edc – Übersetzung – Keybot-Wörterbuch

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Keybot 8 Ergebnisse  www.animafest.hr  Seite 10
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In his introductory speech, managing director of the Croatian Audiovisual Centre Hrvoje Hribar said that “in the world of animation anything is possible and here in Croatia we are quite at home with animation.”
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Ravnatelj Hrvatskog audiovizualnog centra Hrvoje Hribar rekao je u uvodnom govoru kako „u svijetu animacije nijedna mogućnost nije isključena, a u Hrvatskoj smo u svijetu animacije kao doma“.
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This animated short by Norman McLaren features synchronization of image and sound in the truest sense of the word. To make this film, McLaren employed novel optical techniques to compose the piano rhythms of the soundtrack, which he then moved, in multicolour, onto the picture area of the screen so that, in effect, you see what you hear.
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Ovaj kratki animirani film Normana McLarena donosi sinkronizaciju slike i zvuka u najtočnijem smislu riječi. Za ovaj film McLaren je upotrijebio nove optičke tehnike za skladanje klavirskih ritmova soundtracka koje je zatim prenio, u raznim bojama, na područje slike tako da, ustvari, vidimo ono što čujemo.
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Hilarious musical film telling that in life there is always a place for a small miracle and a sudden joy. This joy can be caused by a simple thing as an empty tin can of condensed milk, forgotten by Soviet cosmonauts in an orbit and accidentally had fallen to Earth.
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Urnebesni mjuzikl koji nas uči da u životu uvijek ima mjesta čudesima i iznenadnoj sreći. Ta se sreća može pojaviti u obliku jednostavnih stvari, poput prazne limenke kondenziranog mlijeka koju su sovjetski astronauti ostavili u orbiti i koja je pala na Zemlju.
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The daily routine in a tailor’s shop is so turbulent that in order to cope with it, it is sometimes necessary to trick a little. Fantasy and spontaneity are not always enough. When the tailor thinks he is alone he likes to let his thoughts do the work.
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Svakodnevica u krojačkom salonu tako je burna da je katkada potrebno pribjeći sitnim varkama. Mašta i spontanost nisu uvijek dovoljni. Kada krojač misli da je sam, pušta mislima da rade. No što kada se umiješa ljubav, a misli više nije moguće kontrolirati?
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A lot depends on economy; with a series you need to be mindful about how much something costs and if people or broadcasters are willing to pay for it. Those things haven't concerned me an awful lot in the past, but it turned out that in series production the ideas are very tied in to the costs.
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za koju je od mene mnogo zaslužniji Richard Goleszowski, tu mnogošto ovisi o ekonomiji. Sa serijom morate biti svjesni koliko što stoji i pitati se hoće li televizije i gledatelji za nju izdvojiti novac. Ta me pitanja ranije nisu mnogo zanimala, no ispostavilo se da su u produkciji serije ideje redovito povezane s troškovima. Ako, primjerice, već imate set s travnatom podlogom, a poželite da u jednoj epizodi sniježi vjerojatno ćete od toga odustati zbog neisplativosti. Izazovi priče ostaju, međutim, isti - kako napisati nešto što je zabavno, originalno i neobično. U svemu što radim, bez obzira na formu, nastojim održati tu zabavno-neobičnu iskru. Radom na različitim formama spoznao sam koliko je pisanje važno i nezaobilazno. Animacija ga često zanemaruje jer tobože ne pripada u vizualne aspekte djela. No pisanje je itekako vizualno! Kako stvoriti dobar scenarij i kolika je njegova važnost - to je možda i najvažnije što sam naučio tijekom godina, naročito radeći na dugometražnim filmovima i serijama. Autori kratkometražnog animiranog filma obično polaze od ideja koje im se prikažu kao slike, dođu im same od sebe, što u neku ruku i jest ljepota animacije kao vizualne umjetnosti. Ali nedostaje strukture! Pisanje je postavljanje ideja na čvrste noge i briga o uvjerljivom razvoju likova. Pripovjedna struktura se, čini mi se, i dalje često zanemaruje.
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In 1983, I wrote the screenplay with such unbelievable frivolity. At that time, it was quite common for a film to go through numerous bureaucratic layers prior to getting an approval and slowly reaching Moscow, where it would frequently be rejected. The problem was that I wrote a screenplay for a film that I really had the intention of making, in comparison to my previous films, when I would send one screenplay and make a completely different film. They caught me with the film The Triangle. When Perestroika was introduced, we gained some freedom, but the economy fluctuated from year to year. I remember the year 1983 as an exceptionally difficult one, and when there is an economic crisis, culture suffers in a way that what is and is not permitted is tightly controlled. I tried to trick them by giving a new title to my film and that is how I came up with Breakfast on the Grass and the scene that, in the sense of its dramaturgy, emphasises the absurdity present in the whole film. We did not achieve any success. In 1986 changes took place in the leadership of the Film Institute in Moscow, so we decided to send it again. After a few months of silence, I received an official statement, stating that the screenplay was very good and that they were looking forward to such a project. Regarding the provocative content, we were expecting a scandal of sorts, and it is always good to link a scandal to a film, but nothing happened. But the film was sent to a festival, which was rather unusual, as only artists from Moscow would get their films sent to festivals. That was obviously the beginning of a new era.
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Scenarij mi je još 1983. izašao iz glave s nevjerojatnom lakoćom. Tih godina je uobičajeno bilo da film prije odobrenja prolazi kroz mnogo birokratskih slojeva i tako malo po malo dođe do Moskve gdje bi film redovno bio odbijan. Problem je bio u tome što sam napisao scenarij koji sam zbilja i mislio realizirati za razliku od prijašnjih filmova gdje sam slao jedan scenarij, a realizirao sasvim drugačiji film. Uhvatili su me kod filma "Trokut". Kad je došla Perestrojka, bilo je nešto slobode, ali je ekonomija oscilirala iz godine u godinu. Pamtim tu '83. kao posebno tešku, a kad je ekonomska kriza uglavnom srežu kulturu i to na način da nametnu posebnu kontrolu onoga što se smije i ne smije. Probao sam trik sa novim imenom filma i tu sam došao do naziva "Doručak na travi" kao i do scene koja u dramaturškom smislu samo još pojačava besmisao prisutan u cijelom filmu. Nikakvog uspjeha nismo imali. Tek 1986. je došlo do promijene u vrhu instituta za film u Moskvi pa smo ponovo poslali. Nakon par mjeseci šutnje stigla je službena izjava kako je to jako dobar scenarij i kako su jedva čekali takav projekt. S obzirom na provokativan materijal očekivali smo neki skandal, uvijek je dobro imati skandal uz film, ali nije se dogodilo ništa. Film su poslali na festival, što je bilo dosta neobično, jer prije toga su se slali samo umjetnici iz Moskve. Počela su, očito, neka nova vremena.