July 19th, 2010

drawing, old man

Finam radio interview with Garri Bardin - part 2

This continues from part 1. The Russian original is here.

Again, good morning. Our guest today is Garri Yakovlevich Bardin, a man who's made around 15 wonderful, very talented animated films.


Exactly twenty, yes? Then it's twenty already. Among them are cartoons that you probably know, such as "Adagio", "Conflict", "Banquet", three "Chuchas", "The Flying Ship"...

"The Flying Ship" is the most...

It's the most famous, yes. Well "Grey Wolf and Little Red Riding Hood" is also a fairly popular film. Four "Nika" awards, a "Palme d’Or", a huge collection of prizes from Shanghai, Leipzig, Los Angeles and so on. Now on to "The Ugly Duckling". Now... answer one question for me; of course it's a rhetorical question, but still try to answer it. Here's the question: You've made an animated film, feature-length, 1:16, a musical. You have Spivakov (well, not even to mention Tchaikovsky). Andersen, Tchaikovsky - these are already brands. You yourself are a brand. Spivakov, Rutberg, Turetskiy and so on. And now you're telling me: "You see, it's unclear what will happen with the distribution, because you see, we don't have some miserable 2 million rubles to print the copies, and so maybe it'll be in the autumn, or maybe there won't be any at all". What nonsense is this? What's the deal? While at the same time distribution slots are filled with "Let's Go To the Moon", "Let's Steal from the Table", and more Hollywood rubbish!

Lena, what can I say? This is truly a rhetorical question, because I cannot answer it.

Okay, wait. Maybe you're an unpleasant person? Maybe you're unable to have normal relationships with people? I don't understand, what's going on?

If I was an unpleasant person, I would have been left alone in my studio. Everyone would have abandoned me. So, probably, I'm not that unpleasant. That is, for my profession I'm of course a tyrant, but in a soft package. I'm not being abandoned; on the contrary, I love my colleagues, and I hope that they feel likewise, because without love a child is not born. There were three years of filming and preproduction; we passed a very big stage. The difficulties were enormous, and I raised the whole team, how shall I put it, in an atmosphere of acceptance, of wanting to do good work, and in this sense I was very lucky with the team I had. We came to the end with the sense that we are doing something that is very much needed.
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