Basic love

Abaixo segue meu projeto como foi submetido ao NFB, sem botar nem tirar:

Artist Statement Outlining Idea:
The film begins with the Big Bang explosion. The unorganized mixture of cosmic matter blows energetically in abstract forms, strokes, colors and rhythm. In the bottom of the screen, a time counter shows how many “billions of years” remain to the end of the film (Starting with 13 billions). In a few seconds the mess begins to organize itself forming lots of stars and galaxies. Some planets and asteroids cross quickly before our eyes. Some stars get bigger and explode in millions of pieces. A big red planet approaches and we get close to its super hot surface that gradually becomes cooler and cooler until the atmosphere changes its color and water covers everything. We dive into the deeper and darker bottom of that ocean to finally find two microscopic basic elements that float lifelessly (The time counter decelerates and stops at 3 000 000 001 years).The elements touch themselves becoming one simple organism that begins to move. Suddenly, the counter jumps to 301 000 and the organism mutates into a man. He looks around and swims out of the screen.

Aesthetic Approach:
The film will have a “koyaanisqatsi'” cinematographic approach with a widescreen time-lapse camera capturing the cosmic dance in front of it. Time will accelerate (giving just enough information to let us feel what happens) and slow down (followed by the time counter speed) at some key moments to make everything clear and interesting to the viewer.
The visual style will change from abstract expressionism to mathematical minimalism as a metaphor for the natural order by what everything in the universe is bounded to, subliminally insinuating that life can only be possible in an organized environment. This also enables us to see the microscopic birth of life in a schematic and easier way.
The music style will be inspired on Phillip Glass’ minimalist vocal orchestra. The theme will change from a poetic and contemplative slow rhythm (at the Big Bang part) to a dramatic, fast-paced tempo, repetitive melody (at the birth of life) surprisingly emphasizing the slowest and smallest part of the movie. At the conclusion it abruptly closes with a strong and appealing silence (when men appear).

Story Intention:
The story suggests that the very birth of life was a 'chance encounter' by all means. It also illustrates how this microscopic phenomenon was fragile in the context of the macrocosmic transformations that was happening since the beginning of time. Consequently this statement brings an inevitable comparison between both moments suggesting that the viewers think about the place of mankind in the universe and about the meaning of their own life. It also creates some paradoxical questions in the subtext: Do the chances of life in the infinity grow or decrease? Is it improbable or inevitable?

Technical Notes:
I will try do develop the philosophy of use Flash as a painting canvas, emulating brush strokes of painters (like Pollock) or bringing strong visual styles and colors to the movie screen.
The slow motion parts of the film will be done with a mixture of full and digital cut out animation to bring a fluid and poetic quality to the movement.
The use of After Effects will bring some colors and texture fine-tunes, and will enable some fast lighting effects that are not Flash friendly.
The experience of this film will also be a great lab for my homemade Flash programmed tools and to test some new experimental techniques that I've been developing for this kind of “one man band” streamlined production.

Motivation behind this idea:
Talk about the secrets of the universe is one of majors themes that I want to work on as an artist.
I also want to do a film that step away from conventional rules of entertainment and fits between my art style and NFB production portfolio.
But more than everything I want to spend some quality artistic time in Canada, with nice people, who love animation and being paid and assisted to do my own film (Does anyone need more motivation than that?). I really, really, really want to go… I mean, artistically this ‘chance’ will be an important step to fully develop myself as an animation filmmaker!

RESUME
Name: Diego Stoliar Indig
Born: 07/22/1980
Living in: Rio de Janeiro - Brasil
Languages: Portuguese and English
Graduation: Film School (2008)
Level: Animator and Animator Director
Current Studio: 2DLab

Contacts:
www.diegostoliar.com

Artistic Lead Knowledge: Animation and Film directing.
Artistic Knowledge: Art direction, character design, layout, background paint, digital art, animatic and storyboard.
Technical Lead Knowledge: Flash and Mirage paperless animation, After Effects composition and digital cut out animation, Photoshop paint.
Other Knowledge: Flash Tool Development.
Areas of Development: script writing and music composition.

In-House Projects:

• Why the Kangaroo jumps with two legs? (Series Pilot - Animation Director)
• Where did the night come from? (Series Pilot - Animation Director)
• 1st Prize: Animated Television Production, Professional Jury, 22nd Chicago International children’s Film Festival (2005)
• 3rd Prize: Best short animation for children, Public Choice, 13th Animamundi (2005)
• Mondo's Myths Opening (Animation Director)
• One Wonderful Minute (Animator)
• Toquinho in the Mondo's World (Editor and DVD designer)
• Tic Tac Trupe (Conceptual Artist)
• NEO – Next Evolution Online (Conceptual Artist)
• My Big Big Friend (Conceptual Artist)

Some Commercial / Institutional Projects:

• DVD XUXA 6 (Animator)
• Pampili TV Spot (Animator)
• Ressurgir TV Spot (Animation Director)
• Menino Maluquinho TV Series (Animator and Effects Composer)
• Petrobras Institutional Short (Animator and Editor)
• Moreth Loquez Internet Shorts (Animator and Editor)
• João Sabido Internet Shorts (Animator and Editor)
• And all the other projects did on 2DLab since 2004

Personal Films:

• Perforated ulcer with logged bacteria (One of the animation directors)
• 14° ANIMA MUNDI (2nd Prize: Best Brazilian Animation)
• 27° Guarnicê de Cinema do Maranhão (1st Prize: Best Animation)
• 20ª Mostra de Vídeo de Santo André (1st Prize: Best Video by the Popular Jury and 2nd Prize: by the Official Jury)

Last Workshops and Courses:

• Life Drawing Classes – Lydio Bandeira de Mello
• Film Directing - Jorge Furtado
• Harmony Software - ToonBoom Training
• Character Design - Norbert Lafabrie (Gobelins School)
• Advanced Animation - Aida Queiroz, César Coelho and Marcos Magalhães (Animamundi)
• Scriptwriting for Animation Series - Tim Hill (Sponge Bob)
• Flash Animation - Andrés Lieban (Puc-Rio)
• Animation Workshop - César Coelho (PUC-Rio)
• Animation Workshop - Marcelo Marão (Sesc-Rio)
• And a LOT of other film and animation courses.

Biography:
I started my design school in 2002. The next year I was already working as a web designer with expertise in Flash animation as well as learning script languages for the web. Suddenly, I decide to take the risk and dedicate myself entirely to animation (a profession that practically doesn’t exist to mortal human beings in Brazil at that time).
In 2004 I was the first animator to join the 2Dlab studio staff.
A year latter the design school was just not working anymore, I was getting to technical. So I left it, enrolled myself in a film school and I started to take additional inspiring life drawing classes (much better!).
The following year was fulfilled with additional film and animation courses. At that time I also did my own first collective experimental film outside of the studio and I started to dedicate myself to develop my other talents like screenwriting.
Today the 2Dlab is one of the studios which are starting co-production projects with Canadians studios and I play a “in development” animation director role there.

Demo Reel: