Thursday, February 07, 2008

Abdelrahim Idrissi's skills and use of Bang-Titre .

Idrissi's intention to go back to SNRT again might make a lot of film-makers happy and to motion graphic lovers especially Idrissi is known of his long and devoted experience on painting , 3D techniques, and excellent know-how on that cinematic cool machine called Bang- Titre still rolling in CCM.

Allal-cinemagoer : How do you combine two jobs; a painter and motion graphist knowing that these works might be harder when you join SNRT colleagues like Samir Kohen and Said ?

Idrissi : Well , it is a matter of a strong will . I am very keen to combine both operations assuring you that i am able to do both jobs .This is of course a challenge that any artist would take . I have worked with so many film-makers starting with Lybian ones .
In CCM, my craft as a bang- Titre maker imposes itself on film-making . Talking about the productions that i have done , I have made three cartoon movies about Lybia .
One of the machine that CCM is proud to utilize that time and i think they still work on it is Bang -Titre . This machine is so loved by film-makers and cartoonist and can make miracles to animate shots within cuts and dissoloves .

Allal-cinemagoer : it works like The Vertical camera .Takes are gotten from above ?

Idrissi : No.Allal. The Vertical camera only takes shots vertically , Whereas , Bang -Titre takes shots and animates them through X, Y and Z positions amasingly . Of course ,it depends on your chosen and artistic dimensions . Thanks to this magical machine , i was the first artist who makes an advertising on TV - Spot pubicitaire - support 35 mm called - Asssurance Code- in 1984.
I did also Super Tox advert in 1983 . Do you remember that product -Super Tox- , the anti-flies demolisher . I was proud to do that job with Mohamed El Filali who brought the project to CCM and it right came into my hands immediately afterwards

Abdelrahim Idrissi and his painting ( Ray Charles)

Allal-cinemagoer : Do you think we miss great moments of advertizing in television and cinema knowing that all agrees that imagination in adverts is important ?

Idrissi : Yes i quite agree with you . many directors come in to film making thanks to publicity .The idea of how to advert your products takes great time to finish your work .it is a big challenge that technicians and Film-makers are aware of .

Allal-cinemagoer : You must have been awarded in many occasions ?

Idrissi : Yes . That is true . I had the pleasure to work with a doctor called Ben chakroun.He handed me his medical project on urine device . That work was a big challenge ,because i had to work frame by frame using all my potential craft to succeed .it was a very difficult job that dured half an hour,i mean the movie length was 30 minutes. The Urine project was awarded abroad.

One of other cinematic works that i was proud to mention was Drame 40000 directed Ahmed Kacem .The story is about those deported Moroccans from Algeria and the endurances and sufferences that Moroccan had that time . I also worked with Abdellah Misbahi in his movie , Afghanistan why produced by a Saoudi business man .

Then, A lybian producer, Salem El Harti made a proposition to go with him to Lybia in order to stay for a while and work on big projects .I did not sign the contract, because RTM and painting were in my mind that time .I remember also that i have contributed my artistry and craft to many local movies like El Jamra , Lalla Shafia directed by Mohamed Tazi and others . My conception on how to make posters was very remarkable that time . I mean, i did a lot of posters to films like Man El Wad alhih directed by El Mohamed El Abazi . One of the big challenges was to take pictures n from Tourist books using Bang-Titre and animate them for a long -featured movie

Ben Azouz (Musician ) Paco ( Pianist ) and Abdelrahim Idrissi (Painter)

Allal-cinemagoer : you shifted to RTM and now becoming SNRT, is it a professional decision ?

Idrissi : It was an administrative mistake that Souhail Ben barka had done to craft-making and to myself .Souhail was unjust to behave indiffrently to my rights of pay of many artistic projects .I know too many friends of mine who regretted my departure from CCM .But, my departure was inevitable.It is about my dignity and respect that i am known for .I had to move to Television which is another challenge that faces my carrer knowing that three dimensions(3D)have not yet appeared in TV .

Of course , I had the honor to be among the first artists who worked on 3D techniques frame by frame and it was a hell of a job and very painful . That generic of- Computer 7- programme directed by Mohamed Ksaib was realized by myself manipulating that wonderful machine called Paint -Box .it is an excellent hard drive and i think this machine functions highly and smoothly to produce images of excellent quality remembering me of 35 mm quality which is far more beautiful in looking and admiring than those digital images of todays called HD

Abdelrahim Idrissi and Allal El Alaoui