Amandine Meyer on „Histoire pour 2 Trompettes“ / interview

The designer, artist and animator was born in Lorraine, France. After spending some years in Berlin, she now lives in Montreuil, near Paris. Her books, which include several for children, have been both self-published and taken on by various publishing houses. She also collaborates with other artists on video and light projects. Her first comic books were published in the Japanese fanzine “UZO”. Histoire pour 2 trompettes is her debut film as an animation director.

What was your starting point for “Histoire pour 2 Trompettes”?

The film is a follow-up to my book Histoire décolorée (Discoloured story), published in 2016 by Misma. It was a collection of short silent stories, full of children, of animals and vegetation.
I kept the same writing process, by writing a fable without sound and without morals from deep thoughts. I chose the last story of my book and started developing it. This is an initiatory story, which draws on my journey as a woman and artist.

The movie talks about apprenticeship, romantic passions, about becoming a mother, about finding the path to creation and freedom. But the film may speak to you of something else that will resonate with your own path, for it is also a dance made of metamorphoses and is inhabited by those who watch it.  

Do you have a favorite moment in the film? Which one and why this one?

I wanted to draw the whole movie and delegating parts was not easy, even the sequences with the log floating on the water. One of my favorite moments was also the most difficult, when I had to animate the girl under the water. Noémie Bizien, who animated some sequences, set the bar very high and it was a pleasant challenge for me to compete with her fluidity, and with the delay with the twintails and the dress, in order to fully give life to the character.  

The sound design of the film was also a delightful moment. Matthieu Canaguier, who was in charge of this part, let me give him a lot of feedback and made me feel really involved in this step. Giving sounds to drawings that come to life, it’s a pretty amazing job.

What do you like about the short form?

It’s my first short movie and I discovered that this form allows a lot of freedom and flexibility. Animation is a real time challenge, with all these drawings to produce. There are so many different techniques and working methods : you can cheat by saving up some moves or, instead, indulge in a very fluid animation, rich with pictures. It seems like everything is possible within this short form. I would like to thank the animators who toiled by my side! I believe that for the viewer it is the opportunity to see something different, a poem, a nugget, something you wouldn’t be able to digest if it lasted more than an hour. And then it’s a form that travels differently and that can be associated with other films? Well, that I’m about to discover…

Photo © Dorothea Tuch

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