brecht

16 10 2008

when I started to work on the visual designs for the animated adaptation of the musical CATS 1991 in london, the two directors assigned to that project, SIMON WELLS and PHIL NIBBELINK, had already worked on the storyboards for a while. it was all pretty dark and taking place in ruins of buildings. STEVEN SPIELBERG had given them the idea that the story could take place in london during the time of the ‘blitz’, the time when hitler’s rockets destroyed parts of london. he had also mentioned the visual style of the film should be ‘brechtian’. the directors had no idea what that might be.
it took me a bit to figure it out – BERTHOLD BRECHT, the famous german writer, was well known for his expressionistic, politically critical theaterpieces. he probably was very close to some of the expressionistic artists of his time in germany, after the first worldwar. I knew, that one group of the german expressionists, the artists of DIE BRUECKE ( the bridge ), led by ERICH HECKEL, ERNST LUDWIG KIRCHNER, MAX PECHSTEIN, EMIL NOLDE and KARL SCHMITT ROTTLUFF were trying to create during that time an artform that linked german artists of the renaissance, especially DUERER with his masterful woodcuts, with a new renaissance of german art. KAETHE KOLLWITZ and ERNST BARLACH predated that movement, but were politically and artistically in the same direction. one of my favorite films of the silent era DAS CABINETT DES DR.CALIGARI, 1919, was an expressionistic styled masterpiece.

I was pretty sure that it was that what mr.spielberg had in mind. so I started to find the right reference about all these artists. the most impressive were their woodcuts. I imagined the ‘blitz’-world pretty much black/white and similar to that look. the problem was, how to translate it into animated backgrounds. I did not want to do woodcuts, it was easier to come up with designs in a similar look. white on black looked pretty good, so I started to paint my destructed world with white correction fluid on black cardboard, and added finer detail with a special black feltpen. the next step was, to paint the same motif in gouache with a very limited color palette and copying the reduced high-contrast look. following are some of the paintings.

©AMBLIN, universal pictures

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2 responses

16 10 2008
Jared Shear

Very interesting…….I love the idea of correction fluid on black cardboard to help create a wood block effect, and then xeroxing and coming in back over the top with color. Great pieces, and a nice bit of art history.

17 10 2008
Yati

Dear Hans,
I’m really happy to discover your new blog. Your blogs have always been ever inspiring and with the fire spreading out. Thanks for sharing such gold with us…

yati..

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