Brazilian Wax Free Scenes

The magic of Tournier

My friend Walter Tournier is a magician. I always knew, but now they know everybody. In No. 2038 of Calle La Paz, in Montevideo, between light and shadow, behind heavy black curtains, had organized the plot of a conspiracy of love and creativity. In their study

animated film a team of twenty people work-and play-to create an animated feature film Selkirk, the real story of Robinson Crusoe, which we see in mid-2011 and will no doubt be a great gift for those who love good cinema. The effort included in the post-production teams of Argentina (in charge of the sound) and Chile (in charge of funds and digital sets).

Flaco

Walter Tournier

Tournier I visited in late October, I was in his studio, where a long corridor from the entrance of the house to the back exhibits in-dash walls drawn storyboard, the film, with hundreds of images representing sequences that make up the film, some already filmed as evidenced by the photos, some in process, still represented in black and white drawings. Color gradually invades the wall, a sign that the characters come to life and the film progresses.

This is the most ambitious project that Walter has developed. In Selkirk, the castaway on life that inspired the novel by Daniel Defoe, crowns a filmmaking career precise and a perfectionist, which has spent decades of his life with dedication and deep love of art (and here the term fits like fits). In other words, the life of Hank is and has been the animation, to the point that he it could be a character. Idea to his disciples, including the skinny on the story as a "cameo" of those who loved Hitchcock.

The youth team of Walter is one of the main issues of the project: "The idea is that they replace us, they continue to work with animation." Many of these young people were trained in the training workshops given by Hardy and today are the creative and technical support of production of the film.

addition of enthusiasm and harmony that floats in the air, what impressed me most in the animation studio is the detail and perfection with which they work. The face of each character is modeled several times in latex and silicone caring even microscopic details, and discarding the pieces with impurities. Below the bench is a "dead box" where the sides are falling out well or not broken while off its mold. Laura "Lala" Severi-art director and partner Walter gave me one side of Selkirk, who looks at me with empty eyes as I write.

Young creators of Selkirk

Medium day the entire team took a break to share the gnocchi in a large pot that had been prepared Doña Susana Buenaventura. Sitting around a long succession of technical plastic tables and chatting animatedly creative, jokes and party are thrown to someone, "there's always a birthday, we are many." The atmosphere is jovial, that of a large family where the patriarch Flaco is a close, accessible, simple.

In successive rooms of the house, converted to animation studio behind the heavy black curtains have built four sets with the main sites where the characters come to life: the warehouse and the captain's cabin of the pirate ship, beach Juan Fernández archipelago where Selkirk was abandoned for four years in 1690, and the tavern of the pirates. Here is the magic, are achieved movements that seem impossible. "Care to kick the camera tripod, which is going to trash the whole scene" prevents Flaco.

Walter Tournier and Juan Andres Fontan

Four pirates around a table with jars provide beer in the animation by Juan Andres Fontan beer splashed on table when they hit the jars. The effect achieved using small pieces of yellow cellophane, and all this while had to move their faces, arms and bodies of the four pirates. In another scene a coin is tossed in the air, shot from above shows how the coin up is enlarged while turning on itself. How did this effect? The currency had been attached to a piece of wire that spun and then was erased electronically.

Many details are feats of animation: a knife through the air and nailed to a mast, a parrot that flies flapping their wings, the reflection of a beach in the tiny lens of a telescope, pirate flag flies wind, sparks of clashing swords, a tear falling, or the pirate ship on choppy ridden waves. Everything here is movement, everything has depth of field and thickness. All this you can see on the excellent website film, do not miss it.

What little I know about the art of animation "stop motion" helps me to appreciate these wonderful achievements on the screen last only one or two seconds, and that very few viewers will appreciate in perspective.

We are far from animated films of least resistance to television has accustomed us with flat images, fixed funds scenery, the characters dull with little movement and no depth, poor drawings made of paperboard, cut crude as South Park, whose success seems to be based solely on the word vulgar, a kind of masochism highbrow.

In Selkirk the use of digitally generated effects are minimal, is reduced to the special effects and background scenery. Everything else is the work of skilled craftsmen who give life to characters that are not larger than 20 centimeters tall.

Perfection is such that the mouths of people open and close as they talk in sync with the words recorded by the actors who did the dubbing. The lighting of the scenes are perfect, the sets I suggest that "small is beautiful" (the phrase of the economist Leopold Kohr). Inside each doll is a mechanical structure, an articulated skeleton which allows the characters move.

Walter Tournier and Alfonso Gumucio in 1998

specialized equipment and precision tools watchmaker make each character can perform the same movements as a human being. "Despite the difficulties, as I prefer to use available materials and work space across real and not fictitious as in 3D. Tellingly I like it is closer to reality with a fee scale that marks the human presence, "Walter tells me, and I go from there to the streets of Montevideo with lungs full of fresh air.