成吉思汗 Genghis Khan （1993）

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1993年，在法国安纳西动画节首映的影片《成吉思汗》，是第一部由美国和蒙古国合作的作品，首映后它在世界不同国家的电视台放映。影片由我与年轻的蒙古导演米艾格玛共同执导，由来自纽约的伊塔图公司出资赞助，故事围绕着少年铁木真展开。

在蒙古国首都乌兰巴托开工后的第一周，出现了麻烦。乌兰巴托的一些知识分子对我们的剧本和镜头设计提出轰炸式批评，认为我们的剧情设计是“俄罗斯历史书上的”，而只有符合“圣洁的蒙古历史”的情节才可以被人接受。他们认为少年铁木真绝不会和一个小女孩一起骑马；但是纽约的执行出品人告诉我们，如果删掉这一情节，影片将会失去一半观众——当时我们已经开始进行了部分细节绘制，剧情的修改意味着大量的工作被作废。接着，我们又接到来自纽约的新指示：如果片中出现铁木真猎杀动物并将战利品带回营帐的情节，这被杀的动物不可以是深受美国儿童喜爱的卡通角色代表的动物种类，因此我们被告诫一些动物是绝不可以选择的，包括兔子（《兔八哥》），鹿（《小鹿斑比》），猪（《三只小猪盖房子》）等。而被猎杀的动物必须是蒙古人认为可食的，在这些考虑和禁忌之后我们发现，可选择的余地几乎没有。经过长时间的讨论，最后野生豪猪挑起了这个“重任”。

在乌兰巴托博物馆中调查了这一段历史背景，并调查了相关的艺术形式后，我和米艾格玛得出结论：在普通的赛璐珞上用平滑整齐的线条和明快鲜明的颜色绘制的话，画面和影片主题不相符——虽然电视台的相关人士希望我们这样做。那样画出的画面太柔和，太“赏心悦目”，与蒙古人民在艰苦的环境下顽强拼搏的精神背道而驰。特别是片中的故事发生在严冬，那在蒙古是漫长的数月严寒。因此我们希望用粗糙刚硬的黑色线条，在土黄色的米纸上绘制，不上颜色。最后协调的结果是，用黑色和棕色的硬线条，加入不均匀的色粉，在有特殊纹理的薄纸上绘制。

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因为马匹是故事中的重要角色，米艾格玛和他的同事，特赛忍，计划设计一个全新的马的形象，它会如游牧民族英雄那般发达的肌肉，强壮的骨骼，矫健的动作，就像它的主人铁木真一样。

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片中大约一半的情节都发生在冰天雪地、寒风刺骨的冬夜。画面中粗糙坚硬的笔触表现着蒙古人坚韧的面庞，渲染着狂风和暴雪随着故事展开而漫延。普通的赛璐珞动画是不可能表现这种巨大的力量的。

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除了片头部分，我们为全片配上具有浓厚游牧气息的蒙古音乐。一位在乌兰巴托电影制片厂工作的天才音效艺术家，在没有电脑或现代化设备的情况下，仅用自己的嗓音，身体，和几件简陋的乐器，完成了片中全部音效制作。

在一间9平方米大的小客厅日以继夜地画了两个月后，我们完成了大部分绘画部分的工作。影片的拍摄是由中国的上海美术电影制品厂完成的。最后我在纽约完成了剪辑、编辑和后期的其他工作。随后，这部《成吉思汗》在蒙古国和美国共同的努力和期待中诞生了。

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影片：成吉思汗 Genghis Khan （1993）

Genghis Khan （1993）

In May 1993, Genghis Khan, the first U.S.-Mongolian co-production, premiered at the Annecy Animation Festival in France and went on to TV stations around the world. It was an animated collaboration about young Temujin, by myself and a young Mongolian director, Miagmar Sodnompilin, and funded by Italtoons in New York..

The first week of production in Ulaanbaatar presented us with difficulties. Ulaanbaatar intellectuals tore into the storyboard, saying that the texts from which we had drawn the details of our story were by Russian historians.  Only “The Secret History of the Mongols” would be an acceptable basis for reality. They said that young Temujin would never have ridden with a little girl, but our Executive Producer in New York told us that cutting the girl would cut the viewing audience in half.  The compromise?  We had Temujin, several boys and one girl riding together at the beginning, while Temujin is proudly alone most of the later film.  From New York we were instructed that if Temujin must hunt an animal to bring back to the ger (tent), it could not be an animal adored by American children.  In Ulaanbaatar, we were admonished that the animals left in Mongolia after excluding (rabbits) Bugs Bunny, (deer) Bambi, and (pigs) Porky Pig were not considered edible by Mongols.  After long discussions we settled on a wild boar.

Studying the art from the historical period at the Ulaanbaatar museum, Miagmar and I decided that normal cel animation, expected by TV programmers, with neat outlines and bright colors, would not fit.  It was too smooth, too slick for the rough feel of the life the Mongols faced, especially during the winter months, when our story takes place.  We wanted harsh black brush lines on a light brown rice paper with no color. The compromise?  Rough slashes of black and brown slightly softened by intermittent pastel surfaces, all drawings done on thin textured paper.

As horses would play a major role in the film, Miagmar and his artist, Tegsuren, set about designing a new, more authentically Mongolian musculature, bone structure and movement that resulted in the elevating of Temujin's horse to a stature equal to Temujin himself. Half the film takes place during a freezing wintry night on the steppes, with the wind blowing fiercely over the snow.  The rough strokes that had earlier served to define the leathery faces of the Mongols now came alive as torrents of wind and sleet, and in fact, no cel animation could have yielded the tremendous power of nature that is felt in this film.

We used authentic Mongolian period music for all but the introductory title sequence. All sound effects were created by Darmasuren, a brilliant foley artist in the Ulaanbaatar film studio, with none of the technical computer equipment of the modern studio, but with only his voice, his body, and a few rough instruments.

After two months of drawing from morning to late evening in a living room 3m x 3m, we completed most of the artwork, the drawings were filmed by our colleague at the Shanghai Animation studio, I did the final edit and lab work in New York, and our Mongolian-American baby went out into the world.