Shilpa Ranade, Soumitra Ranade and Narayan Parasuram - crew members of Goopi Gawaiiya Bagha Bajaiiya - answered the audiences questions last evening. Here are some of Shilpas thoughts about the film (as shared in an earlier interview to Mint): The film’s origins lie in a translation of Raychowdhuri’s book by poet and lyricist Gulzar, which Shilpa Ranade was supposed to illustrate. “I started off with the drawings, and then I thought I could do something else to take it ahead, so I decided to do prints,” says Ranade, who teaches animation for the masters of design course at the Indian Institute of Technology, Bombay (IIT-B). “Then I thought that this would make a wonderful film, and it grew out of that.” The flat, two-dimensional figures and backdrops, and what Ranade terms a “staccato feel” to the animation, grew out of the roots of the project. “The drawings dictated how the film should be animated,” she explains. “It doesn’t belong to the classical style at all, which has full fluidity and a three-dimensional feel, but follows from the drawings. We could not do full animation, because that would have meant a lot of money and time and people, so we found a way to address the drawing style and the time constraints.” Over two-and-a-half-years in the making, Goopi Gawaiiya Bagha Bajaiiya is a modest production by international animation standards—not more than 20 people were working on the film at any given point, Ranade says. The characters and backdrops have been created out of computer-generated swatches of textile prints and upholstery—everybody and everything, from the dim-witted but well-meaning musicians whose adventures take them to the lands of Shundi and Hundi, to the kings and ministers, and the palaces and prisons, are dressed in colourful patches. “Almost everything is inspired by fabric, even the grass,” Ranade says. Source: livemint/Leisure/NNIC5yWOhYCWNY207xcFuN/Preview--Goopi-Gawaiiya-Bagha-Bajaiiya.html
Posted on: Tue, 27 May 2014 05:36:29 +0000
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