N+2: Lily and Jim - Don Hertzfeldt (1997)

07 abril 2012

Lily and Jim - Don Hertzfeldt (1997)


Lily y Jim
Inglés/English | Subs: Castellano (srt)

Cuenta la historia de Lily y Jim, que son entrevistados con respecto a su desastrosa cita a ciegas. Aclamado trabajo ganador de 23 premios internacionales del animador independiente Don Hertzfeldt.



Buen trabajo de Hertzfeldt en donde expresa las complicaciones de una primera cita y más si se trata de una cita a ciegas. Al mejor estilo Woody Allen, Lily and Jim le hablan a la cámara sobre sus preocupaciones, y al igual que "Happiness" de Solondz la cita es una secuencia de incomodidad tras otra en donde la situación empeora cada vez más. También tiene una excelente caracterización en las voces.
JohnnyMental (24fps)


[...] En esta ocasión volvemos a hablar sobre Hertzfeldt porque hace algunas semanas atrás él mismo subió uno de sus primeros trabajos, Lily y Jim. Para ser precisos, este cortometraje fue el tercero que realizó durante su etapa de estudiante a mediados de 1997. Quizás para algunos esto no les parezca argumento suficiente para ver este trabajo pero la verdad es que Lily y Jim consiguieron ganar más de una docena de premios, lo que es un verdadero logro, considerando que Hertzfeldt sólo tenía 20 años por esas fechas.

Con el mismo estilo gráfico y de humor absurdo que ha caracterizado la obra de este californiano, Lily y Jim nos cuenta la historia de dos perdedores que terminan teniendo una cita a ciegas en la todo lo que podría salir mal, sale mal. Hilarante y mordaz, este cortometraje es una sátira de las relaciones humanas y de cuan difíciles puede ser el que dos personas puedan llegar a conocerse.

Disfruten de las desventuras de Lily y Jim que a más de alguno les sacará una sonrisa.


Hertzfeldt es un animador californiano de 33 años, hijo de padres asiduos a los festivales de cine y por lo tanto, seguidor asérrimo de éstos también.
A diferencia de muchos animadores, él optó por hacer sus historias, utilizando antiguas técnicas, como el stop motion, y dibujando sus personajes solo con lápiz y papel, por lo que su estilo rudimentario, cobró más importancia, aún en epocas en donde los softwares de efectos especiales y programación imperan vertiginosamente.
Su estilo ácido, humor negro y temática existencialista que raya muchas veces en la locura, ha logrado captar la atención desde aficionados hasta miembros de jurados de importantes festivales de cine, así en 1999 y con 22 años con su corto animado Billy's balloon (que fue el primero que vi) fue nominado para el corto Palma de Cine de Oro en el festival de Cine de Cannes, donde fue el director más joven de la competencia. En el año 2000, a la edad de 23 años, Hertzfeldt fue nominado para el Premio de la Academia al mejor cortometraje por su corto Rejected, el mismo que en el 2009, fue catalogado como una de las películas de las década por Salon.com
En abril de 2010, a la edad de 33 años, Hertzfeldt fue el más joven director de cine para recibir el San Francisco International Film Festival por "Persistence of Vision" Lifetime Achievement Award y por sus contribuciones únicas al cine y la animación.
Es a todas luces un animador sin precedentes, además de íntegro, pues a parte de hacer los dibujos, los anima, musicaliza y masteriza. Actualmente esta culminando la tercera parte de una mini saga animada, que comenzó con Todo estará bien, Estoy orgullosa de ti y que culminará con Muelas de juicio. Algo altamente recomendable, al menos para los que disfrutamos tanto, del humor negro.
Ferusa (Foros Perú)


About a year and a half in the making, Don's third student film began with Robert May and Karin Anger's vocal performances, which were a seamless blend of Don's scripted dialogue and their own amazing improvisational material. Don forced the two to simply sit and converse with no comfortable preparation, resulting in many painful segments including the I Love Lucy, sock puppets, and "do you have any gum?" conversations. Their improvisations eventually grew to a couple of hours of very funny material (the best outtakes of which were restored and are now available as a special feature on theBitter Films: Volume One DVD), and Don trimmed his script to make room for these natural moments. Unfortunately, the recording sessions were the only fun part of making the thirteen minute short, and Don was frantically rewriting, re-recording, and re-animating scenes straight through the final month while juggling school in the meantime. 

Don taught himself lip-synch animation by studying Aardman Animation shorts. All the finished dialogue in the movie was slowly broken down by hand and transcribed into phoenetic syllables. Before the age of digital editing, this was done by tediously running all the sound tapes one frame at a time under a magnetic sound head and transcribing all the conversations by hand. This allowed Don to sync his animation down to every frame of dialogue.

Previous student films "Ah, L'amour" and "Genre" were animated in "twos and threes". This refers to how many drawings are photographed per second. "Threes" means every drawing is photographed onto three frames - since film runs at 24 frames per second, that means 8 drawings go by every second. "Lily" was the first of his films to be animated entirely in "ones" and "twos." Animating in "twos" means 12 drawings go by every second, and "ones" means 24 drawings go by every second. This level of quality was deemed necessary to fluidly capture the quick and subtle animation in Lily and Jim's mouths. The short eventually required over 10,000 drawings.

The movie also marked the first time in the cartoons that cel overlays were used, primarily for static foregrounds or backgrounds (this method was later used again for all the hanging clouds in "Billy's Balloon"). Everything else onscreen is simply drawn over and over again, which creates the jiggling effect. (Aside from staying static, you can also usually tell when a cel's in use in these early films when the white paper grain grows more intense. Lighting the cels from scene to scene on the 16mm animation stand was difficult and often required back-lighting, which made some shots grainier than others.)

The ambient sounds of the restaurant were captured by spending a day quietly eating at bad diners with a concealed microphone.

Each of the thousands of "interview" drawings had to be individually charcoaled and then sprayed with fixer chemicals that read "not for extended use." Don's carpets slowly turned black with charcoal dust and he was still coughing up black soot for weeks after production ended.

The short's magnetic dialogue tracks were constantly wandering out of synch while the lab's color timing (the scene to scene chemical timing that should have ideally yielded white backgrounds from shot to shot), was only consistent in its inconsistency: apparently something was wrong with the camera's lighting, and cuts were bouncing from pink tints to blue tints back to pink again. If the projection is framed incorrectly, the restaurant table legs can be seen to float during certain shots. During the restaurant scene, Jim's glass of water mysteriously disappears and reappears. To the last day of production, the student production was barely holding together with spit and splice tape.

There is a very strange 8 frame jump-cut during the restaurant scene (a medium shot of Bill suddenly cuts to close up), that inexplicably appeared after the negative was cut. It should have thrown the soundtrack out of synch by 8 frames, but just as inexplicably didn't. The space-time continuum was broken with 16mm film, and the phantom jump-cut was left in the final edit. 

The picture was directed like a cold documentary to create added tension and discomfort: the characters give direct to camera interviews, shots are left lingering for too long, and there is only one camera movement in the entire film.

Lily and Jim occupy only their respective right and left hand sides of the screen throughout the entire film.

Lily and Jim do not refer to each other by name at all throughout the short, because it was untitled until the very last minute. The working title was "Small Talk," and the script referred to the characters as just "guy" and "girl." Don chose Lily and Jim for the title out of the blue, because the two names just sounded right together.

Robert's mouth was stuffed with tissues for his allergic reaction performance.

Editor Brian Hamblin performs all the television's audio in Lily's apartment (save the explosions). It was meant to be used only as a demo track for editing, but everyone liked it enough to leave it unchanged.

On the festival circuit, the short received twenty-five awards, including Best of Festival Grand Prizes from both the 1997 New Orleans Film Festival and the 1998 USA Film Festival in Texas. 



Subtítulos en Castellano por JohnnyMental (24fps)


Link

http://www.mediafire.com/?sa2k0l9380djt8x

Subs:
http://www.subdivx.com/X6XMTE5MTAzX-lily-and-jim-1997.html

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