Persistence of Vision World Premiere in Vancouver

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Persistence Of Vision

Per­sis­tence Of Vision

Per­sis­tence of Vision, a doc­u­men­tary film about acclaimed Cana­dian ani­ma­tor Richard Williams, will pre­miere to the world at this years Van­cou­ver Inter­na­tional Film Fes­ti­val. The  83 minute film will show Thurs­day, Octo­ber 4th, 6:00 PM @ the Empire Granville 7 Cin­e­mas The­atre #4. The show­ing will be fol­lowed by a Q&A with director/producer Kevin Schreck plus a spe­cial guest animator.

First con­ceived in Sep­tem­ber 2007, Per­sis­tence of Vision began in devel­op­ment as director/producer Kevin Schreck’s senior project at Bard Col­lege in August 2009. Film­ing began in earnest a year later in August 2010, with edit­ing fin­ished about march of 2012.

To pay for such a com­plex and in-depth film, Schreck “crowd-sourced” his fund­ing through cre­ative project fund­ing web­site Kick­starter. After post­ing his project on the site, the gen­eral pub­lic pledged over eight thou­sand dol­lars toward the com­ple­tion of the film– some even earn­ing pro­ducer cred­its in the film for their larger contributions.

Persistence Of Vision

Per­sis­tence Of Vision

Per­sis­tence of Visionis a doc­u­men­tary look at Richard Williams and his thirty year attempt to make the ani­mated film The Thief And The Cob­bler. It was to be the great­est ani­mated film of all time. Not just an eye-opener, but a game-changer. Richard Williams demanded noth­ing less, invest­ing nearly three decades into his movie masterpiece.

Still best known today for the ani­mated por­tions of Who Framed Roger Rab­bit, the Cana­dian producer-director came to the UK in the 1950s and won acco­lades for his short films. He formed a pro­duc­tion com­pany and reaped the boom in ani­mated com­mer­cials and movie credit sequences. But from as early as 1964 he ploughed most of the prof­its right back into his pet project, a fea­ture inspired by the Ara­bian Nights and pro­vi­sion­ally known as Mul­lah Nas­rud­din.

He assem­bled a team of inspired young artists—and brought in the best Hol­ly­wood crafts­men to teach them—and devised what would be the most elab­o­rate, kalei­do­scopic, mind-boggling visual sequences ever com­mit­ted to cel­lu­loid. Years passed. Poten­tial financiers came and went. Work con­tin­ued. But it was only after Roger Rab­bit that Williams had a stu­dio bud­get to cor­rob­o­rate the munif­i­cence of his imag­i­na­tion. After 25 years and as many mil­lion dol­lars in the mak­ing his labor of love finally saw the light of day…

Kevin Schreck’s doc­u­men­tary is essen­tial view­ing on three counts: it show­cases Williams’ daz­zling, often unprece­dented visu­als; it reveals how these stag­ger­ing effects were cre­ated; and it’s a heart­break­ing por­trait of artis­tic obses­sion run­ning smack into the busi­ness of show…

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About Dave Koch

Editor and publisher of the Big Cartoon DataBase, Dave has been involved in cartoons since opening the Cartoon Factory animation art gallery in 1993. You may contact Dave here.

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