Sebastian Rodenbach isn’t afraid to take Bizet’s iconic Carmen and make it more kid-friendly in his latest animation, Viva Carmen.
“The film is not ‘adapted’ for children, but it is also relatable to children,” he told Variety.
Set in Seville in 1845, it depicts Salva, a teenager who works as an assistant to Antonio, a knife sharpener who can see the future. After meeting Jose, a soldier, Antonio makes a dire prophecy. Salva, accompanied by a group of street children led by Belen, decides to change the prophecy and save Carmen.
“Disney today wouldn’t make a movie like ‘The Hunchback of Notre Dame.’ Times have changed. But this is a movie for everyone. It’s so important to speak to kids in a certain way. We did that with ‘Chicken for Linda!'” (co-director with Chiara Marta) As filmmakers, it is our responsibility to communicate with young audiences. They are tomorrow’s audience. ”
Music was produced by Amin Bouhafa and Isabel Rodenbach.
“From the moment we wrote the script, we started working on the music. If you know opera, everything becomes like a game. I remember there are a lot of familiar patterns,” he said.
“The music is very rich, but I asked them to do something a little different. Isabel used traditional Spanish instruments and drums. And there’s also a salva flute, which is played in Andalusia. We also worked with an all-female flamenco band from Barcelona.”
In the French version, the character is voiced by Camelia Giordana. “Perhaps she is today’s Carmen? She is her own producer, singer, composer, actress. She also wants to be free,” he said. Mr. Loudenbach is currently also directing the Spanish version.
Singer Silvia Perez Cruz will be the next Carmen, Variety exclusively reports.
“Tomorrow Isabel will be recording the voice of Carmen with Silvia in Barcelona. I’m very sad that I can’t be there with them. It’s going to be a great moment.”
“Viva Carmen” is a production of Folibaly in association with Haut et Courtes Distribution and Global Constellations.
“It’s a strange project,” Rodenbach laughed.
“‘Carmen,’ but not ‘Carmen.’ I have a friend who knows everything about this opera, and he pointed out that there are actually songs sung by children. After that, they become less important – everything is about Carmen and José. He wanted to see the story of Carmen from a child’s perspective.”
That’s exactly what Raudenbach does in the film, where the children try and largely fail to understand the adult world. love, attachment, desire.
“I wanted truth in the relationships between all the characters, especially the children. When there are children in the story, it has to be true. They are orphans and thieves and have to fight for their lives. But I like the scenes where they are hiding in a cave and are just children, looking for a kiss and a story.”
“Kids want to understand that complex world. You can’t pander to them. That’s not funny. I wanted to be honest. This is not an educational film. It’s a sketch that evokes a certain feeling or emotion. I think that’s the purpose of the film.”
As for Carmen herself, she’s still going strong.
“I wanted to portray a woman, not just an icon. Even in an animated film, she is real. Her priority is not love, but freedom. She is willing to pay the ultimate price for that. That is very clear in her heart,” he said. But he doesn’t plan on bringing back any other famous characters anytime soon.
“Together with Chiara, we are currently developing a project about animals. I’m moving into a new field, so I understand that. But what if someone offers me a film about Madame Bovary? I’ll definitely read it again.”
No matter the topic, he stays true to his signature style.
“I don’t know if these drawings are unique, but they are mine. Animation is a good way to represent the world without being too realistic. You can focus on the sensations instead.”
“I really don’t know why most animated films are so realistic. When I’m feeling optimistic, I think that AI will help create new types of expression and open new doors. But no one knows what the future holds.”
