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Presentation booklet of a new project of David Ondricek. Production manager : Paweł Kosuń [Damn Good Production] Shooting : Prague, Łódź
Citation preview
CAST
I have been working on the casting for In the
Shadow of the Horse for over two years now.
In the process, I have endeavored take full
advantage of my experience and potentiality
from the previous movies, stage directing and
dozens of castings I have done. The fi nal cast
is underpinned by outstanding, experienced
professionals but at the same time attempts
to present talented, lesser-known faces. The
fi lm’s two headliners hitters are Ivan Trojan and
Sebastian Koch. Trojan is a brilliant stage and
fi lm actor who debuted ten years ago in the
movie Loners, which he also directed. Since
then he has become the most popular actor in
the Czech Republic. In the Shadow of the Horse
is his top priority, and he is also involved in the
project as a script advisor. Sebastian Koch
fascinated me in The Lives of Others.
I have kept an eye on his work ever since, and
I fi nally mustered the courage to ask him to
work with me. Despite his myriad offers, he
reacted positively to our screenplay. As did the
outstanding Slovak actress Barbora Bobulová,
who works mainly in Italy. Having these three
internationally acclaimed actors work side by
side would constitute an extraordinary cinematic
event. Alongside them, I have endeavored to
assemble a cast that will come off as cohesive
and believable. Even for the smaller roles I have
selected actors whom I believe have incredible
potential. I trust that these bold words will
materialize on the silver screen in the movie
In the Shadow of the Horse.
David Ondříček
director and producer
HAKL – Ivan Trojan3—10CAST
3
11—25LOCATIONS26—27POSTPRODUCTION28—29AUTOMOBILES30—31COSTUMES SKETCHES
BEŇO – Jaroslav Plesl PÁNEK – Alois Švehlík BÁROVÁ – Blanka Bohdanová TOM – Lucas Saidl KUNC – Marek Taclík JÍLEK – Martin Myšička
76
KIRSCH – Miroslav Krobot HUBNER – Petr Vaněk VÍŤA – Jiří Macháčk KARLOS – Tomáš Bambušek JANATA – Norbert Lichý SLUT – Zuzana Bydžovská
98
1950’s Prague, Czechoslovakia EXT. StreetScene where Hakl shots horse.Location: Prague 2
LOCATIONS / ART DEPARTMENTReference materials, Locati-ons, Set sketches
Director David Ondříček, cinematographer Pawel Edelman and screenwriter Mark Epstein have joined forces to produce an indubitably ambitious project, In the Shadow of the Horse. I was delighted to accept the offer to join them and co-create the visual aspect of fi lm. As for the art concept, in a nutshell – I see the colors as being partially muted, oft supported by a rainy-day atmo-sphere. The choice of the season for the shoot is important as well. Additionally, in contrast to the intimate world of the sub-urbs, inhabited deck-access apartments and courtyards, I would like to build an impersonal world of monumental buildings defying human scale. All of that will bolster atmosphere of the story’s 1950s setting. I personally believe we’ll succeed in making an impressive period fi lm and am quite loo-king forward to working on it.
Honza Vlasákproduction designer
10 11
Director David Ondříček, and screenwriter Mark
Epstein have joined forces to produce an
indubitably ambitious project, In the Shadow
of the Horse. I was delighted to accept the
offer to join them and co-create the visual
aspect of film. As for the art concept, in a
nutshell – I see the colors as being partially
muted, oft supported by a rainy-day atmo-
sphere. The choice of the season for the
shoot is important as well. Additionally, in
contrast to the intimate world of the sub-
urbs, inhabited deck-access apartments
and courtyards, I would like to build an
impersonal world of monumental buildings
defying human scale. All of that will bolster
atmosphere of the story’s 1950s setting. I
personally believe we’ll succeed in making
an impressive period film and am quite loo-
king forward to working on it.
Honza Vlasák
production designer
Hakl’s Building courtyard and Balcony
Studio Set Sketch
EXT./INT. Hakl’s Building – courtyard and balcony 1950’s Common Household, Prague, Czechoslovakia Hakl’s Flat
Studio Set Sketch
14 15
“First republic“ style fl at, Prague Czechoslovakia Bárová’s fl at
Studio Set sketch
INT. Police Headquaters
Location: Prague 7
16 17
1950’s Political showtrial of Milada Horáková, Prague,
Czechslovakia
EXT./INT. Court house
Location: Prague 4
20 21
1950’s Wenceslaw square and Old Town Squares,
Prague, Czechslovakia EXT. Wenceslaw square – National Museum
Location: Prague 1
EXT. Wenceslaw square –
– view down fron the National Museum
Location: Prague 1
22 23
1950’s Stalin’s Monument, Prague Czechoslovakia EXT. Stalin‘s Monument
Location: Prague 7
EXT: Hospital
Location: Prague 1
24 25
Postproduction Visual – Stalin’s Monument Postproduction Visual – Stalin’s MonumentPOSTPRODUCTION Visual Effects
Digital post-production of In the
Shadow of the Horse at AVION
FILM – the post-production tech-
nology will be chosen in order to
maintain the best technical and
visual quality – that is, fi lm negative
scanning and subsequent proces-
sing in 4K resolution, color gra-
ding with screening on roughly 5m
screen, and fi lm recording on the
industry standard Arrilaser.
Visual effects shots: VFX shots will
be produced in high defi nition (4K)
on the most modern composition
software (Nuke, Fusion) under the
direction of an experienced VFX
supervisor. VFX shots will be qua-
lity-controlled on a movie screen.
That process will ensure “seam-
less” link-up of real and special
effects scenes.
Martin Hřebačka
director AVION FILM
26 27
1950’S VARIOUS AUTOMOBILES
Police Car
Police Car Criminal Police Car Taxi
Secret Police Car Humanitarian Aid Car, Border Scene Post Offi ce Car
Rilke’s Car, Shooting Scene Prison Van
Post Offi ce Car Fire Track, reference photo
28 29
JitkaBárováCOSTUMES SKETCHES
In designing the wardrobe for In
the Shadow of the Horse, there
are naturally a variety of impor-
tant historical factors; at the same
time, however, even more impor-
tant are the character-building fac-
tors in relation to the actors’ dra-
matic personas. The colorfulness
of the scenes, their succession in
the plot, the interchange of colorful
and graphically-designed spaces,
miniscule historical details that
evoke strong emotions in audien-
ces - all of that is just as important
as costumes corresponding to the
period, which is naturally a given.
Everything I have mentioned in bri-
ef must come together as a whole
to complement the integral com-
position of the movie’s atmosphe-
re and each of its scenes, and to
help evoke the visual emotions im-
parted by the screenplay and the
director’s realization plan.
Jarmila Konečná
costume designer
3130