Quando os livros ou filmes (raramente acontece, ainda, com os videojogos) me tocam particularmente o íntimo, fico com poucas palavras para me expressar, estas parecem não querer sair, a mente vagueia interiormente, delicia-se no re-experienciar do objecto, mas parece não encontrar termos ou ideias capazes de espelhar tudo aquilo que o artefacto provoca. Precisaria de deixar assentar as ideias, e talvez mais tarde, depois de reposto o equilíbrio interno, as palavras voltassem a brotar. No entanto, o imenso prazer sentido impele-me a partilhar a experiência com alguma urgência, acabando por não conseguir esperar por esse momento.
Assim, e para evitar apenas colar aqui o filme, sem mais, deixo as palavras do próprio Alan Holly, que trabalha a alguns anos na animação irlandesa, tendo estado envolvido num dos maiores sucessos recentes da animação irlandesa, “The Secret of Kells” (2009), e que se descreve a si próprio da seguinte forma:
“I have been working in the Irish animation industry for just about ten years now, in different jobs, animator, writer, background artist, editor and then directing my own projects when possible. I think that growing up I always had a vague notion of wanting to make films. I would always visualise the things I read as animation but I don’t really remember being aware of the idea that writing and directing were ways in which you might achieve that. I never wrote stories growing up, I entered into animation because I liked to drawn and loved art. It was really only in college, while studying animation, when I had to first make a short film, that I realised that writing and directing were what I really wanted to do.” [fonte]Entretanto e sobre o processo criativo por detrás de "Coda", Alan Holly diz-nos:
“The film grew out a lot of very rough sketches. I tend to work pretty rough during the ideas stage, just getting the ideas down as quick as possible in my notebook before I miss them. But I had a pretty good idea of how I wanted different aspects of the film to look. It was very important to me with this film that the story be told in a very visual way, the previous short films I had made had been quite sparse so I wanted this film to be richer in mood as well as visual content. The story dictated it too. Colour is definitely very important for me for mood and for trying to communicate certain feelings. Colour effects us in a very subtle way and then it is also just a great pleasure, something to be enjoyed. The decision to leave out certain detail was in part about placing our focus on the main character but also about leaving those background characters as blank slates, particularly in the second half when they are the memories of events and people. In the first half it is also just to do with the way things feel sometimes and a lot of the time you just don’t fully take in who is around you and this is one of those situations.” [fonte]Achei particularmente interessante, uma passagem de uma entrevista, na qual Alan Holly nos fala do seu gosto pelos anti-heróis:
“I think that something that both myself and Adrien are trying to do is to tell quiet stories, as opposed to more dramatic ones where perhaps we follow the hero. The main characters we are interested in are not heroes, they are just normal people, with normal problems, despite whether they are being portrayed in a more exaggerated or stylised way. I think that most people feel pretty powerless in a lot of aspects of their lives and this is something that people struggle with. People are full of surprises too and you meet a lot of interesting people in your life. Animation provides a nice way of expressing eccentricity and character.” [fonte]
"Coda" ganhou uma enorme quantidade de prémios, entre os quais o Prémio Especial do Júri do Cinanima 2014, e a Melhor Animação no SXSW 2014. Toda a animação foi criada na plataforma TVPaint.
"Coda" (2014) de Alan Holly
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