me dovodi do suštine
mog govora:
mog govora:
01:33
how constraints, big creative constraints, can boost creativity.
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kako ograničenja mogu
pospešiti kreativnost.
pospešiti kreativnost.
01:37
But let me go back in time a bit.
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Ali, dozvolite da se vratim
malo unazad.
malo unazad.
01:41
In my early 20s, I did some graphic novels,
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U mojim ranim 20-im radio sam
neke ilustrovane romane
neke ilustrovane romane
01:44
but they weren't your usual graphic novels.
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ali to nisu bili uobičajeni
ilustrovani romani.
ilustrovani romani.
01:46
They were books telling a science fiction story
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To su bile knjige koje pričaju
naučno-fantastičnu priču
naučno-fantastičnu priču
01:48
through images and text,
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kroz slike i tekst
01:51
and most of the actors who are now starring
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i mnogi glumci koji danas glume
01:55
in the movie adaptation, they were already involved
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u filmskim adaptacijama
tih romana, već su bili uključeni
tih romana, već su bili uključeni
01:57
in these books portraying characters
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u portretizaciju likova u ovim knjigama
02:00
into a sort of experimental, theatrical, simplistic way.
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na eksperimentalan, teatralni,
pojednostavljen način.
pojednostavljen način.
02:06
And one of these actors is the great stage director
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Jedan od tih glumaca je veliki reditelj
02:10
and actor Robert Lepage.
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i glumac - Robert Lepaž.
02:11
And I just love this guy.
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Ja jednostavno volim ovog čoveka.
02:13
I've been in love with this guy since I was a kid.
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Obožavam ga otkad sam bio dete.
02:16
His career I admire a lot.
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Divim se njegovoj karijeri.
02:19
And I wanted this guy to be involved in my crazy project,
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I želeo sam da on bude uključen
u moj suludi projekat
u moj suludi projekat
02:22
and he was kind enough to lend his image
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i on je bio dovoljno ljubazan
da pozajmi svoj izgled
da pozajmi svoj izgled
02:26
to the character of Eugène Spaak,
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liku Uženu Spaku, koji je
02:28
who is a cosmologist and artist who seeks relation
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kosmolog i umetnik
koji traži vezu između
koji traži vezu između
02:32
in between time, space, love, music and women.
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vremena, prostora, ljubavi,
muzike i žena.
muzike i žena.
02:38
And he was a perfect fit for the part,
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On se savršeno uklapao u tu ulogu.
02:41
and Robert is actually the one who gave me my first chance.
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Robert je, zapravo, prvi
koji mi je pružio šansu.
koji mi je pružio šansu.
02:44
He was the one who believed in me
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On je verovao u mene i ohrabrio me
02:47
and encouraged me to do an adaptation of my books
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da svoje knjige adaptiram u film,
02:50
into a film, and to write, direct,
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da napišem scenario, režiram
02:53
and produce the film myself.
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i produciram film sam.
02:55
And Robert is actually the very first example
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Robert je zapravo prvi primer
02:59
of how constraints can boost creativity.
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kako ograničenja mogu
pospešiti kreativnost.
pospešiti kreativnost.
03:03
Because this guy is the busiest man on the planet.
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Jer on je najzauzetiji čovek
na planeti.
na planeti.
03:06
I mean, his agenda is booked until 2042,
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Hoću reći, ima ugovorene poslove
do 2042.
do 2042.
03:09
and he's really hard to get,
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i zaista je teško doći do njega,
03:13
and I wanted him to be in the movie,
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a ja sam želeo da bude u mom filmu
03:16
to reprise his role in the movie.
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da ponovi svoju ulogu.
03:17
But the thing is, had I waited
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Ali stvar je u tome da
ako bih ga čekao do 2042.
ako bih ga čekao do 2042.
03:20
for him until 2042, my film wouldn't be
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moj film više ne bi bio futuristički
03:23
a futuristic film anymore, so I just couldn't do that. Right?
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pa nisam mogao
to da uradim, zar ne?
to da uradim, zar ne?
03:27
But that's kind of a big problem.
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Ali to je prilično veliki problem.
03:28
How do you get somebody who is too busy
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Kako učiniti da neko
ko je toliko zauzet
ko je toliko zauzet
03:32
to star in a movie?
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glumi i u filmu?
03:34
Well, I said as a joke in a production meeting --
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Pa, rekao sam kroz šalu
na produkcijskom sastanku,
na produkcijskom sastanku,
03:38
and this is a true story, by the way —
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i, usput, ovo je istinita priča,
03:40
I said, "Why don't we turn this guy into a hologram?
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rekao sam: "Zašto ne pretvorimo
ovog lika u hologram?
ovog lika u hologram?
03:42
Because, you know, he is everywhere
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Jer, znate, on je svugde i nigde
03:45
and nowhere on the planet at the same time,
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na planeti u isto vreme.
03:46
and he's an illuminated being in my mind,
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U mojim mislima on je prosvetljeno biće
03:49
and he's in between reality and virtual reality,
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između stvarnosti i virtualne realnosti,
03:53
so it would make perfect sense
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tako da bi imalo tako mnogo smisla
03:55
to turn this guy into a hologram."
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pretvoriti ga u hologram."
03:58
Everybody around the table laughed,
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Svi za stolom su se nasmejali,
04:00
but the joke was kind of a good solution,
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ali šala je bila moguće dobro rešenje
04:02
so that's what we ended up doing.
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i to je upravo ono
što smo na kraju uradili.
što smo na kraju uradili.
04:05
Here's how we did it. We shot Robert with six cameras.
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Evo i kako. Snimili smo Roberta
sa 6 kamera.
sa 6 kamera.
04:09
He was dressed in green and he was like
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Bio je obučen u zeleno i kao da je
04:11
in a green aquarium.
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bio u zelenom akvarijumu.
04:13
Each camera was covering 60 degrees of his head,
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Svaka kamera je pokrivala
60 stepeni njegove glave,
60 stepeni njegove glave,
04:15
so that in post-production we could use
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tako da smo u post-produkciji
mogli da koristimo
mogli da koristimo
04:18
pretty much any angle we needed,
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gotovo svaki ugao koji nam je trebao,
04:20
and we shot only his head.
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a snimali smo samo njegovu glavu.
04:22
Six months later there was a guy on set,
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Šest mesci kasnije snimali smo čoveka,
04:25
a mime portraying the body,
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mimičara koji je predstavljao telo
04:27
the vehicle for the head.
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- prevozno sredstvo za glavu.
04:29
And he was wearing a green hood
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On je nosio zelenu kapuljaču
04:32
so that we could erase the green hood in postproduction
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koju smo mogli da uklonimo
u post-produkciji
u post-produkciji
04:36
and replace it with Robert Lepage's head.
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i zamenimo je Robertovom glavom.
04:38
So he became like a renaissance man,
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Izgledao je kao čovek
iz doba renesanse,
iz doba renesanse,
04:40
and here's what it looks like in the movie.
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a evo kako je izgledao u filmu.
04:42
(Music)
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(Muzika)
04:54
(Video) Robert Lepage: [As usual, Arthur's drawing
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(Video) Robert Lepaž:
[Kao i obično, Arturovi crteži
[Kao i obično, Arturovi crteži
04:56
didn't account for the technical challenges.
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se nisu pozabavili
tehničkim izazovima.
tehničkim izazovima.
04:59
I welded the breech, but the valve is still gaping.
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Zavario sam zatvarač
ali ventil i dalje ne naleže.
ali ventil i dalje ne naleže.
05:03
I tried to lift the pallets to lower the pressure in the sound box,
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Pokušao sam da podignem palete
kako bih smanjio pritisak
kako bih smanjio pritisak
05:07
but I might have hit a heartstring.
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u zvučnoj kutiji ali sam možda
zakačio zvučnu nit.
zakačio zvučnu nit.
05:11
It still sounds too low.]
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I dalje zvuči previše tiho.]
05:13
Jacques Languirand: [That's normal.
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Žak Langirand:
[To je u redu.
[To je u redu.
05:14
The instrument always ends up resembling its model.]
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Instrument uvek
na kraju oponaša svoj model.]
na kraju oponaša svoj model.]
05:17
(Music)
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(Muzika)
05:38
Martin Villeneuve: Now these musical instruments
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Martin Vilnev: Ovi muzički instrumenti
05:41
that you see in this excerpt,
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koje ste videli u odlomku
05:43
they're my second example of how
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predstavljaju drugi primer
05:46
constraints can boost creativity,
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kako ograničenja mogu
poboljšati kreativnost,
poboljšati kreativnost,
05:48
because I desperately needed these objects in my movie.
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jer su mi očajno bili potrebni
ovi predmeti u filmu.
ovi predmeti u filmu.
05:51
They are objects of desire.
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Oni su predmet želje.
05:53
They are imaginary musical instruments.
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Oni su zamišljeni muzički instrumenti
05:56
And they carry a nice story with them.
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koji sa sobom nose lepu priču.
05:58
Actually, I knew what these things would look like
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Zapravo, znao sam
kako će oni izgledati,
kako će oni izgledati,
06:02
in my mind for many, many years.
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u mojoj glavi, već mnogo,
mnogo godina.
mnogo godina.
06:04
But my problem was, I didn't have the money
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Ali, problem je bio
što nisam imao novca
što nisam imao novca
06:08
to pay for them. I couldn't afford them.
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da ih platim.
Nisam mogao da ih priuštim.
Nisam mogao da ih priuštim.
06:11
So that's kind of a big problem too.
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A to je takođe veliki problem.
06:14
How do you get something that you can't afford?
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Kako dobiti nešto
što ne možeš da priuštiš?
što ne možeš da priuštiš?
06:17
And, you know, I woke up one morning with a pretty good idea.
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Ali, jednog jutra sam se probudio
sa jako dobrom idejom.
sa jako dobrom idejom.
06:21
I said, "What if I have somebody else pay for them?"
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Rekao sam:
"Šta ako ih neko drugi plati?"
"Šta ako ih neko drugi plati?"
06:25
(Laughter)
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(Smeh)
06:28
But who on Earth would be interested
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Ali koga bi uopšte interesovalo
06:32
by seven not-yet-built musical instruments
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sedam još nenapravljenih
muzičkih instrumenata
muzičkih instrumenata
06:35
inspired by women's bodies?
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inspirisanih ženskim telima?
06:37
And I thought of Cirque du Soleil in Montreal,
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Na pamet mi je pao
Sirk de Solei u Montrealu,
Sirk de Solei u Montrealu,
06:40
because who better to understand the kind of
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jer ko bi drugi bolje razumeo tu vrstu
06:43
crazy poetry that I wanted to put on screen?
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sulude poezije
koju sam želeo na ekranu?
koju sam želeo na ekranu?
06:46
So I found my way to Guy Laliberté, Cirque du Soleil's CEO,
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Dakle, kontaktirao sam
menadžera Sirka, Gija Lalibertija
menadžera Sirka, Gija Lalibertija
06:49
and I presented my crazy idea to him
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i predstavio mu svoju ludu ideju
06:52
with sketches like this and visual references,
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sa ovakvim skicama
i očiglednim prilozima
i očiglednim prilozima
06:55
and something pretty amazing happened.
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i nešto prilično neverovatno
se dogodilo.
se dogodilo.
06:58
Guy was interested by this idea
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Gi je bio zainteresovan za moju ideju
07:00
not because I was asking for his money,
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ne zato što sam od njega tražio novac,
07:03
but because I came to him with a good idea
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već zato što sam došao kod njega
sa dobrom idejom
sa dobrom idejom
07:07
in which everybody was happy.
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i svi su bili srećni.
07:08
It was kind of a perfect triangle
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Bio je to savršen trougao
07:11
in which the art buyer was happy
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u kome je kupac bio srećan
07:14
because he got the instruments at a cheaper price,
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jer dobija instrumente jeftino
07:17
because they weren't even made.
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zato što još nisu napravljeni.
07:19
He took a leap of faith.
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Pokazao je malo vere.
07:20
And the artist, Dominique Engel, brilliant guy,
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Umetnik, Dominik Engel, izuzetan lik,
07:24
he was happy too because he had a dream project
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bio je srećan jer je dobio
projekat iz snova
projekat iz snova
07:27
to work on for a year.
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na kome će raditi godinu dana.
07:29
And obviously I was happy because I got the instruments
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I, očigledno, ja sam bio srećan
jer sam dobio instrumente
jer sam dobio instrumente
07:32
in my film for free, which was kind of what I tried to do.
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besplatno, što sam, otprilike,
i pokušavao da uradim.
i pokušavao da uradim.
07:37
So here they are.
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I, evo ih.
07:39
And my last example of how constraints
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Moj posldenji primer kako ograničenja
07:42
can boost creativity
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mogu da podstaknu kreativnost
07:44
comes from the green,
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u vezi je sa zelenom bojom.
07:48
because this is a weird color, a crazy color,
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Ovo je čudna, luda boja
07:51
and you need to replace the green screens eventually
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i morate zameniti zelene ekrane
u nekom trenutku
u nekom trenutku
07:54
and you must figure that out sooner rather than later.
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i bolje da to shvatite
ranije nego kasnije.
ranije nego kasnije.
07:57
And I had, again, pretty much, ideas in my mind
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Ja sam u svojoj glavi imao ideju
08:01
as to what the world would be,
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kako bi svet trebalo da izgleda
08:03
but then again I turned to my childhood imagination
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ali onda sam se ponovo vratio
svojim dečačkim maštanjima
svojim dečačkim maštanjima
08:09
and went to the work of Belgian comic book master
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i okrenuo se radu
belgijskog strip majstora
belgijskog strip majstora
08:12
François Schuiten in Belgium.
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Fransoa Shejtena.
08:15
And this guy is another guy I admire a lot,
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Ovo je još jedan čovek
kome se divim
kome se divim
08:18
and I wanted him to be involved in the movie
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i želeo sam da bude uključen u film
08:21
as a production designer.
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kao scenograf.
08:23
But people told me, you know, Martin, it's impossible,
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Ali ostali su mi rekli:
"Znaš, Martine, to je nemoguće.
"Znaš, Martine, to je nemoguće.
08:25
the guy is too busy and he will say no.
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Čovek je prezauzet i odbiće te."
08:28
Well, I said, you know what, instead of mimicking his style,
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Dobro, rekao sam, umesto
što bih oponašao njegov stil,
što bih oponašao njegov stil,
08:32
I might as well call the real guy and ask him,
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mogao bih da ga pozovem i pitam.
08:34
and I sent him my books,
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Poslao sam mu svoje knjige
08:36
and he answered that he was interested
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i odgovorio je da je zainteresovan
08:38
in working on the film with me
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da radi na filmu sa mnom
08:40
because he could be a big fish in a small aquarium.
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jer može da bude velika riba
u maloj bari.
u maloj bari.
08:44
In other words, there was space for him to dream with me.
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Drugačije rečeno, bilo je prostora
za njega da sanja sa mnom.
za njega da sanja sa mnom.
08:48
So here I was with one of my childhood heroes,
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I eto me sa jednim
od mojih junaka iz detinjstva,
od mojih junaka iz detinjstva,
08:51
drawing every single frame that's in the film
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crtali smo svaki pojedinačni
kadar iz filma
kadar iz filma
08:54
to turn that into Montreal in the future.
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kako bismo to pretvorili
u Montreal iz budućnosti.
u Montreal iz budućnosti.
08:57
And it was an amazing collaboration
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Bilo je odlično sarađivati
08:59
to work with this great artist whom I admire.
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sa izuzetnim umetnikom
kojem sam se divio.
kojem sam se divio.
09:02
But then, you know, eventually you have to turn
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Ali, na kraju, morate da pretvorite
09:06
all these drawings into reality.
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sve te crteže u stvarnost.
09:08
So, again, my solution was to aim
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I, ponovo, želeo sam
09:11
for the best possible artist that I could think of.
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najboljeg mogućeg umetnika
koji bi mi pao na pamet.
koji bi mi pao na pamet.
09:14
And there's this guy in Montreal, another Quebecois
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Pomislio sam na još jednog
lika iz Montreala,
lika iz Montreala,
09:17
called Carlos Monzon, and he's a very good VFX artist.
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Karlosa Monzona koji je jako
dobar sa vizuelnim efektima.
dobar sa vizuelnim efektima.
09:21
This guy had been lead compositor on such films
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On je bio glavni montažer
u filmovima kao što su
u filmovima kao što su
09:25
as "Avatar" and "Star Trek" and "Transformers,"
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"Avatar", "Zvezdane staze" ,
"Transformersi"
"Transformersi"
09:28
and other unknown projects like this,
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i još nekim manje poznatim projektima,
09:30
and I knew he was the perfect fit for the job,
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tako da sam znao da je on
savršen za ovaj posao.
savršen za ovaj posao.
09:33
and I had to convince him,
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Morao sam da ga ubedim da umesto
09:34
and, instead of working on the next Spielberg movie,
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da radi na sledećem Spilbergovom filmu
09:38
he accepted to work on mine.
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prihvati da radi na mom.
09:40
Why? Because I offered him a space to dream.
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Zašto? Zato što sam mu ponudio
prostor da sanja.
prostor da sanja.
09:44
So if you don't have money to offer to people,
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Dakle, ako nemate
da ponudite novac ljudima,
da ponudite novac ljudima,
09:47
you must strike their imagination with something
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morate da zagolicate
njihovu maštu sa nečim
njihovu maštu sa nečim
09:50
as nice as you can think of.
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neverovatno dobrim.
09:53
So this is what happened on this movie,
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To se događalo sa ovim filmom
09:55
and that's how it got made,
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i tako je snimljen,
09:57
and we went to this very nice postproduction company
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otišli smo u jako dobru
postprodukcijsku kuću,
postprodukcijsku kuću,
10:00
in Montreal called Vision Globale,
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Vision Global u Montrealu,
10:02
and they lent their 60 artists to work full time
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i oni su nam dali 60 umetnika
koji su radili na filmu
koji su radili na filmu
10:06
for six months to do this crazy film.
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puno radno vreme,
tokom 6 meseci.
tokom 6 meseci.
10:09
So I want to tell you that, if you have some crazy ideas
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Želim da vam kažem
da ako imate neke lude ideje
da ako imate neke lude ideje
10:14
in your mind, and that people tell you
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u svojoj glavi, a svi vam govore
10:16
that it's impossible to make,
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da je nemoguće ostvariti ih,
10:17
well, that's an even better reason to want to do it,
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pa, to je razlog više
da želite da ih ostvarite.
da želite da ih ostvarite.
10:20
because people have a tendency
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Ljudi imaju sklonost da se fokusiraju
10:22
to see the problems rather than the final result,
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na probleme pre nego
na konačan rezultat.
na konačan rezultat.
10:25
whereas if you start to deal with problems
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Ali ako počnete da posmatrate probleme
10:28
as being your allies rather than your opponents,
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kao svoje saveznike,
a ne protivnike,
a ne protivnike,
10:31
life will start to dance with you
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život će postati mnogo zabavniji
10:33
in the most amazing way.
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na najčudesniji način.
10:35
I have experienced it.
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Iskusio sam to.
10:37
And you might end up doing some crazy projects,
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A možda ćete i vi početi da radite
neke nemoguće projekte
neke nemoguće projekte
10:40
and who knows, you might even end up
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i, ko zna, možda ćete čak
10:43
going to Mars.
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završiti na Marsu.
10:45
Thank you.
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Hvala vam.
10:47
(Applause)
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(Aplauz)
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