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Fillos do vento - A rapa - Brais Revaldería Phỏng vấn Liên hoan phim Cannes
Những con ngựa hoang dã, hoang dã so với những người khổng lồ Don Quixote hiện đại. Chúng ta tìm hiểu thêm về cách bản đồ chiếu Galicia này, một trong những trải nghiệm yêu thích để giành chiến thắng trong Cuộc thi nhập vai tại Cannes 78, được thực hiện bởi Brais và 100 studio Sutton trong tám năm ghi chép và quay phim.
Phiên âm âm thanh
"Hi friends, I'm in Cannes for the 78th Film Festival and I'm here joined by Brais.
Thank you so much for joining us.
Thank you."
"You just gave me a very impactful experience about Wild Horses.
I can almost feel like the Rolling Stones singing about the wild, wild Horses.
This was interesting and to me personally, I'm from La Mancha, so the approach you gave it, it's some sort of modern Don Quixote."
"So first of all, we can talk technology and immersion, but first of all, how did you went into approaching this process, this project in Sabucedo?
What did you want to convey with this?
Well, Rapa das bestas for me is a childhood myth."
"So I used to watch it. I'm from Galicia too.
I used to watch it on the TV and, you know, the images are very powerful usually.
But all the media is there shooting the best moments and all that.
What I didn't know is what was happening in closed door, right?
After the festival and before and after, there's a lot of work from the people, from the town in Sabucedo to actually take care of these animals."
"So when I learned about this, I wanted to go deeper into the story.
And when we started shooting eight years ago, we realized...
Eight years ago?
Eight years ago, yeah."
"Okay, sorry.
It was a different time.
And actually, the winter turbines were not there back then.
There was just a few.
It became..."
"So like an ongoing story for you.
Yeah, it evolved in a way that we didn't realize until last year when we finally got to the conclusion that we needed to do an immersive version of it so people can actually get into the context of what it is being part of the community of Sabucedo."
"Because at the end, on a regular screening, you wouldn't really be able to live that.
Yeah, I can attest to that because I've experienced it.
Did you or your family take part in the ritual?
No, I'm not directly related with Sabucedo."
"I just saw it from the distance at the beginning.
But then, now, after all that time, we're kind of part of the community too.
So, yeah, they were really nice with us from the beginning.
And now we feel part of Sabucedo too, in a way."
"Of course.
How did both you and Maria approach it in a visual cinematography angle?
Of course, I don't know if you used three shots.
Sometimes I see it's clearly one very wide shot put into three angles."
"And also there is this sound that goes with some head tracking into it.
So how did you conceive this technically and mostly when you go shooting it?
Well, that was a process because we have 270 degrees with the image and the walls right now here in Cannes are three meters high."
"So we had to adapt a bit to the space because the tests that we run in New York were with higher walls and that will help us with the resolution.
Right now the problem is that we have 10,200 per 1,200 pixel image, which is a format that doesn't exist."
"Exactly.
So we had to create it from scratch, basically.
We were using 8K footage, but still with 8K footage, you don't get all the way down to the resolution that we need here."
"So we had to work around a few of the shots because pushing in, in some cases, to focus on the action that we needed was possible.
Otherwise, it wasn't.
So we had to figure out other ways creatively to cover the whole space."
"You have to be very careful with resolution because, of course, given the size and the height, sometimes you can get pixelated.
Exactly.
You can lose the quality of the image on the way doing that."
"And how did you shoot it?
It was always like, I don't know, how do you guys do it?
Three cameras, same sort of plane, or sometimes you actually went, you know, 45 degrees or 90 degrees?
Yeah, we went most of the times 45 degrees, 60 degrees."
"Yeah, very wide angles, very long shots.
True.
Instead of the regular shooting way to do it, you know, for any other project, like with a long, a medium, and a short, we went very long."
"Very wide.
Long, and yeah.
Okay.
Because we knew we had to keep the action in one third of the frame, at least.
And the close-ups, some work, but most of them are not, you know, possible to keep for a format like this because you get confused and you don't understand what's happening."
"I know, yeah, yeah, yeah.
You have one amazing shot, I think it's my favorite, that is pretty much towards the end when the camera goes down and falls in the middle of the audience."
"Uh-huh.
How did you do that?
And then the horses.
That's actually the first shot that we planned for this piece.
Okay."
"And it's probably the best one of the whole.
We agree.
Well, the curro, again, it's the same thing.
In the curro in Sabucedo, you can get into the arena with the camera, they give you that option, obviously under your own responsibility because these are wild horses, you can get hurt, you can lose the camera."
"We've seen that happen in the past to other people.
I've been lucky, it didn't happen to me.
And then you have a press area where you can, from the height, you can actually shoot the whole thing."
"Or you can get in, you know, sit with the audience and try to shoot from there.
So you have those three angles.
When we shot this, I wanted to have a perfectly angled image of the whole thing."
"Yeah.
And there was only one place to do that.
And it's right by the door where the horses come in.
There's a wooden door in this space."
"Okay.
And this wooden door is a whole stone structure.
We built a rig to be able to put the camera in the stone structure the whole time and get that shot."
"We had two opportunities to get it.
The second one, it was great.
And that's the one that you can see in this video.
Yeah, that's crazy."
"You guys have to experience this one somehow.
I don't know if you have considered translating the experience to some other formats such as VR.
Of course, you mentioned before that it wouldn't work as a regular flat film."
"So have you thought of going 3D, going virtual reality?
Yeah, actually, we're doing a traditional documentary that was the origin of this, and we're still doing that one.
We showed it at the Work in Progress in Hot Dogs a few weeks ago."
"We got really good feedback with the 25 minutes that we showed there.
We're thinking about developing a series because after eight years, we have 100 terabytes of footage that we want to show.
And we might think about doing VR to be able to actually go to other festivals because at the end, an installation like this, it's complicated to build and it's very expensive."
"But the only thing that worries me about that is that the good thing about doing it with projection mapping is that you can experience it with other people, and it gives you the sense of community that the people from Sabucero have."
"They're all together.
And it's not as hostile for the devices.
Some people really don't want to wear VR goggles, but here it was pretty straightforward, pretty natural."
"And, of course, we were surrounded by other people.
And there is a clear message to me.
I know you go a little bit obscure or abstract, but, of course, we mentioned Don Quixote before, and you have the turbines, and a couple of times during the experience, you clearly have this contrast between the turbines and the wild horses."
"So what can you tell me about this sort of message and the way you want to impact us?
Well, I mean, after shooting for so long, I have an idea of what's happening, right?
And I think it's a way to tell that green energy is great, we need it, but there has to be a control, and there has to be a way that the impact that it creates is not damaging other things."
"In this case, the environment of these animals is disappearing because the wind farms are encroaching over the area, basically.
So that's what I wanted to express there, that these animals are losing their natural space because there's no control over who's building what in the hills of Galicia right now."
"So, yeah, that was basically the message.
We also tried to give a hint of it at the beginning with other images not directly related with the wind farms.
With the binaural sound, you could hear probably moving around a bit of the noise that they make."
"Yes, yes.
But yeah, that was it.
It's a little hint.
Yeah, yeah, yeah.
All right, this is Cannes."
"This is the immersive competition.
You are competing.
What are the chances? What are the odds?
How do you feel about the competition itself?
I mean, being here is already winning, I guess, but we're super excited to be part of the festival."
"I can't really tell.
I mean, the level is so high.
There's so many great projects.
I think the good part that our project has is that it's very different to the rest of them because ours is a real story that we're trying to bring to an external story from nature that we want to bring inside to this space."
"So hopefully, I mean, we have our chances to win at the end.
And I guess you will agree that it's great that such a traditional festival as Cannes is taking care of cutting-edge technology-based cinema and experiences."
"Some of them are VR.
Some of them deal with AI.
Some of them are more video game related.
Our background is more into video games."
"For example, one of the judges is Mizuguchi-san who is all about video games and new audiovisual experiences.
So what do you say about this mixture of technologies that you are also very related to at your studio that I will ask you about next and the bet that Cannes places on this?
I think it's very necessary."
"At the end, traditional cinema is great.
We have all this story about fantastic movies, but I think it has to evolve in a way because the audience is not getting engaged as it used to in the past."
"The movie theaters are not doing as good as they used to do a few years ago.
So I think it has to evolve, and we have to find other ways to communicate."
"And this is, for example, a hybrid between a documentary and an immersive experience at the end that we're trying to find another way to tell the story.
I think it's great that the festivals are doing this, making these steps towards that and find new ways of expression because we don't know what's coming in a few years, right?
Somebody might find the right way to actually connect with people, and then we'll probably all try to follow that."
"Okay, and final one, I have to ask you about the studio that I just mentioned.
It's called 100 Suttons.
Sutton Studios.
Sutton Studios, 100 Sutton, and it's based in New York."
"So I know you've worked with advertisement activities, you've worked with music, and, of course, you also produce like this in the studio.
So what can you tell me about your activity, your operation, and what you guys are doing now?
We do all kinds of productions there, from music videos, commercials, documentaries."
"I love documentaries, so every project that we get on our way, I try to make it happen.
But we have four documentaries in production right now, different phases."
"One is also related with horses in Morocco.
Not about the Rolling Stones?
No.
Okay, almost there.
But, yeah, we have several projects now in the works."
"I used to work for Experiential, too, with HBO, or we did Game of Thrones.
Game of Thrones, yeah.
Game of Thrones experience, and Westworld."
"So that gave me a different perspective about how to probably find the bridge between traditional cinema and what we're showing here.
But, yeah, there's a lot of things happening there right now."
"Well, keep an eye on you guys.
Good luck with the competition, and it's been a pleasure talking with you."
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