How I made an impossible film
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0:01 - 0:04I made a film that was impossible to make,
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0:04 - 0:08but I didn't know it was impossible,
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0:08 - 0:10and that's how I was able to do it.
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0:10 - 0:13"Mars et Avril" is a science fiction film.
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0:13 - 0:17It's set in Montreal some 50 years in the future.
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0:17 - 0:19No one had done that kind of movie in Quebec before
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0:19 - 0:23because it's expensive, it's set in the future,
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0:23 - 0:25and it's got tons of visual effects,
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0:25 - 0:27and it's shot on green screen.
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0:27 - 0:29Yet this is the kind of movie that I wanted to make
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0:29 - 0:31ever since I was a kid, really,
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0:31 - 0:33back when I was reading some comic books
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0:33 - 0:37and dreaming about what the future might be.
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0:37 - 0:40When American producers see my film,
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0:40 - 0:43they think that I had a big budget to do it,
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0:43 - 0:46like 23 million.
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0:46 - 0:49But in fact I had 10 percent of that budget.
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0:49 - 0:51I did "Mars et Avril" for only 2.3 million.
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0:51 - 0:53So you might wonder, what's the deal here?
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0:53 - 0:55How did I do this?
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0:55 - 0:58Well, it's two things. First, it's time.
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0:58 - 1:01When you don't have money, you must take time,
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1:01 - 1:05and it took me seven years to do "Mars et Avril."
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1:05 - 1:08The second aspect is love.
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1:08 - 1:12I got tons and tons of generosity from everyone involved.
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1:12 - 1:14And it seems like every department had nothing,
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1:14 - 1:17so they had to rely on our creativity
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1:17 - 1:20and turn every problem into an opportunity.
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1:20 - 1:22And that brings me to the point of my talk, actually,
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1:22 - 1:26how constraints, big creative constraints, can boost creativity.
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1:26 - 1:29But let me go back in time a bit.
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1:29 - 1:32In my early 20s, I did some graphic novels,
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1:32 - 1:34but they weren't your usual graphic novels.
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1:34 - 1:37They were books telling a science fiction story
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1:37 - 1:40through images and text,
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1:40 - 1:43and most of the actors who are now starring
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1:43 - 1:45in the movie adaptation, they were already involved
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1:45 - 1:49in these books portraying characters
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1:49 - 1:54into a sort of experimental, theatrical, simplistic way.
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1:54 - 1:58And one of these actors is the great stage director
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1:58 - 2:00and actor Robert Lepage.
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2:00 - 2:01And I just love this guy.
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2:01 - 2:04I've been in love with this guy since I was a kid.
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2:04 - 2:07His career I admire a lot.
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2:07 - 2:10And I wanted this guy to be involved in my crazy project,
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2:10 - 2:14and he was kind enough to lend his image
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2:14 - 2:16to the character of Eugène Spaak,
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2:16 - 2:21who is a cosmologist and artist who seeks relation
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2:21 - 2:26in between time, space, love, music and women.
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2:26 - 2:30And he was a perfect fit for the part,
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2:30 - 2:33and Robert is actually the one who gave me my first chance.
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2:33 - 2:35He was the one who believed in me
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2:35 - 2:39and encouraged me to do an adaptation of my books
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2:39 - 2:42into a film, and to write, direct,
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2:42 - 2:44and produce the film myself.
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2:44 - 2:48And Robert is actually the very first example
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2:48 - 2:52of how constraints can boost creativity.
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2:52 - 2:54Because this guy is the busiest man on the planet.
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2:54 - 2:57I mean, his agenda is booked until 2042,
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2:57 - 3:01and he's really hard to get,
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3:01 - 3:04and I wanted him to be in the movie,
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3:04 - 3:06to reprise his role in the movie.
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3:06 - 3:09But the thing is, had I waited
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3:09 - 3:11for him until 2042, my film wouldn't be
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3:11 - 3:15a futuristic film anymore, so I just couldn't do that. Right?
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3:15 - 3:17But that's kind of a big problem.
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3:17 - 3:20How do you get somebody who is too busy
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3:20 - 3:22to star in a movie?
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3:22 - 3:26Well, I said as a joke in a production meeting --
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3:26 - 3:28and this is a true story, by the way —
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3:28 - 3:31I said, "Why don't we turn this guy into a hologram?
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3:31 - 3:33Because, you know, he is everywhere
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3:33 - 3:35and nowhere on the planet at the same time,
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3:35 - 3:38and he's an illuminated being in my mind,
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3:38 - 3:42and he's in between reality and virtual reality,
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3:42 - 3:44so it would make perfect sense
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3:44 - 3:46to turn this guy into a hologram."
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3:46 - 3:48Everybody around the table laughed,
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3:48 - 3:51but the joke was kind of a good solution,
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3:51 - 3:53so that's what we ended up doing.
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3:53 - 3:57Here's how we did it. We shot Robert with six cameras.
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3:57 - 3:59He was dressed in green and he was like
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3:59 - 4:01in a green aquarium.
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4:01 - 4:04Each camera was covering 60 degrees of his head,
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4:04 - 4:07so that in post-production we could use
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4:07 - 4:08pretty much any angle we needed,
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4:08 - 4:11and we shot only his head.
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4:11 - 4:13Six months later there was a guy on set,
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4:13 - 4:15a mime portraying the body,
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4:15 - 4:18the vehicle for the head.
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4:18 - 4:21And he was wearing a green hood
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4:21 - 4:24so that we could erase the green hood in postproduction
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4:24 - 4:26and replace it with Robert Lepage's head.
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4:26 - 4:28So he became like a renaissance man,
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4:28 - 4:30and here's what it looks like in the movie.
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4:30 - 4:43(Music)
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4:43 - 4:45(Video) Robert Lepage: [As usual, Arthur's drawing
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4:45 - 4:47didn't account for the technical challenges.
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4:47 - 4:51I welded the breech, but the valve is still gaping.
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4:51 - 4:55I tried to lift the pallets to lower the pressure in the sound box,
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4:55 - 4:59but I might have hit a heartstring.
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4:59 - 5:02It still sounds too low.]
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5:02 - 5:03Jacques Languirand: [That's normal.
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5:03 - 5:06The instrument always ends up resembling its model.]
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5:06 - 5:11(Music)
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5:26 - 5:30Martin Villeneuve: Now these musical instruments
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5:30 - 5:32that you see in this excerpt,
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5:32 - 5:34they're my second example of how
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5:34 - 5:37constraints can boost creativity,
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5:37 - 5:40because I desperately needed these objects in my movie.
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5:40 - 5:42They are objects of desire.
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5:42 - 5:44They are imaginary musical instruments.
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5:44 - 5:46And they carry a nice story with them.
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5:46 - 5:51Actually, I knew what these things would look like
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5:51 - 5:53in my mind for many, many years.
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5:53 - 5:57But my problem was, I didn't have the money
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5:57 - 6:00to pay for them. I couldn't afford them.
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6:00 - 6:02So that's kind of a big problem too.
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6:02 - 6:06How do you get something that you can't afford?
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6:06 - 6:10And, you know, I woke up one morning with a pretty good idea.
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6:10 - 6:14I said, "What if I have somebody else pay for them?"
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6:14 - 6:17(Laughter)
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6:17 - 6:20But who on Earth would be interested
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6:20 - 6:24by seven not-yet-built musical instruments
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6:24 - 6:25inspired by women's bodies?
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6:25 - 6:28And I thought of Cirque du Soleil in Montreal,
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6:28 - 6:32because who better to understand the kind of
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6:32 - 6:34crazy poetry that I wanted to put on screen?
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6:34 - 6:37So I found my way to Guy Laliberté, Cirque du Soleil's CEO,
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6:37 - 6:40and I presented my crazy idea to him
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6:40 - 6:43with sketches like this and visual references,
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6:43 - 6:46and something pretty amazing happened.
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6:46 - 6:48Guy was interested by this idea
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6:48 - 6:52not because I was asking for his money,
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6:52 - 6:55but because I came to him with a good idea
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6:55 - 6:57in which everybody was happy.
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6:57 - 6:59It was kind of a perfect triangle
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6:59 - 7:03in which the art buyer was happy
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7:03 - 7:05because he got the instruments at a cheaper price,
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7:05 - 7:07because they weren't even made.
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7:07 - 7:09He took a leap of faith.
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7:09 - 7:13And the artist, Dominique Engel, brilliant guy,
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7:13 - 7:16he was happy too because he had a dream project
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7:16 - 7:17to work on for a year.
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7:17 - 7:21And obviously I was happy because I got the instruments
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7:21 - 7:26in my film for free, which was kind of what I tried to do.
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7:26 - 7:27So here they are.
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7:27 - 7:31And my last example of how constraints
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7:31 - 7:32can boost creativity
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7:32 - 7:36comes from the green,
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7:36 - 7:40because this is a weird color, a crazy color,
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7:40 - 7:43and you need to replace the green screens eventually
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7:43 - 7:46and you must figure that out sooner rather than later.
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7:46 - 7:50And I had, again, pretty much, ideas in my mind
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7:50 - 7:52as to what the world would be,
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7:52 - 7:57but then again I turned to my childhood imagination
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7:57 - 8:01and went to the work of Belgian comic book master
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8:01 - 8:03François Schuiten in Belgium.
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8:03 - 8:07And this guy is another guy I admire a lot,
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8:07 - 8:09and I wanted him to be involved in the movie
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8:09 - 8:11as a production designer.
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8:11 - 8:14But people told me, you know, Martin, it's impossible,
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8:14 - 8:16the guy is too busy and he will say no.
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8:16 - 8:20Well, I said, you know what, instead of mimicking his style,
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8:20 - 8:22I might as well call the real guy and ask him,
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8:22 - 8:25and I sent him my books,
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8:25 - 8:27and he answered that he was interested
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8:27 - 8:29in working on the film with me
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8:29 - 8:33because he could be a big fish in a small aquarium.
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8:33 - 8:37In other words, there was space for him to dream with me.
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8:37 - 8:40So here I was with one of my childhood heroes,
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8:40 - 8:43drawing every single frame that's in the film
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8:43 - 8:46to turn that into Montreal in the future.
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8:46 - 8:48And it was an amazing collaboration
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8:48 - 8:51to work with this great artist whom I admire.
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8:51 - 8:54But then, you know, eventually you have to turn
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8:54 - 8:56all these drawings into reality.
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8:56 - 8:59So, again, my solution was to aim
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8:59 - 9:02for the best possible artist that I could think of.
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9:02 - 9:06And there's this guy in Montreal, another Quebecois
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9:06 - 9:10called Carlos Monzon, and he's a very good VFX artist.
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9:10 - 9:13This guy had been lead compositor on such films
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9:13 - 9:16as "Avatar" and "Star Trek" and "Transformers,"
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9:16 - 9:19and other unknown projects like this,
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9:19 - 9:21and I knew he was the perfect fit for the job,
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9:21 - 9:23and I had to convince him,
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9:23 - 9:26and, instead of working on the next Spielberg movie,
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9:26 - 9:28he accepted to work on mine.
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9:28 - 9:32Why? Because I offered him a space to dream.
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9:32 - 9:36So if you don't have money to offer to people,
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9:36 - 9:39you must strike their imagination with something
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9:39 - 9:41as nice as you can think of.
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9:41 - 9:44So this is what happened on this movie,
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9:44 - 9:45and that's how it got made,
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9:45 - 9:48and we went to this very nice postproduction company
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9:48 - 9:50in Montreal called Vision Globale,
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9:50 - 9:55and they lent their 60 artists to work full time
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9:55 - 9:58for six months to do this crazy film.
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9:58 - 10:03So I want to tell you that, if you have some crazy ideas
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10:03 - 10:04in your mind, and that people tell you
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10:04 - 10:06that it's impossible to make,
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10:06 - 10:08well, that's an even better reason to want to do it,
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10:08 - 10:11because people have a tendency
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10:11 - 10:14to see the problems rather than the final result,
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10:14 - 10:17whereas if you start to deal with problems
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10:17 - 10:19as being your allies rather than your opponents,
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10:19 - 10:22life will start to dance with you
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10:22 - 10:24in the most amazing way.
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10:24 - 10:25I have experienced it.
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10:25 - 10:28And you might end up doing some crazy projects,
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10:28 - 10:31and who knows, you might even end up
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10:31 - 10:33going to Mars.
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10:33 - 10:35Thank you.
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10:35 - 10:38(Applause)
- Title:
- How I made an impossible film
- Speaker:
- Martin Villeneuve
- Description:
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Filmmaker Martin Villeneuve talks about "Mars et Avril," the Canadian sci-fi spectacular he made with virtually no money. In a charming talk, he explains the various ways he overcame financial and logistical constraints to produce his unique and inventive vision of the future.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 10:55
Thu-Huong Ha edited English subtitles for Martin Villeneuve: How I made an impossible film | ||
Thu-Huong Ha approved English subtitles for Martin Villeneuve: How I made an impossible film | ||
Thu-Huong Ha edited English subtitles for Martin Villeneuve: How I made an impossible film | ||
Morton Bast accepted English subtitles for Martin Villeneuve: How I made an impossible film | ||
Morton Bast edited English subtitles for Martin Villeneuve: How I made an impossible film | ||
Joseph Geni added a translation |