It was the summer I got fleas. The summer of small sticky alleys, tooting of distant big ships, loud street sellers and piss stink stronger than the morning sun. It was the summer of my first kiss. This timelapse video gives you a close look at behind the scenes of one of my
Kara is a journey I started a few years ago, knowing it would be a long one. After quietly working on writing and re-writing the script, finishing the concept teaser and a long sabbatical due to private family matters, we’re now taking the next step! It will still be a while before we can share
Kara’s script received the first Special Mention in the history of the German Animation Screenplay Award this year at the Stuttgart International Festival of Animated Film. A big thank you to the jury members and the festival for their consideration and going out of their way to recognize Kara! This came in the mail today
About three weeks ago, we came back from the Cannes Film Festival, excited to report on our progress and the positive feedback we received to our Kara teaser. On May 28th, our eyes turned to Istanbul, Turkey. What started out as a peaceful sit-in at a small park in the heart of Istanbul, had met
When I started writing Kara, I had imagined one day I would sit in Emek Sinemasi and watch the film that has this cinema and the surrounding Cercle d’Orient building at its heart. A film that remembers the days I spent in this building above the cinema, watching films through the tiny window of its
Final touch up in the studio before the shoot.
Susanna Jerger, as always, did a really nice job on this set with the colours especially in capturing the richness and dreamy quality of the colours of the inspirational. By adding multiple layers of paint and pencil work, she achieved very dense yet subtle textures.
The Yesilcam Street set lives from the incredible attention our set builders gave to its many – many! – details. And they never grew tired of being asked to avoid right angles and exact parallels – without getting wobbly or amorphous shapes.
A pretty solid wooden construction was built for the houses to ensure that the set would not shift or shake – especially since we knew that during the shoot parts – roofs or single houses - would have to be removed mid-shot and reattached later several times. Preferably without causing major set shifts.