Dialog with the producer of animation film “Syria” , Dawlaty project

Dialog with the producer of animation film “Syria” , Dawlaty project

March 1, 2013

مهرجان سوريا الحرّة السينمائي الأول Dialog with the producer of animation film “Syria” , Dawlaty project:- What is the mechanism in making this film in a simplified way?The idea of the film belongs to one of the participants in one of Dawlaty workshops in Beirut, she is a photograph designer and linked to some of the animators. Dawlaty team communicated with other animators and they all established a working group inside and outside Syria. We were communicating via Facebook through the group’s messages. The work implementation took several months, in which we worked on designing a story board and then designing characters, animation and coloring. Two copies of the film were downloaded on drobox; one colored copy and the other in black and white. The colored copy was chosen as a final version. Then adjustments were made on the final version and the work was finalized and then the sound was applied.- What are the Similarities and differences between animation art and the rest of visual arts in Syria?Each art has its characteristics and its privileges. Personally, I like the art of animation because it is a creative art and has a wide space of possibilities. I believe it looks like dreams where no limits to the imagination. In the film “Syria” even the figure of the man is different; his arms and legs, as well as other characters in the film. For example, there is a feature discovered during work that the team does not need to be in one place for the implementation of this work as opposed to movies and documentaries.- What are the difference – if any – between animation art in Syria before and during the revolution?There are a significant difference with regards to the work on public affairs in Syria, but technically I do not think that there is a difference at the level of technology, quality of work and style but the subject differed to target more social and political actions than business. In addition voluntary work has been more common as many works in this field is unpaid or for minimal rewards and this is the case in film “Syria”. Many of the team members did not receive any fees while others received minimal rewards to cover technical coasts. -What are the difficulties and challenges in the industry of animation film?Challenges in animation film are to find a harmonious team as animation film requires characters designers, animators, painters, coloring persons and editors, as well as sound workers. animation work as well can be costly and require work for a long time.- How can we begin to form a memory associated to animation film in Syria? And is this memory started with the beginning of the revolution?I believe that what you do in regards to the Festival of animation celebration is an important step in this direction- What is hoped for the future of animation art in Syria?It is important to allocate an academic space for animation as a specialization in the Faculty of Fine Arts. Launching festivals and events for animation could serve this purpose as well. In addition depending more on this art in matters regarding public affairs and awareness raising campaigns and training manuals. Source:مهرجان سوريا الحرّة السينمائي الأول