Waltz with Bashir – Ari Folman Interview

Waltz with Bashir - Ari Folman Interview

Waltz with Bashir – Interview with Ari Folman

  On 6/11/2008 Waltz with Bashir, Ari Folman starts moving, personal confrontation with the war in Lebanon. Recently, the animated Israeli documentary was selected as a contribution for the nomination for Best Foreign Film at the Oscars 2009th The director spoke at the edge of the Munich Film Festival, where the film celebrated its acclaimed premiere in Germany, about the complex production and reception history of Waltz with Bashir.

In Munich, it was eerily quiet after the screening. Did you expect this reaction?

The film celebrated its premiere at Cannes. Already there was a great intensity felt. In Munich and in all other cities and countries Waltz with Bashir is similarly recorded. One difference about this is Israel. There, the whole audience goes with emotional. Many are beginning to cry, in Germany at the end there is more a of shock. In Israel, of course, playing the cruel memories of the time, a much stronger role.

Was there a negative reaction in Israel, because people do not want to be reminded of the atrocities?

Yes, but surprisingly few. Mainly on the Internet could be people out in comments about it. Most of these authors have not even seen the movie at the end. But almost all the other reactions are surprisingly good. This is a real surprise for me. I thought it is sparked by Waltz with Bashir a proper debate. Because in Israel, films are usually stuck fast in drawers: Left, right, anti-Zionist European senile. But this time, this simple categorization did not happen. I was also surprised to the very positive response in the Arab world. We want to show Waltz with Bashir also in Beirut, but that will not be easy.

The fantastic music by Max Richter was a big contributor to the emotionality of the film at how you came up with it?
(# ) During my script work for Waltz with Bashir I’ve often listened to his albums. Richter’s music is very strong, depressing and melancholy. In her own way she is the soundtrack of my script. Judges, moreover, I found via google. Then I wrote him an email in which I explained to him that I turn this wacky animated documentary, and whether he wanted me to write the music for it. He said once and I flew him to Edinburgh. When my video board was finished, he had not yet taken up the soundtrack, but already stored on his computer.

How many difficulties arose for you to be able to turn an animated documentary?

It is a major problem in the film categorization. What exactly is a documentary? When a movie is fictional, again? If I had characterized the same as the fictional film in advance, I would have five times as much money to get it. I was unfortunately not so smart. I thought that declaring an animated Waltz with Bashir documentary that would help me. The opposite has happened. When I was in Toronto on the Dokfestival three minutes it showed all the producers said: “A cool idea, but why not rotate the movie with real people.” Then I said: “They are real characters.” Then the answer: “No, really came ‘real’ people.” Summing up: It was terribly difficult for the financing of Waltz with Bashir raise the necessary funds.

How they came to the very specific character style of Waltz with Bashir?

I chose first the most talented People for the project. Then I chose between three different designs. The first was the Realistischte. There one could identify most closely with the portrayed characters. Finally, the dream sequences that I could stylize much came free – especially when the lines and colors. In the end I had to even this depressing mood light and from orange to black convey oscillating colors.

When did the idea to tell this story as a cartoon about?

I already did four years ago, a five-hour animated TV documentary called The Material That Love Is Made Of. She treated eight love stories, which I followed for three years. They ranged from a seven boys up to a 80-year-old couple who committed suicide together. I wanted to show between the episodic animated stories real scientists, who should speak about love. But it always seemed so patronizing when they dazwischenfunkten between the moving stories and swaggered through neuro-transmitter. So I thought it would be better to paint them and use only their voices. This has worked fine so I took the technique for Waltz with Bashir.

Why do you hide in Waltz with Bashir in the last scene from the cartoon into reality through?

That was the beginning of so in the script down. I wanted to make a statement and wake up the people: This is not just a cool animation of past that really happened. That is the reality and horrible as it looks.

Can you say why you had forgotten all her memories of the terrible war?

It’s a decision I’d met when I resigned from the army. I wanted to work on it is no longer the next 20 years. I wanted to no one whom I knew from those days of war have to do something more.

, It has disgusted you so what you have seen or done at that time?

I still think that we are not dealing here with a classic trauma – such as when a child is abused and the offense is simply forgotten. So I would make it too easy for me.

Did you want because of the brutal past, never leave Israel?

No, I’m an artist. I work with language as a screenwriter. As I write in Hebrew. I have a lot to criticize my country, but here I and my wife and my three children live. This is my home. Just for an important project, I would move out for one or two years from Israel.

If you rotate another animated documentary?

No. That would be too boring. However, I will turn more cartoons. My next project, an adaptation of Stanislaw Lem’s novel
The Futurological Congress will contain both real and animated scenes. It took years before I got the rights for it. The whole is again a German / Israeli co-production (. #) If there is actually an exchange between Palestinian and Israeli filmmakers?

No. But I know some directors such as Hany Abu-Assad (Paradise Now), we look at the films of the other, but we can also go into a bar and talk just like us. We have virtually the same political views. It is perhaps a bit extreme, which stems from his background. But there is no cold war between us artists, but an ongoing discussion.

What do you think of Paradise Now?

It’s a great movie. I have only one problem with it. Einsteigt When the bombers for the first time in the bus, you see children in it. So he will not break into the air. This I find simply hypocritical.

(Florian Koch)

Title:

Waltz with Bashir – Interview with Ari Folman

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