TED2013
Martin Villeneuve: How I made an impossible film
Martin Villeneuve: Kako sam napravio nemoguć film
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Filmaš Martin Villeneuve govori o "Mars et Avril", kanadskom znanstveno fantastičnom spektaklu koji je napravio s gotovo ništa novaca. U šarmantnom govoru, objašnjava na razne načine kako je nadišao financijska i logistička ograničenja kako bi producirao svoju jednistvenu i inventivnu viziju 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
napraviti
00:15
but I didn't know it was impossible,
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iako ja to nisam znao
00:19
and that's how I was able to do it.
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i zato sam ga i uspio napraviti.
00:22
"Mars et Avril" is a science fiction film.
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"Ožujak i travanj" je film
znanstvene fantastike.
znanstvene fantastike.
00:24
It's set in Montreal some 50 years in the future.
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Smješten je u Montrealu kojih 50
godina u budućnost.
godina u budućnost.
00:29
No one had done that kind of movie in Quebec before
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Nitko prije u Quebecu nije napravio takav
film,
film,
00:31
because it's expensive, it's set in the future,
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jer je skup, smješten u budućnosti,
00:34
and it's got tons of visual effects,
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ima tone vizualnih efekata,
00:36
and it's shot on green screen.
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i sniman je na zelenom platnu.
00:39
Yet this is the kind of movie that I wanted to make
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Ipak, htio sam napraviti ovakav film
00:41
ever since I was a kid, really,
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otkad sam bio klinac,
00:43
back when I was reading some comic books
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još dok sam čitao stripove
00:45
and dreaming about what the future might be.
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i maštao o tome kako bi budućnost
mogla izgledati.
mogla izgledati.
00:48
When American producers see my film,
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Kad 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 velik budžet za to,
00:54
like 23 million.
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oko 23 milijuna.
00:57
But in fact I had 10 percent of that budget.
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Ustvari, imao sam 10% tog budžeta.
01:00
I did "Mars et Avril" for only 2.3 million.
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Napravio sam "Ožujak i travanj" za samo
2,3 milijuna.
2,3 milijuna.
01:03
So you might wonder, what's the deal here?
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Možete se pitati, u čemu je stvar?
01:04
How did I do this?
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Kako sam to napravio?
01:07
Well, it's two things. First, it's time.
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Dvije stvari su u igri. Prva je vrijeme.
01:10
When you don't have money, you must take time,
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Kada nemate novaca, morate uzeti vremena,
01:13
and it took me seven years to do "Mars et Avril."
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a meni je trebalo 7 godina za
"Ožujak i travanj".
"Ožujak i travanj".
01:17
The second aspect is love.
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Drugi aspekt je ljubav.
01:20
I got tons and tons of generosity from everyone involved.
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Dobio sam na tone velikodušnosti od svih
koji su bili uključeni.
koji su bili uključeni.
01:23
And it seems like every department had nothing,
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Činilo se kao da niti jedan
odjel nema ništa,
odjel nema ništa,
01:26
so they had to rely on our creativity
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pa su se morali oslanjati na kreativnost
01:29
and turn every problem into an opportunity.
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i pretvoriti svaki problem u priliku.
01:31
And that brings me to the point of my talk, actually,
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To me, zapravo, dovodi do cilja mog govora
01:33
how constraints, big creative constraints, can boost creativity.
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kako ograničenja, velika kreativna
ograničenja, mogu pojačati kreativnost.
ograničenja, mogu pojačati kreativnost.
01:37
But let me go back in time a bit.
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No, vratit ću se kratko unatrag.
01:41
In my early 20s, I did some graphic novels,
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U mojim ranim 20-ima, napravio sam
nekolicinu grafičkih romana,
nekolicinu grafičkih romana,
01:44
but they weren't your usual graphic novels.
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no nisu bili uobičajeni.
01:46
They were books telling a science fiction story
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Bili su knjige koje pričaju znanstveno
fantastičnu priču
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 većina glumaca koji su uključeni
01:55
in the movie adaptation, they were already involved
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u filmsku adaptaciju, su već bili
uključeni
uključeni
01:57
in these books portraying characters
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portretirajući u knjigama likove
02:00
into a sort of experimental, theatrical, simplistic way.
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na neki eksperimentalni, teatralni,
jednostavni način.
jednostavni način.
02:06
And one of these actors is the great stage director
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Jedan od tih glumaca je sjajan redatelj
02:10
and actor Robert Lepage.
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i glumac Robert Lepage.
02:11
And I just love this guy.
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Volim tog tipa.
02:13
I've been in love with this guy since I was a kid.
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Volim ga otkad sam bio klinac.
02:16
His career I admire a lot.
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Jako se divim njegovoj karijeri.
02:19
And I wanted this guy to be involved in my crazy project,
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I htio sam ga uključiti u moj
suludi projekt,
suludi projekt,
02:22
and he was kind enough to lend his image
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i bio je dovoljno drag da svoju priliku
posudi
posudi
02:26
to the character of Eugène Spaak,
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liku Eugena Spaaka,
02:28
who is a cosmologist and artist who seeks relation
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koji je kozmolog i umjetnik
koji traži vezu
koji traži vezu
02:32
in between time, space, love, music and women.
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između vremena, svemira, ljubavi, glazbe
i žena.
i žena.
02:38
And he was a perfect fit for the part,
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Bio je savršen za ulogu,
02:41
and Robert is actually the one who gave me my first chance.
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i Robert je ustvari onaj koji mi je dao
prvu priliku.
prvu priliku.
02:44
He was the one who believed in me
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Bio je onaj koji je vjerovao u mene
02:47
and encouraged me to do an adaptation of my books
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i ohrabrio me da radim adaptacije
svojih knjiga
svojih knjiga
02:50
into a film, and to write, direct,
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u filmove, da pišem, režiram,
02:53
and produce the film myself.
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i produciram film samostalno.
02:55
And Robert is actually the very first example
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Robert je ustvari prvi primjer
02:59
of how constraints can boost creativity.
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kako ograničenja povećavaju kreativnost.
03:03
Because this guy is the busiest man on the planet.
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Jer ovaj tip je najzauzetiji čovjek
na planeti.
na planeti.
03:06
I mean, his agenda is booked until 2042,
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Njegov raspored je popunjen do 2042.,
03:09
and he's really hard to get,
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vrlo ga je teško dobiti,
03:13
and I wanted him to be in the movie,
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i htio sam da bude u mom filmu,
03:16
to reprise his role in the movie.
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da ponovi svoju ulogu u filmu.
03:17
But the thing is, had I waited
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No stvar je u tome, da sam čekao
03:20
for him until 2042, my film wouldn't be
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na njega do 2042., moj film ne bi bio
03:23
a futuristic film anymore, so I just couldn't do that. Right?
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film budućnosti više, pa nisam to mogao
napraviti, zar ne?
napraviti, zar ne?
03:27
But that's kind of a big problem.
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To je velik problem.
03:28
How do you get somebody who is too busy
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Kako postići da netko tko je prezauzet
03:32
to star in a movie?
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glumi u filmu?
03:34
Well, I said as a joke in a production meeting --
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Kao šalu sam izrekao na
sastanku produkcije --
sastanku produkcije --
03:38
and this is a true story, by the way —
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ovo je istinita priča, usput --
03:40
I said, "Why don't we turn this guy into a hologram?
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rekao sam: "Zašto ga ne pretvorimo
u hologram?
u hologram?
03:42
Because, you know, he is everywhere
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Jer, znate, posvuda je
03:45
and nowhere on the planet at the same time,
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i nigdje na planeti u isto vrijeme,
03:46
and he's an illuminated being in my mind,
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i prosvjetljeno biće u mojoj glavi je,
03:49
and he's in between reality and virtual reality,
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između stvarnosti i
virtualne stvarnosti,
virtualne stvarnosti,
03:53
so it would make perfect sense
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pa ima savršenog smisla
03:55
to turn this guy into a hologram."
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da ga pretvorimo u hologram."
03:58
Everybody around the table laughed,
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Svi oko stola su se nasmijali,
04:00
but the joke was kind of a good solution,
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no ta šala je bila dobro rješenje,
04:02
so that's what we ended up doing.
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pa smo to i napravili.
04:05
Here's how we did it. We shot Robert with six cameras.
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Ovako smo to napravili. Snimali smo
Roberta sa šest kamera.
Roberta sa šest kamera.
04:09
He was dressed in green and he was like
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Bio je obučen u zeleno i bio je
04:11
in a green aquarium.
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u svojevrsnom zelenom akvariju.
04:13
Each camera was covering 60 degrees of his head,
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Svaka kamera je pokrivala 60% njegove
glave,
glave,
04:15
so that in post-production we could use
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kako bismo u post produkciji
mogli koristiti
mogli koristiti
04:18
pretty much any angle we needed,
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bilo koji kut koji smo trebali,
04:20
and we shot only his head.
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i snimali smo samo njegovu glavu.
04:22
Six months later there was a guy on set,
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6 mjeseci kasnije, imali smo tipa na setu,
04:25
a mime portraying the body,
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mimičara koji predstavlja tijelo,
04:27
the vehicle for the head.
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vozilo za glavu.
04:29
And he was wearing a green hood
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Nosio je zelenu kapu
04:32
so that we could erase the green hood in postproduction
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kako bismo ju mogli izbrisati u
post produkciji
post produkciji
04:36
and replace it with Robert Lepage's head.
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i zamijeniti ju s onom Roberta Lepagea.
04:38
So he became like a renaissance man,
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Postao je renesansni čovjek,
04:40
and here's what it looks like in the movie.
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a ovo je kako to izgleda u filmu.
04:42
(Music)
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(Glazba)
04:54
(Video) Robert Lepage: [As usual, Arthur's drawing
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(Video) Robert Lepage: [Kao i obično,
04:56
didn't account for the technical challenges.
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Arthurov crtež nije računao na
tehničke izazove.
tehničke izazove.
04:59
I welded the breech, but the valve is still gaping.
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Zavario sam stražnji dio, no ventil
još pušta.
još pušta.
05:03
I tried to lift the pallets to lower the pressure in the sound box,
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Pokušao sam dignuti palete da bih smanjio
pritisak u rezonantnoj kutiji,
pritisak u rezonantnoj kutiji,
05:07
but I might have hit a heartstring.
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no možda sam pogodio samo srce.
05:11
It still sounds too low.]
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Još uvijek zvuči prenisko.]
05:13
Jacques Languirand: [That's normal.
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Jacques Languirand: [To je normalno.
05:14
The instrument always ends up resembling its model.]
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Instrument uvijek na kraju nalikuje
na svoj model.]
na svoj model.]
05:17
(Music)
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(Glazba)
05:38
Martin Villeneuve: Now these musical instruments
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Martin Villeneuve: Ovi instrumenti
05:41
that you see in this excerpt,
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koje vidite u ovom isječku,
05:43
they're my second example of how
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su moj drugi primjer kako
05:46
constraints can boost creativity,
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ograničenja mogu povećavati kreativnost,
05:48
because I desperately needed these objects in my movie.
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jer sam očajnički trebao te objekte
u svom filmu.
u svom filmu.
05:51
They are objects of desire.
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Oni su predmeti požude.
05:53
They are imaginary musical instruments.
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Oni su izmišljeni glazbeni instrumenti.
05:56
And they carry a nice story with them.
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I nose lijepu priču sa sobom.
05:58
Actually, I knew what these things would look like
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Zapravo, znao sam kako će te stvari
izgledati
izgledati
06:02
in my mind for many, many years.
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u svojoj glavi, već mnogo, mnogo godina.
06:04
But my problem was, I didn't have the money
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Moj problem je bio taj što nisam imao
novaca
novaca
06:08
to pay for them. I couldn't afford them.
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da ih platim. Nisam si ih mogao priuštiti.
06:11
So that's kind of a big problem too.
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To je također velik problem.
06:14
How do you get something that you can't afford?
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Kako dobijete nešto što si
ne možete priuštiti?
ne možete priuštiti?
06:17
And, you know, I woke up one morning with a pretty good idea.
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I, jednog dana sam se probudio s
poprilično dobrom idejom.
poprilično dobrom idejom.
06:21
I said, "What if I have somebody else pay for them?"
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Rekao sam:
"Što ako netko drugi plati za njih?"
"Što ako netko drugi plati za njih?"
06:25
(Laughter)
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(Smijeh)
06:28
But who on Earth would be interested
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No, tko bi na svijetu bio zainteresiran
06:32
by seven not-yet-built musical instruments
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za sedam instrumenata koji
nisu napravljeni
nisu napravljeni
06:35
inspired by women's bodies?
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i koji su inspirirani ženskim tijelima?
06:37
And I thought of Cirque du Soleil in Montreal,
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Sjetio sam se Cirque du Soleil
u Montrealu,
u Montrealu,
06:40
because who better to understand the kind of
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jer tko će bolje razumjeti
06:43
crazy poetry that I wanted to put on screen?
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vrstu lude poezije koju sam htio
staviti na platno?
staviti na platno?
06:46
So I found my way to Guy Laliberté, Cirque du Soleil's CEO,
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Našao sam svoj put do Guya Lalibertea,
direktora Cirque du Soleila,
direktora Cirque du Soleila,
06:49
and I presented my crazy idea to him
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i iznio mu svoju ludu ideju
06:52
with sketches like this and visual references,
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s crtežima poput ovoga i vizualnim
referencama,
referencama,
06:55
and something pretty amazing happened.
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i nešto porilično čudesno se dogodilo.
06:58
Guy was interested by this idea
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Guy je bio zainteresiran za ideju
07:00
not because I was asking for his money,
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ne jer sam tražio njegov novac,
07:03
but because I came to him with a good idea
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nego jer sam mu došao s dobrom idejom
07:07
in which everybody was happy.
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u kojoj su svi bili sretni.
07:08
It was kind of a perfect triangle
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Bio je to savršen trokut
07:11
in which the art buyer was happy
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u kojem je kupac umjetnina bio sretan,
07:14
because he got the instruments at a cheaper price,
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jer je dobio instrumente povoljno,
07:17
because they weren't even made.
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jer nisu niti napravljeni.
07:19
He took a leap of faith.
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Napravio je skok vjere.
07:20
And the artist, Dominique Engel, brilliant guy,
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Umjetnik, Dominique Engel, briljantan tip,
07:24
he was happy too because he had a dream project
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bio je sretan također jer je dobio projekt
iz snova
iz snova
07:27
to work on for a year.
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na kojem može raditi godinu dana.
07:29
And obviously I was happy because I got the instruments
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I očito, ja sam bio sretan jer sam dobio
instrumente
instrumente
07:32
in my film for free, which was kind of what I tried to do.
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za svoj film besplatno, što je otprilike
bilo ono što sam pokušavao napraviti.
bilo ono što sam pokušavao napraviti.
07:37
So here they are.
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Dakle, ovdje su.
07:39
And my last example of how constraints
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I moj zadnji primjer kako ograničenja
07:42
can boost creativity
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mogu povećati kreativnost
07:44
comes from the green,
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dolazi iz zelene,
07:48
because this is a weird color, a crazy color,
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jer ovo je čudna, luda boja,
07:51
and you need to replace the green screens eventually
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i morate u neko doba zamijeniti
zeleno platno
zeleno platno
07:54
and you must figure that out sooner rather than later.
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i to morate shvatiti prije,
bolje nego kasnije.
bolje nego kasnije.
07:57
And I had, again, pretty much, ideas in my mind
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I imao sam, opet, ideje u glavi
08:01
as to what the world would be,
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kakav bi svijet trebao biti,
08:03
but then again I turned to my childhood imagination
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no opet sam se vratio mašti iz
djetinjstva
djetinjstva
08:09
and went to the work of Belgian comic book master
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i otišao do radova belgijskog majstora
stripova,
stripova,
08:12
François Schuiten in Belgium.
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Francoisa Schuitena u Belgiju.
08:15
And this guy is another guy I admire a lot,
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Ovo je još jedan tip kojemu
se mnogo divim,
se mnogo divim,
08:18
and I wanted him to be involved in the movie
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i htio sam da bude uključen u film
08:21
as a production designer.
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kao produkcijski dizajner.
08:23
But people told me, you know, Martin, it's impossible,
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No ljudi su mi rekli, Martine,
nemoguće je,
nemoguće je,
08:25
the guy is too busy and he will say no.
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čovjek je prezauzet i reći će ne.
08:28
Well, I said, you know what, instead of mimicking his style,
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Rekao sam, znate što, umjesto da oponašam
njegov stil,
njegov stil,
08:32
I might as well call the real guy and ask him,
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mogao bih nazvati stvarnog
tipa i pitati ga,
tipa i pitati ga,
08:34
and I sent him my books,
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i poslao sam mu svoje knjige,
08:36
and he answered that he was interested
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i odgovorio je da je zainteresiran
08:38
in working on the film with me
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za rad na filmu sa mnom
08:40
because he could be a big fish in a small aquarium.
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jer može biti velika riba
u malom akvariju.
u malom akvariju.
08:44
In other words, there was space for him to dream with me.
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Drugim riječima, postojao je prostor za
njega da sanja sa mnom.
njega da sanja sa mnom.
08:48
So here I was with one of my childhood heroes,
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Dakle, s jednim od svojih heroja
iz djetinjstva
iz djetinjstva
08:51
drawing every single frame that's in the film
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sam crtao svaki kadar iz filma
08:54
to turn that into Montreal in the future.
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kako bismo stvorili Montreal
iz budućnosti.
iz budućnosti.
08:57
And it was an amazing collaboration
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To je bila čudesna suradnja
08:59
to work with this great artist whom I admire.
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raditi s ovim sjajnim umjetnikom
kojemu se divim.
kojemu se divim.
09:02
But then, you know, eventually you have to turn
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No, znate, na kraju morate sve te
09:06
all these drawings into reality.
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crteže pretvoriti u stvarnost.
09:08
So, again, my solution was to aim
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Dakle, opet, moje rješenje je bilo ciljati
09:11
for the best possible artist that I could think of.
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na najboljeg mogućeg umjetnika kojeg
sam se mogao sjetiti.
sam se mogao sjetiti.
09:14
And there's this guy in Montreal, another Quebecois
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Postoji tip u Montrealu, još jedan iz
Quebeca,
Quebeca,
09:17
called Carlos Monzon, and he's a very good VFX artist.
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zvan Carlos Monzon, koji je iznimno dobar
umjetnik vizualnih efekata.
umjetnik vizualnih efekata.
09:21
This guy had been lead compositor on such films
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Bio je glavni kompozitor na filmovima
09:25
as "Avatar" and "Star Trek" and "Transformers,"
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kao što su "Avatar", "Star Trek",
"Transformers",
"Transformers",
09:28
and other unknown projects like this,
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i ostalim nepoznatim projektima
poput ovih,
poput ovih,
09:30
and I knew he was the perfect fit for the job,
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i znao sam da je savršen za posao;
09:33
and I had to convince him,
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morao sam ga uvjeriti,
09:34
and, instead of working on the next Spielberg movie,
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i, umjesto da radi na sljedećem
Spielbergovom filmu,
Spielbergovom filmu,
09:38
he accepted to work on mine.
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prihvatio je raditi na mojem.
09:40
Why? Because I offered him a space to dream.
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Zašto? Jer sam mu dao prostora da sanja.
09:44
So if you don't have money to offer to people,
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Ako nemate novaca da ponudite ljudima,
09:47
you must strike their imagination with something
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morate potaknuti njihovu maštu nečime
09:50
as nice as you can think of.
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najljepšim što možete zamisliti.
09:53
So this is what happened on this movie,
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To je što se dogodilo na ovom filmu,
09:55
and that's how it got made,
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i tako sam ga napravio.
09:57
and we went to this very nice postproduction company
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Otišli smo u odličnu agenciju
za post produkciju
za post produkciju
10:00
in Montreal called Vision Globale,
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u Montrealu zvanoj Vision Globale,
10:02
and they lent their 60 artists to work full time
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i posudili su nam 60 umjetnika da
rade cijelo vrijeme
rade cijelo vrijeme
10:06
for six months to do this crazy film.
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6 mjeseci, kako bi napravili
ovaj ludi film.
ovaj ludi film.
10:09
So I want to tell you that, if you have some crazy ideas
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Dakle, htio sam vam reći da ako
imate lude ideje
imate lude ideje
10:14
in your mind, and that people tell you
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u svojoj glavi i ako vam ljudi kažu
10:16
that it's impossible to make,
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da ih je nemoguće ostvariti,
10:17
well, that's an even better reason to want to do it,
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to je samo razlog više da
želite to napraviti,
želite to napraviti,
10:20
because people have a tendency
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jer ljudi imaju tendenciju
10:22
to see the problems rather than the final result,
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vidjeti probleme radije nego
krajnji rezultat,
krajnji rezultat,
10:25
whereas if you start to deal with problems
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no ako se počnete suočavati s problemima
10:28
as being your allies rather than your opponents,
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kao da su vam saveznici, a ne protivnici,
10:31
life will start to dance with you
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život će početi plesati oko vas
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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Možete završiti radeći neke lude projekte,
10:40
and who knows, you might even end up
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i tko zna, možda čak završite
10:43
going to Mars.
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na putu za Mars.
10:45
Thank you.
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Hvala vam.
10:47
(Applause)
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(Pljesak)
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