niffiwan (niffiwan) wrote,

Bubnov's new Sherlock Holmes film - status update

Cartoon Brew recently posted an article about how many short filmmakers are using websites such as IndieGoGo and Kickstarter to raise funds from the public for their projects. Ironically, this coincided with some bad news from a Russian project...

As I wrote before, Aleksandr Bubnov is trying to do the same thing in Russia for the sequel to his very funny animated Sherlock Holmes parody, but without the benefit of any websites - the concept was to raise $70,000 by getting 700 people to donate $100 each. Over 300 people promised money, but only 61 have paid so far - likely due to the financial recession which hit Russia particularly hard.

Unfortunately, Bubnov's latest update isn't very optimistic. His money’s running out - he had to move out of the studio space and let his team go, and only has money for making the animatic and renting his apartment. He’s working alone now, and his health is failing because of spending half the day working in front of the computer. And it would be a real shame if he were unable to finish it, because this guy is absolutely brilliant (by the way, he has a masterclass coming up on Feb. 15 at the British Higher School of Art and Design).

A few months ago, I volunteered my time to translate most of the project's official website into English. Unfortunately, the translation hasn’t been put up yet - maybe Bubnov doesn’t hold much hope that the English-speaking audience will be interested. So I'm going to post the translated materials over here - at least someone will see them (I especially recommend reading the first part of the screenplay). The bank account info for donations to the project is here. Bubnov's email is

P.S. Maybe Bubnov would have more luck trying to raise funds on those websites that Cartoon Brew mentioned? His first film was quite popular not just with Russians, but also with Americans, British and Germans. Of course, it's an expenditure of effort, and Bubnov himself doesn't speak English, so I can see why he's avoided it so far...

Table of Contents

1. "Communal Film"
( 1.i. Idea )
( 1.ii. Leonid Kaganov's Letter )
( 1.iii. The Terms of the Agreement )

( 2.i.i. First part of screenplay )

3. Team
3.i. Director
( 3.i.i. Bio/filmography )
( 3.i.ii. Awards )
( 3.i.iii. Films )
( 3.ii. Artist )
( 3.iii. Technical director )
( 3.iv. Administrator )
( 3.v. Assistant artist )</b>

1.i. Idea [How it all began...]

Let's create a sequel to "Holmes"!

On June 9, 2008, Aleksandr Bubnov wrote in his LJ blog:

"Ugh, I've been sitting listlessly, and finally decided to write something in my despair!

What bull is this? I understand that because of some incomprehensible-to-me cosmic laws, I must be doing something wrong!

I simply want to work!

Here, judge for yourselves: I made "Holmes" two years ago. I immediately submitted an application for a second film in the series. The producer played head games for two years, fed me with foggy promises, told me how complicated the situation is in FACC today (the Federal Agency for Culture and Cinematography of the Russian Federation) - and it turned out that he hadn't even submitted the application to FACC!!! How much time was lost... I turned to a second producer - the same story. First he filled me with hope. Then with foggy promises. Then with tales about how complicated the situation is in FACC... then complete silence. And another half-year went by!

What is this?!

The screenplay is ready, the characters are ready, the artist is waiting for the signal to go start work.

There's no money!

Some pitiful $70,000 (I don't want much)!

For comparison: FACC pays $8000 per minute. Let's multiply by 26, and we get $208,000!

I'm agreeable to a third of that!

And a mad idea came into my head.

To make a film with the money of common people.

Everyone who liked "Holmes №1", who wants a continuation, all Sherlockians and Holmes-lovers - I appeal to you!

Would you like to become producers/sponsors/patrons of a funny film about Holmes and Watson?

Let's all give $100. 700 people.

Don't worry; this isn't a fraud, and I'm no swindler.

If you would like proof of this - here's the first film, for those who haven't seen it yet.

Which, by the way, won 3rd place in the Suzdal Open Russian Festival of Animated Film, and the Prize for Best Screenplay.

And was nominated for a "Golden Eagle Award"

I will account for all of your money. I don't need any bonuses.

It's just that time is pressing onward relentlessly. How many ideas I have! Yet I'm working on various junk. But what is there to do? I have to feed my family!

If this works, it will be the first communal film in history!

The money for which was given by audiences themselves!

Maybe, you're afraid that the screenplay is bad, and the film will turn out unfunny?

Here, I'm putting the beginning of the screenplay online. Judge for yourselves, whether it is bad or not.

I don't even know any more, who to turn to. I don't have any trust in officials - neither in Russian ones, nor in Ukrainian ones. They don't give a rat's ass. There are no more patrons. Producers want commercial returns. Behind their eyes only numbers flash by. 120 episodes of 30 minutes each and to "bake" one episode a week! Oh, they will jump with pleasure upon that arrangement!

But I don't want to put Holmes on a conveyer belt! Nothing good will come from that.

You are my last hope...

I understand that what I'm writing is silly, but still..."

This post served to initiate the collection of funds for the communal film. At the present time, over 350 people are ready to take part in financing the second episode about the adventures of Holmes and Watson.

1.ii. Leonid Kaganov's Letter

(Leonid Kaganov is a Russian fantasy writer, humorist, and tv anchor.)

Give to Holmes 2 - the first communal animated film in the world!

Cartoons are a strange thing. Everyone likes them, from childhood to old age. Making them is inconceivably difficult. Paying for them is something that no-one wants to do. Humanity has not conceived of a way to sell a small cartoon. Neither in our country, nor in the West. A short cartoon might win an "Oscar", a world record for number of online downloads, be put on T-shirts, userpics, quotes and ringtones, but even a managerial genius is powerless to sell it for money. It is easy to sell a hugely long cartoon series that is put on a conveyer belt. It is easy to sell an animated feature film - to theatres. But to arrange the sale (ergo, to win funding) of a cartoon 10-30 minutes long is an unachievable task. Although it is precisely these sorts of films that people like to watch most of all. But for some reason, only for free. Our generation was born and we grew up in the USSR, where a child's most glorious entertainment was to watch the show "Good Night, Children" on TV before bedtime. Yet despite the wondrous creativity and highly dramatic conflicts of the puppets Hryusha, Stepashka and Aunt Valya, we waited for just one thing: at the end of all of that prattle, they would finally show us the cartoon.

In the USSR, cartoons, just like everything else, were made by the government. When the USSR fell apart, cartoons vanished. In the beginning of the 90s, some friends brought me a videocassette, lent to them on the condition of their grave pledge to return it. They made me swear a solemn oath that I would not attempt to tape over it. As it was explained to me, that video contained our domestic cartoons of recent years, which we would never see in our lives because they were bought by other countries. That's how it was: other countries came and bought them. And they're watching them over there. But in Russia, nobody will ever see this. Why? Because in Russia, nobody gives animators any money, while other countries do. And now they own the rights. That was the story that I was told about a video that was filled to the brim with fantastic Russian cartoons with English subtitles. It was insulting, outrageous and demeaning. And, as schmaltzy as it may sound, painful for my country.

The video truly did contain masterpieces, and most of all I remembered "Clinic". Today, it's not difficult to find it: here's part 1 and part 2. My story "Viy-98", written many years later, was inspired from it, by the way.

I did not know then that "Clinic" was the first film of Aleksandr Bubnov. Two years ago, I happened to be in the Suzdal Open Russian Festival of Animated Film, and saw one premiering cartoon that literally reduced the audience to tears of laughter. This was the new cartoon of that same Bubnov, titled "The Murder of Lord Waterbrook". As it happens in elite professional festivals, it only placed third in the ranking. But the hit instantly made the rounds around the internet, and was taken apart into quotes, userpics and ringtones. Whoever didn't see it, judge for yourselves; here it is.

Does this mean, then, that hilarious cartoons are still being made in this country? Apparently not. Recently, Bubnov wrote in his LJ (bubnoff) that he's in despair: he's been fighting for two years to make a continuation, but nobody is giving any money to the project. The federal budget doesn't want to sponsor Bubnov (especially considering that he lives in Kiev), and there are no sponsors. The irony of the situation is that Bubnov is not lacking for work: commercials, commercial videos - that's what feeds today's artists, taking away time and strength, though it makes them ill. If one were to imagine for a moment that the world is controlled by some Evil Cabal, whose purpose is to create conditions in which talented musicians, poets, artists, and writers never made anything worthy, then the current global situation, alas, agrees wonderfully with this theory. A writer can at least write "on the side", but an animator cannot.

That, which Bubnov has thought up in his despair, is unheard of in the history of animation: he has proposed to bloggers to collect $100 per person, to make the internet's first COMMUNAL FILM - made with the people's money and for the people, and not for the investor (so that nobody would have to steal the cartoon from a safe and secretly upload it online in horrible quality).

$50-70 thousand need to be gathered. (Those who are familiar with animation costs will appreciate the modesty of this sum - the budget of a 26-minute animated film, even with our miserly state funding, is usually 4-5 times greater. To all others, for whom this sum seems unexpectedly large, I wish to remind them that this is the budget for a whole year of the concerted efforts of a large team of people: artists, animators, in-betweeners, voice-actors, composers - I can't name all of them offhand).

And so it is necessary for 500 people to donate $100 (and with this to enter into animation history and the credits of the film). As of today, 178 people have agreed, many of whom are ready to part with an even greater sum. As soon as all the places are filled, Bubnov (who is touchingly embarassed about the possibility of success) will open an account and work will begin.

We still need to gather the remainder. And so I, as an admirer of Bubnov's art, am putting out a call: friends, let's do it! All of our childhood, we've watched wonderful cartoons as freeloaders! Our childhood is past. We've grown up. We've started to earn wages. And now WE CAN ALLOW OURSELVES to help in the creation of a new quality funny cartoon, which will be watched and quoted by our children and teenagers, who have become stupefied from watching bloody imported drivel and hentai. There is nobody to do this today except for us - among producers, half lust for profit, while the other half live on graft and kickbacks from grants.

How can you help, personally?

1) Pledge $100 from your name, signing up over here:

2) If you work in an organization or internet-project, make a suggestion to your management to join the project, donating $100 or more, as it was done, for example, by Internet portals can be mentioned in the credits alongside names.

3) If you are a journalist who works for the radio, in a newspaper or on TV, you have a wonderful opportunity to provide publicity help by making a piece about a talented animator whom the government and sponsors have been doing a number on for many years, and who in despair has suggested, for the first time in animation history, to make a communal cartoon with the people's money for the people. This is a very media-friendly story.

4) Tell your friends about the "communal cartoon" project, give them the link to Bubnov's journal:

5) Think up something else. Make a banner to support the "communal cartoon". Help Bubnov with his site. Get some ideas about who to talk to. Who knows?

6) Or here's another idea: if someone long-ago loaned money from you or didn't pay for a job, yet keeps promising to follow through to this day, and if you're despairing of ever seeing the money yourselves, and it's even impolite to mention it now... Here's a wonderful reason to do it: call the person and persistently suggest the idea of speedily donating this sum to a new cartoon. The idea of entering animation history and getting an equal mention in the credits will inspire anyone!

© Leonid Kaganov
21 June 2008

1.iii. The Terms of the Agreement

A good-quality copy of the film will be uploaded somewhere for all viewers. We shall decide later on, where exactly. The most generous and most active donors will be granted personally-addressed pictures or production art of the film, official DVDs with the films signed by the director, and documents thanking them.

Concerning copyrights. I have thought long and consulted with various people, and finally decided on the framework suggested by Leonid Kaganov, the well-known fantasy writer. When I asked him to look over the question, he gave the following recommendation:

1) All rights to the animated film belong to its creator, A.Bubnov.

2) Nevertheless, A.Bubnov agrees to handle his rights in a manner most conducive to the free and open distribution of his animated film, making it accessible, as far as is possible, to the maximum number of people, including online.

3) The collection of donations is selfless, in the sense that donors are contributing their assets in order to buy the film "from nonexistence" and to make a gift for themselves and other viewers. Because without this help, A.Bubnov has no means to gather a team of professionals and to see this idea through. Unfortunately, according to the rules of the current Russian economy, there is no possibility of recouping the costs of an animated film of this length, so one cannot rely on profits or breaking even.

4) Nevertheless, in the (fantastically unlikely) scenario of this film somehow giving A.Bubnov a profit great enough to offset the budget (for example, if it is bought by a large company (without limiting the stipulation of its free distribution in internet-quality), or receives a large monetary prize), then the collected money will be fairly distributed to all those who took part in its collection, proportionally to their participation in the effort. Although, we emphasize, this scenario is fantastical and it would be best not to count on it.

2.i.i. First part of screenplay


A window overlooking Baker Street. In the window are two bullet-holes, carefully covered over with a band-aid. Standing before the window, HOLMES, with feeling, scrapes a bow hither and thither, producing two mournful notes. WATSON sits before the table, not yet cleaned up after breakfast, and reads the latest "Times".

HOLMES (halting his playing):
-What news, Watson?

WATSON does not react.
Then HOLMES taps him on the shoulder with the bow.


WATSON lifts his head and takes out the earplugs from his ears.

-I asked: what's new?

WATSON (after clearing his throat):
- Mhm...Lady Waterbrook has married the illegitimate twin-brother of the deceased Lord Waterbrook. High society is shocked.

HOLMES (shrugging):
-Well, that's uninteresting... What else?

WATSON (reading):
-"Theft through chimneys continues apace. Yesterday, one Miss Andrew was deprived of her candlesticks and silverware..."

HOLMES (grumbling):
-Humdrum... The criminal world is degenerating...

He produces an earsplitting sound with the bow. WATSON puts his earplugs back in. Suddenly, there is a sound outside the window: something like a distant thunder. The dishes in the cupboard rattle gently.
HOLMES puts down the bow.

-That's odd... The sky seems to be clear... Did you hear that, Watson?

WATSON is silent. HOLMES taps him on the shoulder with the bow.


Before WATSON is able to react, a strange shuffling sound comes from the fireplace chimney that gets gradually louder, and an object plops down into the fireplace from above. HOLMES and WATSON simultaneously jump up in shock. The fall of the object causes a cloud of soot to rise up, and HOLMES and WATSON begin coughing. Some time passes before the soot settles down. The fallen object lies peacefully in the fireplace. HOLMES and WATSON stare at it.

-What is that?

WATSON picks up a fireplace poker and carefully pokes the object.

HOLMES (with alarm):
-Don't touch it, Watson! It could be one of Moriarty's schemes!

But WATSON, ignoring him, snags the object with the poker and carries it to the dinner table.

-Look, Holmes, it is a suitcase...

HOLMES (with even more alarm):
-Don't open it!!!

WATSON opens it. Then looks at HOLMES, who is desperately making various sign-language signs, and takes out the earplugs from his ears.


HOLMES (with relief):
-I was saying, go look at what's inside.

WATSON (taking it from the suitcase and unrolling it):
-It's some sort of diagram...

At this time, a shuffling in the fireplace chimney is heard once more. The friends turn around. WATSON instinctively hides the diagram behind his back. A CHIMNEYSWEEP crawls out of the chimney. This person is of small stature, and completely black from soot.

CHIMNEYSWEEP (looking at the suitcase, with a strong accent):
-Ah! What luck! It here! I dropped it chimney!

-This is your suitcase?

-Oh yes, is mine!

-What's in it?

-Oh, completely unimportant paper!

WATSON brings forth the diagram from behind his back, unrolls it and demonstrates it.

WATSON (with irony):
-The one with the stamp saying "Top Secret"?

CHIMNEYSWEEP (frowns, looks from side to side, then grabs the fireplace poker from the table):
-Give paper! Quick!

The friends look at each other ironically.

-And if we don't give?

CHIMNEYSWEEP (with malice):
-Oh, I no recommend play game with me! You watch! (bends the fireplace poker into a loop and throws it before Holmes' feet) Give now!

HOLMES (picks up the poker):
-Hmm... this sort of evidence... (tries to straighten the poker)... is nothing new... (the poker doesn't bend)... for us!

WATSON and the CHIMNEYSWEEP watch his efforts. Suddenly, the CHIMNEYSWEEP springs upon WATSON and tries to grab the paper from his hands. WATSON latches on to the diagram with both hands. The CHIMNEYSWEEP pulls as hard as he can, and WATSON falls down. The CHIMNEYSWEEP drags the scroll and WATSON to the door.

WATSON (with desperation):
-Holmes !!!

For some time, HOLMES struggles with indecision: should he continue to focus his efforts on the poker, or rush to help WATSON? Finally, he throws down the poker and hurries to help WATSON. He grabs him by his feet. With a crack, the paper rips in half, and the CHIMNEYSWEEP flies out the door. We hear how, clattering and clinking, he rolls down the stairs. Then a desperate cry from Ms. Hudson.
WATSON jumps out the door, but quickly returns.

WATSON (catching his breath):
-He's gone!

HOLMES looks over the half of the diagram left in his hands.

-The Admiralty's emblem. "To... Sec..." Hmm, right... What the devil made you demonstrate the paper to him, Watson?...

WATSON guiltily hangs his head.

-All right, let us wait for further developments...
(puts the remainder of the diagram into his suitcase and picks up the poker)
But truly, what a brute!...
(again tries to straighten the poker)
To ruin... such a fi-ine item.


3. Team
3.i. Director

3.i.i. Bio/filmography

Aleksandr Bubnov

Director, artist, screenwriter, animator

Born in 1959. Graduated from the Kiev Civil Engineering Institute specializing in architecture.

In 1988, entered the courses for animation artists in the Kiev studio for popular science films (Kievnauchfilm), department of animation (master-class of Yevgeniy Sivokon). Upon finishing these courses, received a job in that studio as an animator.

Worked on the films "Treasure Island" (dir. D. Cherkasskiy), "Dolce Vita" (dir. L. Tkashikova), "Escape" (dir. V. Goncharov), "Death of a Government Clerk" (dir. A. Viken) and others.

In 1990, entered the Highest Two-year Courses for Screenwriters and Directors (Moscow), master-class of F. Khitruk and E. Nazarov.

In 1993, debuted as director with the film "Clinic" (14 min), "Borisfen" studio.

In 1996, finished his second film, "Blue Beard's Last Wife" (13 min), "Borisfen-Lutece" studio (Grand-Prix of the Montreal festival, 1997; Zagreb festival Humour award, 1998; "Krok" festival award, 1997; special jury prize in Siena, Italy; Villeurbanne, France festival prize; and others - around 10 awards in total.)

Developed the art direction and created the characters in the series "Talis" (13’x52), y. 2002 and "Pigeon Boy" (26’х26), y. 2003 for Millimages Studio (France)

From October 2003 to February 2004 worked on the film "Bedtime Cat" (26'), dir. Y. Cherenkov, Nikita Studio (France).

In 2005, made the film "Sherlock Holmes and Doctor Watson" (18'30''), Guberniya Studio, with the support of the FACC (screenplay author, director, artist, animator)




Animation festival prizes:


Prize for Dramaturgy and 3rd place in the ranking at the Open Russian Festival of Animated Film in Suzdal, 2006

Grand-Prix of the festival "Multivideniya", St. Petersburg, 2006

Nomination for the Russian Film Academy prize, the "Golden Eagle", 2006


Grand Prix of the international film festival in Montreal, Canada, 2006

Special Prize for Humour, Zagreb, 1998

Prize at the Short film festival of Villeurbanne, France, 1997

Special Jury Prize in Siena, Italy and others.

(around 10 prizes in total)

"CLINIC" (13')

KROK International Animated Films Festival Prize, Kiev, Ukraine, 1993

"Molodost" (Youth) Festival Prize, Kiev, Ukraine

Was accepted at many international film festivals, such as Hiroshima, Brussels, London and others)




2005 -

Guberniya Studio, with the support of the FACC
screenplay author, director, artist, animator

2001 - 2002 -

« PIGEON BOY »,t/v series, (26x26') Millimages /France 3

Character and background graphics

1999 - 2001 -

« TALIS », t/v series (52x13') Millimages / France 3

Character and background graphics

1998 -

« PIGEON MAN », pilot for tv series (45'')

Graphics, animation

1996 -


Borisfen-Lutece(Ukraine)/Millimages (France)

Screenplay, director, graphics, animation

1994 - 1995 –

Work on commercials, "Pilot" studio (Moscow, Russia)

Screenplay, director, animator

1993 -

« CLINIC », (13') Borisfen-Lutece (Ukraine)

Screenplay, director, graphics, animation

1988 - 1990 –

Work at Kievnauchfilm studio:

« Kolobok» (7'),1990, director Konoplyov [screenplay]

« Escape» (5'),1990, director Goncharov [screenplay, art director]

« Guest »(5'), 1990, director Tyuryayev [animator]

« Treasure Island »(85'), 1989, director Cherkasskiy [animator]

« Sweet Life »(7'), 1989, director Tkachikova [animator]

« The Most Beautiful »(5'), 1989, director Kasavina [animator]

« The Death of a Government Clerk »(10'),1988, director Viken [animator]



Irina Kovtun

Born in Kaluga, Russia. Graduated from art school, then the artistic-pedagogical faculty of Kaluga Cultprosvet school. In 1995, entered the Faculty of Arts at VGIK (master-class of S.A. Alimov), graduated in 2001. Diploma project based on the satirical novel by E. T. A. Hoffmann, "The Life and Opinions of the Tomcat Murr".

In 2000-2002, worked at "Classica" studio. Participated as a background artist on the projects "King Solomon's Ring" and "Sea Devil".

In 2002-2003, did background art for the film "Prince Vladimir", "Solnechny Dom" Studio.

In 2003, was art director for the live-action feature film "The Dream" (unfinished project), "Piastres" post-production studio.

In the same year her son, Ignat, was born.

In parallel with the above work and the birth of her son, did sketches for Vera Tokareva's animated film "Lou. A Christmas Carol", and in 2004-2005 worked for her as art director.

In 2005, was the assistant art director on A. Bubnov's film "Sherlock Holmes and Doctor Watson."

In 2006-2007, was Art Director at the 3D Studio "Doctor Pictures'", participated in the feature film projects "Day Watch" and "Wolfhound".

In 2007-2008, was master background artist for G. Danelia's feature animation project "Kin-Dza-Dza". At the same time, worked as a background painter for the animated film "There Lived a Fly", directed by A. Oyatyeva.

In 2008, entered the SHAR School-Studio for animators and directors.

In late 2008, worked as a special effects supervisor for the live-action film "The Empress and the Bandit" by motion picture company "Master-film".

Since the beginning of 2009 she is working on the project "Holmes-2".



Leon Estrin

Date of Birth: February 20, 1965

1987. Graduated from the Gubkin Russian State University of Oil and Gas. Worked in a separate design bureau for rodless pumps.

1995-1996. Administrator on the project "Sesame Street" (Season 1).

1996-1998. Administrator at "Starlight" studio, director B. Grammatikov.

1999. Became interested in animation. Made his debut film, "3 A.M."

2002. Graduated from SHAR School-Studio. His diploma film was "THE SPARROW WHO COULDN'T FLY" (2002).

From 2004, working at "Pilot" studio as director and animator in 2D and 3D animation.

From 2009, working as the technical director on the "Holmes-2" project.



"3 A.M." (1999)


"CHEPOGI" (2007)


"3 A.M." (1999)


"CHEPOGI" (2007)


"3 A.M." (1999)



"3 A.M." (1999)





“ZHIHARKA” (2006)


“CHEPOGI” (2007)


camera operator




Maria Kullanda

Born April 8, 1975 in Moscow.

Started school in 1982 and successfully graduated in 1992.

Accompanied archeological expeditions since 11 years of age, and entered the history department at MSU in 1993.

In 1995, gave birth to her daughter Sonia and moved into the evening department. In 1998, gave birth to her son Ilyusha and (to everyone's surprise) graduated from university specializing in archaeology in 2000.

She worked in different places - as a babysitter, as a secretary, as a member of the advertising department, etc. In 2003, quite by accident, found herself at "Pilot" studio working as a secretary (she was going to work 4 months until the summer) but stayed there for five years. Worked one year as a secretary, then she learned to scan and went to work in the technical department.

Worked on the films




From 2009 she is working as the administrator for "Holmes-2".



Anna Yudina

Born in Yaroslavl in 1977.

In 1999 she graduated from the Faculty of Foreign Languages of Yaroslavl State Pedagogical University, specializing in French.

2000 to 2005. Worked as a teacher of extra-curricular education in "Perspective", the city center of animation creativity for children and youth. Made cartoons and comics with children.

2006-2007. Studied animation in courses at "Pilot" animation studio.

In 2007, did a little work on Lisa Skvortsova's project "Lullabies of the World" between studies.

2007 to 2009. Worked at "Pilot" studio plasticine animation group under the direction of Sergey Merinov.

Also worked as an animator on the Andrey Sokolov's film, "About Rozka the Dog".

In 2009, made flash animation for the series "Barbariki", "TEMA" studio.

From June 2009 is working as an assistant artist on the "Holmes-2" project.
Tags: 2000s, bubnov

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