LES ÉDITIONS GRANOVSKY
NEWS LETTER # 1

 

EDITORIAL

Variation on line and form
or the need to Make 1 / 24th of a Second Eternal

Animating may require the intervention of many artists who all have in common to draw a line. From the first sketches to the final rendering, everyone is aware of practicing an ephemeral art in its essence. And it is all the nobility of the Art of Animation that appears.
Giving the illusion of movement requires a lot of humility.
From these features come animated forms that we observe on a large or small screen. The fictional narrative then allows the passage to an expressionist language, that is, to the active construction of the form.
Making a master piece book allows everyone to go from spectator status to visitor status, by returning to the genesis of animation: the lines, often mixed with color. A call to activate his imagination, this dynamic involving "the spirit to the wandering (and) by which our dreams acquire a substantiality (...)", according to Gaston Bachelard.
This is why our editions reduce the text to what is strictly necessary, to allow the reader-visitor all the time to delve into the original shapes and colors of an animated work.
An exquisite book makes it possible to fix and appropriate elements of language, of a traditional or avant-garde nature, and to transmit them on a durable medium: the paper, also coming from a Man made work.
In the end, a master piece book is an appropriate plastic medium for the original feature to become a work of its own.

Aurore LeGras
Editrice et co-fondatrice des Editions Granovsky

 

HEADLINE

About the release of PINOCCHIO by Pierre LAMBERT
scheduled for February 2, 2018

Pierre Lambert offers the most exhaustive selection, the rarest, most prestigious and most likely to do justice to the crazy creative enterprise that was the Pinocchio Walt Disney Studios. This extraordinary work proposes to play the role of prism to break down the united light of the film in as many unique and indispensable colors. Sumptuous and overflowing scenes of richness on which the camera never gets bored more than reason, dictated by the imperative of storytelling, we can finally discover all the details.

The soft and intense gouaches of Claude Coats, Albert Hurter's sophisticated and overflowing embellishments of ingenuity, are here in all their splendor. Gustaf Tenggren's research, for some never seen before, one can admire inventiveness and poetry, and appreciate the path that led to the result frozen celluloid. Animated pencils, we can finally savor the vibrant energy, the bubbling life that underlies each of the lines designed by authentic artists-actors, as fantastic and generous as humble and applied. Through these pages, it is the story, in images, of the search for a film that one traverses. The second feature film from Disney Studios, Pinocchio is the mark of a time of unique creative fever, never to be over. Imagined on the eve of release on the screens of Snow White and the seven dwarfs, it is, with Bambi, Dumbo, and Fantasia, the golden age of a studio launched in the crazy adventure to produce long animated films and more than just "simple" cartoons of a few minutes. It is through the exploration of this pictorial sum, of researches, decorations, cellulos, this richness of various influences, of artistic culture, that it is possible to become aware of the extent of the ambition of Walt Disney wanting to push ever further the horizon of a medium to which he had already given his first letters of nobility.

Basile Béguerie for Les Editions Granovsky

Rendez-vous sur
www.leseditionsgranovsky.com/Products.aspx?f_product=3

COLLECTION GUILLERMO DEL TORO

PRELIMINARY STUDY GUSTAF TENGGREN SEQUENCE 1.1
GUILLERMO DEL TORO COLLECTION

 

ONCE UPON A TIME

Orly early March 1935
When the past announces the future

The large trees in the park curl slightly behind the wind at the end of winter.
The buds of chestnut trees are already widely open in the promising sweetness of this sunny afternoon.
The gravels of the driveway leading to the castle quiver under the wheels of a white sedan.
In front of a porch, it stops motionless. The driver comes down, quickly opens the rear door. A man in a warm coat and an elegant hat stands on the ground. It stops for a moment with an attentive look to the facade of this former hunting lodge of the eighteenth century.
A thin mustache overhangs his smile. He walks towards the steps, climbs the stairs and pulls the chain of a bell tinkling slightly. Moments and the glass door opens. Dressed in a silk dressing-gown, with a pointed beard and a lively look, the man stretches his hand vigorously to his host.
Long, warmly the hands of Walt Disney and George Méliès are shaking in full movements. George fades to let Walt enter what will be the last home of the inventor of the film show.
George asks Madeleine, his grand daughter, to serve them some drinks.
In the living room on the ground floor, deep armchairs face the fireplace where beautiful logs crackle, bright.
Installed, Georges and Walt do not leave the eyes.
Georges expresses himself perfectly in English. Both waited for this moment, knowing each other only through images, writings or words.
Walt does not hide his admiration for the creator of cinematographic magic and admits that his work has greatly influenced his desire to create dream and illusion through the animated image.
-Walt, what did you come to do in Europe?
- I have great projects that I want to create from cultural and artistic references drawn from across Europe: in France, Germany, Italy, Switzerland and the Netherlands.
-And what did you find that satisfies you?
- Works by Gustave Doré, Daumier, Grandville, Dürer, Wilhelm Bush ... I bring back home what constitutes a real documentary treasure for the artists of the new Studio.
- Have you always been passionate about new technologies...?
- As you know, I'm passionate about art and things in life. To create entertaining cinematographic shows that generate excitement for the greatest number of people, we must look for the most innovative ways to create and tell stories.

George spends his long, dexterous fingers in his beard, questioning eyes.
Walt smiles and resumes.
-Ah, I see you want to know more ... Well, I start the production of the first American animated feature film: It will be called Snow White. It's an adaptation of a Grimm Brothers tale. I gathered for this my best artists, designers, decorators, animators.

Those are already used and aware with my requirements of creativity and quality of execution.
I also completely reorganized my studios, both human and technical.

Cinema has this specific; it is the intimate relation of art and technology.
There is as much artistic creativity as there is innovation and technical development. Indeed, cinema exists only from the moment the image comes to life projected on a screen.
To create the illusion of reality.
The image takes its full dimension when after being recorded by the camera and after having followed a number of chemical treatments (now digital), it is shown through a projector.
Walt Disney and his teams understood this very early in the development of their studios.
Walt is passionate about the latest inventions and is also looking for new ones. He knows full well that being the first to develop and use technology will give him a competitive edge over other studios. He knows that audiences are in need of novelty. They thirst for stories as much as the surprising spectacle of projected images.

Walt Disney asks Bill Garity in 1933 to invent a camera that can help give depth of field by playing on different levels of a scene. The light can also be integrated to give different perspectives and atmospheres.
Thus will be born the MultiPlan camera.
With a height of almost five meters, this structure has four levels.
Using the MultiPlan provides a real impression of three dimensions.

The different elements of a scene will be separated by level according to the role of each of them. For example, the moon in a setting will be farthest from the foreground, so at the lowest level. Finally, in front of these four levels is the actual camera, which, image by image, will capture the scene. Each level can be moved
The MultiPlan will be used for the first time for "The Old Mill" (Silly Symphonies) in 1937 and for "Snow White and the Seven Dwarfs" the same year.

George seems perplexed.
- An animated feature film ... It's a risky and colossal venture! Until today only two feature films have been made and the first was in 1917 ... You know that the Argentine Quirino Cristiani, "El Apostol" of which there is no copy. They burned in thesafe of his producer in 1926 ...

Then in 1926 that of Lotte Reiniger, "Prince Ahmed" ... which was colorized and made from silhouettes ... Lotte had also created a kind of multi-plane camera in the principle of the one you mentioned...
Walt nods, straightening up. From a cigarette case, he pulls out a ‘’Gitane’’, harsh brown tobacco.
- Do not you mind, George?
- No, no, I'll take a cigar ... Do you smoke Gitane?
- Memories of my years in France during World War One. Paramedic for the Red Cross, I used to smoke brown cigarettes ...

George hands him a burning match.
Walt's eyes twinkle. Brightening his voice, he resumes the conversation.
- Yes, of course, there were these two feature films. But, I bet that with my artists and technologies at our disposal, we will make a masterpiece that audiences of all ages will love.

In the park, the shadows of tall trees grow longer. Georges and Walt enthusiastically share their memories of the beginnings of 7th art, animation, the impact of confrontations between technologies and artistic creation.
The smell of cold tobacco mingles with the smell of the still-burning wood fire.
Walt Disney gets up. Madeleine Méliès, discreet but attentive, brings Walt’s coat.
George eagerly accompanies his host to the door. The pale sunlight irises the folds of the curtain.
A cool west wind blows a few long clouds.
Walt and Georges, each moved, offer a warm embrace...
The door of the white sedan closes. Through the window down, the hand of Walt Disney greets George. What thoughts are going through their minds?

Without being aware of it, because it was a meeting, after all, natural, two of the biggest names of the young history of the cinema came, by these moments, to symbolize a transition from a short past to a long future.

Dimitri Granovsky
Publisher and co-founder of Les Editions Granovsky




©Les Editions Granovsky
To unsuscribe: contact@leseditionsgranovsky.com



Twitter Facebook Instagram