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.
We had an inspirational design, a sketch and then glued and taped together another analogue blocking.
Now that everything is “done” (which of course still is not…), we finally get around to putting together more pictures from the set-building process. Our most complex set – both in building and shooting – is the set of Yesilcam Street, Kara´s street. This street is based on a real location – except for the
… here is a test picture fresh from the set, which should be added close to the animation tests below, as green isn´t Kara´s favourite background colour. Warmer tones suit her complexion better.