AN ACTOR WHO CAN DRAW

Elchin Hami Akhundov is a significant name in the history of Azerbaijani animation. Beginning his career at Azerbaijanfilm studio in 1966, he emerged from two-year evening courses for animation artists in 1968 to create over thirty animated films. As a director, production designer, and honoured culture figure of Azerbaijan, he crafts interactive posters and has compiled a series of books for young children, including Your First Book, Let's Learn and Work Together, Ecological ABC, ABC I, and ABC II. He also authored a book commemorating the 90th anniversary of Uzeyir Hajibeyov. A recipient of the Golden Lamp and Unknown Cinema festivals, as well as the Golden Rook award, he has served on the jury of numerous international festivals. Since 2016, he has led the Gurama Children's Animation Studio.

His workshop is a realm where Time and History, Love and Beauty, coexist. The ambiance rekindles children's spontaneity and evokes a profound appreciation for the enchanting world of animation, with an equally captivating and enthralling aspect revealed through Elchin Khami Akhundov's narratives.

"You are both an artist and a director. What significance does the animation profession hold for you, given your extensive experience?"

"My profession demands a thorough examination of numerous facets to grasp the material I work with as precisely as possible. Each animated film represents a distinct stratum of my professional life, which I endeavour to live in such a manner that, decades later, I can still take pride in my "screen children." I am a rebel at heart, often infusing my films with subtle messages. For instance, the allegory in Sea Voyage (Dəniz səyahəti) reflected my personal stance on the state's affairs at the time. In Mirror (Güzgü, 1990), I boldly utilised the Latin script for the film's credits, two years before it became the official script."

"While animation appears effortless on the surface..."

"Indeed, that perceived ease is the result of arduous work. Every nuance is deliberate. During the production of Jyrtdan the Giant, composer Rauf Aliyev and I meticulously crafted each musical note, contributing to the film's success. Grotesque elements play a significant role. During my 12-year tenure as director of Azanfilm studio, and previously as art director for 25 years, I was discerning in selecting artists. Many possessed drawing skills but lacked the necessary artistry."

"Could you elaborate?"

"Take Rodin and Bourdelle, for example. Despite being teacher and pupil, they are incomparable. Rodin's artistry is predominantly static, whereas Bourdelle's Hercules the Archer exudes a palpable tension, the muscles and posture alive with energy. Vera Mukhina, Bourdelle's student, admirably perpetuated the dynamism he introduced to sculpture."

"An animated film is a combination of visual art, literature, music, and dialogue packed into a few minutes. Who plays the pivotal role in this synthesis?"

"In all cinematic forms, including animation, the director is paramount. Regardless of the script, a discernible or crafted essence is essential. The grotesque must not be overlooked, as animation condenses scenes into mere seconds—a significant narrative segment. A five-second sequence can encompass an entire episode. Thus, precision and intuition are crucial. Unlike Soviet animation, which laid the foundation for Azerbaijani animation, Disney artists could spend years perfecting a single character. Conversely, the Zagreb school of animation artists honed their temporal awareness by timing their sketches to the rhythm of commuter train rides, experiencing those 24 frames per second firsthand. They also pioneered a novel approach to character portrayal. The late 60s and early 70s marked a transformative era in animation, with Czech, Polish, and Romanian artists leading the visual innovation. These nations, part of the Warsaw Pact, enjoyed relative access to specialized literature and catalogues. We employed the so-called eclair method, initially filming cartoons with live actors, then meticulously drawing each frame. This technique streamlined the artists' work and synchronized sound with character articulation. Notably, Boris Chirkov, a renowned actor, was the quintessential cartoon hero of the 50s. The 60s witnessed a flourishing of individualistic cartoonists and an artistic renaissance within the medium. The Thaw era relaxed the constraints of socialist realism, exposing us to alternative artistic perspectives. We frequented the Znanie cinema after school to watch exquisite films about the Impressionists, crafted by Renoir's grandson."

"Who do you regard as your mentors in animation?"

"I acknowledge several individuals as my mentors, some indirectly. Vladimir Degtiarev, creator of countless memorable cartoons and a stalwart of Soviet cinema, is one. Despite losing his right hand in the war, he mastered drawing with his left, a spectacle of true magic. The work of Czech animator Jiri Trnka also left a lasting impression, his dolls' minute body movements imbuing them with lifelike plasticity."

"Yet, your work doesn't feature dolls..."

"I never favoured that genre, not solely due to the challenges of puppetry. Their inherent imperfections were a deterrent. Each movement phase required three frames, straining the viewer's eye, whereas hand-drawn animations offered greater fluidity. Even appliqué animation was utilized for its dynamic motion capabilities. Jyrtdan the Giant was produced in this style. The Gobustan rock art film Toral and Zari was similarly hand-drawn, resonating with its subjects. It's worth noting that puppet films were not a staple at Azerbaijanfilm. Puppet animation is synonymous with Vagif Behbudov, who crafted several dozen works for AzTV."

"Are there particular intricacies in production?"

"Animation sound recording comprises rough and finish stages. The former facilitates articulation, enabling frame-by-frame alignment with spoken phrases. This precision extends to music, where each beat must find its rightful place. The linchpin of animation production is the exposition sheet, which catalogues all pertinent details: static segments, frame counts per episode, layouts, and more. It encapsulates the essence of the forthcoming animated film. Insider tip: to sabotage a project, one could simply remove this exposition sheet. Just as musicians can gauge a composition by its score, skilled animators can envision the narrative through the exposition sheet alone, even in the absence of drawings. Regrettably, modern animators often view this tool as outdated."

"So, mere drawing skills are insufficient?"

"An animator is, in essence, an actor with the ability to draw. I cannot stress enough the imperative for artistry in an artist, particularly in animation. I recall challenging a student to perform pantomime, highlighting the importance of expression. In my era, mirrors adorned every animator's desk, reflecting the myriad expressions they contorted into while seeking inspiration for their drawings. Full-length mirrors aided in pantomime rehearsals and character sketching, an indispensable practice for animators. Such training allowed us to capture moments that would ultimately persuade the audience. An actor who neglects practice is inevitably lost to both screen and stage, and the same holds true for artists. Each drawing must be a personal journey, reflecting their dynamic progression."

"The animated film, now referred to as animation, has always embraced allegory..."

"Absolutely! Animation has a fondness for allegory. I consistently encourage my students to delve into the works of Sheikh Nizami Ganjavi. His 11th-century writings are steeped in phantasmagoria. Seven Beauties alone is a testament to this, with its intricate descriptions and allegorical richness. Last year, I couldn't resist participating in the anniversary celebrations of this great classic by creating paper dolls from this work, offering a fresh perspective on the figures of the beauties, distinct from the traditional view. Nizami was known for embedding profound meanings into his poetry. Seven Beauties is a haven for those eager to discover the beauty in his philosophical worldview and his skilful allegorical encoding within the poetic narrative. Each beauty represents an allegory, through which Bahram, in his interactions, ascends to self-realization. Hence, each of my seven beauties wields a musical instrument characteristic of her nation, narrating her tale through song."

"Cinematography often intersects with other forms. Have you experienced this in animation?"

"In 1981, Gosteleradio of the USSR implemented an order system, commissioning us to produce About Jyrtdan the Giant for the Tales of the Peoples of the USSR series. Initially, we had challenges with the script. We had to clarify to the scriptwriter that tales of the diminutive hero are common across many cultures, and our aim was to distinctly portray the Azerbaijani version, reflective of Turkic traits. At the time, the studio was led by Jamil Alibekov, who supported me. Due to the project's nature, the film was produced in Russian, with Klara Rumianova contributing to the voiceover work in Moscow. On her recommendation, Georgy Vitsin and Anatoly Papanov were invited to voice the Wolf and Bear. I recall Vitsin arriving at the studio unwell, yet transforming remarkably once recording commenced. The artists were compensated, but unfortunately, the sound operator, intoxicated, recorded on the incorrect track. Distraught, I contacted Clara Rumyanova the following morning. She generously agreed to re-record without charge, bringing along the talented voice imitator Stanislav Fedosov. For a mere thirty rubles, he flawlessly duplicated the voices of both Vitsin and Papanov, leaving no one the wiser. A fortunate turn of events."

"Klara Rumianova's voice is synonymous with childhood for many..."

"We maintained a warm rapport for years, frequently keeping in touch. She was an exceptional dramatic actress. A consummate professional, she recognized my dedication to every facet of my work from our very first collaboration. Even during my early days as an assistant, she remarked, "Summon the young man who isn't a director."

"You've often enlisted celebrities for voiceovers, collaborating with esteemed figures..."

"Rasim Balayev, Hamida Omarova, and Nuriya Ahmadova lent their voices to my projects. For me personally, Ahmadova was like a young Ranevskaya, given her suitable vocal tone. Gorkhmaz Alili, initially cast for a single role in The Dream of a Caterpillar, ended up voicing four characters. His enthusiasm and exceptional acting talent led him to volunteer for additional roles, each distinct from the last. Once, he even mimicked the voice of Nasiba Zeynalova, who had only managed a brief part in Alakbar Muradov's Shooting is Cancelled. To dispel any sense of celebrity, I fostered a relaxed atmosphere, "without tie and regalia," to achieve the optimal mindset for engaging with animated material."

"The voiceover process is often regarded as a genre unto itself, replete with anecdotes."

"Each story has its unique context. In 1988, I directed a three-minute film titled Sobranie (Məclis), based on a script by Dinara Seyidova. It was part of a trilogy of novellas, with Rauf Dadashov and Yelena Dontsova directing the other segments. They selected stories featuring a single character, while I tackled one with eight. The narrative, addressing the facade of human relationships—a theme still pertinent today—captivated me. An amusing voiceover incident occurred when Najiba Huseynova and Ramiz Azizbeyli were to convey an intimate moment between characters. Azizbeyli, deviating from his "wordless" directive, ad-libbed, culminating the scene with a heartfelt "I love you," which made it into the final cut. Regrettably, films like Mirror (Güzgü) have deteriorated technically, with colour and sound quality compromised, leading to their removal from screenings."

"Sometimes, a successful improvisation can be advantageous."

"Such was the case with my improvisation in Jyrtdan the Giant. When Jyrtdan's father asks if he fears going to the forest alone, Jyrtdan shoots back that a man should not succumb to fear. This notion resonated with Jamil Alibekov, prompting him to entrust me with a directorial role without hesitation. Despite my insistence that I was merely a production designer, he tasked me with selecting from five scripts. This led to The Child and the Wind joining my filmography, penned by Alla Akhundova. The artist, Yelena Golubeva, a former Riga resident and wife of Arif Maharramov, collaborated on the project. It allowed me to express my affection for Icherisheher uniquely, which was intrinsically linked to the narrative's realization."

"Animation not only entertains but also educates and shapes young minds."

"Indeed, animation serves an educational purpose while also offering targeted influence. I harnessed this potential in three of my films centred on the Garabagh theme, deeply significant and personal to me. Javanshir, Gold, and Mirror all share a common allegory: the imperative to remember our tragedies and sorrows to prevent their recurrence, acknowledging the price paid for peace."

"What about the future of Azerbaijani animation?"

"I cannot conceal my sorrow over the lost generation in Azerbaijan. Without comprehensive state support, elevating domestic animation to a competitive level is unfeasible. I recall proposing a detailed plan to the former Ministry of Culture, advocating for specialized courses. The idea was to set up an educational process culminating in a feature-length animated film, ready for international presentation upon graduation. Yet, progress remains stagnant, same as the fable. However, the State Cinema Agency (ARKA) is trying its best. In Lankaran, the ANIMAFILM Festival in the Regions project is underway, fostering the growth of animation cinema and industry in the districts. Activities include screenings of local and international animated films for all ages, discussions, voting, and animation workshops. Such initiatives offer a glimmer of hope, which I steadfastly cling to."