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“It was important he didn’t end up as a caricature. “We didn’t trace the image or use rotoscoping, but we keep very close to how he was as a person,” says Ladekjaer.
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“It also helped solve the problem of how to depict sequences from his past, things we couldn’t film in a normal documentary.”Īnimation director Kenneth Ladekjaer worked from the footage Rasmussen had shot, closely copying aspects of Amin’s style and behavior - “the way he gestures and speaks, how he wipes his tears away when he cries” - while making slight alterations to protect the identity of the real Amin. “The animation was a way to keep Amin anonymous,” says Flee producer Monica Hellström. He didn’t want to be identified by the audience, to have people approaching him on the streets in Copenhagen asking him to retell his trauma. Courtesy Of Final Cut For RealĮven as Rasmussen, whose previous documentaries include Searching for Bill (2012) and What He Did (2015), expanded the project, developing it as a feature documentary, he stayed fairly conventional, shooting his interviews with Amin and doing standard doc coverage: Amin driving a car, Amin in the kitchen with Kaspar, Amin arriving home at the Copenhagen airport from a trip to New York.īut as their interviews progressed and Amin got deeper and deeper into his own past, he became more concerned about losing control of his story. Most of the film’s modern-day scenes were closely modeled on footage Rasmussen shot with Amin. “In radio, you don’t have an image, but by getting someone to lie down, close their eyes and talk in the present tense about things that happened in the past, they start to generate images inside their own head - images they pass on to the audience.” The interview technique, which you see in the film, it looks like therapy but it actually comes from radio,” says Rasmussen. “My background is in radio, so I initially thought of doing Amin’s story as a radio documentary. I knew this was something we would do at some point, so I was looking for the right form to do it.” He said then he wasn’t ready but when he was, he would share his story with me. Maybe 15 years ago, I asked him if I could do a documentary about his story. “We both had long-term relationships that ended the same summer, so we had this kind of heartbreak together. “We always kept in touch, we spent almost every New Year’s together for many, many years, went on holidays together,” says Rasmussen. The impending nuptials, in fact, appear to be one reason why Amin has chosen to open up to Rasmussen, to share the painful details of his past that he has kept secret even from his fiance. Running parallel to the story of Amin the refugee is the story of Amin coming to terms with his harrowing history and with his own identity - from the first stirrings of sexual awakening, prompted by a revealing Bloodsport poster featuring a short-shorted Jean-Claude Van Damme, to asking a Danish Red Cross social worker for medication to “cure” him of his “unnatural” desires, to living a settled, open life as a gay man and preparing to marry his partner, Kaspar. “I had to wait until he was ready to tell me.” “I was always curious about his past, his story, but as a 15-year-old boy you don’t really go into these things,” says Rasmussen. Then there is his story of flight, first to Russia, then via unscrupulous human traffickers to Estonia - a particularly grim period in a squalid asylum center - and finally to Denmark, where he is granted refugee status and where, at 15, in a Danish village, he meets Rasmussen on the bus to school. Amin’s story becomes more fragmented and uncertain, his memories obscured by trauma - a sister kidnapped, his father, mother and brother killed - and repression. Then there are more chaotic recollections after the mujahideen seize power in Kabul.
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That voice takes us through his childhood in Afghanistan in the 1980s, vivid memories of listening to A-Ha’s “Take on Me” full blast on his Walkman as he danced in the streets in a sister’s nightgown. Names and locations have been changed to protect his identity. This is the first time, Amin says, he has spoken about this to anyone. “What does ‘home’ mean to you?” Rasmussen asks.
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