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Субтитри за (—) (1992)

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Shakespeare, the Animated Tales - Introduction Making Of.1992.en.1..1630341582.srt ⭳
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1 00:00:02,200 --> 00:00:06,194 (" Prokofiev: Dance Of The Knights from Romeo And Julief) 2 00:00:14,000 --> 00:00:18,790 ‘Moscow hasn't found itself short of western visitors since the collapse of communism. 3 00:00:18,840 --> 00:00:24,791 ‘But few could have had a more surprising reason for coming than Dave Edwards, 4 00:00:24,840 --> 00:00:29,550 ‘a man with an international reputation as a maker of animated films. 5 00:00:29,600 --> 00:00:34,037 ‘Although he's English by birth, Edwards is closely associated with Wales, 6 00:00:34,080 --> 00:00:38,950 ‘having helped to make that country a key player in the world of animation. 7 00:00:40,720 --> 00:00:45,556 ‘For the past 18 months, he has commuted between Cardiff and Moscow, 8 00:00:45,600 --> 00:00:47,876 ‘supervising a remarkable example 9 00:00:47,920 --> 00:00:51,879 ‘of creative collaboration between east and west.' 10 00:00:52,920 --> 00:00:56,515 (Speaks Russian) 11 00:00:56,560 --> 00:01:00,633 ‘Here, at the crumbling but historic studios of Soyuzmult Films, 12 00:01:00,680 --> 00:01:03,752 ‘teams of animators from all over the former Soviet Union 13 00:01:03,800 --> 00:01:06,679 have come together under Dave Edwards' leadership 14 00:01:06,720 --> 00:01:09,189 ‘to produce six half-hour films 15 00:01:09,240 --> 00:01:13,120 ‘based on the best-loved plays of William Shakespeare.' 16 00:01:22,840 --> 00:01:26,674 "This is the story of how the works of England's greatest playwright 17 00:01:26,720 --> 00:01:33,114 ‘have been reinterpreted by an unlikely alliance of Welsh and Russian filmmakers. 18 00:01:33,160 --> 00:01:37,996 'It is a tale whose twists and tums might have appealed to Shakespeare himself. 19 00:01:54,880 --> 00:01:58,350 ‘Anyone accustomed to swish western film studios 20 00:01:58,400 --> 00:02:02,314 is liable to be taken aback by the appearance of Soyuzmult Films. 21 00:02:02,360 --> 00:02:07,070 ‘But the impression of decay the studio projects is, in fact, misleading. 22 00:02:07,120 --> 00:02:09,191 ‘Ever since it was established in 1935, 23 00:02:09,240 --> 00:02:11,834 ‘the company, known as the Soviet Disney, 24 00:02:11,880 --> 00:02:15,510 ‘has adhered to the highest technical and artistic standards. 25 00:02:15,560 --> 00:02:18,154 "lt was this reputation for excellence 26 00:02:18,200 --> 00:02:20,919 ‘that led those in charge of the Shakespeare project 27 00:02:20,960 --> 00:02:23,918 ‘to conceive the notion of making it here in Russia. 28 00:02:26,720 --> 00:02:31,237 ‘Chris Grace, head of animation at the Welsh language TV channel S4C, 29 00:02:31,280 --> 00:02:33,556 is the guiding force behind the series. 30 00:02:33,600 --> 00:02:37,639 ‘He had worked with the Russians before on an animated version of the Mabinogion, 31 00:02:37,680 --> 00:02:39,318 ‘the Welsh folktale cycle. 32 00:02:39,360 --> 00:02:41,749 ‘He had no hesitation in approaching them 33 00:02:41,800 --> 00:02:46,112 ‘when the idea of animating Shakespeare was first mooted three years ago.' 34 00:02:47,240 --> 00:02:51,871 I knew that the Russians could make up their half of the budget. 35 00:02:51,920 --> 00:02:54,150 That was an underpinning reason. 36 00:02:54,200 --> 00:02:59,320 The main reason was that to animate Shakespeare in a 30-minute format, 37 00:02:59,360 --> 00:03:06,232 then we had to go to a country that we knew creatively and artistically could deliver. 38 00:03:06,280 --> 00:03:10,558 In my view, there was only one country that could do it in the style that we wanted, 39 00:03:10,600 --> 00:03:12,637 that came at it from a different angle, 40 00:03:12,680 --> 00:03:16,196 a country to whom Shakespeare was as important as it is to us. 41 00:03:16,240 --> 00:03:18,516 (Speaks Russian) 42 00:03:18,560 --> 00:03:21,598 (Interpreter) In the theatre, the cinema and publishing, 43 00:03:21,640 --> 00:03:23,995 a great deal has been devoted to Shakespeare. 44 00:03:24,040 --> 00:03:27,510 All the plays have been staged and filmed many, many times. 45 00:03:27,560 --> 00:03:32,680 1 would say that his work is well known throughout Russian society. 46 00:03:32,720 --> 00:03:36,759 (Interpreter) I've known Shakespeare's work since childhood. 47 00:03:36,800 --> 00:03:39,713 I studied it at school and later on at university. 48 00:03:39,760 --> 00:03:45,073 My interest in him has remained strong right up until the present day. 49 00:03:45,120 --> 00:03:47,111 (Speaks Russian) 50 00:03:48,520 --> 00:03:51,239 (Interpreter) The Tempest is the play I like best. 51 00:03:51,280 --> 00:03:55,956 It has the light touch of a craftsman who's reached the stage of being free. 52 00:03:56,000 --> 00:03:59,880 He feels his own strength and he's fully in control of his material. 53 00:03:59,920 --> 00:04:03,390 In fact, the play is created as if on wings. 54 00:04:03,440 --> 00:04:07,911 Awake, dear heart, awake. Thou hast slept well. 55 00:04:07,960 --> 00:04:11,237 - (Moans) - Come on. 56 00:04:11,280 --> 00:04:15,114 ‘Before they could begin putting images to Shakespeare's words, 57 00:04:15,160 --> 00:04:18,357 ‘the Russian directors needed a sound recording of each play 58 00:04:18,400 --> 00:04:20,755 ‘to use as a basis for their work.' 59 00:04:20,800 --> 00:04:24,031 What, ho! Slave? Caliban! 60 00:04:24,080 --> 00:04:28,358 ‘Recorded in the sound studios of BBC Wales in the summer of 1991, 61 00:04:28,400 --> 00:04:31,677 ‘these soundtracks are impressive in their own right. 62 00:04:31,720 --> 00:04:34,360 ‘Well-known classical actors were brought in 63 00:04:34,400 --> 00:04:37,358 ‘to make sure that the characters in the completed films 64 00:04:37,400 --> 00:04:41,871 ‘would speak in the authentic cadences of the English Shakespearian tradition.' 65 00:04:41,920 --> 00:04:43,672 ..Sycorax, my mother. 66 00:04:45,960 --> 00:04:51,114 "The scripts were the end product of months of effort by screenwriter Leon Garfield. 67 00:04:51,160 --> 00:04:53,276 ‘He wrote Shakespeare's Stories, 68 00:04:53,320 --> 00:04:57,712 ‘a book that's given thousands of school children their first taste of the Bard's work. 69 00:04:57,760 --> 00:05:02,516 ‘He was very familiar with all the plays he and the producers chose to adapt. 70 00:05:02,560 --> 00:05:06,155 ‘He still had difficulty in deciding what to leave out. 71 00:05:06,200 --> 00:05:11,559 (Garfield) ‘Lines that are selected have to carry the weight of narrative, 72 00:05:11,600 --> 00:05:13,432 ‘and that's not always easy. 73 00:05:13,480 --> 00:05:18,998 "lt frequently meant using half a line and perhaps skipping 20 lines, 74 00:05:19,040 --> 00:05:22,510 ‘and then finding something that would sustain the rhythm, 75 00:05:22,560 --> 00:05:25,120 ‘and at the same time cary on the story.' 76 00:05:25,160 --> 00:05:28,152 The most difficult by far were the comedies - 77 00:05:28,200 --> 00:05:30,999 Twelfth Night and Midsummer Night's Dream. 78 00:05:31,040 --> 00:05:35,830 In the tragedies, you have a fairly strong story going straight through, 79 00:05:35,880 --> 00:05:38,599 sustained by the protagonists. 80 00:05:38,640 --> 00:05:42,429 In the comedies, the structure is much more complex. 81 00:05:42,480 --> 00:05:44,790 For instance, in Midsummer Night's Dream, 82 00:05:44,840 --> 00:05:49,437 it's quite impossible to remove one scene or one set of characters, 83 00:05:49,480 --> 00:05:53,758 because then the story itself won't make sense. 84 00:05:53,800 --> 00:05:55,632 Our revels now are ended. 85 00:05:55,680 --> 00:06:02,552 We are such stuff as dreams are made on, and our little life is rounded with a sleep. 86 00:06:02,600 --> 00:06:04,477 ‘Before they were committed to tape, 87 00:06:04,520 --> 00:06:08,115 ‘the scripts were carefully checked by academic advisers. 88 00:06:08,160 --> 00:06:10,959 "The Russian directors also suggested changes, 89 00:06:11,000 --> 00:06:14,595 ‘an involvement that Leon Garfield actively encouraged.' 90 00:06:14,640 --> 00:06:17,837 The collaboration has been absolutely essential. 91 00:06:17,880 --> 00:06:22,397 The first scripts I did, I hadn't seen any of their animation at all, 92 00:06:22,440 --> 00:06:26,070 and could only imagine what animation could do. 93 00:06:26,120 --> 00:06:29,033 Sometimes it worked, sometimes it didn't. 94 00:06:29,080 --> 00:06:35,315 But after I'd spoken to the directors, who liked my scripts sufficiently 95 00:06:35,360 --> 00:06:38,239 and then suggested their own ideas, 96 00:06:38,280 --> 00:06:40,635 then I found it very much easier. 97 00:06:41,680 --> 00:06:45,389 "All the directors chosen for the series are experienced filmmakers 98 00:06:45,440 --> 00:06:48,910 ‘with strong characters and a well-thought-out approach to work. 99 00:06:48,960 --> 00:06:50,951 ‘With their designers and animators, 100 00:06:51,000 --> 00:06:54,231 ‘they've given a distinctive look and feel to each film.' 101 00:06:56,360 --> 00:06:59,034 - Romeo, we must have you dance. - Not I, believe me. 102 00:06:59,080 --> 00:07:03,392 You have dancing shoes with nimble soles. I have a soul of lead. 103 00:07:03,440 --> 00:07:06,717 ‘Romeo And Juliet is perhaps the most conventional of the six. 104 00:07:06,760 --> 00:07:11,197 ‘Made by the cell animation method favoured by Walt Disney, 105 00:07:11,240 --> 00:07:15,871 ‘the film is a colourful and moving version of the world's greatest love story.' 106 00:07:15,920 --> 00:07:19,629 Oh, she doth teach the torches to burn bright. 107 00:07:19,680 --> 00:07:23,958 ‘For its director, Efim Gamburg, the film was a major departure.' 108 00:07:24,000 --> 00:07:25,991 (Speaks Russian) 109 00:07:27,280 --> 00:07:30,557 (Interpreter) It's very different from my previous films, 110 00:07:30,600 --> 00:07:34,798 in that I have a leaning towards humorous films, parodies or satire, 111 00:07:34,840 --> 00:07:36,751 and that's how I made my name. 112 00:07:36,800 --> 00:07:39,360 This, of course, is a film about love. 113 00:07:41,880 --> 00:07:45,111 Three words, dear Romeo, and good night indeed 114 00:07:45,160 --> 00:07:47,720 If that thy bent of love be honourable 115 00:07:47,760 --> 00:07:50,513 Thy purpose marriage, send me word tomorrow 116 00:07:50,560 --> 00:07:52,597 By one that I'll procure to come to thee 117 00:07:52,640 --> 00:07:56,429 Where and what time thou wilt perform the rite 118 00:07:56,480 --> 00:07:59,916 And all my fortunes at thy foot I'll lay. 119 00:08:01,400 --> 00:08:03,755 The play deals with a timeless subject. 120 00:08:03,800 --> 00:08:07,236 It is about pure feelings, fundamental feelings, if you like. 121 00:08:07,280 --> 00:08:11,069 Woe tried to express that as clearly as possible in this film. 122 00:08:16,280 --> 00:08:21,832 What angel wakes me from my flowery bed? 123 00:08:21,880 --> 00:08:26,192 Gentle mortal, sing again! 124 00:08:26,240 --> 00:08:27,469 ‘Like Romeo And Juliet, 125 00:08:27,520 --> 00:08:31,673 'A Midsummer Night's Dream was made in the conventional way, using drawings. 126 00:08:31,720 --> 00:08:34,280 ‘And yet there's nothing anonymous about it. 127 00:08:34,320 --> 00:08:37,995 ‘Anyone familiar with the work of its director, Robert Saakiants, 128 00:08:38,040 --> 00:08:41,032 ‘would instantly identify it as one of his films. 129 00:08:42,200 --> 00:08:44,191 ‘Unlike other directors in his field, 130 00:08:44,240 --> 00:08:46,959 'Saakiants, a fiercely independent Armenian, 131 00:08:47,000 --> 00:08:50,595 ‘does most of the drawings that go into his films himself. 132 00:08:50,640 --> 00:08:55,669 ‘He's reluctant to let anyone else interfere with his interpretation of the film.' 133 00:08:59,240 --> 00:09:01,356 is determined by someone up there. 134 00:09:01,400 --> 00:09:04,631 I just have a vision of what it should look like, 135 00:09:04,680 --> 00:09:07,274 and once I've seen it, I can't change a thing. 136 00:09:07,320 --> 00:09:11,598 Neither my head nor my hands would let me put the film together in any other way. 137 00:09:11,640 --> 00:09:14,553 My Oberon! 138 00:09:14,600 --> 00:09:17,956 What visions have I seen! 139 00:09:18,000 --> 00:09:21,755 Methought I was enamoured of an ass! 140 00:09:21,800 --> 00:09:24,758 There lies your love. 141 00:09:24,800 --> 00:09:25,995 (Screams) 142 00:09:26,040 --> 00:09:31,160 Come, my queen, take hands with me. 143 00:09:36,080 --> 00:09:39,960 ‘Nikolai Serebrayakov, the bear-like director of Macbeth, 144 00:09:40,000 --> 00:09:44,039 is just as keen to put a personal stamp on his films as Robert Saakiants. 145 00:09:44,080 --> 00:09:46,230 ‘But working with a much darker play, 146 00:09:46,280 --> 00:09:48,476 ‘he and his team have moved further away 147 00:09:48,520 --> 00:09:52,150 ‘from most people's idea of what an animated film should be like.' 148 00:09:53,520 --> 00:09:58,151 The castle of Macduff I will surprise; seize upon Fife 149 00:09:58,200 --> 00:10:01,909 Give to the edge o' the sword his wife, his babes 150 00:10:01,960 --> 00:10:07,034 And all unfortunate souls that trace him in his line. 151 00:10:10,080 --> 00:10:14,199 (Nikolai) "When I was given the chance of filming one of Shakespeare's plays, 152 00:10:14,240 --> 00:10:16,390 'l didn't choose Macbeth at random. 153 00:10:16,440 --> 00:10:18,670 'l had two good reasons.' 154 00:10:18,720 --> 00:10:22,918 First, it's got spirits, witches, soothsaying, ghosts. 155 00:10:22,960 --> 00:10:24,951 All that makes it easier to adapt 156 00:10:25,000 --> 00:10:29,039 and means that it's peculiarly well suited to animation. 157 00:10:33,200 --> 00:10:35,714 ‘Secondly, it's one of the shortest plays. 158 00:10:35,760 --> 00:10:39,913 ‘That's important, since we only have 26 minutes to tell the story.' 159 00:10:43,120 --> 00:10:46,431 (Thinks) 'Is this a dagger which I see before me? 160 00:10:49,480 --> 00:10:52,393 'l have thee not. 161 00:10:52,440 --> 00:10:57,958 'A dagger of the mind? A false creation?' 162 00:10:59,000 --> 00:11:03,392 (Nikolai) "The main task we set ourselves was to make the characters come alive 163 00:11:03,440 --> 00:11:06,751 ‘by giving them believable gestures and facial expressions. 164 00:11:06,800 --> 00:11:09,872 ‘We tried to be actors as well as animators. 165 00:11:09,920 --> 00:11:13,550 "Hopefully this will be what makes the film stand out.' 166 00:11:17,840 --> 00:11:20,480 ‘The challenge of creating rounded characters 167 00:11:20,520 --> 00:11:25,435 ‘has also been a preoccupation for Maria Muat, director of Twelfth Night. 168 00:11:25,480 --> 00:11:31,431 ‘Instead of using drawings, she opted to work with highly sophisticated puppets.' 169 00:11:33,360 --> 00:11:37,240 (Interpreter) The puppets are built around a flexible metal skeleton, 170 00:11:37,280 --> 00:11:39,749 which we can manipulate in any way we like. 171 00:11:39,800 --> 00:11:42,314 We move the puppets frame by frame. 172 00:11:51,240 --> 00:11:53,754 ‘During filming, we take a shot of the puppet, 173 00:11:53,800 --> 00:11:56,314 ‘move it, take another shot, and so on. 174 00:11:56,360 --> 00:12:00,957 ‘When you play this back at 24 frames per second, you get realistic movement.' 175 00:12:03,480 --> 00:12:05,630 How now, Malvoliol 176 00:12:05,680 --> 00:12:07,830 (Laughs) 177 00:12:07,880 --> 00:12:10,520 Sweet lady, ho, ho! 178 00:12:10,560 --> 00:12:13,996 It did come to his hands and commands shall be executed. 179 00:12:14,040 --> 00:12:15,872 What is the matter with thee? 180 00:12:15,920 --> 00:12:17,752 Wilt thou go to bed, Malvolio? 181 00:12:17,800 --> 00:12:21,919 To bed! Ay, sweet-heart, and I'll come to thee. 182 00:12:21,960 --> 00:12:26,193 There's a whole host of tricks you can do to make the characters more believable. 183 00:12:26,240 --> 00:12:31,235 Take our favourite character, Malvolio. He's got several interchangeable heads. 184 00:12:31,280 --> 00:12:33,954 Here his expression is serious and arrogant. 185 00:12:34,000 --> 00:12:37,356 But there are scenes where he has to smile. 186 00:12:37,400 --> 00:12:40,233 To achieve this, we take off the serious head 187 00:12:40,280 --> 00:12:43,352 and replace it with one that's smiling slightly. 188 00:12:45,600 --> 00:12:49,150 The puppets move their eyes because there are little balls 189 00:12:49,200 --> 00:12:51,350 that we can move around using a pin. 190 00:12:51,400 --> 00:12:54,711 This makes it easier for us to convey a sense of character. 191 00:12:57,040 --> 00:13:01,113 ‘In order to get particularly tricky movements exactly right, 192 00:13:01,160 --> 00:13:05,996 ‘the team referred to video recordings of colleagues acting out the required scene. 193 00:13:06,040 --> 00:13:09,078 ‘This explains how the characters manage to give 194 00:13:09,120 --> 00:13:13,990 ‘such a convincing, if exaggerated impression of real human behaviour. 195 00:13:24,520 --> 00:13:27,114 ‘The puppetry brought to bear on Twelfth Night 196 00:13:27,160 --> 00:13:30,198 ‘has also been used to striking effect in The Tempest, 197 00:13:30,240 --> 00:13:33,278 ‘Shakespeare's last and arguably greatest play. 198 00:13:40,200 --> 00:13:42,316 'For director Stanislav Sokolov, 199 00:13:42,360 --> 00:13:45,352 ‘having the chance to work on a play he has always loved 200 00:13:45,400 --> 00:13:47,311 ‘has been intensely rewarding.' 201 00:13:51,080 --> 00:13:54,118 (Interpreter) "You can express anything you think or feel 202 00:13:54,160 --> 00:13:57,357 ‘when you work with literature of this standard.' 203 00:13:57,400 --> 00:14:01,155 You can make a film that reflects your own temperament and feelings 204 00:14:01,200 --> 00:14:05,751 by exploring the psychological discoveries Shakespeare made many years ago. 205 00:14:07,320 --> 00:14:10,790 This rough magic I here abjure 206 00:14:11,600 --> 00:14:15,309 And when I have required some heavenly music, which even now I do 207 00:14:15,360 --> 00:14:19,513 I'll break my staff, I'll drown my book. 208 00:14:21,240 --> 00:14:24,392 (Sokolov) "This film is full of deep-seated human emotions - 209 00:14:24,440 --> 00:14:27,000 "love, hatred, passion, envy. 210 00:14:27,040 --> 00:14:30,715 ‘Because of the atmosphere on this island, full of spirits and ghosts, 211 00:14:30,760 --> 00:14:33,718 'it seems these feelings overflow in all the characters. 212 00:14:33,760 --> 00:14:37,276 ‘They're almost visible on their faces.' 213 00:14:37,320 --> 00:14:42,474 Behold, sir king, the wronged Duke of Milan, Prospero. 214 00:14:49,040 --> 00:14:53,034 ‘Making inanimate objects talk and act exactly like living creatures 215 00:14:53,080 --> 00:14:56,516 ‘calls for a huge amount of patience and skill. 216 00:14:56,560 --> 00:14:58,756 ‘But painstaking as this work is, 217 00:14:58,800 --> 00:15:04,034 'it doesn't inspire quite as much awe as the technique used for the series' final film. 218 00:15:06,160 --> 00:15:09,039 There's rosemary, that's for remembrance 219 00:15:10,200 --> 00:15:12,669 I would give you some violets 220 00:15:12,720 --> 00:15:17,635 But they wither'd all when my father died. 221 00:15:23,480 --> 00:15:27,917 ‘The casual viewer might assume that Hamlet had been made conventionally, 222 00:15:27,960 --> 00:15:30,873 ‘with drawings traced and painted onto celluloid. 223 00:15:30,920 --> 00:15:33,434 ‘But the haunting quality of these images 224 00:15:33,480 --> 00:15:36,791 ‘could never have been achieved by normal methods.' 225 00:15:42,320 --> 00:15:45,870 ‘The film is the product of an unusual and difficult form of animation 226 00:15:45,920 --> 00:15:49,151 "in which each frame is meticulously hand-painted 227 00:15:49,200 --> 00:15:52,670 ‘onto a sheet of glass suspended beneath the camera. 228 00:15:56,040 --> 00:15:58,634 ‘Once each composition has been photographed, 229 00:15:58,680 --> 00:16:03,629 it has to be altered slightly and then re-shot to build up an illusion of movement. 230 00:16:03,680 --> 00:16:08,277 ‘Here, the animator is scratching in a new outline for the kneeling figure. 231 00:16:08,320 --> 00:16:11,631 "When he's finished, the original artist will take over again, 232 00:16:11,680 --> 00:16:14,798 ‘repainting the figure according to this new guide, 233 00:16:14,840 --> 00:16:18,515 ‘and restoring that part of the background which has been disturbed. 234 00:16:18,560 --> 00:16:21,154 ‘I's demanding, often back-breaking work, 235 00:16:21,200 --> 00:16:24,079 ‘and even those in charge were initially doubtful 236 00:16:24,120 --> 00:16:27,795 ‘as to whether an entire film could possibly be made in this way.' 237 00:16:30,360 --> 00:16:32,749 (Interpreter) The director, Natalia Orlova, 238 00:16:32,800 --> 00:16:35,599 had made a film about Chekov using this method. 239 00:16:35,640 --> 00:16:40,589 That film was only ten minutes long. Now she's risked doing 26 minutes of it. 240 00:16:44,600 --> 00:16:49,356 'l haven't seen all the material, but that which I have seen is excellent.' 241 00:16:49,400 --> 00:16:51,914 Nobody else is doing this kind of work. 242 00:16:51,960 --> 00:16:56,318 I suppose it's because it's so mind-bogglingly difficult. 243 00:16:58,560 --> 00:17:01,916 ‘Thousands of glass sections have to be scraped cleane 244 00:17:01,960 --> 00:17:03,871 ‘so they can be used again. 245 00:17:03,920 --> 00:17:08,630 ‘No one else would undertake it. Not even the Chinese. Only us.' 246 00:17:09,520 --> 00:17:10,669 Da. 247 00:17:15,440 --> 00:17:18,717 A film made this way requires a highly qualified team 248 00:17:18,760 --> 00:17:21,195 of very capable artists and animators. 249 00:17:24,680 --> 00:17:28,753 ‘With every movement, the artist has to draw extremely carefully, 250 00:17:28,800 --> 00:17:34,591 ‘so that the form and proportion of the figure doesn't change from one frame to the next. 251 00:17:34,640 --> 00:17:37,758 "This technique requires great professionalism, 252 00:17:37,800 --> 00:17:40,792 ‘which all my team members possess.' 253 00:17:40,840 --> 00:17:43,559 Woe have a superstition that with such a long film, 254 00:17:43,600 --> 00:17:46,513 to get to the end you mustn't cut your hair. 255 00:17:46,560 --> 00:17:50,235 So I've taken a pledge not to have a haircut until it's all over, 256 00:17:50,280 --> 00:17:53,272 which is why we're all looking a bit shaggy! 257 00:17:57,480 --> 00:18:00,279 ‘The common element that unites all the films 258 00:18:00,320 --> 00:18:02,960 is the careful stewardship of Dave Edwards. 259 00:18:03,000 --> 00:18:07,949 ‘His job as series producer has been to act as a bridge between east and west, 260 00:18:08,000 --> 00:18:12,437 ‘giving the directors creative freedom while making them face up 261 00:18:12,480 --> 00:18:14,676 ‘to unfamiliar commercial realities. 262 00:18:14,720 --> 00:18:17,997 ‘This hasn't always proved the easiest of tasks.' 263 00:18:18,040 --> 00:18:22,716 They haven't taken anything for granted. Anything I've said has had to be proved. 264 00:18:22,760 --> 00:18:27,072 Either I've had to prove it fo them in conversation and argument 265 00:18:27,120 --> 00:18:31,353 or they've had to find out for themselves that something doesn't work. 266 00:18:36,680 --> 00:18:41,595 that every third film they made was what was called their "soul film". 267 00:18:41,640 --> 00:18:45,952 They could make this just for themselves, and it didn't matter about the market. 268 00:18:46,000 --> 00:18:49,152 The fact that the market didn't exist in Russia in that sense 269 00:18:49,200 --> 00:18:51,191 meant they could do what they wanted. 270 00:18:51,240 --> 00:18:56,599 That's wonderful if i's a subsidised system, but in a market system you can't afford that. 271 00:19:00,960 --> 00:19:05,431 - What's the background behind that one? - (Woman translates) 272 00:19:05,480 --> 00:19:09,758 ‘Some of the directors found it hard to accept Dave Edwards' guidance initially, 273 00:19:09,800 --> 00:19:12,997 ‘but all of them now admit that the controlled way of working 274 00:19:13,040 --> 00:19:14,678 ‘that's prevalent in the west 275 00:19:14,720 --> 00:19:16,791 ‘does have certain advantages.' 276 00:19:21,800 --> 00:19:24,269 In the past, I've played many different roles. 277 00:19:24,320 --> 00:19:29,394 I've been the main artist on a film, and sometimes the writer and the director. 278 00:19:29,440 --> 00:19:33,229 On those occasions, I've been a completely free agent. 279 00:19:37,080 --> 00:19:41,313 'On this film, of course, I wouldn't want to overstep the mark. 280 00:19:41,360 --> 00:19:45,752 ‘But the rules have helped me by steering me in a definite direction. 281 00:19:45,800 --> 00:19:50,795 'l sometimes flailed about on my other films because I didn't have a screenplay, 282 00:19:50,840 --> 00:19:53,400 ‘whereas here, there's a well-defined plan.' 283 00:19:55,520 --> 00:19:59,639 Maybe, at long last, our directors will learn that you can't break deadlines. 284 00:19:59,680 --> 00:20:04,516 In the past, directors thought, "If I make a good film, people will forgive me.” 285 00:20:04,560 --> 00:20:07,916 Now they understand that they won't necessarily be forgiven, 286 00:20:07,960 --> 00:20:09,917 even if they make a great film. 287 00:20:09,960 --> 00:20:13,555 It has to be a great film and be on time. 288 00:20:18,680 --> 00:20:22,594 There is a scratch here. 289 00:20:22,640 --> 00:20:25,917 Normally we could polish that out, but it's already... 290 00:20:25,960 --> 00:20:30,750 ‘With Dave Edwards' help, the Russian filmmakers have overcome many problems 291 00:20:30,800 --> 00:20:33,553 ‘which could easily have jeopardised the series. 292 00:20:33,600 --> 00:20:36,479 ‘For instance, the damage caused to some of the films 293 00:20:36,520 --> 00:20:38,750 ‘by careless handling in the laboratory 294 00:20:38,800 --> 00:20:42,509 ‘was eventually rectified through a mixture of Russian ingenuity 295 00:20:42,560 --> 00:20:44,392 ‘and western technology. 296 00:20:44,440 --> 00:20:49,116 ‘But other problems were of a kind that no outsider could hope to do anything about. 297 00:20:51,240 --> 00:20:52,913 ‘The abortive coup of August 1991 298 00:20:52,960 --> 00:20:56,191 ‘came just as production was getting into its stride. 299 00:20:56,240 --> 00:20:59,756 ‘Those responsible for the project back in Britain 300 00:20:59,800 --> 00:21:02,314 ‘were thrown into an instant state of panic.' 301 00:21:05,240 --> 00:21:08,551 We were very surprised when the coup began on August 19th, 302 00:21:08,600 --> 00:21:12,275 because all day long there were international calls. 303 00:21:16,200 --> 00:21:19,955 Chris rang. Dave rang. Everyone wanted to know if we were still alive 304 00:21:20,000 --> 00:21:22,514 and what was happening over here. 305 00:21:24,080 --> 00:21:27,960 I said, "Things are bad for us but the Shakespeare project is OK. 306 00:21:28,000 --> 00:21:31,914 ‘We've been filming and we'll go on filming.' 307 00:21:36,080 --> 00:21:37,957 (Muat) 'It all happened nearby. 308 00:21:38,000 --> 00:21:41,436 "We were working, but we heard how it all boiled over.' 309 00:21:41,480 --> 00:21:47,271 Some people went down to the barricades, then I went down to have a look around. 310 00:21:47,320 --> 00:21:51,029 Woe were very upset and frightened by the whole situation. 311 00:21:51,080 --> 00:21:54,436 We were very relieved when it all tumed out so well. 312 00:21:58,360 --> 00:22:01,955 I arrived there a week later and found the barricades, 313 00:22:02,000 --> 00:22:08,190 found the very emotional scenes and places where people had died - 314 00:22:08,240 --> 00:22:13,997 not many, but there were wreaths alongside the road, there were flowers. 315 00:22:14,040 --> 00:22:19,240 ‘And the people had changed. They'd been oppressed for a very long time. 316 00:22:19,280 --> 00:22:22,989 ‘Suddenly they were proud of themselves, of what they'd done.' 317 00:22:23,040 --> 00:22:27,557 They wanted to talk about the freedom of expression that was now possible. 318 00:22:27,600 --> 00:22:30,638 I'd worked with them for five years without that. 319 00:22:30,680 --> 00:22:33,320 There had always been this barrier, 320 00:22:33,360 --> 00:22:37,240 who would inform on who, what was fair, now that had all gone. 321 00:22:38,840 --> 00:22:41,229 ‘But even as the political climate improved, 322 00:22:41,280 --> 00:22:44,033 ‘the economy grew more and more unstable. 323 00:22:45,960 --> 00:22:49,157 ‘Huge price rises and shortages of basic goods 324 00:22:49,200 --> 00:22:52,591 "led to the streets of Moscow becoming one enormous black market. 325 00:22:52,640 --> 00:22:57,589 ‘Against this background, everyday life for those involved with the project 326 00:22:57,640 --> 00:23:00,075 ‘became increasingly hard.' 327 00:23:00,120 --> 00:23:04,751 (Dave Edwards) ‘I was trying to relate to my children what life was like there.' 328 00:23:04,800 --> 00:23:09,715 The example I used was that I'd seen some salami sausage in one of the shops 329 00:23:09,760 --> 00:23:16,359 and for an average man here, relatively, to buy it would have cost them £800. 330 00:23:17,440 --> 00:23:19,636 "The parlous state of the Russian economy 331 00:23:19,680 --> 00:23:24,311 ‘has affected Soyuzmult Films in many different ways, all of them bad. 332 00:23:26,000 --> 00:23:30,995 ‘The company, which employs several hundred people in a variety of roles, 333 00:23:31,040 --> 00:23:34,954 ‘has found itself confronted with a vastly inflated wage bill. 334 00:23:35,800 --> 00:23:38,474 "This can only be met by charging clients more, 335 00:23:38,520 --> 00:23:41,512 ‘which could make the studios uncompetitive.' 336 00:23:44,520 --> 00:23:46,750 Since we have such ridiculous inflation, 337 00:23:46,800 --> 00:23:49,792 we have to increase wages s0 people can survive. 338 00:23:49,840 --> 00:23:51,990 That affects the cost of the films. 339 00:23:56,160 --> 00:23:59,630 Just as our costs are going up, our revenue is going down, 340 00:23:59,680 --> 00:24:02,559 because audiences aren't going to the cinema any more. 341 00:24:02,600 --> 00:24:05,353 They're too busy trying to get something to eat. 342 00:24:05,400 --> 00:24:09,473 So I'm worried. I'm really not sure what will happen to the studio. 343 00:24:13,120 --> 00:24:15,316 ‘However bleak the future might seem, 344 00:24:15,360 --> 00:24:19,399 ‘the people who work at the studio refuse to become downhearted. 345 00:24:19,440 --> 00:24:23,832 ‘Take Igor Makarov, the chief designer of Romeo And Juliet. 346 00:24:23,880 --> 00:24:26,679 'He has suffered a lot, like most Russians, 347 00:24:26,720 --> 00:24:30,998 ‘but he hasn't let the daily battles of ordinary existence weigh him down. 348 00:24:32,520 --> 00:24:34,511 ‘Every evening after work, 349 00:24:34,560 --> 00:24:39,031 ‘Makarov retums to the tiny one-bedroom flat in the Moscow suburb of Khimki, 350 00:24:39,080 --> 00:24:43,916 ‘which he shares with his wife Tatiana and their 16-year-old daughter Natasha. 351 00:24:46,000 --> 00:24:49,072 ‘The Makarovs have lived here for more than 25 years. 352 00:24:49,120 --> 00:24:52,795 ‘Although Igor is at the top of his profession, 353 00:24:52,840 --> 00:24:56,117 ‘he's never been granted even a fraction of the rewards 354 00:24:56,160 --> 00:24:58,834 ‘that would have come his way in the west. 355 00:24:58,880 --> 00:25:02,714 "Yet he's never considered emigrating, and he swears he never will, 356 00:25:02,760 --> 00:25:04,910 ‘however bad things may become.' 357 00:25:08,200 --> 00:25:11,830 (Igor) "I've survived so many social upheavals I've gone grey, 358 00:25:11,880 --> 00:25:14,759 ‘and I know that things will probably get worse. 359 00:25:14,800 --> 00:25:18,680 ‘But for the time being, I can cope with all of it." 360 00:25:18,720 --> 00:25:22,156 I feel good inside because I know that even if things are bad for me, 361 00:25:22,200 --> 00:25:23,952 if I've got nothing to eat or drink, 362 00:25:24,000 --> 00:25:26,799 my pen and my brush will always be there for me. 363 00:25:26,840 --> 00:25:29,719 I'll always be able to take refuge in my work. 364 00:25:29,760 --> 00:25:33,230 I know it's the same for the others who work at the studio. 365 00:25:40,800 --> 00:25:45,590 ‘The ultimate reward for those who've worked to make the series a success 366 00:25:45,640 --> 00:25:50,794 ‘would be if critics acclaimed it a major contribution to popularising Shakespeare. 367 00:25:50,840 --> 00:25:52,956 ‘Having viewed the finished films, 368 00:25:53,000 --> 00:25:57,312 ‘those in charge are confident that it will indeed be seen in this way.' 369 00:25:57,360 --> 00:26:01,877 I'm sure it's going to be regarded as a classic for a long time to come, 370 00:26:01,920 --> 00:26:06,278 and will alter people's perception of animation as an art form. 371 00:26:06,320 --> 00:26:11,030 It takes Shakespeare away from actors being Shakespearian, 372 00:26:11,080 --> 00:26:16,837 which is the thing we didn't want, and suddenly they're intriguing characters. 373 00:26:16,880 --> 00:26:20,077 They're sometimes stereotypes - they have to be - 374 00:26:20,120 --> 00:26:25,320 but our audience will be captivated by them. 375 00:26:27,720 --> 00:26:31,236 ‘Although the series will undoubtedly entrance many viewers, 376 00:26:31,280 --> 00:26:35,672 ‘there are sure to be those who will argue that by drastically abridging the plays 377 00:26:35,720 --> 00:26:40,157 ‘and translating them into a medium associated with children's entertainment, 378 00:26:40,200 --> 00:26:44,831 ‘the filmmakers have robbed them of their power to enthral and uplift an audience. 379 00:26:48,760 --> 00:26:52,435 ‘Such views cut little ice, however, with Professor Stanley Wells, 380 00:26:52,480 --> 00:26:56,155 ‘director of the Shakespeare Institute at Stratford-Upon-Avon. 381 00:26:56,200 --> 00:27:00,637 ‘Called in by the producers to give his verdict on the project at an early stage, 382 00:27:00,680 --> 00:27:03,115 ‘he has never had any doubts about its value. 383 00:27:03,160 --> 00:27:06,949 ‘And what's more, he's sure that Shakespeare would feel the same way. 384 00:27:07,000 --> 00:27:11,517 1 think he would have loved it, just as he'd have loved other works based on his plays 385 00:27:11,560 --> 00:27:15,235 when they've been done with genuine re-creative imagination. 386 00:27:15,280 --> 00:27:21,799 Not necessarily with total fidelity, because he constantly adapted other people's work, 387 00:27:21,840 --> 00:27:23,672 making something new out of it. 388 00:27:23,720 --> 00:27:26,951 That's happened here and I think he would have approved. 389 00:27:27,000 --> 00:27:30,630 ‘A number of the episodes have seemed particularly striking. 390 00:27:30,680 --> 00:27:35,038 ‘For example, as Hamlet begins to speak "To be or not to be” 391 00:27:35,080 --> 00:27:39,597 ‘we see him gradually shrinking onto the ground, 392 00:27:39,640 --> 00:27:44,032 ‘and a cloak rises above him rather like a winding sheet, 393 00:27:44,080 --> 00:27:46,117 ‘and eventually he's lost in the cloak. 394 00:27:46,160 --> 00:27:51,792 ‘That seems to encompass the notion of Hamlet's obsession with death, 395 00:27:51,840 --> 00:27:54,639 ‘which is such an important feature of the play.' 396 00:27:54,680 --> 00:27:59,038 It's also necessary to say that the lines that are there are all Shakespeare's. 397 00:27:59,080 --> 00:28:02,277 Of course they're heavily filleted and a great deal is lost, 398 00:28:02,320 --> 00:28:04,914 and sometimes a person who knows the play 399 00:28:04,960 --> 00:28:11,070 is longing for Brian Cox's Macbeth to give us the rest of the soliloquy which is not there. 400 00:28:11,120 --> 00:28:15,398 But these are not primarily intended for people who already know the plays, 401 00:28:15,440 --> 00:28:18,876 rather for people who either don't know them 402 00:28:18,920 --> 00:28:24,359 or who, knowing them, are interested in what can be done with and through them 403 00:28:24,400 --> 00:28:25,959 in a different medium. 404 00:28:26,000 --> 00:28:29,277 Animation comes at everything with a new angle. 405 00:28:29,320 --> 00:28:32,073 It's seen with a different vision. 406 00:28:32,120 --> 00:28:35,431 "It's got everything - drama, comedy, fantasy. 407 00:28:35,480 --> 00:28:39,872 ‘In the hands of great artists, you can do something very special with that.