PopSyndicate.com

Sorry to report that I didn’t get the opportunity to dance with the writer and director of Waltz with Bashir, Ari Folman. But lucky for me, I did get to ask him some questions about his brilliant new film.

Susan Kandell: Boker Tov! Let’s just jump right in – it’s so easy to conduct an interview when you are enamored with the film. It was stunning, absolutely stunning – magnificent! I was blown away. Because of the sensitive subject matter, I approached the film hesitantly. But it was one of the most powerful anti-war films I have ever seen.

Ari Folman: Thank you!

PS: I understand you just won an award from IDA (the International Documentary Association). Mazel tov! 

AF: Yes, we won the IDA award on Friday – which is cool!

PS: What wonderful recognition. You must be on “Cloud 9.”

AF: I don’t know if I’m on a cloud. It’s been a long road these past eight months since Cannes.

PS: But it’s nice to get validation from such a prestigious organization.

AF: Yes, it is nice to get validation.

PS: Let’s talk about some specifics, until the night you met with your friend in the bar, you didn’t think about your war experiences at all?  I understand there was a twenty year gap (between that meeting and the war experience).

AF: There was a twenty year gap, yeah. I wanted an early release from the Israeli Reserve Army. In Israel, you know that you serve three years and then you serve in the reserve until the age of fifty-something. I wanted to leave at forty. They told me that I could do that as long as I went to the army therapist and tell him everything I went through. I went to eight sessions and I realized that it was the first time I told my story – ever. And this was where it all started. Then came the dogs dream.

PS: But the dogs dream wasn’t your dream – It was your friends dream.

AF: Boaz, yeah. This is where it all started.

PS: Boy, it’s nice to have friends with interesting stories to tell.

AF: Yes!

PS: When he was recounting the dream, did it hit you at that moment that there was a larger story here for you to explore?

AF: No, not yet. But then there was, as I told you, the shrink, and then I talked to other friends and I realized that it was common – people suppress or they just don’t speak about their army experiences.

PS: Tell me about the process – how long did it take from the time you decided there was a good story here until the finished product.

AF: It took four years. Exactly four years.

PS: Was that because the animation process is so involved?

AF: Yes! We had four illustrators. It’s their drawings, of course, but I gave them my images, my vision of the film and we worked together – but it’s their craft.

PS: They’re beautiful. The images are stunning – vibrant.

AF: They’re talented guys.

PS: And the music is so complimentary to the film – it’s haunting.

AF: Yes – gorgeous! It’s a British composer. I used to listen to his albums while I was writing.  He was very inspiring for me and while writing the script for Waltz with Bashir, I only listened to his albums. So he was in a way, composing the script. After I finished the script, I contacted him. I went to his website and contacted him by email and asked him if he wanted to score the final version of my film. After that we met – I think he’s great!

PS:  Let’s get back to the film itself. Over the years, did you keep up with the men interviewed? Did you have trouble locating them?

AF: We had a lot of trouble locating them. I didn’t keep up with anybody because I made a decision to disconnect all ties to my service.

PS: They must have been surprised when you contacted them.

AF: Yes, they were all surprised! And my best friends – the ones that I did keep in touch with all those years, didn’t want to have anything to do with the film.

PS: So - how did you get around that obstacle? Which were the ones that didn’t participate?

AF: Boaz and Carmi.

PS: So you took down their testimony.

AF: We used their testimony, their own words, but they didn’t want to appear in the film for stupid reasons. We took actors and invented new faces. It’s one of the big advantages you have when making an animated film.

PS: And it’s not any less honest – their words are still their words.

AF: It’s animation - it’s ok. We put it up front, because we didn’t want people to say it was invented. So from the very beginning we mentioned it.

PS: This film took four years out of your life! And you didn’t want to face it then – so here you are, working four years on a subject that you didn’t want to come to terms with for twenty years. At the end of this process, would you say that it helped you deal with it?

AF: It helped me come to terms with the guy I used to be when I was young. It helps me live in peace with the guy I used to be and that’s alot because I was totally disconnected from my past. I think if it helps in that manner. If it helps you identify yourself with who you were as a teenager, it’s huge!

PS: Did you say I’m going to make this film because of the anti-war factor? Did you sense that this was the right time for this message?

AF: When making an anti-war statement, it’s always the right time. It’s never the wrong time. It’s my ideology. It’s the only ideology in the film.  I am very extremist anti-war ideologist.  After having experienced one war - I say it’s enough. I do think that everything that could be done to prevent the next war should be.

PS: I wish we had time to veer into politics. What’s your next project?

AF: A science fiction film. I optioned a Polish book by Stanislaw Lem. He’s my all-time favorite science fiction writer.

PS: Animated?

AF: Yes. I want to explore what we did in one more film and in fiction, not documentary, to see how it goes and I think I have good ideas – so we’ll see!
PS: Judging by Waltz with Bashir, I think you have spectacular ideas. I look forward to your next film. Thank you! Travel safely.

Read the review.

0