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Phụ đề của (—) (2006)

tiếng Anh
Tháng tám 14 2011 06:35:21
đã đăng theo Niffiwan
Nevesomaya zhizn. 1. Dialog s Disneyem.2006.en.1.25fps.1313303721.srt ⭳
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1 00:00:00,100 --> 00:00:02,000 "Culture" Channel 2 00:00:03,301 --> 00:00:05,001 presents 3 00:00:09,902 --> 00:00:12,002 Weightless Life 4 00:00:17,803 --> 00:00:19,103 OLEG ANOFRIYEV Actor 5 00:00:19,104 --> 00:00:23,204 All on Earth has its secret birth. 6 00:00:23,305 --> 00:00:25,505 Poetry, for example. 7 00:00:25,506 --> 00:00:29,000 Animation also has its secret birth. 8 00:00:29,007 --> 00:00:34,000 It is this secret which we will try to reveal to you 9 00:00:34,001 --> 00:00:43,001 in this unusual film about the creation of Soviet Russian animation. 10 00:00:44,502 --> 00:00:47,002 Dialogue With Disney 11 00:00:47,503 --> 00:00:48,503 People in this film: 12 00:00:48,504 --> 00:00:50,004 Oleg Anofriyev - actor, has voiced many animated characters. 13 00:00:50,005 --> 00:00:51,905 Iosif Boyarskiy - director, animation historian. Many directors have learned from his books. 14 00:00:52,006 --> 00:00:53,906 Fyodor Khitruk - director. His "Winnie-the-Pooh" has been hailed by Disney animators. 15 00:00:54,007 --> 00:00:55,907 Yuriy Norshteyn - director. His "Hedgehog in the Fog" has topped a list of the world's best animation. 16 00:00:56,008 --> 00:00:57,908 Inessa Kovalevskaya - director. Her "Bremen Musicians" became the first Soviet animated musical. 17 00:00:58,009 --> 00:00:59,909 Aleksandr Kurlyandskiy - writer. Many generations have watched his serial "You Just Wait!" 18 00:01:00,010 --> 00:01:02,010 Aleksandr Tatarskiy - director. He developed the technique of flat plasticine animation. 19 00:01:08,911 --> 00:01:16,911 Strange though it may be, the studio Soyuzmultfilm owes its existence to Walt Disney 20 00:01:16,912 --> 00:01:19,912 There's no shame in learning from the greats. 21 00:01:20,113 --> 00:01:24,000 How to apply that knowledge is a different question. 22 00:01:25,301 --> 00:01:30,601 In the early 1930s, it was decided that the country should industrialize. 23 00:01:30,602 --> 00:01:33,902 Film had to also become "an industry". 24 00:01:33,903 --> 00:01:38,000 The country needed a "Soviet Hollywood". 25 00:01:41,404 --> 00:01:45,004 The physicist Pyotr Kapitsa went to England, 26 00:01:45,005 --> 00:01:47,205 The steel founders were sent to Germany, 27 00:01:47,206 --> 00:01:54,806 And the management of the photo- film industry sent its representative Viktor Smirnov to the US. 28 00:01:54,807 --> 00:01:57,507 In order to learn about methods for creating films. 29 00:02:00,308 --> 00:02:08,108 He spent several months at Disney's studio, and fell in love with his animation assembly line. 30 00:02:08,809 --> 00:02:12,409 Henry Ford, the inventor of the assembly line, 31 00:02:12,510 --> 00:02:18,610 unsuspectingly gave Disney the hint of how to speed up the production of films: 32 00:02:18,611 --> 00:02:20,911 put them on an assembly line! 33 00:02:20,912 --> 00:02:21,912 IOSIF BOYARSKIY director 34 00:02:21,913 --> 00:02:23,012 There were two Disney brothers. 35 00:02:23,013 --> 00:02:27,413 They saw that the assembly line method is more progressive 36 00:02:27,414 --> 00:02:30,514 and they applied this method, 37 00:02:30,515 --> 00:02:33,615 and they also separated the production process 38 00:02:33,616 --> 00:02:37,816 The story, the director's script, 39 00:02:37,817 --> 00:02:40,317 the concept artists, 40 00:02:40,318 --> 00:02:43,518 and everything after that is divided between workshops 41 00:02:43,519 --> 00:02:46,819 the animation workshop; drawn acting, 42 00:02:47,420 --> 00:02:52,620 technical helpers, who draw the in-between drawings, 43 00:02:52,621 --> 00:02:57,021 a line workshop, a drawing-on-celluloid workshop, 44 00:02:57,022 --> 00:03:00,000 and painting the celluloid. 45 00:03:00,001 --> 00:03:04,101 One for film developing, another for sound, and so on. 46 00:03:24,902 --> 00:03:27,102 N. Khodatayev "Interplanetary Revolution", 1924 47 00:03:28,003 --> 00:03:32,503 In our country at that time, animation was made by numerous small studios. 48 00:03:32,704 --> 00:03:35,004 Such a studio would make 1-2 films a year. 49 00:03:35,205 --> 00:03:41,405 The public liked them, but the speed of the output pleased no-one. 50 00:03:41,806 --> 00:03:45,706 Animated production had to be quicker. 51 00:03:46,307 --> 00:03:51,007 The factory-like Disney working method was very fitting for this. 52 00:03:51,008 --> 00:03:54,908 But a big factory was needed for it! 53 00:03:54,909 --> 00:04:01,809 And soon a decision was made to combine the small studios into one big one. 54 00:04:02,310 --> 00:04:07,210 That is how Soyuzmultfilm was born. 55 00:04:12,311 --> 00:04:14,111 FYODOR KHITRUK director 56 00:04:14,112 --> 00:04:19,612 I came to the studio at the end of 1937, when it was barely a year old. 57 00:04:20,213 --> 00:04:26,213 I know where the studio began - in Kudrinskaya Square, Novinskiy Boulevard 58 00:04:26,414 --> 00:04:35,214 Every time I drive by, I feel like I'm back at the house of my birth. 59 00:04:35,215 --> 00:04:38,715 I had a completely different conception of a film studio. 60 00:04:38,716 --> 00:04:45,400 Like any unenlightened person, I thought that a film studio was something exotic, 61 00:04:45,401 --> 00:04:47,501 that there had to be decorations everywhere, 62 00:04:47,502 --> 00:04:52,902 cranes, stage lights, cinematographers running around everywhere... 63 00:04:52,903 --> 00:04:53,903 Nothing of the sort! 64 00:04:54,104 --> 00:04:55,104 "We Don't Bite Here" 65 00:04:55,105 --> 00:05:00,705 There was a long corridor, with door signs like "We Don't Bite Here", "It's Hot in Africa", 66 00:05:01,006 --> 00:05:06,206 "Little Liar", "Kind Umar", these were director's groups. 67 00:05:06,207 --> 00:05:10,107 My first film was called "A Noisy Voyage". 68 00:05:10,108 --> 00:05:14,508 I adore this film; I watch it every week at least once. 69 00:05:18,509 --> 00:05:19,708 V. Suteyev "A Noisy Voyage", 1937 70 00:05:19,709 --> 00:05:25,209 These films were begun on small studios before Soyuzmultfilm's arrival, 71 00:05:25,410 --> 00:05:30,510 and the Disney-inspired technological changes hadn't yet touched them. 72 00:05:32,911 --> 00:05:37,011 When I arrived, they still used expressions like: 73 00:05:39,912 --> 00:05:47,212 These were copied from the technical manual which was translated 74 00:05:48,213 --> 00:05:53,000 on the orders of Viktor Fyodorovich Smirnov. 75 00:05:53,001 --> 00:05:56,301 They completely changed the technology. 76 00:05:56,602 --> 00:06:01,402 Earlier, each phase of movement was drawn on paper, 77 00:06:01,403 --> 00:06:04,500 cut out, and put in front of the background. 78 00:06:04,903 --> 00:06:13,503 You can imagine, no-one talked of any plasticity or 3D movement. 79 00:06:13,504 --> 00:06:17,004 Now they decided to switch to celluloid 80 00:06:17,005 --> 00:06:20,505 and this greatly bolstered all animators. 81 00:06:21,006 --> 00:06:26,306 One could move characters in any fashion, use 3D space, 82 00:06:26,707 --> 00:06:28,807 This was a Klondike for animators. 83 00:06:28,808 --> 00:06:29,808 V. + Z. Brumberg "Red Riding Hood", 1937 84 00:06:29,808 --> 00:06:36,208 Grandma, what a big, scary mouth you have! 85 00:06:38,309 --> 00:06:44,209 The better to eat you with! 86 00:06:50,510 --> 00:06:54,110 Animators were shaken up, working at the new studio. 87 00:06:54,311 --> 00:06:57,800 They had to forget about past technologies, 88 00:06:57,801 --> 00:06:59,701 and make films exclusively in Disney's style. 89 00:06:59,702 --> 00:07:01,802 A Most Colourful Tale About a Duckling and a Rainbow 90 00:07:01,803 --> 00:07:02,803 A Duck Comedy 91 00:07:02,804 --> 00:07:06,000 A cartoon must be funny! Nothing but the comedy genre. 92 00:07:06,001 --> 00:07:11,501 Nothing lyrical, no drama, and so a conflict arose in our animation, 93 00:07:11,902 --> 00:07:17,802 between the Russian craving for self-expression and Disney's style. 94 00:07:18,803 --> 00:07:21,303 Naturally, there were losses. 95 00:07:22,004 --> 00:07:27,604 Though we acquired unbelievable freedom and plasticity of movement, 96 00:07:27,905 --> 00:07:33,905 we could previously use our treasure trove of children's book illustrations. 97 00:07:33,906 --> 00:07:39,306 Such geniuses as Lebedev, Cherushin, Favorskiy, 98 00:07:39,607 --> 00:07:45,000 could not be shown on celluloid because the even, hard pen 99 00:07:45,301 --> 00:07:52,001 did not allow us to reproduce this astounding texture of the illustrations. 100 00:07:52,102 --> 00:07:52,802 Aleksandr Tatarskiy Director 101 00:07:52,803 --> 00:07:55,403 One thing that Disney definitely lacked was design. 102 00:07:55,404 --> 00:07:58,704 His design is primitive, on the level of soap commercials. 103 00:08:06,705 --> 00:08:12,505 But it didn't take long for Smirnov to make our artists do it Disney's way. 104 00:08:12,706 --> 00:08:16,906 His films were already at the peak of their public popularity. 105 00:08:17,207 --> 00:08:23,800 In 1935, the first international film festival took place in Moscow 106 00:08:25,001 --> 00:08:27,701 and 3 of Disney's films were shown: 107 00:08:27,702 --> 00:08:31,802 "Peculiar Penguins", "Mickey's Revue" and "The Three Little Pigs" 108 00:08:32,303 --> 00:08:36,803 All of Moscow, back then, was singing the song "Who's Afraid of the Big Bad Wolf?" 109 00:08:50,804 --> 00:08:52,004 The Happy Generation 110 00:09:04,554 --> 00:09:08,804 Even directors who'd made more than one film at the new studio 111 00:09:08,805 --> 00:09:11,405 began to make films "� la Disney" 112 00:09:11,506 --> 00:09:15,006 Ivan Ivanov-Vano, for the film "Little Liar" 113 00:09:15,007 --> 00:09:18,407 adopted a famous Disney character. 114 00:09:18,408 --> 00:09:23,408 I remember, as a trainee, I was assigned a scene with a duckling, 115 00:09:23,609 --> 00:09:26,809 and this duckling was an unsuccessful imitation of Donald Duck. 116 00:09:26,810 --> 00:09:29,000 I. Ivanov-Vano "Little Liar", 1938 117 00:09:29,001 --> 00:09:34,401 Tell me please, is that monster your dog? 118 00:09:34,752 --> 00:09:42,362 Yes; once I had to go on a hunt at the end of winter. 119 00:09:51,063 --> 00:09:53,363 Not enough action! Not enough action! 120 00:09:55,063 --> 00:09:59,963 Everyone repeated the mantra: A film must be funny! 121 00:09:59,964 --> 00:10:05,004 But the question of why it must be funny was never asked. 122 00:10:05,005 --> 00:10:08,805 If Disney does it this way, then so must we. 123 00:10:09,206 --> 00:10:13,000 Each one of us strove to think of something. 124 00:10:13,901 --> 00:10:17,401 This was like a kind of sport. 125 00:10:17,502 --> 00:10:22,302 And this was imperative - we had to imbue the characters 126 00:10:22,303 --> 00:10:25,903 with some interesting events and tricks 127 00:10:26,104 --> 00:10:27,104 Aleksandr Kurlyandskiy scriptwriter 128 00:10:27,105 --> 00:10:28,705 We did not have a "gagman" profession. 129 00:10:28,706 --> 00:10:31,706 So for one "gag" we could work a whole day, or even more. 130 00:10:31,707 --> 00:10:37,757 Every story point had to be funnily conveyed. 131 00:10:37,758 --> 00:10:38,808 "How to Invent a Funny Trick?" 132 00:10:38,809 --> 00:10:41,409 Meetings were held in the famed studio, 133 00:10:41,410 --> 00:10:45,510 caricaturists, circus workers and humour writers were invited, 134 00:10:45,511 --> 00:10:49,400 and each "trick" that they invented was paid for. 135 00:10:49,701 --> 00:10:53,501 I remember returning from one of these gag meetings 136 00:10:53,502 --> 00:10:56,902 Vladimir Grigoryevich Suteyev gave me 20 cents. 137 00:10:56,903 --> 00:10:58,803 This was a premium. 138 00:10:59,404 --> 00:11:02,104 Nowadays people guess for 3 million, 139 00:11:02,105 --> 00:11:04,705 but back then these 20 cents were dear to me. 140 00:11:06,506 --> 00:11:11,306 Such meetings were also imitations of Disney, 141 00:11:11,507 --> 00:11:15,307 whose whole studio was inventing gags. 142 00:11:15,508 --> 00:11:19,608 In other words, tricks and funny situations. 143 00:11:19,709 --> 00:11:21,409 W. Disney "Steamboat Willie", 1928 144 00:11:21,410 --> 00:11:23,610 But no matter how much we racked our brains thinking up gags, 145 00:11:23,611 --> 00:11:28,511 audiences still had no belly laughs during our films. 146 00:11:28,512 --> 00:11:34,812 And understandably; Russian and American animation have different roots. 147 00:11:42,403 --> 00:11:46,413 American animation was born from comics, 148 00:11:46,914 --> 00:11:49,914 from humourous pictoral stories. 149 00:11:49,915 --> 00:11:54,515 They appeared in America in the 19th century as additions to newspapers. 150 00:11:54,816 --> 00:12:01,016 In this way, publishers made immigrants and the illiterate buy the periodicals. 151 00:12:01,017 --> 00:12:06,257 Later, comics came to life, and American animation was born. 152 00:12:06,758 --> 00:12:09,458 O. Messmer "Woos Whoopee", 1930 153 00:12:12,009 --> 00:12:16,659 Soviet animation got started with parody and propaganda posters. 154 00:12:16,860 --> 00:12:21,600 Dziga Vertov can be called the first Soviet animator. 155 00:12:21,601 --> 00:12:27,201 While working on "Cinema Eye", he began to animate. 156 00:12:27,202 --> 00:12:30,502 The films made were mostly of a political nature; 157 00:12:30,503 --> 00:12:35,603 "Down With the Second International", "China in Flames" 158 00:12:35,804 --> 00:12:38,204 "How Avdotya Became Literate" 159 00:12:38,205 --> 00:12:41,005 and other socio-political themes like that. 160 00:12:41,906 --> 00:12:47,506 But gradually, propaganda films were replaced by children's cartoons. 161 00:12:47,907 --> 00:12:52,507 Directors began paying attention to the artistic side of animation. 162 00:12:54,208 --> 00:12:55,208 Yuriy Norshteyn director 163 00:12:55,209 --> 00:12:59,909 Tsekhanovskiy immediately made an unbelievable film: "Post", 164 00:12:59,910 --> 00:13:01,610 based on Marshak's poems. 165 00:13:01,611 --> 00:13:05,811 One must also note that Marshak's poem itself is very elastic, 166 00:13:05,812 --> 00:13:08,212 and this is reflected in the film. 167 00:13:08,213 --> 00:13:09,213 M. Tsekhanovskiy "Post", 1929 168 00:13:21,014 --> 00:13:25,514 "Post" was and remains a Soviet classic. 169 00:13:25,815 --> 00:13:30,015 "Post" is among the best of the best of children's cinematography. 170 00:13:30,316 --> 00:13:33,316 And then he started a film called 171 00:13:33,517 --> 00:13:35,517 "The Tale of the Priest and of His Workman Balda" 172 00:13:35,518 --> 00:13:38,218 It was supposed to include the music of Shostakovich. 173 00:13:38,219 --> 00:13:43,019 Do you see what a level animation had attained, what culture, 174 00:13:43,020 --> 00:13:48,920 if the genius Shostakovich saw in it 175 00:13:49,121 --> 00:13:53,601 unbelievable compositional opportunities for himself. 176 00:13:53,602 --> 00:13:56,302 M. Tsekhanovsiy "The Tale of the Priest and of His Workman Balda", 1933 177 00:14:04,403 --> 00:14:06,853 And so the imposition of the Disney style 178 00:14:06,854 --> 00:14:11,604 again made our animation indistinguishable and unexpressive. 179 00:14:12,605 --> 00:14:18,405 Disney himself helped us to cross-examine his style, 180 00:14:18,406 --> 00:14:20,906 with his films "Snow White" and "Bambi". 181 00:14:20,907 --> 00:14:24,607 He understood that the viewer was tired of watching comics; 182 00:14:24,608 --> 00:14:27,308 it was time to wow him with realism. 183 00:14:27,309 --> 00:14:30,309 Disney decided to draw Snow White as a pretty young girl, 184 00:14:30,410 --> 00:14:36,300 and make her move like a regular person, not as the traditional Disney character. 185 00:14:37,601 --> 00:14:40,201 W. Disney "Snow White and the Seven Dwarfs", 1937 186 00:15:04,002 --> 00:15:09,202 And Bambi, made during early WW2, impressed the world even more. 187 00:15:10,003 --> 00:15:12,203 NAPOLEON I 188 00:15:12,204 --> 00:15:14,504 L. Amalrik "Film Circus", 1942 189 00:15:16,205 --> 00:15:21,305 Soviet animators did things like in a circus, 190 00:15:21,406 --> 00:15:24,506 while Disney, filming stories about a calf 191 00:15:24,507 --> 00:15:27,007 whose mother died from a hunter's bullet, 192 00:15:27,108 --> 00:15:31,308 was able to comment on the horrors of war and death. 193 00:15:31,309 --> 00:15:33,309 D. Hand "Bambi", 1942 194 00:15:40,510 --> 00:15:44,910 "Bambi" became the iconic anti-war film. 195 00:15:45,311 --> 00:15:50,811 and forced our animators to reflect on the fact that they 196 00:15:50,812 --> 00:15:54,512 had become too engrossed in others' accomplishments, 197 00:15:54,513 --> 00:15:57,900 and had forgotten about finding art. 198 00:15:57,901 --> 00:15:59,914 L. Almarik, V. Polkovnikov "The Little Grey Neck", 1948 199 00:15:59,915 --> 00:16:03,415 Soon, we too began to make films 200 00:16:03,416 --> 00:16:08,316 which did not try to induce laughter by any means possible. 201 00:16:09,317 --> 00:16:12,917 After artists came back from WW2, 202 00:16:13,118 --> 00:16:19,118 they submerged themselves into a completely peaceful world. 203 00:16:19,319 --> 00:16:24,719 There is nothing more peaceful than talking with or drawing for children. 204 00:16:24,720 --> 00:16:29,420 And so there suddenly appeared a huge number of films exclusively for children. 205 00:16:33,921 --> 00:16:37,521 Amelrik and Polkovnikov's "The Little Grey Neck" 206 00:16:37,522 --> 00:16:41,022 became a revelation for the whole world, 207 00:16:41,523 --> 00:16:43,823 and Ivanov-Vano's 1947 "The Little Humpbacked Horse" 208 00:16:43,824 --> 00:16:51,024 was shown by Disney to his workers as an example to learn from. 209 00:16:51,025 --> 00:16:54,025 after such a success, as is typical in our country, 210 00:16:54,026 --> 00:16:59,626 we went from worshipping Disney to completely shunning him. 211 00:16:59,627 --> 00:17:00,627 Fyodor Khitruk director 212 00:17:00,628 --> 00:17:02,026 We even had the following curious thesis: 213 00:17:02,027 --> 00:17:05,027 "We long ago overtook Disney! 214 00:17:05,028 --> 00:17:10,728 Because he lives under capitalism, and we're already under socialism." 215 00:17:10,729 --> 00:17:15,329 Disney's main work consists of one genre: comedy for children. 216 00:17:15,530 --> 00:17:20,430 Soviet animation took a different view of children's cinema 217 00:17:20,431 --> 00:17:21,431 Iosif Boyarskiy director 218 00:17:21,432 --> 00:17:23,632 The main task became pedagogical: 219 00:17:23,633 --> 00:17:27,400 The moral and artistic education of children. 220 00:17:27,641 --> 00:17:28,401 Inessa Kovalyovskaya director 221 00:17:28,402 --> 00:17:30,502 For children, animation is not mere fun and games, 222 00:17:30,503 --> 00:17:32,703 it is the discovery of the world. 223 00:17:33,604 --> 00:17:36,600 We turned away from the Disney style, 224 00:17:36,601 --> 00:17:41,901 and our animation began producing such insightful films as 225 00:17:41,902 --> 00:17:44,802 Lev Atamanov's "The Snow Queen", 226 00:17:44,803 --> 00:17:47,903 Roman Kachanov's "Mitten", 227 00:17:48,504 --> 00:17:51,204 Fyodor Khitruk's "Boniface's Holiday" 228 00:17:51,405 --> 00:17:54,155 Pope John Paul II once said, 229 00:17:54,456 --> 00:18:00,956 "if you want your children to obtain a high spiritual education, 230 00:18:00,957 --> 00:18:05,157 show them Soviet animated films." 231 00:18:10,058 --> 00:18:16,458 In the 50s and 60s, Soyuzmultfilm turned its attention to films for adults. 232 00:18:16,859 --> 00:18:21,909 Parables are made, satirical portraits, philosophical metaphors, 233 00:18:21,910 --> 00:18:24,600 like Khrzanovsky's "Glass Harmonica", 234 00:18:24,701 --> 00:18:29,000 or Fyodor Khitruk's "History of a Crime". 235 00:18:30,401 --> 00:18:32,101 This is a different cinema, 236 00:18:32,102 --> 00:18:36,302 which thinks of people using different forms. 237 00:18:36,503 --> 00:18:41,503 Only once did Disney decide to make a film for the adult viewer. 238 00:18:41,704 --> 00:18:46,204 It is called "Fantasia". It's a big film of about 2 hours. 239 00:18:46,205 --> 00:18:48,905 where Stokowski conducts an orchestra 240 00:18:48,906 --> 00:18:52,606 and makes these novellas to the music. 241 00:18:52,607 --> 00:18:54,607 W. Disney "Fantasia", 1940 242 00:18:57,008 --> 00:19:00,608 The novellas are very closely tied to the music. 243 00:19:07,909 --> 00:19:13,709 The idea is very interesting, original, and very impressive. 244 00:19:17,150 --> 00:19:22,710 He already had that abstract animation which is now talked about. 245 00:19:23,211 --> 00:19:26,011 He did Stravinsky's "The Rite of Spring" 246 00:19:26,312 --> 00:19:30,812 Huge boulders, the birth of volcanoes, and of the Earth. 247 00:19:31,013 --> 00:19:33,513 It is done in a very unusual manner. 248 00:19:34,214 --> 00:19:37,314 The film flopped, 249 00:19:38,215 --> 00:19:45,015 and Disney never again made films for adults. 250 00:19:45,516 --> 00:19:50,700 His opinion about our own abundance of genres was blunt: 251 00:19:50,701 --> 00:19:54,501 "One whose profession was finding novelty would find it interesting, 252 00:19:54,502 --> 00:19:58,502 but how would one sell it? It is only experimentation." 253 00:19:58,703 --> 00:20:04,773 And he continued to turn out family films in the familiar style. 254 00:20:04,874 --> 00:20:07,300 "Cinderella", "Sleeping Beauty", 255 00:20:07,301 --> 00:20:10,401 Now his films impressed in terms of money, 256 00:20:10,402 --> 00:20:13,502 with their cost and high box-office gross. 257 00:20:13,503 --> 00:20:18,603 If 150 artists worked on "Cinderella", 300 would work on "Sleeping Beauty" 258 00:20:18,704 --> 00:20:23,304 If the press called "Cinderella" the most profitable film of the decade, 259 00:20:23,305 --> 00:20:29,305 "Sleeping Beauty" would become the emblem of the studio. 260 00:20:36,506 --> 00:20:42,306 Disney's children's films and our own were now completely different. 261 00:20:44,307 --> 00:20:49,107 Cartoons about Winnie-the-Pooh were released by us and Disney 262 00:20:49,308 --> 00:20:51,108 almost at the same time. 263 00:20:51,109 --> 00:20:56,309 But he was not a very smart bear, and so thought only with great effort. 264 00:20:57,010 --> 00:21:00,310 He was a poet, and composed poems in his free time. 265 00:21:00,511 --> 00:21:04,511 I can't think of anything. What about you? 266 00:21:05,912 --> 00:21:08,512 If I scratch my head at times, it's no fright. 267 00:21:08,513 --> 00:21:11,003 I have sawdust in my head, that's quite right. 268 00:21:11,004 --> 00:21:12,354 But though sawdust's all that's there, 269 00:21:12,355 --> 00:21:13,705 cry- and wail-poems very fair 270 00:21:13,706 --> 00:21:15,606 (and noise-, huff- and bawl- poems, also fair) 271 00:21:15,607 --> 00:21:17,407 with some skill I sometimes can write. 272 00:21:17,408 --> 00:21:18,408 Right. 273 00:21:18,409 --> 00:21:21,409 Compared to Disney, Khitruk's Winnie-the-Pooh is considerably 274 00:21:21,410 --> 00:21:23,500 more interesting and brighter. 275 00:21:23,701 --> 00:21:26,001 Aleksandr Tatarskiy director 276 00:21:26,202 --> 00:21:30,702 Disney's Winnie-the-Pooh was genuine to Milne. 277 00:21:31,093 --> 00:21:32,503 The English writer. 278 00:21:32,904 --> 00:21:41,004 But Khitruk's Pooh was completely different - a charming philosopher, 279 00:21:41,505 --> 00:21:46,305 and not simply someone who likes to gorge on food. 280 00:21:46,706 --> 00:21:53,206 I once showed my... our Pooh at Disney, 281 00:21:53,207 --> 00:21:56,507 to the creator of the Disney Winnie-the-Pooh. 282 00:21:56,808 --> 00:21:59,000 He liked our version. 283 00:22:00,201 --> 00:22:09,401 Around that time, Soyuzmultfilm put up an unofficial ban on the use of the Disney style and genre. 284 00:22:10,402 --> 00:22:16,002 The directors were scared stiff of allowing Disney-ification to take over the studio again. 285 00:22:16,103 --> 00:22:21,103 Even in those films which required characters in the Disney style, 286 00:22:21,404 --> 00:22:26,704 authors were persistently told to change their character and plot. 287 00:22:27,005 --> 00:22:31,305 Dyozhkin's "Unbelievable Match" and "Shaybu! Shaybu!" 288 00:22:31,306 --> 00:22:33,706 were met with raised bayonets at the studio. 289 00:22:34,207 --> 00:22:38,707 After seeing them, Disney invited the director to work for his studio. 290 00:22:38,808 --> 00:22:43,408 Boris refused. Series were not his thing. 291 00:22:43,609 --> 00:22:47,909 Why, they were very good series. Wonderful series, I think. 292 00:22:48,600 --> 00:22:52,510 Our "You Just Wait!" came from them. One should know this. It was a good idea. 293 00:22:53,511 --> 00:23:01,911 The first installments of "You Just Wait" were badly received by the masters of Soyuzmultfilm. 294 00:23:02,602 --> 00:23:03,612 Aleksandr Kurlyandskiy scriptwriter 295 00:23:03,613 --> 00:23:05,313 it all started at the series "The Happy Merry-Go-Round", 296 00:23:05,314 --> 00:23:08,714 with small, roughly 1-minute films. There were three of them. 297 00:23:08,715 --> 00:23:10,715 There was a different wolf and a different hare. 298 00:23:10,716 --> 00:23:11,916 G. Sokolskiy "You Just Wait!", 1969 299 00:23:11,917 --> 00:23:17,717 They were successful, and they gave us the opportunity to make a big 10-minute film. 300 00:23:17,818 --> 00:23:20,518 We never foresaw such a runaway hit, of course. 301 00:23:20,619 --> 00:23:24,919 Behind the Iron Curtain, and with the full absence of any American films, it stood alone. 302 00:23:25,120 --> 00:23:27,020 Of course people would like it. 303 00:23:27,021 --> 00:23:31,501 If "Tom and Jerry", which is just like "You Just Wait", had been shown at that time, 304 00:23:31,702 --> 00:23:33,222 nobody would've watched "You Just Wait". 305 00:23:44,723 --> 00:23:47,023 "You Just Wait!" 306 00:23:47,424 --> 00:23:48,704 And that's how it was. 307 00:23:48,705 --> 00:23:55,525 Through these constant arguments, our animation was born and lived. 308 00:23:56,926 --> 00:23:59,826 In 2003, at the Tokyo Laputa festival, 309 00:23:59,827 --> 00:24:02,127 the most prominent cinematographers from across the globe 310 00:24:02,428 --> 00:24:06,628 chose 150 of the best animated films from all eras and nations. 311 00:24:06,629 --> 00:24:13,129 Among these 150, 11 were from the Soyuzmultfilm studio, 312 00:24:13,130 --> 00:24:15,930 and only four films from Disney's studio. 313 00:24:16,031 --> 00:24:22,831 The top two were "Hedgehog in the Fog" and "Tale of Tales". 314 00:24:22,932 --> 00:24:28,000 It would seem that our animation had forever forsaken the Disney style, 315 00:24:28,001 --> 00:24:34,401 But lately, the animators of the 2000s are trying to resurrect the dialogue with Disney. 316 00:24:35,002 --> 00:24:38,602 Disney is long gone, as are his students. See over there - 317 00:24:38,803 --> 00:24:43,303 I have a poster with my friends, Frank Thomas and Ollie Johnston, 318 00:24:43,304 --> 00:24:46,304 the greatest of Disney's animators, 319 00:24:46,305 --> 00:24:51,005 When they were still alive, animation was crystal-clear. 320 00:24:51,106 --> 00:24:52,006 Fyodor Khitruk director 321 00:24:52,406 --> 00:24:57,106 Now it is becoming crafty, and not as clean as it once was 322 00:24:57,507 --> 00:25:01,407 during the time of Disney's "Snow White". 323 00:25:01,908 --> 00:25:06,608 Our animation is becoming commercial. 324 00:25:07,609 --> 00:25:14,909 Just as at the dawn of American animation, it tries as hard as it can to make people laugh. 325 00:25:16,510 --> 00:25:20,910 And so Alyosha began to learn the military business. 326 00:25:21,511 --> 00:25:23,511 K. Bronzit "Alosha", 2004 327 00:25:24,811 --> 00:25:33,111 The defenders of our older animated films call this a return to animating comics. 328 00:25:33,212 --> 00:25:38,400 They say that we need to return to the better aspects of Soviet animation. 329 00:25:39,001 --> 00:25:44,601 That for Russians, copying Disney is already a dead end. 330 00:25:46,402 --> 00:25:47,802 Script and direction Lyubov Khobotova 331 00:25:47,803 --> 00:25:49,203 Cameramen: Aleksandr Komov, Vyacheslav Sachkov, Denis Katurga 332 00:25:49,204 --> 00:25:50,604 Editing Sergey Garkavy 333 00:25:50,605 --> 00:25:51,999 Computer graphics: Sergey Garkavy, Dmitriy Vasilyev 334 00:25:52,000 --> 00:25:53,406 Sound: Pavel Dudin Narrator: Oleg Anofriyev 335 00:25:53,407 --> 00:25:54,807 Artist: Anna Pinchuk Editor: Viktoriya Belopolskaya 336 00:25:54,808 --> 00:25:56,208 Producer: Yevgeniy Sulla Consultants: Larisa Layukova, 337 00:25:56,209 --> 00:25:57,609 Inessa Kovalevskaya, Fyodor Khitruk, Iosif Boyarskiy 338 00:25:57,610 --> 00:25:59,010 Appeared in film: Iosif Boyarskiy, Fyodor Khitruk, Aleksandr Tatarskiy, 339 00:25:59,011 --> 00:26:00,411 Aleksandr Kurlyandskiy, Yuriy Norshteyn, Inessa Kovalyova, Leonid Shvartsman 340 00:26:00,412 --> 00:26:01,112 Film fragments from: N. Mayorov, F. Khitruk, 341 00:26:01,113 --> 00:26:01,813 A. Tatarskiy, V. Pugashkin, A. Petrov, I. Kaplichnaya, 342 00:26:01,814 --> 00:26:02,504 A. Kurlyandskiy, Y. Norshteyn, E. Nazarov, A. Kirakosyan, 343 00:26:02,505 --> 00:26:03,205 G. Bardin, I. Kovalevskaya, L. Malyukova, I. Maksimov, 344 00:26:03,206 --> 00:26:03,906 Private archives of: A. Atamanova, E. Nazarov, F. Khitruk, 345 00:26:03,907 --> 00:26:04,607 I. Boyarskiy, I. Kovalevskaya, V. Pugashkin, G. Borodin, 346 00:26:04,608 --> 00:26:05,299 L. Shvartsman, A. Kirakosyan, N. Abramova, A. Petrov, 347 00:26:05,300 --> 00:26:06,079 N. Mayorov, V. Shilobreyev, Y. Nesterova, E. Vakhurina 348 00:26:06,080 --> 00:26:07,400 Material from "First in Cinema", an unpublished book by N. Mayorov, is used in the film 349 00:26:07,401 --> 00:26:08,111 Studio CBC would like to thank F. and A. Vyrskiy, V. Kuzmin, T. Petrov, Y. Zaytsev, 350 00:26:08,112 --> 00:26:08,899 L. Soldatenkov, O. Kuznetsov, A. Velikokhodny, Studio Soyuzmultfilm, 351 00:26:08,900 --> 00:26:09,913 special thanks to A. Kirakosyan, the A.V.Shchusev architecture museum, and D. Sarkisyan 352 00:26:10,314 --> 00:26:12,800 Studio CBC for Culture Channel, 2006