„Helden Aus Knete“

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„Helden Aus Knete“ Stephan Wissner • Vordiplom NT2 • SS2005 Köln International School of Design Betreut durch Stefan Terlinden Lehrgebiet Audiovisuelle Medien „Helden Über die Filme & Erfolge ausdes britischen Knete“ Filmstudios Aardman 4 Vorwort Die Geschichte des Knetgummi-Stop-Trick-Films 6 Von „Voyage dans le Lune” bis zu „die Tintenfische aus dem zweiten Stock“ 10 Die Geschichte der Aardman Studios & kurze Filmographie Von Knetereien am Küchentisch zu Chicken Run Technik bei Aardman 18 Über Haargel, Glasperlen und Motion-Control-Systeme, Wallace & Gromit, Chicken Run 28 Von der West Wallabee Street zum Hühner KZ, elektrischen Zahnbürsten und „Feng Shaun“ Fazit 42 „Was macht die Filme des Aardman Studios so erfolgreich?“ 46 Quellen 2 4 Vorwort Die Geschichte des Knetgummi-Stop-Trick-Films 6 Von „Voyage dans le Lune” bis zu „die Tintenfische aus dem zweiten Stock“ 10 Die Geschichte der Aardman Studios & kurze Filmographie Von Knetereien am Küchentisch zu Chicken Run Technik bei Aardman 18 Über Haargel, Glasperlen und Motion-Control-Systeme, Wallace & Gromit, Chicken Run 28 Von der West Wallabee Street zum Hühner KZ, elektrischen Zahnbürsten und „Feng Shaun“ Fazit 42 „Was macht die Filme des Aardman Studios so erfolgreich?“ 46 Quellen 33 d HelAnimationsfilmeen aus erleben Knete? derzeit eine riesige Nachfrage: Shrek (in zwei Teilen), Monster-AG, Ice Age, Grosse Haie, kleine Fische – um nur einige wenige zu nennen. Der technische Aufwand, der dabei betrieben wird um immer detailgetreuer und angeblich realitätsnäher zu werden, ist immens. In Shrek rechneten 800 Prozessoren neben den Charakteren über 28.000 Bäume mit mehr als drei Milliarden Blättern, jeder Protagonist ist aus über 800.000 Polygonen aufgebaut... Der Gigantomanie dieser 3D-Abenteuer, die ohne den Einsatz von Compu- tern nicht ansatzweise denkbar wären, stehen einige wenige Stoptrickfilme gegenüber, bei denen von Hand modelliert und animiert wird. Die vorliegende Arbeit soll sowohl einen Einblick in die Geschichte des Knet- films als auch in das Werk der britischen Aardman Studios geben. Diese setzen mit Filmen wie Chicken Run oder den Abenteuern von Wallace & Gromit dem Trend zu technischer Perfektion und computergeneriertem Photorealismus liebevolle Plastilin-Animationen entgegen. 4 „Morph“, Aardman Animations, 1981 Was im ersten Moment vielleicht nach Low-Fi klingt, ist jedoch tatsäch- lich mit derart viel handwerklicher Präzision und hohem technischen und finanziellem Aufwand verbunden, dass der Aufwand anfangs erwähnter 3D-Abenteuer im Direktvergleich eher klein wirkt. Wie konnten zwei Jungs, die am Küchentisch kneteten und zu filmen begannen, es schaffen, ein Millionenpublikum zu begeistern? – Ziel dieser Arbeit ist es, Einblick in das seltene Genre des Abenteuer-Knetgummi-Stop- Trickfilms zu geben und den grossen Erfolg des Aardman-Werkes – gerade in Zeiten monumentaler 3D-Abenteuer – zu ergründen. Leider blieben alle meine Anfragen nach Bild- und Infomaterial bei Aardman erfolglos. So stützt sich die Arbeit zum Grossteil auf einige Presseberichte, das Buch „Cracking Animations – The Aardman Book of Animation“ und eine Reihe von Interviews mit Peter Lord und Nick Park. 55 s s -K t s Gechichte de Stoptrick ne film Bereits in der Anfangszeit des Films entstanden die ersten „Knetfilme“. In Le Voyage dans le lune von Georges Méliès aus dem Jahre 1902, in dem Alfred Clark „The execution of Mary Queen of Scots“ eine Rakete auf dem Auge des Mondes landet, wird erstmalig die Stop-mo- tion-Technik verwendet, die durch Zufall entstand. Die Kamera, die Méliès anfangs benutzte, produzierte einen unerwarteten Effekt als er auf dem Opernplatz filmte. Sie blieb stehen und Méliès benö- tigte eine Minute um sie wieder zum Laufen zu bringen. Als er sich den Film später anschaute, hatte sich ein Bus in eine Pferdekutsche verwandelt und dort wo vorher Männer standen, standen nun Frauen. Obwohl diese Technik bereits ein Jahr vorher in The Execution of Mary Queen of Scots eingesetzt wurde, um einen Schauspieler der geköpft werden sollte in letzter Sekunde Georges Méliès durch eine Puppe zu ersetzen, war es Méliès, der sie weiter entwickelte und „Le Voyage dans la lune“ perfektionierte. 1908 folgte der Film The sculptor’s nightmare von Wallace McCutchon, für den er in einer Alptraumsequenz Politiker aus Plastilin modellierte. 1917 schliesslich benutzte Helena Smith Dayton menschliches Haar und echte Kleidung, um ihren Puppen mehr Realismus zu verleihen. Auch Willis O’Brien setzte in seinen Kurz-Trickfilmen – die sich zumeist mit prähistorischen Monstern befassten – sehr früh Plastilin ein. 1915 gelang es ihm, einen Produzenten zu finden, der ihm einen weiteren fünfminütigen Wallace McCutchon Kurzfilm finanzierte. 1925 kam sein erster Spielfilm The lost World (nach „The sculptor’s nightmare“ einem Roman von Athur Conan Doyle) auf die Leinwände. Angeblich waren die in diesem Film enthaltenen Animationen so ungewöhnlich, dass einige Zuschauer sie tatsächlich für real hielten. O’Brien gilt als Inspirationsquelle für zahlreiche andere Animatoren und deren Filme, beispielsweise für Bus- ter Keatons The three Ages von 1923 oder Monsters of the Past (1928). 1933 kreierte O’Brien die Spezialeffekte für den extrem erfolgreichen Kino- film King Kong. Auch in weiteren King Kong-Verfilmungen zeichnete O’Brien Willis O’Brien „The lost world“ für die Special-Effects verantwortlich. 6 Ray Harryhausen sah King Kong und war derart überwältigt, dass auch er Animator werden wollte. Als ihm 1946 King Kong-Schöpfer Willis O’Brien – dem Harryhausen Ende der 30er Jahre zuerst begegnet war – anbot, bei dem Projekt Panik um King Kong mitzuarbeiten, wurde für den 26-jährigen Harryhausen ein Traum wahr. Anfang der 50er Jahre wurde Harryhausen vom Produzenten Hal E. Chester verplichtet. Für ihn arbeitete Harryhausen an dem Low-Budget-Film Panik in „King Kong“, Spezialeffekte: Willis O’Brien New York (1953) nach einer Geschichte von Ray Bradbury. Mit dem Film Das Grauen aus der Tiefe (1955), in dessen Mittelpunkt ein rie- siger Oktopus ganz San Francisco verwüstet, begann die überaus fruchtbare und erfolgreiche Zusammenarbeit zwischen Harryhausen und Produzent Charles H. Schneer. Gemeinsam realisierten sie die Klassiker Fliegende Un- tertassen greifen an (1956), Die Bestie aus dem Weltenraum, Sindbads siebte Reise (1958), die ideenreiche Verfilmung von Jonathan Swifts Gullivers Reisen unter dem Titel Herr der drei Welten (1960) und die Jules Verne-Adaption Die geheimnisvolle Insel (1961). In Jason und die Argonauten (1963), wurde die Sindbad-Szene, in welcher der Held mit einem Skelett kämpft, noch einmal aufgegriffen, nur dass diesmal der Protagonist gegen eine ganze Armee aus Skeletten fechten muss (siehe unten) – an dieser fünfminütigen Szene arbeite Harryhausen über 4 Mona- te. Ray Harryhausen, „Das Grauen aus der Tiefe“ & „Kampf der Titanen“ 77 Die Knetanimation verlor nach und nach durch Disneys marktbeherrschen- de Stellung im Animationsgeschäft zusehends an Bedeutung. Erst 1955 kreierte Art Clokey eine Figur, die in insgesamt 127 6-minütigen Episoden zusammen mit ihrem Pferd Plokey die Herzen der Zuschauer ero- berte: Gumby. Der pfiffige, kleine Knetmann erlebte zahlreiche Abenteuer, die Clokey größtenteils mit Realfilm mischte. Clokey schuf mit sehr begrenztem Budget eine einfach zu animierende Figur mit den Gesichtszügen eines Pfefferkuchenmanns, die das Interesse an Knetanimationen wiederbelebte – auch heute erfreut sich Gumby noch starker Beliebtheit. 2003 erschien die DVD Gumby und seine Freunde, im Internet existieren zusätzlich zahlreiche Fansites. In den 80er jahren erlebte Gumby eine Wiedergeburt, wurde sogar Rockstar und Held eines 90minü- tigen Spielfilms, der es aber nie auf die Kinoleinwand schaffte und nur als Video erschien. Art Clokeys „Gumy“, hier zusammen mit seinem Pferd Plokey schaffte es 1955 das Interesse am Knetfilm wiederzubeleben 8 „Closed Mondays“ von Will Vinton erhielt 1974 einen Oscar in der Kategorie „Bester Kurzfilm – Trick“ Vom Erfolg und Wandlungsfähigkeit Gumbys angetan, experimentierte auch Will Vinton mit Knetanimation: Sein erster Kurzfilm Closed Mondays, in dem ein Betrunkener in einer Gallerie lebendige Bilder sieht, beinhaltet lippensynchrone Animation und für den Stoptrick sehr komplexe Kamerabe- wegungen wie Schwenks, Fahrten und Zooms und barchte ihm 1974 sogar einen Oscar in der Kategorie „Bester Kurzfilm – Trick“ ein. Vinton sicherte sich den Begriff Claymation und realisierte in den Folgejah- ren zahlreiche weitere Filme, die auf Plastilin setzten: 1985 gelang ihm mit Die Abenteuer von Mark Twain ein erster abendfüllen- der Kinofilm, dessen Erfolg ihm viele Werbeaufträge einbrachten, u.A. für Nike, United Airlines und Kalifornische Rosinen. Er zeichnete sich zudem verantwortlich für Michael Jacksons Musikvideo zu Moonwalker und die Spezialeffekte im Disney-Kinofilm Die Rückkehr des Zauberers von Oz. Vinton erhielt eine Vielzahl an Auszeichnungen und unterhält noch heute die Vinton Studios, die im Laufe des Jahres einen neuen Stoptrick-Kinofilm Tim Burtons (bekannt durch Nightmare before Christmas) veröffentlichen werden. Die Tintenfische aus dem zweiten Stock: Seit den siebziger Jahren turnen zahlreiche Knetfiguren auch auf deutschen Die tschechische Familie Holan möchte Bildschirmen herum (die Tintenfische aus dem zweiten Stock, Luzie, der Schre- endlich in den Urlaub fahren. Während die Mutter und die beiden Kinder zu Hause cken der Straße mit den Knetfiguren Friedrich und Friedrich, die Plonsters in schon die Koffer gepackt haben, müssen sie noch auf den Vater warten, der Fern- der Sesamstraße
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