ABOUT THE SPEAKER
Martin Villeneuve - Graphic artist, director
In his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life.

Why you should listen

The musician who plays otherworldly music on one-of-a-kind instruments, the genius who designs the instruments inspired by a woman's body, and the photographer they both love. An old-fashioned love triangle is at the heart of Mars et Avril, a bold and dreamy sci-fi story set in a future Montreal where the Champ-de-Mars subway line takes you right out to Mars. While many sci-fi films have budgets exceeding $100 million, this incredible arthouse version was made for just $2 million thanks to the bold creativity of filmmaker Martin Villeneuve. 

By taking his time on the project, asking the best creatives for favors and approaching problems as exciting challenges, Villeneuve has made a movie that seemed impossible. The film has shown at festivals, and is available on DVD. Villeneuve is currently working on securing international distribution for the work.

Villeneuve made the film based on his two graphic novels, also titled Mars et Avril. Villeneuve is the former artistic director for the ad agency Sid Lee that works with Cirque du Soleil. Among other projects, he's now working with comic book masters Benoît Sokal and François Schuiten on an animated fantasy feature film, Aquarica, and on a sci-fi movie with Pressman Film, tentatively titled The Other World.

More profile about the speaker
Martin Villeneuve | Speaker | TED.com
TED2013

Martin Villeneuve: How I made an impossible film

Martin Villeneuve: 如何製作一部做不出來的電影?

Filmed:
986,678 views

導演 Martin Villeneuve 在演講中跟大家談論有關他的電影 《三月與四月》(Mars et Avril)。這是一部加拿大的科幻巨作,拍攝卻幾乎沒花半毛錢。演講中他為我們說明,在各方面,他是如何克服金錢上的困難,以及邏輯上的限制,來製作這部電影,實現他對未來獨一無二且極具創造力的想像。
- Graphic artist, director
In his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life. Full bio

Double-click the English transcript below to play the video.

00:13
I made製作 a film電影 that was impossible不可能 to make,
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我製作了一部不可能做得出來的電影
00:15
but I didn't know it was impossible不可能,
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但我不知道那是不可能的
00:19
and that's how I was able能夠 to do it.
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因此我才能試著將它做出來
00:22
"Mars火星 et Avril艾薇兒" is a science科學 fiction小說 film電影.
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《三月與四月》(Mars et Avril) 是一部科幻電影
00:24
It's set in Montreal蒙特利爾 some 50 years年份 in the future未來.
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場景設定在50年後的蒙特婁
00:29
No one had doneDONE that kind of movie電影 in Quebec魁北克 before
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以前在魁北克沒人拍過這種類型的電影
00:31
because it's expensive昂貴, it's set in the future未來,
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因為預算太高,場景設定在未來的世界
00:34
and it's got tons of visual視覺 effects效果,
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需要大量的視覺效果
00:36
and it's shot射擊 on green綠色 screen屏幕.
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以綠屏來拍攝
00:39
Yet然而 this is the kind of movie電影 that I wanted to make
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但是這種電影
00:41
ever since以來 I was a kid孩子, really,
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是我從小就想拍的,真的
00:43
back when I was reading some comic滑稽 books圖書
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那時我讀著漫畫書
00:45
and dreaming做夢 about what the future未來 might威力 be.
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然後想像未來會是什麼模樣
00:48
When American美國 producers生產商 see my film電影,
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美國的製片看到我的電影
00:51
they think that I had a big budget預算 to do it,
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他們認為我有很多的預算
00:54
like 23 million百萬.
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大概2300萬
00:57
But in fact事實 I had 10 percent百分 of that budget預算.
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但事實上我只有那十分之一的預算
01:00
I did "Mars火星 et Avril艾薇兒" for only 2.3 million百萬.
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我拍《三月與四月》只花了230萬
01:03
So you might威力 wonder奇蹟, what's the deal合同 here?
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所以你們可能會猜想,這是怎麼回事?
01:04
How did I do this?
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我是怎麼辦到的?
01:07
Well, it's two things. First, it's time.
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兩件事。首先,是時間
01:10
When you don't have money, you must必須 take time,
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沒錢的時候,我們就必須把握時間
01:13
and it took me seven years年份 to do "Mars火星 et Avril艾薇兒."
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我花了七年來拍《三月與四月》
01:17
The second第二 aspect方面 is love.
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第二個概念是:熱情
01:20
I got tons and tons of generosity慷慨 from everyone大家 involved參與.
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每個參與製作的人都為我付出不少
01:23
And it seems似乎 like every一切 department had nothing,
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似乎就像是因為每組人馬都一無所有
01:26
so they had to rely依靠 on our creativity創造力
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所以他們必須依賴我們的創造力
01:29
and turn every一切 problem問題 into an opportunity機會.
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化危機為轉機
01:31
And that brings帶來 me to the point of my talk, actually其實,
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事實上,這就和我今天要談的重點有關
01:33
how constraints限制, big creative創作的 constraints限制, can boost促進 creativity創造力.
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想像力受到極大限制時,如何激發創造力
01:37
But let me go back in time a bit.
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在此之前先讓我回顧一下
01:41
In my early 20s, I did some graphic圖像 novels小說,
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在我20歲出頭,我寫了一些繪本小說
01:44
but they weren't your usual通常 graphic圖像 novels小說.
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但不是一般你們看到的繪本小說
01:46
They were books圖書 telling告訴 a science科學 fiction小說 story故事
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這些小說是科幻故事
01:48
through通過 images圖片 and text文本,
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以圖片及文字來表達
01:51
and most of the actors演員 who are now starring主演
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而現在大部分主演改編電影的演員
01:55
in the movie電影 adaptation適應, they were already已經 involved參與
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已經將這些小說裡
01:57
in these books圖書 portraying刻畫 characters人物
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所描繪的角色
02:00
into a sort分類 of experimental試驗, theatrical戲劇, simplistic簡單化 way.
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實驗化、戲劇化及簡單化
02:06
And one of these actors演員 is the great stage階段 director導向器
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而其中參與製作的,是一位了不起的舞台監製
02:10
and actor演員 Robert羅伯特 Lepage勒帕熱.
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兼演員:Robert Lepage
02:11
And I just love this guy.
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我喜歡這傢伙
02:13
I've been in love with this guy since以來 I was a kid孩子.
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我從小就喜歡他
02:16
His career事業 I admire欣賞 a lot.
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我很欣賞他的工作
02:19
And I wanted this guy to be involved參與 in my crazy project項目,
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而我希望他也能參與我瘋狂的計畫
02:22
and he was kind enough足夠 to lend his image圖片
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而他也非常好心的
02:26
to the character字符 of EugEUGèneNE Spaak斯巴克,
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出演 Eugène Spaak 這個角色
02:28
who is a cosmologist宇宙學家 and artist藝術家 who seeks尋求 relation關係
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他是一位宇宙論者兼藝術家,他試著找出
02:32
in between之間 time, space空間, love, music音樂 and women婦女.
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時間、空間、愛、音樂及女人之間的關係
02:38
And he was a perfect完善 fit適合 for the part部分,
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他真的很適合詮釋這個角色
02:41
and Robert羅伯特 is actually其實 the one who gave me my first chance機會.
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而事實上是 Robert 給了我第一次機會
02:44
He was the one who believed相信 in me
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他相信我
02:47
and encouraged鼓勵 me to do an adaptation適應 of my books圖書
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鼓勵我將我的小說搬上螢幕
02:50
into a film電影, and to write, direct直接,
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鼓勵我自己寫劇本、親自指導這齣戲
02:53
and produce生產 the film電影 myself.
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並製作完成這部電影
02:55
And Robert羅伯特 is actually其實 the very first example
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其實 Robert 就是第一個
02:59
of how constraints限制 can boost促進 creativity創造力.
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限制激發創造力的例子
03:03
Because this guy is the busiest最繁忙 man on the planet行星.
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因為他可以說是世界上最忙的人
03:06
I mean, his agenda議程 is booked預訂 until直到 2042,
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我的意思是,他的行程都排到2042年去了
03:09
and he's really hard to get,
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真的很難請他抽出時間
03:13
and I wanted him to be in the movie電影,
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但我希望他能參與這部電影
03:16
to reprise重奏 his role角色 in the movie電影.
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透過電影再一次詮釋這個角色
03:17
But the thing is, had I waited等待
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但問題是,我很難
03:20
for him until直到 2042, my film電影 wouldn't不會 be
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等他等到2042年,那時我的電影就不是
03:23
a futuristic未來 film電影 anymore, so I just couldn't不能 do that. Right?
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以未來為主題的電影了,我不能這麼做,對吧?
03:27
But that's kind of a big problem問題.
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但這有點棘手
03:28
How do you get somebody who is too busy
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要如何請一個大忙人
03:32
to star in a movie電影?
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挪出時間來演電影呢?
03:34
Well, I said as a joke玩笑 in a production生產 meeting會議 --
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我在內製會上開了個玩笑
03:38
and this is a true真正 story故事, by the way —
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順便一提,這是真實故事
03:40
I said, "Why don't we turn this guy into a hologram全息照相?
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我說:「我們要不要乾脆把這傢伙變成一張全息圖?
03:42
Because, you know, he is everywhere到處
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因為,你們也知道,他無所不在
03:45
and nowhere無處 on the planet行星 at the same相同 time,
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同時又不存在於地球上某個特定的地方
03:46
and he's an illuminated發光的 being存在 in my mind心神,
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他就像是我心中的一個發光體
03:49
and he's in between之間 reality現實 and virtual虛擬 reality現實,
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介於現實社會與虛擬世界之間
03:53
so it would make perfect完善 sense
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所以把他變成全像的
03:55
to turn this guy into a hologram全息照相."
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是一件很合理的事。」
03:58
Everybody每個人 around the table laughed笑了,
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在場每個人都笑了
04:00
but the joke玩笑 was kind of a good solution,
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但這個玩笑其實是不錯的解決方法
04:02
so that's what we ended結束 up doing.
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所以後來我們也這麼做了
04:05
Here's這裡的 how we did it. We shot射擊 Robert羅伯特 with six cameras相機.
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這是製作的結果,我們以六台攝影機拍攝 Robert
04:09
He was dressed連衣裙的 in green綠色 and he was like
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他穿綠色上衣,他就像是
04:11
in a green綠色 aquarium水族館.
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在一個綠色水族箱裡
04:13
Each camera相機 was covering覆蓋 60 degrees of his head,
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每台攝影機分別拍他頭部 60度
04:15
so that in post-production後期製作 we could use
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所以後製時我們可以看到
04:18
pretty漂亮 much any angle角度 we needed需要,
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幾乎每個我們需要的角度都有了
04:20
and we shot射擊 only his head.
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我們卻只有拍攝他的頭部
04:22
Six months個月 later後來 there was a guy on set,
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六個月後由一位男子
04:25
a mime啞劇 portraying刻畫 the body身體,
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不出聲來扮演他的身體
04:27
the vehicle車輛 for the head.
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連接頭部
04:29
And he was wearing穿著 a green綠色 hood引擎罩
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讓他戴著一頂綠色頭套
04:32
so that we could erase抹去 the green綠色 hood引擎罩 in postproduction後期製作
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然後我們可以在後製時將綠色頭套去除
04:36
and replace更換 it with Robert羅伯特 Lepage's勒帕熱的 head.
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以 Robert Lepage 的頭部來取代
04:38
So he became成為 like a renaissance再生 man,
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所以他像是一個重生的人
04:40
and here's這裡的 what it looks容貌 like in the movie電影.
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這是他在電影當中的樣子
04:42
(Music音樂)
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(音樂聲)
04:54
(Video視頻) Robert羅伯特 Lepage勒帕熱: [As usual通常, Arthur's亞瑟 drawing畫畫
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(影片) Robert Lepage:跟以往一樣,亞瑟的畫
04:56
didn't account帳戶 for the technical技術 challenges挑戰.
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並沒有解釋技術方面的困難
04:59
I welded焊接 the breech臀部, but the valve is still gaping張開.
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我焊接了底部的氣室
但是活塞的部分還是開開的
05:03
I tried試著 to lift電梯 the pallets托盤 to lower降低 the pressure壓力 in the sound聲音 box,
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我試著提高閥板的位置
來降低音箱的壓力
05:07
but I might威力 have hit擊中 a heartstring心弦.
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但我可能撞到心弦了
05:11
It still sounds聲音 too low.]
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音準還是偏低。」
05:13
Jacques雅克· LanguirandLanguirand: [That's normal正常.
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Jacques Languirand:「這很正常
05:14
The instrument儀器 always ends結束 up resembling類似 its model模型.]
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樂器的原型都差不多。」
05:17
(Music音樂)
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(音樂聲)
05:38
Martin馬丁 Villeneuve維倫紐夫: Now these musical音樂 instruments儀器
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你們在影片中
05:41
that you see in this excerpt摘抄,
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看到的那些樂器
05:43
they're my second第二 example of how
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是我第二個
05:46
constraints限制 can boost促進 creativity創造力,
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限制激發創造力的例子
05:48
because I desperately拼命 needed需要 these objects對象 in my movie電影.
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因為我的電影裡非常需要這些東西
05:51
They are objects對象 of desire慾望.
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它們是慾望的產物
05:53
They are imaginary假想 musical音樂 instruments儀器.
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是想像出來的樂器
05:56
And they carry攜帶 a nice不錯 story故事 with them.
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每個樂器都有它們自己的故事
05:58
Actually其實, I knew知道 what these things would look like
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事實上,這些東西的模樣
06:02
in my mind心神 for many許多, many許多 years年份.
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已經在我心中很久很久了
06:04
But my problem問題 was, I didn't have the money
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問題就在於,我的預算
06:08
to pay工資 for them. I couldn't不能 afford給予 them.
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不夠去支付這些樂器,我付不起
06:11
So that's kind of a big problem問題 too.
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所以這又是一大難題
06:14
How do you get something that you can't afford給予?
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要怎麼做才能得到買不起的東西?
06:17
And, you know, I woke醒來 up one morning早上 with a pretty漂亮 good idea理念.
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有一天早上我醒來的時候,想到一個好主意
06:21
I said, "What if I have somebody else其他 pay工資 for them?"
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我說:「讓其他人來幫我付怎麼樣?」
06:25
(Laughter笑聲)
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(笑聲)
06:28
But who on Earth地球 would be interested有興趣
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但到底有誰會對
06:32
by seven not-yet-built尚未建 musical音樂 instruments儀器
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七個尚未成形
06:35
inspired啟發 by women's女士的 bodies身體?
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且以女人身體為靈感的樂器有興趣呢?
06:37
And I thought of Cirque太陽 du Soleil馬戲團 in Montreal蒙特利爾,
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後來我想到了蒙特婁的太陽劇團
06:40
because who better to understand理解 the kind of
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畢竟有誰比他們更了解這種
06:43
crazy poetry詩歌 that I wanted to put on screen屏幕?
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我想搬上螢幕的瘋狂藝術呢?
06:46
So I found發現 my way to Guy LalibertLaliberté, Cirque太陽 du Soleil's馬戲團的 CEOCEO,
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於是我連絡上了太陽劇團的總裁 Guy Laliberté
06:49
and I presented呈現 my crazy idea理念 to him
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然後把我瘋狂的想法告訴他
06:52
with sketches素描 like this and visual視覺 references引用,
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我給他看這些草圖,和一些視覺上的參考
06:55
and something pretty漂亮 amazing驚人 happened發生.
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然後不可思議的事發生了
06:58
Guy was interested有興趣 by this idea理念
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Guy 對這些想法很有興趣
07:00
not because I was asking for his money,
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不是因為我跟他要錢
07:03
but because I came來了 to him with a good idea理念
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而是因為我給他一個很棒的想法
07:07
in which哪一個 everybody每個人 was happy快樂.
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並得到大家都很滿意的結果
07:08
It was kind of a perfect完善 triangle三角形
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就像是一個完美的三角形
07:11
in which哪一個 the art藝術 buyer買方 was happy快樂
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藝術作品的買家很高興
07:14
because he got the instruments儀器 at a cheaper便宜 price價錢,
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因為他以低價購得他要的樂器
07:17
because they weren't even made製作.
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因為這些樂器甚至是虛構的
07:19
He took a leap飛躍 of faith信仰.
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他有充足的信心
07:20
And the artist藝術家, Dominique多米尼克 Engel恩格爾, brilliant輝煌 guy,
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而藝術家 Dominique Engel,他很有才華
07:24
he was happy快樂 too because he had a dream夢想 project項目
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他也很高興,因為有個企劃能讓他發揮想像力
07:27
to work on for a year.
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可以讓他花一年來製作
07:29
And obviously明顯 I was happy快樂 because I got the instruments儀器
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而我當然也很高興
因為我得到我想要的樂器了
07:32
in my film電影 for free自由, which哪一個 was kind of what I tried試著 to do.
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沒花半毛錢,這正是我一直追求的
07:37
So here they are.
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這部影片因而誕生
07:39
And my last example of how constraints限制
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而我最後一個
07:42
can boost促進 creativity創造力
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限制激發創造力的例子是
07:44
comes from the green綠色,
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來自「綠」這個顏色
07:48
because this is a weird奇怪的 color顏色, a crazy color顏色,
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因為綠是個奇怪的顏色,一種瘋狂的顏色
07:51
and you need to replace更換 the green綠色 screens屏幕 eventually終於
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最後我們還是要以綠屏拍攝
07:54
and you must必須 figure數字 that out sooner rather than later後來.
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我們遲早都要明白這個道理
07:57
And I had, again, pretty漂亮 much, ideas思路 in my mind心神
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而再次強調,我心中有很多的點子
08:01
as to what the world世界 would be,
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到底這個世界會變成什麼模樣
08:03
but then again I turned轉身 to my childhood童年 imagination想像力
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但再次回到我小時候的想像
08:09
and went to the work of Belgian比利時人 comic滑稽 book master
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回到比利時漫畫大師 François Schuiten
08:12
Fran弗蘭çoisOIS SchuitenSchuiten in Belgium比利時.
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他在比利時的作品
08:15
And this guy is another另一個 guy I admire欣賞 a lot,
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他是另一位我景仰的人物
08:18
and I wanted him to be involved參與 in the movie電影
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我也希望他能參與我的電影
08:21
as a production生產 designer設計師.
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當我的舞台設計
08:23
But people told me, you know, Martin馬丁, it's impossible不可能,
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但大家都說,Martin,這是不可能的事
08:25
the guy is too busy and he will say no.
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他太忙了,一定會拒絕你
08:28
Well, I said, you know what, instead代替 of mimicking模仿 his style樣式,
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我說,你知道嗎,與其模仿他的風格
08:32
I might威力 as well call the real真實 guy and ask him,
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我倒不如直接打電話問他
08:34
and I sent發送 him my books圖書,
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然後我把我的書寄給他
08:36
and he answered回答 that he was interested有興趣
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然後他說他很有興趣
08:38
in working加工 on the film電影 with me
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跟我一起製作這部電影
08:40
because he could be a big fish in a small aquarium水族館.
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因為他可以在小水族箱裡當條大魚
08:44
In other words, there was space空間 for him to dream夢想 with me.
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換句話說,那是他和我一起做夢的小小空間
08:48
So here I was with one of my childhood童年 heroes英雄,
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所以我有了一位我童年的英雄
08:51
drawing畫畫 every一切 single frame that's in the film電影
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來為電影每個鏡頭製圖
08:54
to turn that into Montreal蒙特利爾 in the future未來.
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來描繪出蒙特婁未來的模樣
08:57
And it was an amazing驚人 collaboration合作
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跟我崇拜的偉大藝術家一起工作
08:59
to work with this great artist藝術家 whom I admire欣賞.
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真的是一次非常棒的合作
09:02
But then, you know, eventually終於 you have to turn
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但最後還是必須將所有製圖
09:06
all these drawings圖紙 into reality現實.
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拍成電影
09:08
So, again, my solution was to aim目標
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所以再一次,我的方法
09:11
for the best最好 possible可能 artist藝術家 that I could think of.
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還是找我能想到的,最好的藝術家
09:14
And there's this guy in Montreal蒙特利爾, another另一個 Quebecois魁北克
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在蒙特婁有個人,另一位魁北克人
09:17
called Carlos卡洛斯 Monzon蒙松, and he's a very good VFXVFX artist藝術家.
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叫做 Carlos Monzon,他非常擅長製作視覺特效
09:21
This guy had been lead compositor合成 on such這樣 films影片
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他曾經是許多電影重要的後製合成師
09:25
as "Avatar阿凡達" and "Star Trek跋涉" and "Transformers變形金剛,"
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像是《阿凡達》、《星際爭霸戰》和《變形金剛》
09:28
and other unknown未知 projects項目 like this,
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和其他類似的影片
09:30
and I knew知道 he was the perfect完善 fit適合 for the job工作,
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而我明白他是我的不二人選
09:33
and I had to convince說服 him,
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我必須說服他
09:34
and, instead代替 of working加工 on the next下一個 Spielberg斯皮爾伯格 movie電影,
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結果他放棄了史匹柏的電影
09:38
he accepted公認 to work on mine.
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決定製作我的電影
09:40
Why? Because I offered提供 him a space空間 to dream夢想.
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為什麼?因為我給他一個想像的空間
09:44
So if you don't have money to offer提供 to people,
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所以如果你們請不起別人
09:47
you must必須 strike罷工 their imagination想像力 with something
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一定要盡你所能,以某種事物
09:50
as nice不錯 as you can think of.
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打動他們的想像力
09:53
So this is what happened發生 on this movie電影,
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而這就是電影呈現出來的樣子
09:55
and that's how it got made製作,
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就是這樣製作出來的
09:57
and we went to this very nice不錯 postproduction後期製作 company公司
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我們去了這間非常棒的後製公司
10:00
in Montreal蒙特利爾 called Vision視力 GlobaleGlobale,
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它位於蒙特婁,叫做 Vision Globale
10:02
and they lent借給 their 60 artists藝術家 to work full充分 time
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這間公司派了60位後製人員
10:06
for six months個月 to do this crazy film電影.
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為期六個月,來全職製作這齣瘋狂的電影
10:09
So I want to tell you that, if you have some crazy ideas思路
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所以我想告訴大家
如果你心中有些稀奇古怪的想法
10:14
in your mind心神, and that people tell you
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然後身邊的人都告訴你
10:16
that it's impossible不可能 to make,
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那是辦不到的事
10:17
well, that's an even better reason原因 to want to do it,
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那你就更有理由去實踐它
10:20
because people have a tendency趨勢
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因為人都有盲點
10:22
to see the problems問題 rather than the final最後 result結果,
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只看到問題表面,而看不到完成的結果
10:25
whereas if you start開始 to deal合同 with problems問題
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然而一旦你開始解決問題
10:28
as being存在 your allies盟國 rather than your opponents對手,
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把問題當作你的戰友,而非敵人
10:31
life will start開始 to dance舞蹈 with you
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你的人生將能隨之起舞
10:33
in the most amazing驚人 way.
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以不可思議的方式實現
10:35
I have experienced有經驗的 it.
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我已經有過這樣的經驗了
10:37
And you might威力 end結束 up doing some crazy projects項目,
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最後可能真的能夠執行一些特別的計畫
10:40
and who knows知道, you might威力 even end結束 up
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誰知道呢!我們最後
10:43
going to Mars火星.
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可能真的能登陸火星也說不定
10:45
Thank you.
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謝謝大家
10:47
(Applause掌聲)
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(掌聲)
Translated by Iris Chung
Reviewed by Ellen Tung

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ABOUT THE SPEAKER
Martin Villeneuve - Graphic artist, director
In his film "Mars et Avril," Martin Villeneuve brings his sci-fi romance graphic novel to glorious life.

Why you should listen

The musician who plays otherworldly music on one-of-a-kind instruments, the genius who designs the instruments inspired by a woman's body, and the photographer they both love. An old-fashioned love triangle is at the heart of Mars et Avril, a bold and dreamy sci-fi story set in a future Montreal where the Champ-de-Mars subway line takes you right out to Mars. While many sci-fi films have budgets exceeding $100 million, this incredible arthouse version was made for just $2 million thanks to the bold creativity of filmmaker Martin Villeneuve. 

By taking his time on the project, asking the best creatives for favors and approaching problems as exciting challenges, Villeneuve has made a movie that seemed impossible. The film has shown at festivals, and is available on DVD. Villeneuve is currently working on securing international distribution for the work.

Villeneuve made the film based on his two graphic novels, also titled Mars et Avril. Villeneuve is the former artistic director for the ad agency Sid Lee that works with Cirque du Soleil. Among other projects, he's now working with comic book masters Benoît Sokal and François Schuiten on an animated fantasy feature film, Aquarica, and on a sci-fi movie with Pressman Film, tentatively titled The Other World.

More profile about the speaker
Martin Villeneuve | Speaker | TED.com