00:17La storia è una storia importante in Norvegia, ma non è così importante come le altre
00:27polare storie che abbiamo.
00:29Quindi ho pensato che ho conosciuto tutto sull'Uroa Lamunsen, il norvegia polare, ma poi
00:38è stata una storia che non ho mai parlato della storia del Nordpol, non ho mai parlato dell'Umberto
00:49Norvegia e non ho parlato di Titina.
00:52E ho trovato la storia fantastico e divertente, anche molto triste e emotivo, quindi ho pensato
01:02che questo sarebbe una buona forma di raccontare una storia di polare storie.
01:09Io non volevo fare un film di polare, un'erroia, un'erroia, un'erroia, un'erroia.
01:15Non era l'intenzione.
01:17Siamo in Italia, quindi siamo molto interessati in l'Italian parte della storia.
01:22Cosa ti ha fascinato?
01:23Come ti ha detto il nostro paio di parlare?
01:28Il nostro paio è molto interessante per me vedere le differenze tra le nordiche polare
01:35idee di come si comportano, come si comportano, come si comportano, come si comportano in
01:42polare regioni.
01:44E' un'erroia, come con un'erroia, e' un'erroia, e' un'erroia, e' un'erroia, e' un'erroia.
01:51Noi non avessi un'erroia in polare, in Norve, abbiamo un'erroia che bisogna lavorare,
01:58o se si vuole, potete anche farlo.
02:01Ma non avessi un'erroia, come un'erroia, perché sono l'erroia, se vuole essere salvato.
02:09E questo è un'erroia molto interessante, questa idea, queste differenze, e può essere
02:17molto divertente.
02:19E' un'erroia molto diverso di raccontare la storia, tra Titina e anche un'erroia
02:25di vedere il nordico, o il nordico polare.
02:30E' un'erroia molto grande.
02:38E' un'erroia molto grande.
02:47E' un'erroia molto simile, in un modo, voglio andare al nord polo e avere queste
02:51idee di cose, voglio essere molto bene a quello che faccio, ma l'ultimo è molto triste.
02:59Quindi, cosa sono queste ambizioni?
03:02E' Umberto Nobola ha avuto avere questa storia fino a 90 anni,
03:07so, è stato un'erroia molto drammatica per lui.
03:11Ed Stignon dice che gli altri 80 anni 90 anni spiella sempre
03:17un po' di vista un po' di vista d'un porto di un po' di vista.
03:25Cosa le sono delle caratterizzazioni del po' di vista dell'asso?
03:32We tried to think of Titina as the child in the story, but it was very important for me
03:40not to make a film with a dog that kind of fixes the situation and saves everybody or
03:46can drive a car or things like that.
03:48We wanted her to be like a very normal dog, doing only doggy things, because as a contrast
03:55to these pompous men having these quarrels and fixing all their stuff and fighting about
04:04who's the coolest guy in the airship, then she's just there eating and sleeping and things.
04:11We also wanted her to be the only character who actually sees the nature.
04:18She's the one that is actually there on the eyes and experiences it, but while the others
04:28are kind of more important for them to take photographs and be in the middle of the framing.
04:37So it gives us kind of this playfulness and that we can look at the grown-ups from a different
04:44angle.
04:46Titina stands between science and adventure, but as you were saying, she's really like
04:56a child.
04:56She's pure.
04:57What does it mean, Titina, to you?
04:59What is the meaning of the metaphor that she represents?
05:04Who is she stating in life?
05:06What does it mean to you?
05:07For me, she's kind of the normal person in this.
05:15I'm a very big fan of Jacques Tati's films.
05:18And you can always think that Monsieur Vouleau comes in and he has a funny hat and a funny
05:24jacket and he's kind of the strange person.
05:28But really, he's actually the normal person because all the other characters around are
05:33the ones that are doing all the strange things.
05:36They are working and dancing and doing kind of cool modern stuff.
05:42But he's kind of just the normal person in this.
05:46So that was kind of the inspiration for her as a character, that she should be this normal
05:56person in this crazy adventure.
06:00And I think for me, she also, it's very kind of moving, I think, this relationship Humberto
06:11Noble had with Titina.
06:12He brought her everywhere.
06:14You have pictures of her from Japan and from New York.
06:20She was visiting the White House and the Metropolitan Opera.
06:24And she was really, really famous and this kind of strangeness in us that we fall in love
06:31with these characters and we want them to kind of succeed and we want them to be happy.
06:38And I think, yeah, she represents that kind of our kind of strange, let's call it innocence,
06:44maybe.
06:46Can you tell me something about the friendship between the adventurer and the scientist?
06:55Yeah, I think, because it was, it was obvious that this kind of turned into a big kind
07:03of fight.
07:04In real life they had a hard official fight from Norway and Italy and which led to the second
07:14expedition to go with the, that the Noble went again with the airship Italy.
07:18And it was important for me that you could also see this humanity in both these characters
07:25and that we could see that they have some kind of love for each other.
07:30They probably admire each other and they probably, they need each other to, because Noble is kind
07:36of the era.
07:38The era of airships were sinking and going, they were not so popular.
07:42People were coming with planes that could go far.
07:46And Amundsen was old and he needed his whole life.
07:50He wanted to go to the North Pole and he didn't manage, he had tried many times.
07:56So his, this was his last kind of, a way of going to the North Pole, so he also needed
08:01Noble.
08:02And, um, so they are, yeah, they have this kind of love hate relationship.
08:09I'm sorry.
08:10I thought, I think I forgot your, I drifted off now.
08:12Yeah.
08:13Did I just, did I answer your question?
08:16Yeah.
08:16Okay.
08:17Yeah.
08:18I talk so much that I kind of drift off.
08:21Yeah.
08:22Yeah.
08:23Yeah.
08:24But I think that they, it's important to, to give also people, characters can not only be
08:31one thing.
08:32They're not only villains or, or heroes.
08:34They are probably a little bit of both.
08:36Yeah.
08:38And why animation?
08:39Do you believe that animation was the best way to tell the story?
08:43What does bring animation to the story?
08:45I think what, because this is a history, uh, based on a, because this is based on a true
08:52story, I think that we are a little bit freer in animation, actually.
08:58I, of course, I always make animation.
08:59I am an animator and I always, uh, I like that a lot, but I also like that it can,
09:05we
09:06can stylize things.
09:07Uh, we can, we can put the Tina in strange situations like, uh, she has, she's dancing
09:14and dreaming and thing doesn't have to be realistic.
09:17And, uh, in animation that makes us it's possible to emphasize, or we can, we can, uh, we can
09:26make small things bigger.
09:27And yeah, that's, uh, I think that's good for animation.
09:30And, uh, yeah, I think this story with the airship is perfect for animation.
09:38Yeah.
09:40Do you agree with Guillermo del Toro when he won Oscar for Pinocchio this year?
09:46In his speech he said that he's so angry when people say that animation is a genre.
09:51Yes.
09:52Yeah.
09:53That's, yeah.
09:53All of, uh, all of, uh, we animators, we hate that.
09:59With, uh, yeah, it's, uh, I think, I think more than, um, my experience with the Tina is
10:07that, for instance, we, this is a 2D animated film.
10:09So it's kind of, it looks a little bit old fashioned.
10:13So, uh, old people think that children are a little bit, maybe it's a bit difficult for
10:17children because it's, uh, flat and it's not 3D.
10:20Um, and, uh, maybe, uh, they all grownups don't want to go and see it because it's animation.
10:27It's only for children.
10:28And so they have all these kinds of ideas instead of listening, finding out if this is a nice
10:34story and, um, and this is, uh, if it's for them or not, that's, yeah, the story is the
10:41most important.
10:42It's, uh, not how it looks.
10:44I really love 2D animation and I really love, and, um, animation made with our hands,
10:52not with computer graphics.
10:53Okay.
10:53Yeah.
10:54Yeah.
10:55How can we say that kind of animation?
10:57Because right now, right now is all computer graphics and each character looks the same.
11:03Yeah.
11:03How can we say the, the, the warm and the uniqueness of, uh, of, uh, yeah.
11:08Yeah.
11:08I think in, uh, um, I think, uh, 2D animation will not disappear.
11:16It goes like this all the time.
11:18There are kind of peaks and bottoms.
11:21Now we want 2D, now we want 3D.
11:233D, uh, if you think of 3D more like a tool, there's a lot of films, for instance,
11:27Asian films that are a mix of 2D and 3D, but you still keep the 2D look.
11:32And I have, uh, and they are kind of traveling all over the world.
11:38And, uh, I have also very, I believe that European animation, they are kind of very fond of, uh, 2D.
11:47And, uh, European animation has kind of, is growing more and more and, um, making more interesting stories,
11:56I think, than many of the big studios, both for children and for grownups.
12:01and, uh, so I, I don't think it will disappear.
12:05I think it will be, stay here with us.
12:08Yeah.
12:08So, thank you.
12:14Uh, huh.
12:14Mm-hmm.
12:14Huh.
12:15Huh.
12:16Grazie a tutti.
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