Raúl Koler & Emiliano Sette
Joining us in The Green Room this time is duo- Raúl Koler & Emiliano Sette.
Hi Raul and Emiliano, thanks for joining us, I’d like to start by asking if you can give us an idea of your background and how you ended up working in animation?
Raúl Koler is an Argentinean artist that has been developing a series of interdisciplinary projects since the 1990’s that include works in literature, photography and film. Emiliano Sette is a Director and screenwriter of animation and live-action projects. He won several awards including Martin Fierro awards, expotoons and Infansias Incaa amongst others.
The look of your animated film is amazing, how did you decide how "Anacronte" would look, is that something that you and Raul would collaborate on and are there visions of how you wanted it to look that were rejected?
Raúl: It was a decision and a necessity to represent “Anacronte” and the Sorcerers of Evil with a simple aesthetic but at the same time it is unpublished enough to accompany the mysteries that would unveil during the short. Emiliano: When Raul told me this story he told me that in the first instance he thought in to be like making a painting, we wanted to try to conserve that idea and do a universe of acrylic textures. We have the opportunity to work with Nelson Luty, one of the most important Latino American Art Directors in animation projects and together we landed in this fantastic universe for telling the “Anacronte” story.
Some of the animation reminded me of the artist H.R.Giger (as an example the creature's in your film that fire the "spears") - kind of like a twisted bio-mechanical look - bizarre and fascinating at the same time... where on earth did that come from (it looked amazing!)?
Raul: The central image required certain characteristics that only a deep analysis could complete. For example, where would the arrows be provided? Once used or re used? They should be loaded in a quiver hanging from the back. Should aim adjustments be made? Of course not, “Anacronte” IS the bow and arrow, and you can even tell by the dissatisfaction with which he releases the arrows, almost without aiming. Emiliano: Fundamentally for “Anacronte” the way worked with the idea of the acrylic textures because of all the environments of him were a big painting and the character was part of this universe, both were one.
Why did you decide to have no dialogue?
Raul: The script demanded a universal message, and after several nights without sleep because of the fear of misunderstanding, we decided that only with a silent film would the capture of “Anacronte’s” deep sense be reached
How did you and Raul end up working together?
Raul: Working daily on the design and correction of progress, we generated a professional and emotional current that opens up unthinkable paths. Emiliano: We have a common friend that pushed the domino. Raúl told me this story and immediately we decided to work together in the narrative aspects until the final render, and for me this was an amazing process, Raúl is a big inspiration and that is the best component to work with someone.
Animation must require the most immense patience....do you ever feel it is just too much time!?
Raul: After cradling in my interior the gestation of Anacronte at every moment, day and night, loudly, in whispers … is it much, two and a half years?
Could "Anacronte" be part of a series?
Raul: It is an interesting goal that we do not stop thinking about. Emiliano: Of course, we are rehearsing to make this story grow. Now we are working on the feature film of this story and we are talking with some co-production partners and funders to make it possible.
I loved the sound design and music in "Anacronte", can you tell us how closely you would work with the sound designer Mercedes Riva, and Andres Goldstein and Daniel Tarrab who supplied the original music. For instance how does the process work in comparison to a live action film or documentary?
Mercedes, Andres and Daniel are eminent in the cinematography industry, working with that kind of artistry was the opportunity to find different ways to give spatiality of an organic environment, for the sound design with Mercedes and working with the emotional original score of Daniel and Andres we knew we had the perfect team. The music and the sound is the soul of the project, we love the movies that don´t need a lot of visual fx because they have delicate attention in the music and sound design.
Can you tell us about the next project or projects you are working on?
Emiliano: We have several projects and all working with Raúl of course and and this is wonderful especially after the beautiful reception of the short film this year. We are working on the movie of “Anacronte” and now we are writing the script with Sabrina Pace and Alejandro Dajil. In our studio Mr bug (www.mr-bug.com) we are working on 3 animation series for children and we are developing a live-action sci-fi Project.