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PETROBRAS & OTTO DESENHOS ANIMADOS

present

Directed by Otto Guerra

and Ennio Torresan Jr.

Voices

Hique Gomez

Nico Nicolaiewsky

Otto Guerra

André Abujamra

Arlete Salles

Fernanda Takai

Marina Mendo

Claudio Levitan

www.atequeasbornianossepare.com.br

Press: marta@ottodesenhos.com.br - 55-51-8177 3577 or 55-51-3028 7777

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SYNOPSIS

What happens when the wall dividing a small country from the rest of the world falls accidentally? Quiet and

stuck in time, the people of Sbornia is now hit by winds of modernity coming from the big city. Conflicts caused by

a violent cultural clash mess the protagonists Pletskaya and Kraunu’s lives - two well known Sbornians musicians.

As result of a continental interference in the habits of Sbornia, some natives wake dormant old beliefs and start

rescuing their own identity. The film is based on the musical play spectacle Tangos & Tragedies, created by Nico

Gomez and Hique Nicolaiewsky which was presented on stages worldwide very successfully for the past 25 years.

UNTIL SBORNIA DO US PART – The movie

Until Sbornia Do Us Part is a tale about the right of places to keep their own identities without necessarily

assimilate the standardization of hegemonic cultures. For this, the metaphor of the Sbornian world was adapted

for the big screen from the play that has was presented with huge success on stages in Brazil, for more than 25

years with audience ranging 1 million people. Sometimes the film subtly refers to the peculiarities of the

southernmost cultural universe in Brazil – with its odd drink and seriousness of its inhabitants, protecting many of

the differences prevailing in different "Brazils" that co-exist within this vast country in which we live. Talking on

cultural differences is also talking about individual differences, the style of each one and the right of the different

to exist in a world increasingly more homogeneous and mass-produced.

The movie is a free adaptation of the Gaucho musical play Tangos & Tragedies, made into a feature film by Otto

Desenhos Animados. The proposal is not to give the movie a playback faithful of what was seen in the theater, but

recreate the fantastic universe of Sbornia – original land of Kraunus Sang and the Conductor Pletskaya –

approaching this nowhere land, wandering lost through the seas of the world, to our individual universes – quirky

and unique.

Until Sbornia Do Us Part uses 2D (full animation) classical animation technique, also taking advantage of 3D

capabilities to optimize production in scenes involving reusing scenarios and boldest camera movements. The film

will be commercially released in 3-D (stereoscopic), digital and 35mm versions in Brazil en August, 2014.

SPONSORSHIP – FUNDING

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Sponsors: BNDES, BANRISUL, BANRISUL CORRETORA, PETROBRAS, RGE

Funding: FUMPROARTE, PORTO ALEGRE CITY HALL, RIO GRANDE DO SUL STATE GOVERNMENT, RS PROCULTURA

SYSTEM, RS IECINE, POLO AUDIOVISUAL, FINEP, BRDE, ANCINE, FSA, FEDERAL GOVERNMENT.

FESTIVALS

AWARDS

Best Feature Film Award – Audience Choice - 41ht Film Festival of Gramado - Brazil (*2013)

Best Feature Film Art Direction – Jury Award – 41ht Film Festival of Gramado - Brazil (*2013)

* film’s first public screening

Best Brazilian Fiction Feature Film – Audience Choice – 37th International Film Festival of São Paulo (2013)

Youth Jury Mention – 17th International Festival Del Cine of Punta Del Este (2014)

SCREENINGS

Selected to Waterloo Festival Animated Cinema (WFAC) – Waterloo, Canada (2013)

Selected to the 35th International Festival Del Nuevo Cine Latin-American – Havana, Cuba (2013)

Selected to HAFF – Holland Animation Film Festival (2014)

Selected to Anifilm 05 – Czech Republic (2014)

Selected for Annecy 2014 – Hors Concours Screening (2014)

OTTO GUERRA & THE OTTO DESENHOS ANIMADOS

Otto Guerra is one of five Brazilians cited in the international bible Taschen about animation, which is already an

ultimate luxury. Take a look at what the book Animation Now says about the director of Wood & Stock:

“Mr. Guerra belongs to a creative and lively Gaucho filmmakers group in Rio Grande do Sul state, Brazil. With a diversified career that spans advertising, institutional and acidic copyright comedies, he became the underground pope of Brazilian animation, making a huge success and school with his special lopsided way. Guerra in Portuguese is the name for war / guerre / krieg. Otto then pitched his trench – the Otto Desenhos Animados Producer in 1978, and has since then been targeting the mass culture and children's themes with his priceless skits. Soap operas commercial breaks, movie trailers and the myths of western have already been in his

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artillery sights. The film Rocky and Hudson saga of two gay guys, namby-pumby and schizophrenic cowboys, is today a cult movie animation in Brazil. Otto Guerra owes its introduction into movies to a course taught by Argentinean Felix Folonier. Until then he had cultivated the habit of drawing children's comics, inspired by the adventures of Tintin, Blake and Mortimer. When he finally took over the moving image, he began by ads and contributions to Brazilian children's film hits, as in Os Trapalhões e a Turma da Monica. Later, he competed in festivals with their own creations, full of original humor and frequent innovations to narratives. In The Blue Kingdom, for example, a tyrant chases away boredom painting his entire kingdom in blue. The advent of computer graphics shook the working methods of Guerra, who adopted new technologies in his productions for both film and television. ‘A good fighter does not refuse new weapons to his arsenal.’ (Animation Now: Taschen, Cologne, 2004, p 372)

Otto is a pioneer in animation in the country. He has been on the market for 35 years with three feature films, 10

short films and more than 500 advertising films on his resume. Until Sbornia fall us part is the result of a growth

path of a company producing animation contents and undoubtedly his highest standard artwork in quality made

so far.

Stands out on its path, the feature film Wood & Stock (2005) in which Otto Desenhos Animados did more than

adapting to screen Angeli's pumpkin-head characters. Remaining faithful to a style that has already become

remarkable, Wood & Stock was turned into the most debauched satire, as it had done in the classic Novela and in

the premonitory Rocky & Hudson – story of two gay cowboys created by an delusional, irreverent Adam

Iturrusgarai, who also was based on a total sarcasm not only anticipated Brokeback Mountain as he also

beforehand, did the best parody about it which could hardly be overcome by any contemporary production alike.

The last feature film of the producer, Wood & Stock, amounted 120,560 viewers (55,000 in commercial theaters

and 65,000 in festivals), having won numerous awards: Best soundtrack, Best Supporting Actress, Special Jury

Prize at CINEPE 2006; Itamarati – 2006; Best Film by Popular Jury at Luso-Brasileiro Film Festival of Santa Maria da

Feira, Portugal, 2006; Best Film by popular jury in FestCineBelém/2007; Best Animated Feature Film at I Animec,

Ecuador 2008; Best Animated Feature Film at I Expotoons, Argentine/2008.

UNTIL SBORNIA DO US PART – FILM DIRECTORS MINI BIO Otto Guerra

Born in Porto Alegre in 1957, he has an extensive career as animation director. In 1978, he opened Otto Desenhos

Animados, where he produced his very first short film, The little donkey’s Christmas (1984), selected for festivals

in Gramado (Brazil), Bilbao (Spain) and Oberhausen (Germany). Then movies like Treiler – the last attempt (1986),

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The Blue Kingdom (1989) and Novel (1992) were created – all three winners of Coral Animation Award at Havana

Film Festival – among others. In 1994, he released his first feature as director, Rocky & Hudson: The gay cowboys,

winner of Special Jury Prize at Brasilia Festival and selected for festivals in Havana and Hiroshima. Already in

2000’s made his first 3D short film, Mother Ship and in 2005, exhibited Wood & Stock: Sex, Oregano and

Rock'n'roll in commercial movie theaters and at some different festivals. In 2013, Otto ends his third feature film,

Until Sbornia Fall Us Part, and now he has been into his next project based on the work of cartoonist Laerte.

Ennio Torresan Jr

Born in Rio de Janeiro, has been living and working in Los Angeles for nineteen years. Graduated in Fine Arts at

Federal University of Rio de Janeiro, in 1996. Yet in college he was strongly influenced by French comics and the

Italian cinema. In the 80s begins exhibiting paintings in art galleries, publishing cartoons and illustrating for many

local magazines.

In Brazil, with 20 y-old he begins experimenting animation which led him creating his animated short El Macho,

been rewarded in several festivals worldwide and launching his unexpected international career. El Macho

opened him HBO doors to a position of leadership on a production by Ralph Bakshi called Spicy City, and then as a

storyboard writer and director for Nickelodeon TV show SpongeBob. As a Disney Teacher's Pet TV show director,

he is awarded an Emmy in 2003. Ennio then, starts developing and creating storyboards for many feature film

cartoons for DreamWorks – Madagascar I, II and III, Kung Fu Panda I and II, among others.

Ennio worked for DreamWorks leading the storyboard department for the film, Turbo, released in July 2013. Also

has published by Dark Horse, a compilation titled Scrambled Ink, the adventures of a comic character based on

himself, a Guy From Ipanema.

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SBORNIA CHARACTERS

Kraunus Sang: Convicted Sborniano and attached to traditions, Kraunus Sang is

the late Ladislaus Sang's grandson, CHAOS – Center for Homage to Ancient

Origins of Sbornia. Musician like his grandfather, he is at the show Tangos &

Tragedies, beside his partner - and so unlike - Conductor Pletskaya. Despite the

flippancy on the stage, Kraunus is very shy and has huge difficulties expressing himself in words.

Conductor Pletskaya: Compulsive lover, Pletskaya is always in turns with his

heart in pieces. Now he will live (one more) intense passion for the mainland

Cocliquot, Alba and Gonzalo's daughter, who was promised to the wealthy

Garden All Baron.

Cocliquot: Young, curious, rebellious, Cocliquot soon falls for Pletskaya after he

starts attending her home disguised as piano teacher. She abandons her own

honeymoon to live this love affair with Pletskaya.

Dimitrius: Son of Kraunus, he appears in the movie in two versions: a current

one, older, as the narrator of the facts surrounding the separation of Sbornia

island from the mainland; and another as a young man, within the story, living

the events. He is a fan of his father and watches helplessly the family splitting up

and a gradual transformation of his mother Ludmilla, into a continental one.

Ludmilla: Dimitrius's mother and Kraunus’s wife. As many other Sbornians, she

dazzles with continental resources and liberalities and starts assimilating the new

continental culture giving up Sbornian traditions.

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Gonçalo Delacroix: ambitious continental businessman, Cocliquot's father and

Alba's husband glimpses the commercial exploitation of the Bizuwin vegetation,

cultivated only in Sbornia Island solving then their financial problems.

Axeball players: They practice a typical Sbornian sport. It is played with a wooden ball and

axes. Players who survive to the game are seen as heroes.

C.H.A.O.S. Members: Dedicated to preserve local traditions and habits, members

of Center for Homage to Ancient Origins of Sbornia face difficulties in their

countless polls due to the fact of being an even number group and to be always

split in half.

TANGOS & TRAGEDIES and SBORNIA origin

Tangos & Tragedies was created in 1984, in Porto Alegre. The musical went through many theaters in Brazil,

besides counting with a Spanish language version, presented in Buenos Aires (Argentine), Quito (Ecuador),

Manizales (Colombia) and Cadiz and San Sebastian (Spain). In Portugal, it was chosen by the public as the Best

Spectacle throughout International Theatre Festival of Almada in 2003, and Spectacle of Honor in 2004.

Hique Gomez is Kraunus Sang and plays the violin while Nico Nicolaiewsky incorporates the unhappy Conductor

Pletskaya playing accordion and piano. The characters were born in a fictional country called Sbornia from where

both had fled, according to the duo, after the arrival of rock and roll in the country, claiming refuge in Rio Grande

do Sul state.

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Some comments about Tangos & Tragedies

"Tangos and Tragedies is a life lesson: What split us up is precisely what unites us all. Also teaches us that joy and sorrow are two sides of the same coin." Hans Joachim Koellreutter

"Yes sir, Nico Nicolaiewsky and Hique Gomez, those two from Tangos and

Tragedies who I thought be strange and weirdos are buffoons of escamel. They let me skeptic, completely in resonance and dystonic.

And, well, in dysphonia they serve as tone. There is no lack of art. 'Vot'a mares!' It is to take our hats off. The best

is that they shake as much as the audience which pay them a dumbfounded looking, exhaling pleasure, if you know what I mean.

They worth. Watch while they are close. For sure they are going far." Millôr Fernandes

"Sbornia has a lot to teach Brazil, not only Copernicus their national dance. They sent away from there the Conductors Kraunus and Pletskaya, and the example should be followed here, where the two musical anarchists disguised as Hique Gomez and Nico Nicolaiewsky with their ‘Tangos and Tragedies’ are threatening our musical values, our composure and we are dying laughing. Away with them!" Luís Fernando Veríssimo

‘They are entitled to the name Tangos and Tragedies when they tell dramatically, funny things of love. It's hard not to be moved by their songs,

especially with Roxanne when they leave the stage and become pied pipers of Hamelin, and the audience,

enchanted as mice, follows them up the street... where they want to.’ Edgar Scandura

‘To any intelligent person, this is a chance as few - a chance, perhaps like no other : to watch a show like who receives homage, wins an award or is surprised by an unexpected joy. Tangos and Tragedies is a show that makes us feel unforgettably happy. You cannot ask for more. Tangos and Tragedies is the best night that anyone can have at least within a theater’. Sérgio Augusto de Andrade - Folha da Tarde (SP)

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CO-DIRECTOR OTTO GUERRA WORDS

(This interview was published in + Soma, issue 16 - Text by Arthur Dantas)

Forget the stereotypes and cartoons for children. Otto Desenhos Animados, created by legendary, Gaucho night

owl and fond of good drinks Otto Guerra 53 has been around for more than thirty years throwing sand in the eyes

of unwary and making money when possible. What began innocently in screens with "The Little Donkey's

Christmas" – success in Gramado Film Festival 1984 – ended in better feature films as "Rocky & Hudson" (based

on the characters of Adam Iturrusgarai), 1994 and "Wood & Stock: Sex, Oregano and Rock'n'Roll" (characters of

Angeli), 2006. After the tropical version of "Cheech & Chong" business became serious: 42 people worked on the

feature film "Until Sbornia do us apart" by Kraunus and Pletskaya and are very well prepared for the most daring

operation: a film based on the most recent phase of more nonsense and existentialist strips of Laertes.

"In August 1978 Otto Desenhos Animados Ltda arose from an initiative of the young, muscular and talented

Otto Guerra, in spite of his 22 years old. At that time TV broadcast (sic) required the same 720 by 486 lines of

definition from today, and the minimum to reach that level was a 16mm film. A used Paillard Bolex camera cost

something like U$ 8,000! (...) Thus, after one year leasing that equipment (...) the company bought in São Paulo

(...) the so desired Bolex. Well, the first Bolex we never forget! "

(source: www.ottodesenhos.com.br)

What is most of the studio work?

In twenty-odd years of work I have done about 600, 700 ads. As I had done comics before building the producer

agency, fiction is almost like a son, and advertising has the concrete goal of selling, leaving business very limited.

But it was through these jobs that I formed manpower and the equipment was bought. I thank to advertising

every day, but that sucks, sucks. The last job we did was a huge campaign for RBS ("RBS Monsters"), which is the

same Globo TV here in the South. From the brilliant Brazilian cinema downfall caused by genius Collor, and with

the closing of Embrafilme, subsequently emerged public and private entities without all those corporatism

addictions, dark combinations, etc, all that shit you know...

But it is going on again, isn’t it?

This Brazilian film model of being maintained by public money is a controversial bid: films should be an industry

with tickets paying for the whole production. Then we have this distortion that movies do not need to attract

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audience. I always wondered this: People talk about giving cash to movies instead of hospitals, for example. But it

is an exaggeration: a country that does not have a film production eventually causes a disease called lack of

identity. When I was a kid, cinema was something much more cultural – it was almost like reading a book, it was

not just entertainment. Cinema is currently experiencing a phenomenon corresponding to movie is to have

popcorn and fun, worldwide.

How your interest in animation has started?

I am from the same generation of Jaca and Angeli, for example. Porto Alegre has a fantastic community of

designers, but one has a hard time to make a living from it over here. In the 70s it was so. Animation was a way

for me to make money.

But animation was not an easy move, I imagine. Even more in Porto Alegre.

There were a few Argentineans – they have a fine tradition in animation. Argentineans made the first animated

feature film in the world, you know. – who came to Porto Alegre and as they had the whole knowledge, to reveal

the 16mm films, vocalize, etc worked for us. And working with them, I produced a lot of advertising for the whole

Brazil. As the cost of living in Rio and Sao Paulo was more expensive, production over there was much more

expensive then people from all corners realized it was clever for them to hire us!

And you were a sort of sweatshop of Argentineans in Brazil.

Definitely! (Giggling) and so I could buy my equipment. A camera cost a lot of money that time. And reality is, that

story of selling your soul to the devil cost me my own style, which was more like in a "Tintin" way by Hergé. I lost

style and my own drawing not evolved. As of 84 I stopped drawing. The film art director is Eloar Guazelli, he is a

cartoonist and designer born in Rio Grande do Sul and living in Sao Paulo.

Allan Sieber and Fabio Zimbres have already worked with you.

Allan started quite a kid, housecleaning, washing bathrooms (giggling). Zimbres art directed two of our short

films. The guy has an amazing style. Jaca did little. We even tried to make a short film but it did not work. But

before I die I want to finish it, his work lends itself to animate.

And are there any other well-known animators who have gone through the film producer?

Andres Lieban, an Argentinean who lives in Rio and produces to Canada, animated "Rock & Hudson." Lancast

Mota, from Ceara/Brazil who animated 'Annabel' series, which was the first to appear on a commercial TV,

Nickelodeon. Many people here in Porto Alegre have helped plenty.

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What was the first fiction?

It was the short "The Little Donkey Christmas" in 1984. Those days it was very rare to see a Brazilian film

animation fiction. I grabbed my own money to make these films with no return at all. With the resumption of

national cinema in 1995, we made a feature film "Rocky & Hudson" by Adam Iturrusgarai, who also wrote the

screenplay of the film. It was fun - it was all done based on a lot of booze and the storyboard done with BIC pen

(giggles).

A real Sbornia!

Yes Indeed, the new film is freely based on "Tangos & Tragedies" (Sbornia is a metaphor of Rio Grande do Sul

state; an island that is wandering in the ocean, created by comedians Hique Gomez and Nico Nicolaiewsky), a

stage play that was on for more than 25 years. I saw the duo back in 1984 and it was the first time I identified

myself with something from Gaucho culture. Even wearing, when I was a kid, Gaucho bombachas in Alegrete, you

end up identifying yourself a lot more with "Johnny Quest" on TV than with your own traditions.

And how is animation?

The play is a musical, few skits. The script intended to make commercial cinema - but not a stupid one – so we

called in two writers: Tomás Kreus and Rodrigo John, who also did the screenplay for "Wood & Stock". The level is

very high!

The style is different from previous productions?

Yes, the new film gives a bath. My 10 y-old niece saw 'Wood & Stock' and said: 'why did you do it this way?'

(Giggles).

And now you are the boss. Where do you fit in this process?

It is a controversy here in the studio. They say there are two poles. One to choose people to work, animation, etc.

and another that will move through the entire process. I would be the first: chose the story, picked who would be

the best animators and best writers. I also participate in final edition - what builds the cinema, the cinematic

narrative, is the edition, for sure.

Brazil has no strong tradition in animation. This helps or hinders?

Personally, it was very important to keep an eye on the blinds. It's good and bad. On the other hand,

not having a school, a tradition, does not help much. The first things I did were terrible – actually there are few

things that I would not be ashamed to show. 'Wood & Stock' went through all the festivals – in Brasilia/Brazil it

only competed because they had no Brazilian film. We are reinventing the wheel. There was "Amazon Symphony"

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(the first Brazil animated feature film, 1953) by Anélio Lattini Son. We want to have a constant production, we

have done a job after another and this new film is placing us on another level.

And the big animated film industry in the United States? Pixar, Disney, etc...

I like a lot. They are in an amazing script level. The most developed expression of human being is the drawing,

because it is the oldest – writing comes from it. Animation with drawing is something quite fantastic, has a lot to

develop yet. We are producing a screenplay on top of Laerte's work 'City of Pirates'. I was going to São Paulo to

talk to him and realized that it was not worth trying such kind of cinema, beginning-middle-conflict-turning-

turning-end, because one cannot compete. In Laerte's movie, I will cling to references to the Brazilian breaker

cinema - play upon transgression. And this current existentialism of Laerte's is genius. Already there is an

argument, using the most current strips: we are going to use various phases of these strips, tying it all. It's a

feature film, because it has to be a product to be visible. Only then it has a chance to be displayed. Brazil is a very

culturally rich country. We have this habit of saying that the country is poor and slow, but it is a stereotype that

comes from outside. In an Italian festival "Wood & Stock" was very well accepted. An Italian man in a discussion

table was startled by the fact that the government had paid for this kind of movie, with sex and drugs. And I said:

'Yes, Brazil is a country very evolved' (laughs). And it's true! The Italian man became so surprised. We made a co-

production about Joseph Lutzenberger, a famous environmentalist here in the south, also Environment Secretary

in Collor’s government. Notorious drunkard, a wonderful person. He told me in a bar a great story: already very

uncomfortable with the whole story of the government etc, he went to Austria and met Collor, Zelia Cardoso de

Mello – only high level people you know. And all the ministers and the President himself were speaking English,

saying that Brazil was a poor country, etc. Lutz spoke fluent German, and made a speech that was more or less

like this: 'Brazil is a country rich in all aspects, it has natural resources, wonderful people, rich culture ... poor are

the politicians as you all could observe on previous statements...' (giggles). And nobody from the government

knew German. Of course, on the following day, with the whole effect o his speech, Lutz was exonerated.

Are there a lot of Brazilian animators working for major studios abroad?

Carlos Saldanha, for example. He directed 'Ice Age' and created that crazy squirrel. Ennio Torresan, who worked

on 'Madagascar' and 'SpongeBob' are some of them.

Have you ever thought about going abroad?

I had some proposals – I was very dedicated, nerd, sent resume everywhere. They even call me, but I did not

speak English well then I thought: 'Damn, I'm going to be blended there' and there was a cliché saying 'It is better

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being the head of a mouse than the tail of the lion' (giggles). With this movie I want to make a classic, with ideas

that do not try reproducing that wonderful and fantastic American industry, which has been evolving

continuously since 'Snow White'.

Do you like any new animator guy in our market?

There are those people who did 'Avaiana de Pau' completely anarchic, and Allan Sieber himself with

'Toscographics' who I greatly admire.

You are the voice of God in 'God is Father' (Sieber's polemic series), right?

Yes, it was the first role that I did. They gave me a part at my level you know (lots of giggle), but I also helped

filming. We ended up in Paris, because of the movie, having beers (giggles).

Besides Youtube, you can watch Otto Desenhos Animados movies at

www.ottodesenhos.com.br

www.portacurtas.com.br

PRODUCTION TRIVIA

- Until Sbornia Do Us Part uses 2D (full animation) classical animation technique, also taking advantage of the 3D

capabilities to optimize production in scenes involving reusing scenarios and boldest camera movements.

- It is the first fully digital production of the studio (paperless).

- The film throughout its production generated more than 500 thousand drawings.

- Counting with people who worked via internet, we had over 100 designers working on the film.

- Despite being a Gaucho production, we can include animators from: Paraíba, Goiás, Amazonas, São Paulo, Rio de

Janeiro, Bahia, among others.

- During the production of the feature film 6 babies were born and 750 kg of coffee were consumed.

- The film has had several names, including "Fugue in D Minor for Kraunus and Pletskaya".

- Stretching out the storyboard of the film, he would take 56 square meters.

- To make the music animation scenes, the animators had lessons on musical instruments with the artists Nico

Nicolaiewsky and Hique Gomez.

- Otto Desenhos mascot dog was named Kraunus.

- The continent city name is Satolep (Pelotas backwards).

- One of the animators is called Hermes, same name as Cocliquot's pigeon.

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- There is an official rules manual for 'Machadobol' game.

- Sbornian idiom total vocabulary has increased by 257 entries after the film production.

Soundtrack Comments

To take care of the soundtrack of Until Sbornia Do Us Part, we invited the talented André Abujamra - musician,

actor, producer and director. Abujamra was lauched in a musical group called "The Black Women" in the 80s. But

it was as lead singer of Karnak band in 1992, that his musical experiments had deserved recognition.

Abujamra, or Abu, as he is known in film circuit, is responsible for several outstanding tracks of our national

cinema, including "A Cup of Cholera", "Bicho de sete cabecas" and "Carandiru". For the animated film of Otto

Cartoons, his work was experimental.

Besides Abujamra's compositions, the track also features re-recordings made by sbornianos Hique Nico Gomez

and Nicolaiewsky to classics like "Copernicus" and "The Drunkard" which are part of the musical spectacle Tangos

& Tragedies for several years, besides reinterpretations.

OTTO DESENHOS ANIMADOS FILMOGRAPHY

1. Fiction Productions

1.1 O NATAL DO BURRINHO (35 mm) – 5 min, 1984

Best Gaucho Short film at Gramado Festival – 1984

Selected for festivals in Bilbao (Spain) and Oberhausen (Germany)

1.2 AS COBRAS (35 mm) – 6 min 1985

Best Gaucho Short film at Gramado Festival – 1985

Best Soundtrack at Gramado Festival – 1985

Best Short Film at Maranhão Festival – 1985

1.3 TREILER - A ÚLTIMA TENTATIVA (35 mm) – 5 min, 1986

Best gaucho short film at Gramado Festival – 1987

Special Jury Award at Gramado Festival – 1987

Best Short Film at Maranhão Festival – 1987

Coral Prize for Animation at Havana Festival (Cuba) – 1987

Selected to Annecy (France) and Huelva (Spain) Festivals

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1.4 O REINO AZUL (35 mm) – 14 min, 1989

Best Film of the Decade at 1st Animation Film Festival – João Pessoa – 1992

Coral Prize for Animation at Havana Festival (Cuba) – 1989

Special Jury Award at Gramado Festival – 1989

Selected to Espinho (Portugal) and Annecy (France) Festivals

Selected to Brazilian hindsight at Ottawa Animation Festival (Canada) – 1998

1.5 NOVELA (35 mm) – 8 min, 1992

Best Short Film at IX Rio-Cine Festival - 1993

Special Jury Award at Guarnicê de Cine-Video in Maranhão – 1993

Best Short Film by Popular Jury at Gramado Festival – 1993

Coral Prize for Animation at Havana Festival – 1993

Selected to Espinho Festival (Portugal), Vina del Mar (Chile) and Bilbao (Spain)

1.6 ROCKY & HUDSON (35 mm) – 63 min, 1994

Special Jury Award at Brasília Festival – 1994

Best film at João Pessoa Animation Festival – 1995

Popular Jury Best Film at Guarnicê Cine-Video in Maranhão – 1995

Selected to Havana (Cuba) and Hiroshima (Japan) Festivals

Invited to II Lisbon Gay e Lesbian Festival (Portugal) – 1998

1.7 O ARRAIAL (35 mm) – 14 min, 1997

Bank of Nordeste Award at Cinema's Journey of Bahia – 1997

Best Animated Film at Vitória Festival – 1997

Best Animated Film at II Movie and Video Festival in Recife – 1998

Best Animated film Soundtrack at II Recife Festival – 1998

Best Animated film at Guarnice Cine-Video in Maranhao – 1998

Selected to Brussels Cartoon Festival (Belgium) and Mendrisio (Switzerland)

Selected to Animation Festival in Lleida (Spain)

1.8 CAVALEIRO JORGE (35 mm) – 14 min, 2000

Production Support Award at Brazilian Cinema Rescue – MinC – 1994

Production Support Award of Fumproarte POA – 1994

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Best Animation Screenplay at Recife Festival – 2001

Best Short Film Script at Guarnicê Cine-Video in Maranhão – 2001

Selected to 11th International Festival of Short film in SP –2000

Selected to Short films on the screens of Porto Alegre Project – 2000

Selected to 10th Cairo Internacional Film Festival (Egypt)

Selected to 5th Brazilian Film Festival of Miami (USA)

selected to 1st D-I-F-F (USA)

1.9 NAVE MÃE (35 mm) – 12 min, 2004

Production Support Award at Brazilian Cinema Rescue – MinC – 2001

Best Animated Film – Mercosur Audiovisual in Florianopolis – 2005

Best Animated film – Cinema's Journey of Bahia – 2005

Best Gaucho Short film at Gramado Festival – 2004

Selected to Short films on the screens of Porto Alegre Project – 2005

Selected to 4th Teera International Animation Festival - 2005

Selected to Anima’05 – Jornadas de Animación de Córdoba – 2005

1.10 WOOD & STOCK: SEX, OREGANO & ROCK’N’ROLL (35 mm) – 81 min

Selected to 25th International Animation Film Festival – Anima (Begium) – 2006

Best Soundtrack, Best Supporting Actress (Rita Lee in Rê Bordosa voice) e Jury Special Award at 10th CINE-PE 2006

Audiovisual Festival – 2006

Screened out of competition at Shows Première Fortaleza – 16th CINE CEARÁ Ibero-American Film and Video

Festival – 2006

Selected to 1st Film Festival in Ouro Preto – 2006

Selected to the official competition of feature films at 7th Animated International Film Festival of Madrid

ANIMADRID - 2006

Screened out of competition at (highest total audience for a single film at the festival) 14th International

Animated Film Festival of Madrid ANIMA MUNDI – 2006

Screened out of competition at 34th Gramado Festival – 2006

Screened at 30th Weiterstadt Open Air Filmfest ( Weiterstadt, Germany, Aug 2006)

Selected to official competition of 1st Animest – Animation International Film Festival of Romênia (2006)

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Screened out of competition at Midnight Movies Shows – Rio International Festival – 2006

Best Feature Film – 2nd International Animated Film Festival ANIMACOR 2006 (Cordoba, Spain) 2006

Invited to be shown out of competition – 3rd Short films Show Pará Cine Brazil – 2006

Itamaraty Prize for Brazilian Cinema by Popular Jury – 8th FICBRASILIA Internacional Festival of Cinema in Brasilia

– 2006

Selected to be shown out of competition at 13th Vitoria Cine Video – 2006

Selected to an official competition at CINANIMA Animation Movies Internacional Festival (Espinho, Portugal) –

2006

Invited to be shown – Image of the People, International Audiovisual Shows – 2006

Best Film by Popular Jury at 10th Luso-Brazilian Film Festival in Santa Maria da Feira (Santa Maria da Feira –

Portugal) – 2006

Best Film by Popular Jury at 3rd FESTCINEBELÉM – 2007

Invited to be shown out of competition at 10th International Festival of Cine in Punta Del Este (Uruguay) – 2007

Selected to official competition at 14th San Diego Latino Film Festival (San Diego, USA) – 2007 Selected to official

competition at Delray Beach Film Festival (USA) – 2007

Selected to Brazil Guest Country at 22nd Guadalajara International Film Festival (Mexico) – 2007

Official selection for 14th Trickfilm Festival – Stuttgart International Festival of Animated Film (Germany) – 2007

Official selection – 7th Internacional Festival of Cine y Vídeo de Temática Sexual (Argentine) – 2007

Official selection – 3rd UK Brazilian Film Festival (England) – 2007

Invited to be shown out of competition at 4th International Animated Film Festival in Cordoba – ANIMA’07

(Argentine) – 2007

Invited to be shown at Special shows Animation at 23rd Bogota Film Festival (Colombia) – 2007

Official selection for FIAE 2007 – International Festival of Erotic Animation – 2007

1.11 A CIDADE DOS PIRATAS (35 mm) – 75 min (in production)

Project Development Award – Santander/ POA City Hall – 2004

Project Development Award – Ancine – 2004

Selected to fundings at FSA/Prodecine 1 – 2010

Selected to Petrobras Sponsorship Program – 2011

Selected to BNDES Sponsorship Program – 2012

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2. Advertising

Accomplishment of more than 500 ads and films since 1978, emphasising the recent RBS TV campaign 'Monsters',

fighting violence against children and promoting education.

CREDITS – UNTIL SBORNIA DO US PART

VOICES Hique Gomez – Kraunus e Dimitrius adulto Nico Nicolaiewsky - Pletskaya André Abujamra – Gonçalo Antônio Falcão - Asdrobovaltzen Arlete Salles - Alba Caio Alves Pereira – Dimitrius criança Cláudio Levitan - Kanflutz Felipe Mônaco - Funcionário Trágico, Funcionário Otimista e Funcionário Neutro Fernanda Takai - Cocliquot Heinz Limaverde Starkey - Agananov Marcos Kligman – Mordomo Marina Mendo – Ludmila e Velha Caolha Otto Guerra – Garden All e Adolphus Dendo Pedro Harres – Pombo Hermes ADDITIONAL VOICES Antonio Carlos Falcão Clara Bischoff Alencastro Fred Messias Giovanna Zottis Heron de Souza Salatino Jeferson Rachewsky

João de Ricardo Larissa Lewandowsky Leandro Lefa Lisandro Bellotto Marina Mendo Marisa Rotemberg

Marta Machado Pedro Harres Ricardo Assoni Rodrigo Najar Vandré Ventura

PRODUCTION Marta Machado Otto Guerra EXECUTIVE PRODUCTION Marta Machado PRODUCTION ASSISTANTS Eduardo Rodrigues de Souza Fernanda Brutschin Severo Fernanda Oliva Drumond

Giovanna Maia Grace Luzzi Joana Bischoff Alencastro

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Lucimar Espinosa Domingues Sara Soares SCRIPT Rodrigo John Tomás Creus SCRIPT CONSULTANTS Cláudio Levitan Hique Gomez

João Gilmar Rodrigues Nico Nicolaiewsky

DIRECTED by Otto Guerra Ennio Torresan Jr. DIRECTORS’ ASSISTANTS Pedro Marques Harres Raíssa Kellermann STORYBOARD SUPERVISOR Ennio Torresan Jr. STORYBOARD Ennio Torresan Jr. Anderson Sudário Marco Schmidt de Arruda

Otto Guerra Pilar Prado

ANIMATIC EDITION Pedro Harres Anderson Sudário ART DIRECTORS Eloar Guazzelli Pilar Prado ADDITIONAL ART DIRECTOR Ruben Castillo 3D ANIMATION Anderson Sudario Luiz “Monty” Pellizzari Marco Antonio Schmith de Arruda ART DIRECTORS ASSISTANTS

Andréa Martau Geórgia Mara Reck Gustavo Wolffenbüttel Jorge H. Loureiro

Luiz Gustavo Vargas “Insekto” Paula Carboni Godecke Pilar Prado

ANIMATION DIRECTOR Fabiano Pandolfi ANIMATION TEAM Fabiano Pandolfi Alisson Ricardo Costa Bruno Carias Fogaça Cláudio Vieira de Oliveira Débora Grahl Saucedo Diego Oliveira Cassel

Diego José Lima Silva Eduardo Medeiros Flávio Reis Gui Klein Hermes de Lima

Luiz Henrique Lopes Pellizzari Paulo Muppet Tadao Miaqui Wesley Rodrigues

3D ANIMATION Marco Antônio Schmith de Arruda Anderson Sudário Luiz “Monty” Pellizzari ANIMATION ASSISTANTS Alexandre Belmonte Oliveira Alisson Ricardo Costa André Areia Santos Andréa Martau Bruno Carias Fogaça Bruno Fabian Simões Gomes Daniel Grahl Saucedo Débora Grahl Saucedo Diego Cassel Diego José Lima Silva Eduardo Medeiros Everton Costa de Souza

Cabong Studios Fred Rubim Gabriela Klaus da Silva Gui Klein Gustavo Wolfenbüttel Hermes de Lima Humberto Kehdy Jacqueline Lima Leo Rangel Lívia Koeche Lucio Andrade da Silva Luiz Gustavo Vargas “In-sekto” Mário Nosoline

Pedro Marcelino Pedro Porto Priscila Penedo Torres Rafael Ribeiro Sinnott Rock Siles Barcellos Ruben Castillo Saulo Nunes Marques Thiago Freesz Thivá Fróes de Souza Vilmar Rossi Junior Wesley Rodrigues

FINAL ARTWORK SUPERVISORS Andrea Martau Bettina Rupp Débora Grahl Saucedo Giancarlo Zardo

Luiz “Monty” Pellizzari Raissa Kellermann Sheila Kircher Vagner Santos “Shadowman”

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FINAL ARTWORK Adriana Figueiredo Barbisan Alexandre Leoni Ana Moura Aurora Rupp Bruno Carias Fogaça Bruno Fabian Simões Gomes Carla Guimarães Teixeira Daniel Grahl Saucedo Daniel Eizirik Danilo Roberto Dias Ferraz Desirreé Biskup Diego Cassel Diego Urrutia Diones Ignacio da Cunha Edu Müller Elton Padeti Flávia Felipe Francine Rocha Gonzáles

Geórgia Reck Giovanna Maia Gui Klein Gustavo Wolffenbüttel Hermes de Lima Jacqueline Lima Jefferson Justino de Quei-roz Jorge Elo Jorge H. Loureiro Jorge Soledar Júlia Bacellar Corrêa Kellen de Almeida Zinelli Leo Rangel Leilane Krebs Lívia Koeche Lucas Moraes Luciano Giovani Lucio Andrade da Silva Luiz Gustavo Vargas “In-sekto”

Maíra de Oliveira da Silva Marcel Trindade Marcos Sabadin Marina de Moraes Taffarel Mário Nosoline Mauricio Mazza Melissa Webster Paula Carboni Godecke Pedro Marcelino Pedro Porto Rafael Ribeiro Sinnott Raquel Fukuda Rock Siles Barcellos Rodrigo Gonçalves Taísa Ennes Marques Tatiana de Morais Tesch Thailiny Cruz Vanderléia Lima Vanessa Girardi Zando Gonçalves

ANIMATION COMPOSING COORDENATORS Marco Antônio Schmith de Arruda Anderson Sudário Rafael Borges ANIMATION COMPOSING Ana Terra Ribeiro Torquato Anderson Sudário Anthony Brian Reidy Carlos Alexandre Machado Caroline Barrueco Eduardo Armbrust

Elise de Castro Hillmann Henrique Geremia Nievinski Luiz “Monty” Pellizzari Marco Antônio Schmith de Arruda Rafael Borges

ANIMATION COMPOSING ASSISTANTS Diego Oliveira Cassel Gui Klein Marcos Elias Berghahn Sheila Kircher

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EDITING Pedro Marques Harres ADITIONAL EDITING Alfredo Barros Otto Guerra IMAGE FINISHING Anthony Brian Reidy Marco Antônio Schmith de Arruda ESTEREOSCOPIC CONVERSION José Maia Fabiano Pandolfi Pedro Harres Otto Guerra Luiz “Monty” Pellizzari GRAPHIC MATERIAL DESIGNER Fred Messias LEGAL ADVICE Aline Graeff Guerra Luiz Felipe Garcia ACCOUNTANT Maria Correa Machado EMOTIONAL SUPPORT Nadia Mary TECHNICAL SUPPORT Rafael Ribeiro Sinnot Rodrigo Troian Tales Henrique Mendes Rodrigues Zehas Henrique Homrich SOUND CREDITS: MIXING AND SOUND Tiago Bello Alessandro Laroca

Eduardo Virmond Lima Armando Torres Jr.

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MIXING AND SOUND STUDIO Armando Torres Jr Eduardo Virmond Tiago Bello Alessandro Laroca 1927 Audio Full Mix Estúdios Gogó Conteúdo Sonoro DIALOGUES RECORDING STUDIO Gogó Conteúdo Sonoro Kiko Ferraz Studios Tec Áudio SOUNDTRACK RECORDING STUDIO A Voz do Brasil Gogó Conteúdo Sonoro Kiko Ferraz Studios DIALOGUE RECORDINGS Tiago Abrahão DIALOGUE EDITION Raiza Rodrigues EFFECTS EDDITION Priscila Pereira Aline Heibel Marcos Lopes AMBIENT SOUND EDITION Sérgio Kalil

FOLEY EDITION Anderson Tieta Augusto Stern Fernando Efron FOLEY ARTIST Roger Hands Augusto Stern DIALOGUES EDITION ASSISTANT Dennys Rocha FOLEY EDITION ASSISTANT Juliano Schultz MIXING ASSISTANT Renan Deodato DIALOGUES PREMIXING André Tadeu VISUAL EFFECTS EDITION INTERN Murilo Silvestrim FOLEY EDITION INTERN Adriano Elias MIXING TECHNICAL ENGINEER Paulo Servello MIXING PRODUCTION Alessandra Casolari Débora Arima Juliane Machado

MUSIC CREDITS: ORIGINAL SOUNDTRACK André Abujamra Nico Nicolaiewsky & Hique Gomez INSTRUMENT PLAYERS:

Gustavo Pinto Lessa Roberto Alves Rodrigues de Araujo Mario Sérgio Rocha Fabio Tagliaferri Sabino

Israel Fogaça Junior José Alexandre Leme Lopes Carvalho Luiz Britto Passos Amato Marcos Fokin

‘Tangos & Tragedies’ Soundtrack - Copérnico - Desgrazzia ma non troppo - Epitáfio - Aquarela da Sbórnia Other songs Trevo de Quatro Folhas (I’m Looking Over Four-leaf Clover) Written by Nilo Sérgio/Mort Dixon/Harry Woods Performed by Fernanda Takai Phonogram kindly provided by Deckdisc Rosa © 1933 {Pixinguinha} – MANGIONE, FILHOS & CIA LTDA Written by Alfredo da Rocha Vianna (Pixinguinha) and Otávio de Souza Performed by Alfredo da Rocha Vianna (Pixinguinha) No te Reprimas (Menudo Style) Ameritz Music Ltd DIGITAL CINECOLOR Diretor Geral David Trejo Gerente de Pós-produção: Jony Sugo Gerente Comercial: Cacá de Carvalho Atendimento:

Mariana Hirsch Carol Abreu Coordenação de Finalização: Marina Herrador Film Recorder – Arrilaser Thiago Leoni

Uillian Mendes Master DCP Marcos Souza Reginaldo Veloso Engenharia Claudio Prange

ACKNOWLEDGEMENTS Adriana Barbisan Adriana Lessa Alba Berutti Guerra Ana Adams de Almeida Ana Maria Vieira Andréa Francez Barbara Nicolaievski Beatriz Bia Beto Andrade Bettina Rupp

Bruno Britto Bruno Wainer Cristiano Scherer David Mussel Edite Hessel Berutti Eduardo Haesbaerj Elaine Vaz Fede Olivari Franco Ferreira Frank Coe & Família

Gabriela Guerra Messias Gisele G. & Familia Guilherme Araujo Jac Sanchotene João Henrique Jorge Graeff Guerra José Maia Juzinha Keiko & Kellen & Kyoko Keyle Barboza

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Kingdim Larissa Lewandoski Leo Felipe Liana Keller Liege Luana Bonfrisco Luci Moraes Luciana Druzina Luiz Alberto Cassol Marcela Percott Márcia Corrêa Machado Márcia Deretti Márcia Uhry Boeira

Marco Aurélio Marcondes Maria Antônia Machado da Silva Marlei Corrêa Machado Marta Biavaschi Mateus & Virgínia Mia Felipe Nando Pêra Natália Alencar Paola Oliveira Pat Fantinel Paul Paulo Alcoforado

Paulo Sacramento Paulo Scott Polaca Rodrigo Camargo Sepé de Los Santos Sharlene & Cia Stefanie Mendes Tatiana Cuberos Teresa Guerra Miguel Be-rutti Tiago Graeff Guerra Vilmar Figueró & Cia Yully Patzinger

SUPPORT Bar e Restaurante Odessa Via Imperatore Restaurante