Untitled - Até que a Sbornia nos separe

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PETROBRAS & OTTO DESENHOS ANIMADOS
present
Directed by
Otto Guerra
and
Ennio Torresan Jr.
Voices
Hique Gomez
Nico Nicolaiewsky
Otto Guerra
André Abujamra
Arlete Salles
Fernanda Takai
Marina Mendo
Claudio Levitan
www.atequeasbornianossepare.com.br
Press: [email protected] - 55-51-8177 3577 or 55-51-3028 7777
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SYNOPSIS
What happens when the wall dividing a small country from the rest of the world falls accidentally? Quiet and
stuck in time, the people of Sbornia is now hit by winds of modernity coming from the big city. Conflicts caused by
a violent cultural clash mess the protagonists Pletskaya and Kraunu’s lives - two well known Sbornians musicians.
As result of a continental interference in the habits of Sbornia, some natives wake dormant old beliefs and start
rescuing their own identity. The film is based on the musical play spectacle Tangos & Tragedies, created by Nico
Gomez and Hique Nicolaiewsky which was presented on stages worldwide very successfully for the past 25 years.
UNTIL SBORNIA DO US PART – The movie
Until Sbornia Do Us Part is a tale about the right of places to keep their own identities without necessarily
assimilate the standardization of hegemonic cultures. For this, the metaphor of the Sbornian world was adapted
for the big screen from the play that has was presented with huge success on stages in Brazil, for more than 25
years with audience ranging 1 million people. Sometimes the film subtly refers to the peculiarities of the
southernmost cultural universe in Brazil – with its odd drink and seriousness of its inhabitants, protecting many of
the differences prevailing in different "Brazils" that co-exist within this vast country in which we live. Talking on
cultural differences is also talking about individual differences, the style of each one and the right of the different
to exist in a world increasingly more homogeneous and mass-produced.
The movie is a free adaptation of the Gaucho musical play Tangos & Tragedies, made into a feature film by Otto
Desenhos Animados. The proposal is not to give the movie a playback faithful of what was seen in the theater, but
recreate the fantastic universe of Sbornia – original land of Kraunus Sang and the Conductor Pletskaya –
approaching this nowhere land, wandering lost through the seas of the world, to our individual universes – quirky
and unique.
Until Sbornia Do Us Part uses 2D (full animation) classical animation technique, also taking advantage of 3D
capabilities to optimize production in scenes involving reusing scenarios and boldest camera movements. The film
will be commercially released in 3-D (stereoscopic), digital and 35mm versions in Brazil en August, 2014.
SPONSORSHIP – FUNDING
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Sponsors: BNDES, BANRISUL, BANRISUL CORRETORA, PETROBRAS, RGE
Funding: FUMPROARTE, PORTO ALEGRE CITY HALL, RIO GRANDE DO SUL STATE GOVERNMENT, RS PROCULTURA
SYSTEM, RS IECINE, POLO AUDIOVISUAL, FINEP, BRDE, ANCINE, FSA, FEDERAL GOVERNMENT.
FESTIVALS
AWARDS
Best Feature Film Award – Audience Choice - 41ht Film Festival of Gramado - Brazil (*2013)
Best Feature Film Art Direction – Jury Award – 41ht Film Festival of Gramado - Brazil (*2013)
* film’s first public screening
Best Brazilian Fiction Feature Film – Audience Choice – 37th International Film Festival of São Paulo (2013)
Youth Jury Mention – 17th International Festival Del Cine of Punta Del Este (2014)
SCREENINGS
Selected to Waterloo Festival Animated Cinema (WFAC) – Waterloo, Canada (2013)
Selected to the 35th International Festival Del Nuevo Cine Latin-American – Havana, Cuba (2013)
Selected to HAFF – Holland Animation Film Festival (2014)
Selected to Anifilm 05 – Czech Republic (2014)
Selected for Annecy 2014 – Hors Concours Screening (2014)
OTTO GUERRA & THE OTTO DESENHOS ANIMADOS
Otto Guerra is one of five Brazilians cited in the international bible Taschen about animation, which is already an
ultimate luxury. Take a look at what the book Animation Now says about the director of Wood & Stock:
“Mr. Guerra belongs to a creative and lively Gaucho filmmakers group in Rio Grande do Sul
state, Brazil. With a diversified career that spans advertising, institutional and acidic copyright
comedies, he became the underground pope of Brazilian animation, making a huge success
and school with his special lopsided way. Guerra in Portuguese is the name for war / guerre /
krieg. Otto then pitched his trench – the Otto Desenhos Animados Producer in 1978, and has
since then been targeting the mass culture and children's themes with his priceless skits. Soap
operas commercial breaks, movie trailers and the myths of western have already been in his
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artillery sights. The film Rocky and Hudson saga of two gay guys, namby-pumby and
schizophrenic cowboys, is today a cult movie animation in Brazil. Otto Guerra owes its
introduction into movies to a course taught by Argentinean Felix Folonier. Until then he had
cultivated the habit of drawing children's comics, inspired by the adventures of Tintin, Blake
and Mortimer. When he finally took over the moving image, he began by ads and contributions
to Brazilian children's film hits, as in Os Trapalhões e a Turma da Monica. Later, he competed
in festivals with their own creations, full of original humor and frequent innovations to
narratives. In The Blue Kingdom, for example, a tyrant chases away boredom painting his
entire kingdom in blue. The advent of computer graphics shook the working methods of
Guerra, who adopted new technologies in his productions for both film and television. ‘A good
fighter does not refuse new weapons to his arsenal.’ (Animation Now: Taschen, Cologne, 2004,
p 372)
Otto is a pioneer in animation in the country. He has been on the market for 35 years with three feature films, 10
short films and more than 500 advertising films on his resume. Until Sbornia fall us part is the result of a growth
path of a company producing animation contents and undoubtedly his highest standard artwork in quality made
so far.
Stands out on its path, the feature film Wood & Stock (2005) in which Otto Desenhos Animados did more than
adapting to screen Angeli's pumpkin-head characters. Remaining faithful to a style that has already become
remarkable, Wood & Stock was turned into the most debauched satire, as it had done in the classic Novela and in
the premonitory Rocky & Hudson – story of two gay cowboys created by an delusional, irreverent Adam
Iturrusgarai, who also was based on a total sarcasm not only anticipated Brokeback Mountain as he also
beforehand, did the best parody about it which could hardly be overcome by any contemporary production alike.
The last feature film of the producer, Wood & Stock, amounted 120,560 viewers (55,000 in commercial theaters
and 65,000 in festivals), having won numerous awards: Best soundtrack, Best Supporting Actress, Special Jury
Prize at CINEPE 2006; Itamarati – 2006; Best Film by Popular Jury at Luso-Brasileiro Film Festival of Santa Maria da
Feira, Portugal, 2006; Best Film by popular jury in FestCineBelém/2007; Best Animated Feature Film at I Animec,
Ecuador 2008; Best Animated Feature Film at I Expotoons, Argentine/2008.
UNTIL SBORNIA DO US PART – FILM DIRECTORS MINI BIO
Otto Guerra
Born in Porto Alegre in 1957, he has an extensive career as animation director. In 1978, he opened Otto Desenhos
Animados, where he produced his very first short film, The little donkey’s Christmas (1984), selected for festivals
in Gramado (Brazil), Bilbao (Spain) and Oberhausen (Germany). Then movies like Treiler – the last attempt (1986),
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The Blue Kingdom (1989) and Novel (1992) were created – all three winners of Coral Animation Award at Havana
Film Festival – among others. In 1994, he released his first feature as director, Rocky & Hudson: The gay cowboys,
winner of Special Jury Prize at Brasilia Festival and selected for festivals in Havana and Hiroshima. Already in
2000’s made his first 3D short film, Mother Ship and in 2005, exhibited Wood & Stock: Sex, Oregano and
Rock'n'roll in commercial movie theaters and at some different festivals. In 2013, Otto ends his third feature film,
Until Sbornia Fall Us Part, and now he has been into his next project based on the work of cartoonist Laerte.
Ennio Torresan Jr
Born in Rio de Janeiro, has been living and working in Los Angeles for nineteen years. Graduated in Fine Arts at
Federal University of Rio de Janeiro, in 1996. Yet in college he was strongly influenced by French comics and the
Italian cinema. In the 80s begins exhibiting paintings in art galleries, publishing cartoons and illustrating for many
local magazines.
In Brazil, with 20 y-old he begins experimenting animation which led him creating his animated short El Macho,
been rewarded in several festivals worldwide and launching his unexpected international career. El Macho
opened him HBO doors to a position of leadership on a production by Ralph Bakshi called Spicy City, and then as a
storyboard writer and director for Nickelodeon TV show SpongeBob. As a Disney Teacher's Pet TV show director,
he is awarded an Emmy in 2003. Ennio then, starts developing and creating storyboards for many feature film
cartoons for DreamWorks – Madagascar I, II and III, Kung Fu Panda I and II, among others.
Ennio worked for DreamWorks leading the storyboard department for the film, Turbo, released in July 2013. Also
has published by Dark Horse, a compilation titled Scrambled Ink, the adventures of a comic character based on
himself, a Guy From Ipanema.
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SBORNIA CHARACTERS
Kraunus Sang: Convicted Sborniano and attached to traditions, Kraunus Sang is
the late Ladislaus Sang's grandson, CHAOS – Center for Homage to Ancient
Origins of Sbornia. Musician like his grandfather, he is at the show Tangos &
Tragedies, beside his partner - and so unlike - Conductor Pletskaya. Despite the
flippancy on the stage, Kraunus is very shy and has huge difficulties expressing himself in words.
Conductor Pletskaya: Compulsive lover, Pletskaya is always in turns with his
heart in pieces. Now he will live (one more) intense passion for the mainland
Cocliquot, Alba and Gonzalo's daughter, who was promised to the wealthy
Garden All Baron.
Cocliquot: Young, curious, rebellious, Cocliquot soon falls for Pletskaya after he
starts attending her home disguised as piano teacher. She abandons her own
honeymoon to live this love affair with Pletskaya.
Dimitrius: Son of Kraunus, he appears in the movie in two versions: a current
one, older, as the narrator of the facts surrounding the separation of Sbornia
island from the mainland; and another as a young man, within the story, living
the events. He is a fan of his father and watches helplessly the family splitting up
and a gradual transformation of his mother Ludmilla, into a continental one.
Ludmilla: Dimitrius's mother and Kraunus’s wife. As many other Sbornians, she
dazzles with continental resources and liberalities and starts assimilating the new
continental culture giving up Sbornian traditions.
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Gonçalo Delacroix: ambitious continental businessman, Cocliquot's father and
Alba's husband glimpses the commercial exploitation of the Bizuwin vegetation,
cultivated only in Sbornia Island solving then their financial problems.
Axeball players: They practice a typical Sbornian sport. It is played with a wooden ball and
axes. Players who survive to the game are seen as heroes.
C.H.A.O.S. Members: Dedicated to preserve local traditions and habits, members
of Center for Homage to Ancient Origins of Sbornia face difficulties in their
countless polls due to the fact of being an even number group and to be always
split in half.
TANGOS & TRAGEDIES and SBORNIA origin
Tangos & Tragedies was created in 1984, in Porto Alegre. The musical went through many theaters in Brazil,
besides counting with a Spanish language version, presented in Buenos Aires (Argentine), Quito (Ecuador),
Manizales (Colombia) and Cadiz and San Sebastian (Spain). In Portugal, it was chosen by the public as the Best
Spectacle throughout International Theatre Festival of Almada in 2003, and Spectacle of Honor in 2004.
Hique Gomez is Kraunus Sang and plays the violin while Nico Nicolaiewsky incorporates the unhappy Conductor
Pletskaya playing accordion and piano. The characters were born in a fictional country called Sbornia from where
both had fled, according to the duo, after the arrival of rock and roll in the country, claiming refuge in Rio Grande
do Sul state.
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Some comments about Tangos & Tragedies
"Tangos and Tragedies is a life lesson: What split us up is precisely
what unites us all. Also teaches us that joy and sorrow are two
sides of the same coin."
Hans Joachim Koellreutter
"Yes sir, Nico Nicolaiewsky and Hique Gomez, those two from Tangos and
Tragedies who I thought be strange and weirdos are buffoons of
escamel. They let me skeptic, completely in resonance and dystonic.
And, well, in dysphonia they serve as tone.
There is no lack of art. 'Vot'a mares!' It is to take our hats off. The best
is that they shake as much as the audience which pay
them a dumbfounded looking, exhaling pleasure, if you know what I mean.
They worth. Watch while they are close. For sure they are going far."
Millôr Fernandes
"Sbornia has a lot to teach Brazil, not only Copernicus
their national dance. They sent away from there the Conductors Kraunus and Pletskaya,
and the example should be followed here, where the two musical anarchists
disguised as Hique Gomez and Nico Nicolaiewsky with their
‘Tangos and Tragedies’ are threatening our musical values, our composure
and we are dying laughing. Away with them!"
Luís Fernando Veríssimo
‘They are entitled to the name Tangos and Tragedies when they tell dramatically,
funny things of love. It's hard not to be moved by their songs,
especially with Roxanne when they leave the stage
and become pied pipers of Hamelin, and the audience,
enchanted as mice, follows them up the street... where they want to.’
Edgar Scandura
‘To any intelligent person, this is a chance as few - a chance,
perhaps like no other : to watch a show like who receives homage,
wins an award or is surprised by an unexpected joy.
Tangos and Tragedies is a show that makes us feel unforgettably happy.
You cannot ask for more. Tangos and Tragedies is the best night that
anyone can have at least within a theater’.
Sérgio Augusto de Andrade - Folha da Tarde (SP)
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CO-DIRECTOR OTTO GUERRA WORDS
(This interview was published in + Soma, issue 16 - Text by Arthur Dantas)
Forget the stereotypes and cartoons for children. Otto Desenhos Animados, created by legendary, Gaucho night
owl and fond of good drinks Otto Guerra 53 has been around for more than thirty years throwing sand in the eyes
of unwary and making money when possible. What began innocently in screens with "The Little Donkey's
Christmas" – success in Gramado Film Festival 1984 – ended in better feature films as "Rocky & Hudson" (based
on the characters of Adam Iturrusgarai), 1994 and "Wood & Stock: Sex, Oregano and Rock'n'Roll" (characters of
Angeli), 2006. After the tropical version of "Cheech & Chong" business became serious: 42 people worked on the
feature film "Until Sbornia do us apart" by Kraunus and Pletskaya and are very well prepared for the most daring
operation: a film based on the most recent phase of more nonsense and existentialist strips of Laertes.
"In August 1978 Otto Desenhos Animados Ltda arose from an initiative of the young, muscular and talented
Otto Guerra, in spite of his 22 years old. At that time TV broadcast (sic) required the same 720 by 486 lines of
definition from today, and the minimum to reach that level was a 16mm film. A used Paillard Bolex camera cost
something like U$ 8,000! (...) Thus, after one year leasing that equipment (...) the company bought in São Paulo
(...) the so desired Bolex. Well, the first Bolex we never forget! "
(source: www.ottodesenhos.com.br)
What is most of the studio work?
In twenty-odd years of work I have done about 600, 700 ads. As I had done comics before building the producer
agency, fiction is almost like a son, and advertising has the concrete goal of selling, leaving business very limited.
But it was through these jobs that I formed manpower and the equipment was bought. I thank to advertising
every day, but that sucks, sucks. The last job we did was a huge campaign for RBS ("RBS Monsters"), which is the
same Globo TV here in the South. From the brilliant Brazilian cinema downfall caused by genius Collor, and with
the closing of Embrafilme, subsequently emerged public and private entities without all those corporatism
addictions, dark combinations, etc, all that shit you know...
But it is going on again, isn’t it?
This Brazilian film model of being maintained by public money is a controversial bid: films should be an industry
with tickets paying for the whole production. Then we have this distortion that movies do not need to attract
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audience. I always wondered this: People talk about giving cash to movies instead of hospitals, for example. But it
is an exaggeration: a country that does not have a film production eventually causes a disease called lack of
identity. When I was a kid, cinema was something much more cultural – it was almost like reading a book, it was
not just entertainment. Cinema is currently experiencing a phenomenon corresponding to movie is to have
popcorn and fun, worldwide.
How your interest in animation has started?
I am from the same generation of Jaca and Angeli, for example. Porto Alegre has a fantastic community of
designers, but one has a hard time to make a living from it over here. In the 70s it was so. Animation was a way
for me to make money.
But animation was not an easy move, I imagine. Even more in Porto Alegre.
There were a few Argentineans – they have a fine tradition in animation. Argentineans made the first animated
feature film in the world, you know. – who came to Porto Alegre and as they had the whole knowledge, to reveal
the 16mm films, vocalize, etc worked for us. And working with them, I produced a lot of advertising for the whole
Brazil. As the cost of living in Rio and Sao Paulo was more expensive, production over there was much more
expensive then people from all corners realized it was clever for them to hire us!
And you were a sort of sweatshop of Argentineans in Brazil.
Definitely! (Giggling) and so I could buy my equipment. A camera cost a lot of money that time. And reality is, that
story of selling your soul to the devil cost me my own style, which was more like in a "Tintin" way by Hergé. I lost
style and my own drawing not evolved. As of 84 I stopped drawing. The film art director is Eloar Guazelli, he is a
cartoonist and designer born in Rio Grande do Sul and living in Sao Paulo.
Allan Sieber and Fabio Zimbres have already worked with you.
Allan started quite a kid, housecleaning, washing bathrooms (giggling). Zimbres art directed two of our short
films. The guy has an amazing style. Jaca did little. We even tried to make a short film but it did not work. But
before I die I want to finish it, his work lends itself to animate.
And are there any other well-known animators who have gone through the film producer?
Andres Lieban, an Argentinean who lives in Rio and produces to Canada, animated "Rock & Hudson." Lancast
Mota, from Ceara/Brazil who animated 'Annabel' series, which was the first to appear on a commercial TV,
Nickelodeon. Many people here in Porto Alegre have helped plenty.
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What was the first fiction?
It was the short "The Little Donkey Christmas" in 1984. Those days it was very rare to see a Brazilian film
animation fiction. I grabbed my own money to make these films with no return at all. With the resumption of
national cinema in 1995, we made a feature film "Rocky & Hudson" by Adam Iturrusgarai, who also wrote the
screenplay of the film. It was fun - it was all done based on a lot of booze and the storyboard done with BIC pen
(giggles).
A real Sbornia!
Yes Indeed, the new film is freely based on "Tangos & Tragedies" (Sbornia is a metaphor of Rio Grande do Sul
state; an island that is wandering in the ocean, created by comedians Hique Gomez and Nico Nicolaiewsky), a
stage play that was on for more than 25 years. I saw the duo back in 1984 and it was the first time I identified
myself with something from Gaucho culture. Even wearing, when I was a kid, Gaucho bombachas in Alegrete, you
end up identifying yourself a lot more with "Johnny Quest" on TV than with your own traditions.
And how is animation?
The play is a musical, few skits. The script intended to make commercial cinema - but not a stupid one – so we
called in two writers: Tomás Kreus and Rodrigo John, who also did the screenplay for "Wood & Stock". The level is
very high!
The style is different from previous productions?
Yes, the new film gives a bath. My 10 y-old niece saw 'Wood & Stock' and said: 'why did you do it this way?'
(Giggles).
And now you are the boss. Where do you fit in this process?
It is a controversy here in the studio. They say there are two poles. One to choose people to work, animation, etc.
and another that will move through the entire process. I would be the first: chose the story, picked who would be
the best animators and best writers. I also participate in final edition - what builds the cinema, the cinematic
narrative, is the edition, for sure.
Brazil has no strong tradition in animation. This helps or hinders?
Personally, it was very important to keep an eye on the blinds. It's good and bad. On the other hand,
not having a school, a tradition, does not help much. The first things I did were terrible – actually there are few
things that I would not be ashamed to show. 'Wood & Stock' went through all the festivals – in Brasilia/Brazil it
only competed because they had no Brazilian film. We are reinventing the wheel. There was "Amazon Symphony"
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(the first Brazil animated feature film, 1953) by Anélio Lattini Son. We want to have a constant production, we
have done a job after another and this new film is placing us on another level.
And the big animated film industry in the United States? Pixar, Disney, etc...
I like a lot. They are in an amazing script level. The most developed expression of human being is the drawing,
because it is the oldest – writing comes from it. Animation with drawing is something quite fantastic, has a lot to
develop yet. We are producing a screenplay on top of Laerte's work 'City of Pirates'. I was going to São Paulo to
talk to him and realized that it was not worth trying such kind of cinema, beginning-middle-conflict-turningturning-end, because one cannot compete. In Laerte's movie, I will cling to references to the Brazilian breaker
cinema - play upon transgression. And this current existentialism of Laerte's is genius. Already there is an
argument, using the most current strips: we are going to use various phases of these strips, tying it all. It's a
feature film, because it has to be a product to be visible. Only then it has a chance to be displayed. Brazil is a very
culturally rich country. We have this habit of saying that the country is poor and slow, but it is a stereotype that
comes from outside. In an Italian festival "Wood & Stock" was very well accepted. An Italian man in a discussion
table was startled by the fact that the government had paid for this kind of movie, with sex and drugs. And I said:
'Yes, Brazil is a country very evolved' (laughs). And it's true! The Italian man became so surprised. We made a coproduction about Joseph Lutzenberger, a famous environmentalist here in the south, also Environment Secretary
in Collor’s government. Notorious drunkard, a wonderful person. He told me in a bar a great story: already very
uncomfortable with the whole story of the government etc, he went to Austria and met Collor, Zelia Cardoso de
Mello – only high level people you know. And all the ministers and the President himself were speaking English,
saying that Brazil was a poor country, etc. Lutz spoke fluent German, and made a speech that was more or less
like this: 'Brazil is a country rich in all aspects, it has natural resources, wonderful people, rich culture ... poor are
the politicians as you all could observe on previous statements...' (giggles). And nobody from the government
knew German. Of course, on the following day, with the whole effect o his speech, Lutz was exonerated.
Are there a lot of Brazilian animators working for major studios abroad?
Carlos Saldanha, for example. He directed 'Ice Age' and created that crazy squirrel. Ennio Torresan, who worked
on 'Madagascar' and 'SpongeBob' are some of them.
Have you ever thought about going abroad?
I had some proposals – I was very dedicated, nerd, sent resume everywhere. They even call me, but I did not
speak English well then I thought: 'Damn, I'm going to be blended there' and there was a cliché saying 'It is better
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being the head of a mouse than the tail of the lion' (giggles). With this movie I want to make a classic, with ideas
that do not try reproducing that wonderful and fantastic American industry, which has been evolving
continuously since 'Snow White'.
Do you like any new animator guy in our market?
There are those people who did 'Avaiana de Pau' completely anarchic, and Allan Sieber himself with
'Toscographics' who I greatly admire.
You are the voice of God in 'God is Father' (Sieber's polemic series), right?
Yes, it was the first role that I did. They gave me a part at my level you know (lots of giggle), but I also helped
filming. We ended up in Paris, because of the movie, having beers (giggles).
Besides Youtube, you can watch Otto Desenhos Animados movies at
www.ottodesenhos.com.br
www.portacurtas.com.br
PRODUCTION TRIVIA
- Until Sbornia Do Us Part uses 2D (full animation) classical animation technique, also taking advantage of the 3D
capabilities to optimize production in scenes involving reusing scenarios and boldest camera movements.
- It is the first fully digital production of the studio (paperless).
- The film throughout its production generated more than 500 thousand drawings.
- Counting with people who worked via internet, we had over 100 designers working on the film.
- Despite being a Gaucho production, we can include animators from: Paraíba, Goiás, Amazonas, São Paulo, Rio de
Janeiro, Bahia, among others.
- During the production of the feature film 6 babies were born and 750 kg of coffee were consumed.
- The film has had several names, including "Fugue in D Minor for Kraunus and Pletskaya".
- Stretching out the storyboard of the film, he would take 56 square meters.
- To make the music animation scenes, the animators had lessons on musical instruments with the artists Nico
Nicolaiewsky and Hique Gomez.
- Otto Desenhos mascot dog was named Kraunus.
- The continent city name is Satolep (Pelotas backwards).
- One of the animators is called Hermes, same name as Cocliquot's pigeon.
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- There is an official rules manual for 'Machadobol' game.
- Sbornian idiom total vocabulary has increased by 257 entries after the film production.
Soundtrack Comments
To take care of the soundtrack of Until Sbornia Do Us Part, we invited the talented André Abujamra - musician,
actor, producer and director. Abujamra was lauched in a musical group called "The Black Women" in the 80s. But
it was as lead singer of Karnak band in 1992, that his musical experiments had deserved recognition.
Abujamra, or Abu, as he is known in film circuit, is responsible for several outstanding tracks of our national
cinema, including "A Cup of Cholera", "Bicho de sete cabecas" and "Carandiru". For the animated film of Otto
Cartoons, his work was experimental.
Besides Abujamra's compositions, the track also features re-recordings made by sbornianos Hique Nico Gomez
and Nicolaiewsky to classics like "Copernicus" and "The Drunkard" which are part of the musical spectacle Tangos
& Tragedies for several years, besides reinterpretations.
OTTO DESENHOS ANIMADOS FILMOGRAPHY
1. Fiction Productions
1.1 O NATAL DO BURRINHO (35 mm) – 5 min, 1984
Best Gaucho Short film at Gramado Festival – 1984
Selected for festivals in Bilbao (Spain) and Oberhausen (Germany)
1.2 AS COBRAS (35 mm) – 6 min 1985
Best Gaucho Short film at Gramado Festival – 1985
Best Soundtrack at Gramado Festival – 1985
Best Short Film at Maranhão Festival – 1985
1.3 TREILER - A ÚLTIMA TENTATIVA (35 mm) – 5 min, 1986
Best gaucho short film at Gramado Festival – 1987
Special Jury Award at Gramado Festival – 1987
Best Short Film at Maranhão Festival – 1987
Coral Prize for Animation at Havana Festival (Cuba) – 1987
Selected to Annecy (France) and Huelva (Spain) Festivals
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1.4 O REINO AZUL (35 mm) – 14 min, 1989
Best Film of the Decade at 1st Animation Film Festival – João Pessoa – 1992
Coral Prize for Animation at Havana Festival (Cuba) – 1989
Special Jury Award at Gramado Festival – 1989
Selected to Espinho (Portugal) and Annecy (France) Festivals
Selected to Brazilian hindsight at Ottawa Animation Festival (Canada) – 1998
1.5 NOVELA (35 mm) – 8 min, 1992
Best Short Film at IX Rio-Cine Festival - 1993
Special Jury Award at Guarnicê de Cine-Video in Maranhão – 1993
Best Short Film by Popular Jury at Gramado Festival – 1993
Coral Prize for Animation at Havana Festival – 1993
Selected to Espinho Festival (Portugal), Vina del Mar (Chile) and Bilbao (Spain)
1.6 ROCKY & HUDSON (35 mm) – 63 min, 1994
Special Jury Award at Brasília Festival – 1994
Best film at João Pessoa Animation Festival – 1995
Popular Jury Best Film at Guarnicê Cine-Video in Maranhão – 1995
Selected to Havana (Cuba) and Hiroshima (Japan) Festivals
Invited to II Lisbon Gay e Lesbian Festival (Portugal) – 1998
1.7 O ARRAIAL (35 mm) – 14 min, 1997
Bank of Nordeste Award at Cinema's Journey of Bahia – 1997
Best Animated Film at Vitória Festival – 1997
Best Animated Film at II Movie and Video Festival in Recife – 1998
Best Animated film Soundtrack at II Recife Festival – 1998
Best Animated film at Guarnice Cine-Video in Maranhao – 1998
Selected to Brussels Cartoon Festival (Belgium) and Mendrisio (Switzerland)
Selected to Animation Festival in Lleida (Spain)
1.8 CAVALEIRO JORGE (35 mm) – 14 min, 2000
Production Support Award at Brazilian Cinema Rescue – MinC – 1994
Production Support Award of Fumproarte POA – 1994
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Best Animation Screenplay at Recife Festival – 2001
Best Short Film Script at Guarnicê Cine-Video in Maranhão – 2001
Selected to 11th International Festival of Short film in SP –2000
Selected to Short films on the screens of Porto Alegre Project – 2000
Selected to 10th Cairo Internacional Film Festival (Egypt)
Selected to 5th Brazilian Film Festival of Miami (USA)
selected to 1st D-I-F-F (USA)
1.9 NAVE MÃE (35 mm) – 12 min, 2004
Production Support Award at Brazilian Cinema Rescue – MinC – 2001
Best Animated Film – Mercosur Audiovisual in Florianopolis – 2005
Best Animated film – Cinema's Journey of Bahia – 2005
Best Gaucho Short film at Gramado Festival – 2004
Selected to Short films on the screens of Porto Alegre Project – 2005
Selected to 4th Teera International Animation Festival - 2005
Selected to Anima’05 – Jornadas de Animación de Córdoba – 2005
1.10 WOOD & STOCK: SEX, OREGANO & ROCK’N’ROLL (35 mm) – 81 min
Selected to 25th International Animation Film Festival – Anima (Begium) – 2006
Best Soundtrack, Best Supporting Actress (Rita Lee in Rê Bordosa voice) e Jury Special Award at 10th CINE-PE 2006
Audiovisual Festival – 2006
Screened out of competition at Shows Première Fortaleza – 16th CINE CEARÁ Ibero-American Film and Video
Festival – 2006
Selected to 1st Film Festival in Ouro Preto – 2006
Selected to the official competition of feature films at 7th Animated International Film Festival of Madrid
ANIMADRID - 2006
Screened out of competition at (highest total audience for a single film at the festival) 14th International
Animated Film Festival of Madrid ANIMA MUNDI – 2006
Screened out of competition at 34th Gramado Festival – 2006
Screened at 30th Weiterstadt Open Air Filmfest ( Weiterstadt, Germany, Aug 2006)
Selected to official competition of 1st Animest – Animation International Film Festival of Romênia (2006)
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Screened out of competition at Midnight Movies Shows – Rio International Festival – 2006
Best Feature Film – 2nd International Animated Film Festival ANIMACOR 2006 (Cordoba, Spain) 2006
Invited to be shown out of competition – 3rd Short films Show Pará Cine Brazil – 2006
Itamaraty Prize for Brazilian Cinema by Popular Jury – 8th FICBRASILIA Internacional Festival of Cinema in Brasilia
– 2006
Selected to be shown out of competition at 13th Vitoria Cine Video – 2006
Selected to an official competition at CINANIMA Animation Movies Internacional Festival (Espinho, Portugal) –
2006
Invited to be shown – Image of the People, International Audiovisual Shows – 2006
Best Film by Popular Jury at 10th Luso-Brazilian Film Festival in Santa Maria da Feira (Santa Maria da Feira –
Portugal) – 2006
Best Film by Popular Jury at 3rd FESTCINEBELÉM – 2007
Invited to be shown out of competition at 10th International Festival of Cine in Punta Del Este (Uruguay) – 2007
Selected to official competition at 14th San Diego Latino Film Festival (San Diego, USA) – 2007 Selected to official
competition at Delray Beach Film Festival (USA) – 2007
Selected to Brazil Guest Country at 22nd Guadalajara International Film Festival (Mexico) – 2007
Official selection for 14th Trickfilm Festival – Stuttgart International Festival of Animated Film (Germany) – 2007
Official selection – 7th Internacional Festival of Cine y Vídeo de Temática Sexual (Argentine) – 2007
Official selection – 3rd UK Brazilian Film Festival (England) – 2007
Invited to be shown out of competition at 4th International Animated Film Festival in Cordoba – ANIMA’07
(Argentine) – 2007
Invited to be shown at Special shows Animation at 23rd Bogota Film Festival (Colombia) – 2007
Official selection for FIAE 2007 – International Festival of Erotic Animation – 2007
1.11 A CIDADE DOS PIRATAS (35 mm) – 75 min (in production)
Project Development Award – Santander/ POA City Hall – 2004
Project Development Award – Ancine – 2004
Selected to fundings at FSA/Prodecine 1 – 2010
Selected to Petrobras Sponsorship Program – 2011
Selected to BNDES Sponsorship Program – 2012
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2. Advertising
Accomplishment of more than 500 ads and films since 1978, emphasising the recent RBS TV campaign 'Monsters',
fighting violence against children and promoting education.
CREDITS – UNTIL SBORNIA DO US PART
VOICES
Hique Gomez – Kraunus e Dimitrius adulto
Nico Nicolaiewsky - Pletskaya
André Abujamra – Gonçalo
Antônio Falcão - Asdrobovaltzen
Arlete Salles - Alba
Caio Alves Pereira – Dimitrius criança
Cláudio Levitan - Kanflutz
Felipe Mônaco - Funcionário Trágico, Funcionário Otimista e Funcionário Neutro
Fernanda Takai - Cocliquot
Heinz Limaverde Starkey - Agananov
Marcos Kligman – Mordomo
Marina Mendo – Ludmila e Velha Caolha
Otto Guerra – Garden All e Adolphus Dendo
Pedro Harres – Pombo Hermes
ADDITIONAL VOICES
Antonio Carlos Falcão
Clara Bischoff Alencastro
Fred Messias
Giovanna Zottis
Heron de Souza Salatino
Jeferson Rachewsky
João de Ricardo
Larissa Lewandowsky
Leandro Lefa
Lisandro Bellotto
Marina Mendo
Marisa Rotemberg
Marta Machado
Pedro Harres
Ricardo Assoni
Rodrigo Najar
Vandré Ventura
PRODUCTION
Marta Machado
Otto Guerra
EXECUTIVE PRODUCTION
Marta Machado
PRODUCTION ASSISTANTS
Eduardo Rodrigues de Souza
Fernanda Brutschin Severo
Fernanda Oliva Drumond
Giovanna Maia
Grace Luzzi
Joana Bischoff Alencastro
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Lucimar Espinosa Domingues
Sara Soares
SCRIPT
Rodrigo John
Tomás Creus
SCRIPT CONSULTANTS
Cláudio Levitan
Hique Gomez
João Gilmar Rodrigues
Nico Nicolaiewsky
DIRECTED by
Otto Guerra
Ennio Torresan Jr.
DIRECTORS’ ASSISTANTS
Pedro Marques Harres
Raíssa Kellermann
STORYBOARD SUPERVISOR
Ennio Torresan Jr.
STORYBOARD
Ennio Torresan Jr.
Anderson Sudário
Marco Schmidt de Arruda
Otto Guerra
Pilar Prado
ANIMATIC EDITION
Pedro Harres
Anderson Sudário
ART DIRECTORS
Eloar Guazzelli
Pilar Prado
ADDITIONAL ART DIRECTOR
Ruben Castillo
3D ANIMATION
Anderson Sudario
Luiz “Monty” Pellizzari
Marco Antonio Schmith de Arruda
ART DIRECTORS ASSISTANTS
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Andréa Martau
Geórgia Mara Reck
Gustavo Wolffenbüttel
Jorge H. Loureiro
Luiz Gustavo Vargas “Insekto”
Paula Carboni Godecke
Pilar Prado
ANIMATION DIRECTOR
Fabiano Pandolfi
ANIMATION TEAM
Fabiano Pandolfi
Alisson Ricardo Costa
Bruno Carias Fogaça
Cláudio Vieira de Oliveira
Débora Grahl Saucedo
Diego Oliveira Cassel
Diego José Lima Silva
Eduardo Medeiros
Flávio Reis
Gui Klein
Hermes de Lima
Luiz Henrique Lopes
Pellizzari
Paulo Muppet
Tadao Miaqui
Wesley Rodrigues
Cabong Studios
Fred Rubim
Gabriela Klaus da Silva
Gui Klein
Gustavo Wolfenbüttel
Hermes de Lima
Humberto Kehdy
Jacqueline Lima
Leo Rangel
Lívia Koeche
Lucio Andrade da Silva
Luiz Gustavo Vargas “Insekto”
Mário Nosoline
Pedro Marcelino
Pedro Porto
Priscila Penedo Torres
Rafael Ribeiro Sinnott
Rock Siles Barcellos
Ruben Castillo
Saulo Nunes Marques
Thiago Freesz
Thivá Fróes de Souza
Vilmar Rossi Junior
Wesley Rodrigues
3D ANIMATION
Marco Antônio Schmith de Arruda
Anderson Sudário
Luiz “Monty” Pellizzari
ANIMATION ASSISTANTS
Alexandre Belmonte
Oliveira
Alisson Ricardo Costa
André Areia Santos
Andréa Martau
Bruno Carias Fogaça
Bruno Fabian Simões
Gomes
Daniel Grahl Saucedo
Débora Grahl Saucedo
Diego Cassel
Diego José Lima Silva
Eduardo Medeiros
Everton Costa de Souza
FINAL ARTWORK SUPERVISORS
Andrea Martau
Bettina Rupp
Débora Grahl Saucedo
Giancarlo Zardo
Luiz “Monty” Pellizzari
Raissa Kellermann
Sheila Kircher
Vagner Santos “Shadowman”
FINAL ARTWORK
Adriana Figueiredo
Barbisan
Alexandre Leoni
Ana Moura
Aurora Rupp
Bruno Carias Fogaça
Bruno Fabian Simões
Gomes
Carla Guimarães Teixeira
Daniel Grahl Saucedo
Daniel Eizirik
Danilo Roberto Dias
Ferraz
Desirreé Biskup
Diego Cassel
Diego Urrutia
Diones Ignacio da Cunha
Edu Müller
Elton Padeti
Flávia Felipe
Francine Rocha Gonzáles
Geórgia Reck
Giovanna Maia
Gui Klein
Gustavo Wolffenbüttel
Hermes de Lima
Jacqueline Lima
Jefferson Justino de Queiroz
Jorge Elo
Jorge H. Loureiro
Jorge Soledar
Júlia Bacellar Corrêa
Kellen de Almeida Zinelli
Leo Rangel
Leilane Krebs
Lívia Koeche
Lucas Moraes
Luciano Giovani
Lucio Andrade da Silva
Luiz Gustavo Vargas “Insekto”
Maíra de Oliveira da Silva
Marcel Trindade
Marcos Sabadin
Marina de Moraes
Taffarel
Mário Nosoline
Mauricio Mazza
Melissa Webster
Paula Carboni Godecke
Pedro Marcelino
Pedro Porto
Rafael Ribeiro Sinnott
Raquel Fukuda
Rock Siles Barcellos
Rodrigo Gonçalves
Taísa Ennes Marques
Tatiana de Morais Tesch
Thailiny Cruz
Vanderléia Lima
Vanessa Girardi
Zando Gonçalves
ANIMATION COMPOSING COORDENATORS
Marco Antônio Schmith de Arruda
Anderson Sudário
Rafael Borges
ANIMATION COMPOSING
Ana Terra Ribeiro Torquato
Anderson Sudário
Anthony Brian Reidy
Carlos Alexandre Machado
Caroline Barrueco
Eduardo Armbrust
Elise de Castro Hillmann
Henrique Geremia Nievinski
Luiz “Monty” Pellizzari
Marco Antônio Schmith de Arruda
Rafael Borges
ANIMATION COMPOSING ASSISTANTS
Diego Oliveira Cassel
Gui Klein
Marcos Elias Berghahn
Sheila Kircher
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EDITING
Pedro Marques Harres
ADITIONAL EDITING
Alfredo Barros
Otto Guerra
IMAGE FINISHING
Anthony Brian Reidy
Marco Antônio Schmith de Arruda
ESTEREOSCOPIC CONVERSION
José Maia
Fabiano Pandolfi
Pedro Harres
Otto Guerra
Luiz “Monty” Pellizzari
GRAPHIC MATERIAL DESIGNER
Fred Messias
LEGAL ADVICE
Aline Graeff Guerra
Luiz Felipe Garcia
ACCOUNTANT
Maria Correa Machado
EMOTIONAL SUPPORT
Nadia Mary
TECHNICAL SUPPORT
Rafael Ribeiro Sinnot
Rodrigo Troian
Tales Henrique Mendes Rodrigues
Zehas
Henrique Homrich
SOUND CREDITS:
MIXING AND SOUND
Tiago Bello
Alessandro Laroca
Eduardo Virmond Lima
Armando Torres Jr.
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MIXING AND SOUND STUDIO
Armando Torres Jr
Eduardo Virmond
Tiago Bello
Alessandro Laroca
1927 Audio
Full Mix Estúdios
Gogó Conteúdo Sonoro
FOLEY EDITION
Anderson Tieta
Augusto Stern
Fernando Efron
DIALOGUES RECORDING STUDIO
Gogó Conteúdo Sonoro
Kiko Ferraz Studios
Tec Áudio
DIALOGUES EDITION ASSISTANT
Dennys Rocha
SOUNDTRACK RECORDING STUDIO
A Voz do Brasil
Gogó Conteúdo Sonoro
Kiko Ferraz Studios
DIALOGUE RECORDINGS
Tiago Abrahão
DIALOGUE EDITION
Raiza Rodrigues
EFFECTS EDDITION
Priscila Pereira
Aline Heibel
Marcos Lopes
AMBIENT SOUND EDITION
Sérgio Kalil
FOLEY ARTIST
Roger Hands
Augusto Stern
FOLEY EDITION ASSISTANT
Juliano Schultz
MIXING ASSISTANT
Renan Deodato
DIALOGUES PREMIXING
André Tadeu
VISUAL EFFECTS EDITION INTERN
Murilo Silvestrim
FOLEY EDITION INTERN
Adriano Elias
MIXING TECHNICAL ENGINEER
Paulo Servello
MIXING PRODUCTION
Alessandra Casolari
Débora Arima
Juliane Machado
MUSIC CREDITS:
ORIGINAL SOUNDTRACK
André Abujamra
Nico Nicolaiewsky & Hique Gomez
INSTRUMENT PLAYERS:
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Gustavo Pinto Lessa
Roberto Alves Rodrigues de Araujo
Mario Sérgio Rocha
Fabio Tagliaferri Sabino
Israel Fogaça Junior
José Alexandre Leme Lopes Carvalho
Luiz Britto Passos Amato
Marcos Fokin
‘Tangos & Tragedies’ Soundtrack
- Copérnico
- Desgrazzia ma non troppo
- Epitáfio
- Aquarela da Sbórnia
Other songs
Trevo de Quatro Folhas (I’m Looking Over Four-leaf Clover)
Written by Nilo Sérgio/Mort Dixon/Harry Woods
Performed by Fernanda Takai
Phonogram kindly provided by Deckdisc
Rosa © 1933 {Pixinguinha} – MANGIONE, FILHOS & CIA LTDA
Written by Alfredo da Rocha Vianna (Pixinguinha) and Otávio de Souza
Performed by Alfredo da Rocha Vianna (Pixinguinha)
No te Reprimas (Menudo Style) Ameritz Music Ltd
DIGITAL CINECOLOR
Diretor Geral
David Trejo
Gerente de Pós-produção:
Jony Sugo
Gerente Comercial:
Cacá de Carvalho
Atendimento:
Mariana Hirsch
Carol Abreu
Coordenação de
Finalização:
Marina Herrador
Film Recorder – Arrilaser
Thiago Leoni
Uillian Mendes
Master DCP
Marcos Souza
Reginaldo Veloso
Engenharia
Claudio Prange
ACKNOWLEDGEMENTS
Adriana Barbisan
Adriana Lessa
Alba Berutti Guerra
Ana Adams de Almeida
Ana Maria Vieira
Andréa Francez
Barbara Nicolaievski
Beatriz Bia
Beto Andrade
Bettina Rupp
Bruno Britto
Bruno Wainer
Cristiano Scherer
David Mussel
Edite Hessel Berutti
Eduardo Haesbaerj
Elaine Vaz
Fede Olivari
Franco Ferreira
Frank Coe & Família
Gabriela Guerra Messias
Gisele G. & Familia
Guilherme Araujo
Jac Sanchotene
João Henrique
Jorge Graeff Guerra
José Maia
Juzinha
Keiko & Kellen & Kyoko
Keyle Barboza
Kingdim
Larissa Lewandoski
Leo Felipe
Liana Keller
Liege
Luana Bonfrisco
Luci Moraes
Luciana Druzina
Luiz Alberto Cassol
Marcela Percott
Márcia Corrêa Machado
Márcia Deretti
Márcia Uhry Boeira
Marco Aurélio Marcondes
Maria Antônia Machado
da Silva
Marlei Corrêa Machado
Marta Biavaschi
Mateus & Virgínia
Mia Felipe
Nando Pêra
Natália Alencar
Paola Oliveira
Pat Fantinel
Paul
Paulo Alcoforado
Paulo Sacramento
Paulo Scott
Polaca
Rodrigo Camargo
Sepé de Los Santos
Sharlene & Cia
Stefanie Mendes
Tatiana Cuberos
Teresa Guerra Miguel Berutti
Tiago Graeff Guerra
Vilmar Figueró & Cia
Yully Patzinger
SUPPORT
Bar e Restaurante Odessa
Via Imperatore Restaurante
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