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Y trabajó también en Día de la Independencia en Rescatando al soldado Ryan alguna de Indiana Jones otra de Terminator de Jurassic Park de Bourne de Men in Black de… En total 40 películas. Entre las últimas Los Fabelman de Spielberg y Los asesinos de la luna de Scorsese los realizadores con los que más ha trabajado.El año que viene va a cumplir 30 años en el mundo de los efectos visuales al que llegó más o menos de casualidad una vez que se marchó a los Estados Unidos.Helman tiene 65 años y antes de trabajar en efectos visuales fue músico. Tocaba la batería en el grupo Los Moros que surgió en 1976 y se separó en 1979. Con Los Moros tuvo un hit propio el vals Dime que sí.\"Grabé los primeros cuatro long plays y me fui a estudiar música a la UCLA en Los Angeles. No sé ni cómo empecé con los efectos. Un canal PBS me ofreció trabajo de compaginador electrónico y ahí me empecé a meter en computadoras\" recordó.Marplatense va a estar mañana viernes en el Festival de Internacional de Cine de Mar del Plata que le entregará en la ceremonia de clausura un Astor a la trayectoria. Y el viernes dará una masterclass con entrada gratuita.Días antes de volar desde San Francisco donde vive y trabaja en la mítica Industrial Light & Magic que era de George Lucas hasta que la vendió a Disney tuvimos un Zoom con él pero desde Londres adonde asistió a la première de Wicked.Precisamente de Wicked y de su trabajo hablamos con Helman quien vuelve a pisar Mar del Plata (y la Argentina) después de muchos años.Premiado en el Festival de Mar del Plata-Venís al Festival de Mar del Plata. ¿Vos tenés todavía familia allí?-No no tengo más. Tengo una hermana que está en Buenos Aires y va a ir al Festival un par de días nada más para estar conmigo.-¿Cuánto hace que no vas a Mar del Plata?-¿Sabés que la última vez que estuve en Mar del Plata fue en una actuación de Los Moros?-Estamos hablando de…-1979. Cuando tenía dos años.-Ja claro claro. ¿Te vas a encontrar con algunos músicos de Los Moros también?-Me voy a encontrar con Marcelo Requena. Es un muchacho de Los Moros que siempre hablamos y nos mandamos correspondencia durante las Navidades. Pero hace mucho que no nos vemos. Hace por lo menos 10 15 años que no voy a la Argentina.-Un montón. ¿Ya tenés pensado en qué va a consistir tu masterclass en el Festival?-Voy a hacer una presentación acerca de los efectos visuales de Wicked y después de una hora o algo así voy a abrir la sesión a preguntas. Tengo un montón de cosas que son antes y después de los efectos visuales. Va a ser una presentación importante en el sentido de que es la primera vez que yo hago un musical. Y el tipo de trabajo es directamente abrazar digamos al teatro al teatro musical que es una cosa completamente diferente de hacer efectos completamente invisibles. Tienen además de ser efectos visuales tienen que ayudar con la parte de contar la historia.-¿Cuál fue el mayor desafío que tuviste con “Wicked”?-El trabajo que yo hago empieza antes de la filmación. O sea que hace tres años que estoy trabajando en este proyecto. Son diez o quince semanas de preproducción. Y después fueron 155 días de filmación porque rodamos dos películas al mismo tiempo. Claro así que estuve viviendo en Londres por un año filmando y bueno ése fue el primer reto. Estar con mi familia dando vueltas y yendo y viniendo a San Francisco donde yo vivo. Y aparte es el trabajo de filmación levantarte a las 4:30 de la mañana y tener un día que son 15 horas de laburo y volver al hotel o al departamento a las 9 de la noche y empezar otra vez hacer lo mismo y hacerlo así 155 días ¿no?Y después está la parte técnica y la parte de contar la historia que fue difícil en la cuestión tecnológica. Porque el proceso del director John M. Chu es un proceso diferente muy práctico en el que filmamos lo más que pudimos en la cámara. Y después toda la parte de efectos visuales completa el contexto de la historia. Y hay un montón de digamos bichos ¿no? o de criaturas digitales que fueron difíciles de crear porque el director no las tenía cuando estaba dirigiendo. Tuvimos que poner un equipo de gente que hace impresiones de animales y así el director tiene algo para dirigir y algo que poner en la compaginación… Y entonces nosotros después empezamos a llenar todas las tomas con las criaturas digitales.El encuentro con el Mago de OzLos últimos 40 minutos de la película que son cuando Elphaba y Glinda se encuentran con el Mago de Oz toda la parte del encuentro la de la transformación de los monos con las alas hasta la parte de acción del globo… ¿Cómo se dice “baloon”?-Sí el globo aerostático.-Sí que va para arriba. Entonces se empieza más o menos a ver qué es lo que va a pasar con la secuencia de Defying Gravity no sé cómo se dice en español (es la canción Desafiando la gravedad) es una de las canciones más famosas del musical. Y toda esa parte fue muy muy difícil porque a pesar de que Cynthia Erivo quería ser ella la que estuviera atada con los cables la tarea del stunt ¿cómo hacer para volar? En la mayoría de las imágenes fue reemplazada. O sea nos quedamos con la cara de ella por supuesto pero como había tantos cables para sostenerla en el aire… Y aparte la capa fue una capa de efectos visuales. Porque no la podía usar por la cuestión de los cables podía enredarse. Y aparte que la capa era acorde a lo que el director quería es como un personaje.-Tiene como una entidad propia digamos dentro de la secuencia.-Sí sí sí en realidad tuvimos muchas conversaciones acerca de cómo como ella vuela. Si necesita la escoba o no. O si alrededor de ella se creaba un vacío donde no hubiera gravedad. Esa parte fue una de las partes de más reto.-Toda esa charla supongo que estuvo dentro de las diez semanas que necesitaron de preproducción hablar con el director y con tu equipo para ver cómo organizaban la escena.-Sí pero con este director fue diferente de cómo trabajo con otros directores. La película me parece que se desarrolla enfrente de todos se desenvuelve cambia… Es una cosa orgánica. Sí por supuesto hay una visión y una metodología para filmarla pero con John M. Cho es una cuestión de sentarse y hablar porque esta película tiene un montón de mensaje social. Y hay que tener cuidado con ese mensaje social tener siempre claro acerca de cuál es el mensaje de la película. Es un mensaje muy inclusivo que también es relevante en el momento en que estamos ¿no? en el mundo.-¿Vos habías visto el musical?-Sí lo vi en Nueva York cuando arrancó y cuando estábamos haciendo la preproducción fuimos todos a ver la producción de Londres. Y ahora está empezando una en San Francisco.-Pablo con respecto a cuántas semanas trabajaste vos en post-producción porque fueron dos películas que tuviste que hacer. La \"Parte 1\" obvio ya está terminada y estrenada pero tu parte de la segunda película todavía no…-No no todavía no empezamos. Ya tenemos filmada la segunda película pero ahora empezamos la parte de postproducción de la segunda película.Nueve meses de trabajo-¿Cuántas semanas te demandó la post-producción de la \"Parte 1\"?-Parece que fueron nueve meses. Pero dentro de esos nueve meses también viajo de San Francisco a Los Ángeles todo el tiempo.-Imagino que con Cho al no ser un director que haya hecho películas que tengan que ver con muchos efectos especiales viene de otro palo debe haber sido otro desafío ¿no?-Sí sí. A pesar de que es un tipo muy inteligente que se acomoda a la cuestión de posproducción en realidad los efectos visuales son muy muy contra hacia el cine digamos. Porque los efectos visuales tienen una parte creativa pero también una parte fisica. O sea que hay que seguir mandando tomas a las compañías que están haciendo los efectos visuales y ésa es la parte que va un poco contra la continuidad porque cuando uno dirige una película quiere empezar desde el principio y quiere seguir porque una de las cosas más difíciles al hacer una película es conseguir el tono de la película. Y me refiero al tono emocional. Y es más difícil cuando arrancás por el medio de la película. Entonces necesitás una metodología que te abra la cabeza y que puedas responder a ese tipo de cosas. Pero John lo hizo. Lo hizo muy bien. Y es una cuestión muy intensa. Por ejemplo la primera toma de la película fue la primera toma que empezamos a hacer hace tres años y fue la última que terminamos. Son solo tres minutos que cambiaron y evolucionaron durante todo el tiempo que estuvimos juntos.-La huelga de los actores también implicó un corte dentro en la producción de la película. ¿Eso cuánto afectó?-Mirá afectó en el sentido de que hicimos 155 días de filmación pero nos cortó justo en la última semana. Ya estábamos por terminar. Y se cortó. Tuvimos que volver de Londres a los Estados Unidos y esperar unos cuatro o cinco meses. Y en enero volvimos a Londres por cuatro semanas porque no es nada más de una semana de rodaje: son dos semanas de preproducción una semana de filmar y otra semana para terminar. Pero no fue que no estuvimos trabajando esos cuatro o cinco meses.-No podían trabajar con los actores.-Claro. En este momento estamos tomando unas tres o cuatro semanas de vacaciones pero el volumen de trabajo que tuvimos en la primera película es igual a la segunda. En la Parte 1 tuvimos 2.200 tomas de efectos visuales o sea que cada toma de la película es un efecto visual… Todos los tulipanes de la escena del comienzo estuvieron plantados pero estuvieron plantados en otro lugar no donde estábamos filmando. O sea que tuvimos que filmar eso y después vino la parte de composición de efectos visuales y los pusimos juntos.-¿Son tulipanes de verdad?-Sí son tulipanes de verdad. Pero no están en el mismo lugar.-¿En qué estudio filmaron en Londres?-En el estudio Sky que es de Universal que está a unos 40 minutos de Londres.A un metro y medio de Ariana Grande-¿Cómo fue cuando conociste a Cynthia Erivo y a Ariana Grande? Fue en la preproducción…-Sí nos conocimos antes. Unas actrices increíbles y unas cantantes increíbles. Fue una cuestión esto de que ellas cantan en vivo. Yo nunca había trabajado en un musical pero como yo tengo mi background en música... Entonces se me juntó todo. Para mí después de 30 años de estar trabajando en cine el principio son las imágenes y al final son las imágenes. Pero en esta película se me juntó la música y el cine en una forma increíble porque estamos en la locación en el stage somos casi 500 personas y las actrices están cantando a cinco pies (un metro y medio) de vos. Una cosa impresionante. Es como estar en un concierto y tener un asiento justo en frente de los cantantes.-Una ubicación privilegiada.-Sí completamente increíble. Ver cómo esta gente naturalmente actúa. Ah y otra cosa que también pasa es que los escenarios digamos son tan grandes… Por ejemplo la parte del bosque la reconstruyeron y hubo un bosque que también lo filmamos afuera pero la mayoría fue dentro del escenario. Y los escenarios son tan grandes que cuando termina el día a eso las nueve de la noche se abren las puertas y los pajaritos entran al escenario. Cuando Cynthia canta en vivo como es a capella los pajaritos empiezan a cantar y esas cosas quedaron también en la película. Fue una experiencia muy linda muy emotiva. Cuando estábamos filmando el Ozdust Ballroom donde todo el mundo le hace burla a ella por tener el sombrero. En esa escena no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado todo mundo estaba llorando. Porque también las tomas fueron de diez minutos.-Largas.-Sí eran muy largas porque el director quería primero hacer los close ups (los planos cortos o primeros planos) y que no molestáramos en la escena. Fue muy emotivo a pesar de que yo estuve trabajando en cosas emotivas todo el trabajo con Scorsese o con Spielberg en Los Fabelman.-¿Y qué tan diferente es relacionarte con un director que no viene tanto del cine de acción? Imagino las charlas que vos tenés con Steven Spielberg o que tuviste con George Lucas ¿cuál es la gran diferencia con “Wicked”?-Mirá es una cosa extraña porque esta película se ha filmado como se hubiera filmado hace 30 años. Pero fue una combinación de efectos necesarios en el escenario y lo que nosotros hacemos después en post-producción en cuanto a efectos visuales. Por ejemplo el tren que las lleva a Oz son como 19 toneladas. Ese tren fue completamente construido excepto el interior. O sea que es una combinación entre efectos especiales y efectos visuales.Lo mismo con la cara la máscara del Mago de Oz. Es un rostro de más o menos unos 20 pies de alto (unos seis metros) y está manejado por una persona que hace animatronics que tiene unas cosas especiales que cambian la expresión de la cara.O por ejemplo todo el agua que ves en la universidad. Esa agua es de verdad nada más que nosotros le cambiamos el color. El color del agua llegó un momento que era marrón. Y te imaginás después de unos 30 días el agua está marrón.-Porque no es agua que corre no circula.-Y estaba llena de patos. Fue una combinación de efectos especiales y efectos visuales también como la biblioteca que da vueltas… Esa biblioteca son unos 19 pies (casi seis metros) de grande de rotación. Es bastante peligroso. Es una cosa increíble que se mueve.-Lo que noté como en tantos musicales pero me parece que aquí más que nada te das cuenta que los escenarios son escenarios. Te sentás a ver la película pero estás viendo también un musical una obra de teatro. Que estás viendo una escenografía premeditadamente.-A pesar de que yo siempre hago efectos o trato de hacer efectos invisibles precisamente los últimos 15 años de mi carrera han sido completamente invisibles aquí fue un trabajo de escenario. Es un trabajo de hacerle un homenaje al origen de cómo empezó esto. Pero también es tener tomar ventaja del cine de cambiar los lentes y ver cosas cercanas a la cara.-Acá no tuviste que rejuvenecer a nadie como a De Niro o Pacino en “El irlandés”.-No en esta película no. El tipo de retos que tuvimos acá fueron de volumen porque todas las tomas son efectos visuales los desafíos acá son de contexto de fuego de agua de humo. Hacer a la bruja volar hacer la burbuja en la que llega Galinda. Hacer luego a todas las criaturas los animales hacer la transformación de los monos y cómo vuelan. Y crear la ciudad Esmeralda. La ciudad estuvo construida pero en el castillo estamos entre 25 y 50 pies de alto (75 metros y 15 metros) pero cuando la cámara va para arriba toda la parte en que se ven todos los edificios todo eso es efectos visuales.-Empiezan digamos con el diseño de producción pero termina en efectos visuales.Helman lleva trabajando en Industrial Light & Magic 28 años “pero estoy a préstamo en Universal porque soy digamos la cabeza de efectos visuales para toda la película. Hay dos compañías que hicieron los efectos visuales. Una se llama Framestore que es de Londres y la otra es ILM. La primera hizo los efectos hasta que Elphaba y Glinda encuentran al Mago de Oz y a partir de ese momento es todo ILM”.-Vos hiciste todo tanto trabajaste con Framestore como con ILM.-Sí como cabeza de Efectos visuales. Fueron mil personas que trabajaron nada más en efectos visuales y yo conozco a todas las personas por el nombre.-Jajaja. Se viene la temporada de premios. Y los efectos de “Wicked” probablemente van a estar ahí.-Los premios son como el cherry on top la cereza del postre. Pero sí lo mejor es no pensar en ese tipo de cosas y dejar que la vida siga.-Sos el argentino con más nominaciones al Oscar. Tuviste tres nominaciones. No es poco.-Tener una nominación es la cereza digamos. Porque en realidad en las nominaciones los que te votan son los de tu rubro. Después quién gana lo deciden todos los votantes de la Academia. Es una cuestión bastante rara cuando hablás de la Academia o de los BAFTA. Cualquier cosa puede pasar cuando hay una votación me imagino que a vos también te pasará que ves que éste ganó un premio y decís ¿cómo puede ser? No tiene ningún sentido.-Gracias Pablo me dan muchas ganas de ver la segunda parte de “Wicked”.-A mí también.","isAccessibleForFree":true,"keywords":"argentino,mago,efectos,visuales,wicked","citation":{"type":"CreativeWork","url":"https://www.clarin.com/espectaculos/argentino-mago-efectos-visuales-wicked_0_IwYOz7u5de.html"},"url":"https://www.clarin.com/espectaculos/argentino-mago-efectos-visuales-wicked_0_IwYOz7u5de.html","image":[{"@context":"http://schema.org","@type":"ImageObject","url":"https://cdn.jwplayer.com/v2/media/db0XjuYT/poster.jpg?width=320","height":180,"width":320}],"articleSection":["Espectáculos"],"author":[{"type":"Person","name":"Pablo O. 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guBLQm NewsContainer Nota-Normal NewsContainer Nota-Normal"><div class="sc-968f7cb1-0 jmXtfk normal-header false normal-header false"><div class="sc-968f7cb1-0 jmXtfk shared-header shared-header"><div class="mt"><h1 class="storyTitle">Quién es el argentino detrás de la “magia” en la película Wicked: “Los efectos visuales tienen una parte creativa, pero también una parte fisica”</h1><h2 class="storySummary"><ul><li>Pablo Helman fue baterista de Los Moros, y en Hollywood ya tiene 3 nominaciones al Oscar.</li><li>Habló en exclusiva con Clarín antes viajar al Festival de Mar del Plata, y cuenta todos los secretos del filme.</li></ul></h2></div><div class="image-container"><div class="player-container"><div class="sc-cdfc64bc-0 fPEUzU jwplayer-container border-video jwplayer-container border-video"><div id="aperturadb0XjuYT"></div><div class="sc-cdfc64bc-1 bBOJyX videoText story-header videoText story-header"><p class="jwt-text-title">Video</p><span>Video trailer de "Wicked"</span></div></div></div></div></div></div><section class="sc-fb6646af-1 bCQdLm"><article id="storyBody" class="sc-fb6646af-2 cxxwNX"><section class="sc-fb6646af-3 grQonE dataStory dataStory"><div class="list-authors has-border-top"><div class="sc-4e7e5c5d-0 hgTTFo list-authors has-border-top speakable-author"><div class="sc-4e7e5c5d-1 fBFTyG bottom-story"><picture><img width="60" height="60" src="https://www.clarin.com/img/authors/pablo-scholz___66686e0521267f001b4afe77.png" alt="Pablo O. Scholz"/></picture><a href="/autor/pablo-o-scholz.html" class="with-image"><div class="author-info single-author flex-column"><div>Pablo O. <br /> Scholz</div><span class="author-place"></span></div></a></div></div></div><div class="place-social-mobile"><div class="sc-21d6e8b1-0 iyySuN SocialMedia SocialMedia"><ul class="socialContainer"><li><button aria-label="facebook" data-red="facebook"><div style="height:27px;align-self:center;justify-self:center;display:flex;width:27px;align-items:center;justify-content:center;align-content:center"><svg fill="black"><symbol xmlns="http://www.w3.org/2000/svg" viewBox="0 0 320 512" id="facebook"><path d="M279.14 288l14.22-92.66h-88.91v-60.13c0-25.35 12.42-50.06 52.24-50.06h40.42V6.26S260.43 0 225.36 0c-73.22 0-121.08 44.38-121.08 124.72v70.62H22.89V288h81.39v224h100.17V288z"></path></symbol><use xlink:href="#facebook"></use></svg></div></button></li><li><button aria-label="twitter" data-red="twitter"><div 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27h.1c122.3 0 224.1-99.6 224.1-222 0-59.3-25.2-115-67.1-157zm-157 341.6c-33.2 0-65.7-8.9-94-25.7l-6.7-4-69.8 18.3L72 359.2l-4.4-7c-18.5-29.4-28.2-63.3-28.2-98.2 0-101.7 82.8-184.5 184.6-184.5 49.3 0 95.6 19.2 130.4 54.1 34.8 34.9 56.2 81.2 56.1 130.5 0 101.8-84.9 184.6-186.6 184.6zm101.2-138.2c-5.5-2.8-32.8-16.2-37.9-18-5.1-1.9-8.8-2.8-12.5 2.8-3.7 5.6-14.3 18-17.6 21.8-3.2 3.7-6.5 4.2-12 1.4-32.6-16.3-54-29.1-75.5-66-5.7-9.8 5.7-9.1 16.3-30.3 1.8-3.7.9-6.9-.5-9.7-1.4-2.8-12.5-30.1-17.1-41.2-4.5-10.8-9.1-9.3-12.5-9.5-3.2-.2-6.9-.2-10.6-.2-3.7 0-9.7 1.4-14.8 6.9-5.1 5.6-19.4 19-19.4 46.3 0 27.3 19.9 53.7 22.6 57.4 2.8 3.7 39.1 59.7 94.8 83.8 35.2 15.2 49 16.5 66.6 13.9 10.7-1.6 32.8-13.4 37.4-26.4 4.6-13 4.6-24.1 3.2-26.4-1.3-2.5-5-3.9-10.5-6.6z"></path></symbol><use xlink:href="#whatsapp"></use></svg></div></button></li><li><button aria-label="share" data-red="share"><div style="height:27px;align-self:center;justify-self:center;display:flex;width:27px;align-items:center;justify-content:center;align-content:center"><svg fill="black"><svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 512 512"><path d="M512,255.995L277.045,65.394v103.574c-17.255,0-36.408,0-57.542,0c-208.59,0-249.35,153.44-201.394,266.128 c9.586-103.098,142.053-100.701,237.358-100.701c7.247,0,14.446,0,21.578,0v112.211L512,255.995z"></path></svg><use xlink:href="#share"></use></svg></div></button></li></ul><ul><li class="comments-number"><img src="/img/comments.svg" alt="comentarios" width="160" height="160" loading="lazy"/><a href="#activateComments" class="number">0</a></li></ul></div></div></section><div class="date"><time class="createDate" dateTime="2024-11-28T13:38:00.000Z"></time></div><div class="StoryTextContainer vsmcontent"><div id="cuerpo"><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>No hay ningún argentino con tantas nominaciones al Oscar como <strong><a href="https://www.clarin.com/espectaculos/argentino-filmo-leo-dicaprio-robert-niro-martin-scorsese_0_GCcRE5ym9i.html?srsltid=AfmBOoomoRaM1Q5Y1HAnP8SJ2Hfo8_YQFSP0nSzMsrjYljGb1KhyskmT" target="_blank" title="Pablo Helman" alt="Pablo Helman">Pablo Helman</a></strong>, supervisor de efectos visuales de <strong><em><a href="https://www.clarin.com/espectaculos/wicked-pelicula-ariana-grande-cynthia-erivo-duo-memorable-tierra-mago-oz_0_0DGriu8Ew1.html" target="_blank" title="Wicked." alt="Wicked.">Wicked</a></em></strong><a href="https://www.clarin.com/espectaculos/wicked-pelicula-ariana-grande-cynthia-erivo-duo-memorable-tierra-mago-oz_0_0DGriu8Ew1.html" target="_blank" title="Wicked." alt="Wicked.">.</a></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Como supervisor de efectos visuales fue candidato al premio de la Academia de Hollywood por <em>Star Wars Episodio II</em>, de <strong><a href="https://www.clarin.com/espectaculos/murio-james-earl-jones-george-lucas-pidio-doblara-voz-darth-vader-villano-famoso_0_MKwz3TF710.html" target="_blank" title="George Lucas" alt="George Lucas">George Lucas</a></strong>, por<em> La guerra de los mundos</em>, de <strong><a href="https://www.clarin.com/espectaculos/streaming-musica-john-williams-mano-spielberg-disney_0_Ri9ADCa8T4.html?srsltid=AfmBOooKK1YdshFdypm9tzK2gef3wHUmRn1dpAqNawz2KGmwMZufszYI" target="_blank" title="Steven Spielberg" alt="Steven Spielberg">Steven Spielberg</a></strong>, y por <strong><em><a href="https://www.clarin.com/espectaculos/cine/irlandes-culpa-traicion_0_HTe6We-Q.html?srsltid=AfmBOoq4IbQVDYjqzde5ew0Dr3sejnFPobJBZMvQWInJbRsAtB0QLP4h" target="_blank" title="El irlandés" alt="El irlandés">El irlandés</a></em></strong>, de Martin Scorsese. Y trabajó también en <em>Día de la Independencia</em>, en <em>Rescatando al soldado Ryan</em>, alguna de <strong><em><a href="https://www.clarin.com/internacional/11-destinos-increibles-filmo-indiana-jones_0_wG6i1BWyRw.html" target="_blank" title="Indiana Jones" alt="Indiana Jones">Indiana Jones</a></em></strong>, otra de <em>Terminator</em>, de <em>Jurassic Park</em>, de<em> Bourne</em>, de <em>Men in Black</em>, de… En total, 40 películas. Entre las últimas, <em>Los Fabelman</em>, de Spielberg, y <em>Los asesinos de la luna</em>, de Scorsese, los realizadores con los que más ha trabajado.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>El año que viene va a cumplir 30 años en el mundo de los efectos visuales, al que llegó más o menos de casualidad una vez que se marchó a los Estados Unidos.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Helman tiene 65 años, y antes de trabajar en efectos visuales, fue músico. Tocaba la batería en el grupo Los Moros, que surgió en 1976 y se separó en 1979. Con Los Moros tuvo un hit propio, el vals <em>Dime que s</em>í.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/2914q0EZv_720x0__1.jpg"/><img alt="Pablo Helman, en la mesa de edición de los efectos visuales de "Wicked". Puede ser su cuarta candidatura al Oscar. Foto: PH" loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/2914q0EZv_720x0__1.jpg"/><span class="epigraphe">Pablo Helman, en la mesa de edición de los efectos visuales de "Wicked". Puede ser su cuarta candidatura al Oscar. Foto: PH</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>"Grabé los primeros cuatro long plays, y me fui a estudiar música a la UCLA, en Los Angeles. No sé ni cómo empecé con los efectos. Un canal, PBS, me ofreció trabajo de compaginador electrónico, y ahí me empecé a meter en computadoras", recordó.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Marplatense, va a estar mañana viernes en el Festival de Internacional de Cine de Mar del Plata, que le entregará, en la ceremonia de clausura, un Astor a la trayectoria. Y el viernes dará una masterclass, con entrada gratuita.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Días antes de volar desde San Francisco, donde vive y trabaja en la mítica Industrial Light & Magic, que era de George Lucas hasta que la vendió a Disney, tuvimos un Zoom con él, pero desde Londres, adonde asistió a la première de <em>Wicked</em>.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/dLzoiKQKA_720x0__1.jpg"/><img alt="Cynthia Erivo y Ariana Grande, las protagonistas. Las actrices y cantantes "interpretaban los temas a capella" en el set en las afueras de Londres." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/dLzoiKQKA_720x0__1.jpg"/><span class="epigraphe">Cynthia Erivo y Ariana Grande, las protagonistas. Las actrices y cantantes "interpretaban los temas a capella" en el set en las afueras de Londres.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Precisamente de <em>Wicked</em> y de su trabajo hablamos con Helman, quien vuelve a pisar Mar del Plata (y la Argentina) después de muchos años.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><h2>Premiado en el Festival de Mar del Plata</h2></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Venís al Festival de Mar del Plata. ¿Vos tenés todavía familia allí?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-No, no tengo más. Tengo una hermana, que está en Buenos Aires y va a ir al Festival un par de días nada más para estar conmigo.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Cuánto hace que no vas a Mar del Plata?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-¿Sabés que la última vez que estuve en Mar del Plata fue en una actuación de Los Moros?</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Estamos hablando de…</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-1979. Cuando tenía dos años.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Ja, claro, claro. ¿Te vas a encontrar con algunos músicos de Los Moros también?</strong></p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2019/12/06/0iO9lBj5_720x0__1.jpg"/><img alt="Los Moros, versión 1978. Pablo Helman, que era el baterista, es el último a la derecha." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2019/12/06/0iO9lBj5_720x0__1.jpg"/><span class="epigraphe">Los Moros, versión 1978. Pablo Helman, que era el baterista, es el último a la derecha.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Me voy a encontrar con Marcelo Requena. Es un muchacho de Los Moros, que siempre hablamos y nos mandamos correspondencia durante las Navidades. Pero hace mucho que no nos vemos. Hace por lo menos 10, 15 años que no voy a la Argentina.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Un montón. ¿Ya tenés pensado en qué va a consistir tu masterclass en el Festival?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Voy a hacer una presentación acerca de los efectos visuales de<em> Wicked</em>, y después de una hora o algo así voy a abrir la sesión a preguntas. Tengo un montón de cosas que son antes y después de los efectos visuales. Va a ser una presentación importante en el sentido de que es la primera vez que yo hago un musical. Y el tipo de trabajo es directamente abrazar, digamos, al teatro, al teatro musical, que es una cosa completamente diferente de hacer efectos completamente invisibles. Tienen además de ser efectos visuales, tienen que ayudar con la parte de contar la historia.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/LFHxQQjwO_720x0__1.jpg"/><img alt=""Los tulipanes de la escena del comienzo estuvieron plantados, pero en otro lugar, no donde estábamos filmando. Con los efectos visuales los pusimos juntos."" loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/LFHxQQjwO_720x0__1.jpg"/><span class="epigraphe">"Los tulipanes de la escena del comienzo estuvieron plantados, pero en otro lugar, no donde estábamos filmando. Con los efectos visuales los pusimos juntos."</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Cuál fue el mayor desafío que tuviste con “Wicked”?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-El trabajo que yo hago empieza antes de la filmación. O sea que hace tres años que estoy trabajando en este proyecto. Son diez o quince semanas de preproducción. Y después fueron 155 días de filmación, porque rodamos dos películas al mismo tiempo. Claro, así que estuve viviendo en Londres por un año, filmando y bueno, ése fue el primer reto. Estar con mi familia, dando vueltas y yendo y viniendo a San Francisco, donde yo vivo. Y aparte es el trabajo de filmación, levantarte a las 4:30 de la mañana y tener un día que son 15 horas de laburo y volver al hotel o al departamento a las 9 de la noche, y empezar otra vez hacer lo mismo y hacerlo así 155 días, ¿no?</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Y después está la parte técnica y la parte de contar la historia, que fue difícil en la cuestión tecnológica. Porque el proceso del director John M. Chu es un proceso diferente, muy práctico, en el que filmamos lo más que pudimos en la cámara. Y después, toda la parte de efectos visuales completa el contexto de la historia. Y hay un montón de, digamos, bichos, ¿no?, o de criaturas digitales que fueron difíciles de crear, porque el director no las tenía cuando estaba dirigiendo. Tuvimos que poner un equipo de gente que hace impresiones de animales, y así el director tiene algo para dirigir y algo que poner en la compaginación… Y entonces nosotros, después empezamos a llenar todas las tomas con las criaturas digitales.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><h2>El encuentro con el Mago de Oz</h2></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Los últimos 40 minutos de la película, que son cuando Elphaba y Glinda se encuentran con el Mago de Oz, toda la parte del encuentro, la de la transformación de los monos, con las alas, hasta la parte de acción del globo… ¿Cómo se dice “baloon”?</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/ODK5T8kmF_720x0__1.jpg"/><img alt="La burbuja en la que Glinda llega, obviamente, fue uno de los efectos visuales más logrados." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/ODK5T8kmF_720x0__1.jpg"/><span class="epigraphe">La burbuja en la que Glinda llega, obviamente, fue uno de los efectos visuales más logrados.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Sí, el globo aerostático.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, que va para arriba. Entonces se empieza más o menos a ver qué es lo que va a pasar con la secuencia de <em>Defying Gravity</em>, no sé cómo se dice en español (es la canción <em>Desafiando la gravedad</em>), es una de las canciones más famosas del musical. Y toda esa parte fue muy, muy difícil, porque a pesar de que Cynthia Erivo quería ser ella la que estuviera atada con los cables, la tarea del stunt, ¿cómo hacer para volar? En la mayoría de las imágenes fue reemplazada. O sea, nos quedamos con la cara de ella, por supuesto, pero como había tantos cables para sostenerla en el aire… Y aparte la capa fue una capa de efectos visuales. Porque no la podía usar, por la cuestión de los cables, podía enredarse. Y aparte que la capa era acorde a lo que el director quería, es como un personaje.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Tiene como una entidad propia, digamos dentro de la secuencia.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, sí, sí, en realidad, tuvimos muchas conversaciones acerca de cómo como ella vuela. Si necesita la escoba o no. O si alrededor de ella se creaba un vacío donde no hubiera gravedad. Esa parte fue una de las partes de más reto.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/18/tTqo7D4iv_720x0__1.jpg"/><img alt="Cynthia Erivo, Ariana Grande y el director Jon M. Chu. "El no habìa hecho películas con efectos visuales. Fue un reto". " loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/18/tTqo7D4iv_720x0__1.jpg"/><span class="epigraphe">Cynthia Erivo, Ariana Grande y el director Jon M. Chu. "El no habìa hecho películas con efectos visuales. Fue un reto". </span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Toda esa charla supongo que estuvo dentro de las diez semanas que necesitaron de preproducción, hablar con el director y con tu equipo para ver cómo organizaban la escena.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, pero con este director fue diferente de cómo trabajo con otros directores. La película me parece que se desarrolla enfrente de todos, se desenvuelve, cambia… Es una cosa orgánica. Sí, por supuesto hay una visión, y una metodología para filmarla, pero con John M. Cho es una cuestión de sentarse y hablar, porque esta película tiene un montón de mensaje social. Y hay que tener cuidado con ese mensaje social, tener siempre claro acerca de cuál es el mensaje de la película. Es un mensaje muy inclusivo, que también es relevante en el momento en que estamos, ¿no?, en el mundo.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Vos habías visto el musical?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, lo vi en Nueva York, cuando arrancó, y cuando estábamos haciendo la preproducción, fuimos todos a ver la producción de Londres. Y ahora está empezando una en San Francisco.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/c0Yj_kPGO_720x0__1.jpg"/><img alt="La "cara" del Mago de Oz. "Sus movimientos se hicieron con animatronics"." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/c0Yj_kPGO_720x0__1.jpg"/><span class="epigraphe">La "cara" del Mago de Oz. "Sus movimientos se hicieron con animatronics".</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Pablo, con respecto a cuántas semanas trabajaste vos en post-producción, porque fueron dos películas que tuviste que hacer. La "Parte 1" obvio ya está terminada y estrenada, pero tu parte de la segunda película todavía no…</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-No, no, todavía no empezamos. Ya tenemos filmada la segunda película, pero ahora empezamos la parte de postproducción de la segunda película.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><h2>Nueve meses de trabajo</h2></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Cuántas semanas te demandó, la post-producción de la "Parte 1"?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Parece que fueron nueve meses. Pero dentro de esos nueve meses también viajo de San Francisco a Los Ángeles todo el tiempo.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/UYp5W8Soz_720x0__1.jpg"/><img alt="La capa de Elphaba no es real cuando ella vuela, porque podía enganchare con los cables que sujetaban el cuerpo." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/UYp5W8Soz_720x0__1.jpg"/><span class="epigraphe">La capa de Elphaba no es real cuando ella vuela, porque podía enganchare con los cables que sujetaban el cuerpo.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Imagino que con Cho, al no ser un director que haya hecho películas que tengan que ver con muchos efectos especiales, viene de otro palo, debe haber sido otro desafío, ¿no?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, sí. A pesar de que es un tipo muy inteligente, que se acomoda a la cuestión de posproducción, en realidad los efectos visuales son muy, muy contra hacia el cine, digamos. Porque los efectos visuales tienen una parte creativa, pero también una parte fisica. O sea que hay que seguir mandando tomas a las compañías que están haciendo los efectos visuales, y ésa es la parte que va un poco contra la continuidad, porque cuando uno dirige una película quiere empezar desde el principio y quiere seguir, porque una de las cosas más difíciles al hacer una película es conseguir el tono de la película. Y me refiero al tono emocional. </p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Y es más difícil cuando arrancás por el medio de la película. Entonces, necesitás una metodología que te abra la cabeza y que puedas responder a ese tipo de cosas. Pero John lo hizo. Lo hizo muy bien. Y es una cuestión muy intensa. Por ejemplo, la primera toma de la película fue la primera toma que empezamos a hacer, hace tres años, y fue la última que terminamos. Son solo tres minutos, que cambiaron y evolucionaron durante todo el tiempo que estuvimos juntos.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-La huelga de los actores también implicó un corte dentro en la producción de la película. ¿Eso cuánto afectó?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Mirá, afectó en el sentido de que hicimos 155 días de filmación, pero nos cortó justo en la última semana. Ya estábamos por terminar. Y se cortó. Tuvimos que volver de Londres a los Estados Unidos y esperar unos cuatro o cinco meses. Y en enero volvimos a Londres por cuatro semanas, porque no es nada más de una semana de rodaje: son dos semanas de preproducción, una semana de filmar y otra semana para terminar. Pero no fue que no estuvimos trabajando esos cuatro o cinco meses.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/YQkh8Ri1e_720x0__1.jpg"/><img alt="Fueron 155 días de rodaje (para las dos partes de "Wicked"). Y Helman siguió con los efectos en post-producción por nueve meses más." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/YQkh8Ri1e_720x0__1.jpg"/><span class="epigraphe">Fueron 155 días de rodaje (para las dos partes de "Wicked"). Y Helman siguió con los efectos en post-producción por nueve meses más.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-No podían trabajar con los actores.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Claro. En este momento estamos tomando unas tres o cuatro semanas de vacaciones, pero el volumen de trabajo que tuvimos en la primera película es igual a la segunda. En la <em>Parte 1</em> tuvimos 2.200 tomas de efectos visuales, o sea que cada toma de la película es un efecto visual… Todos los tulipanes de la escena del comienzo estuvieron plantados, pero estuvieron plantados en otro lugar, no donde estábamos filmando. O sea que tuvimos que filmar eso, y después vino la parte de composición de efectos visuales, y los pusimos juntos.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Son tulipanes de verdad?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, son tulipanes de verdad. Pero no están en el mismo lugar.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/oBXtNU7OB_720x0__1.jpg"/><img alt="Un detrá de escena de la segunda parte de "Wicked"... A ver si ubican a algunos personajes..." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/oBXtNU7OB_720x0__1.jpg"/><span class="epigraphe">Un detrá de escena de la segunda parte de "Wicked"... A ver si ubican a algunos personajes...</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿En qué estudio filmaron en Londres?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-En el estudio Sky, que es de Universal, que está a unos 40 minutos de Londres.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><h2>A un metro y medio de Ariana Grande</h2></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Cómo fue cuando conociste a Cynthia Erivo y a Ariana Grande? Fue en la preproducción…</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, nos conocimos antes. Unas actrices increíbles y unas cantantes increíbles. Fue una cuestión esto de que ellas cantan en vivo. Yo nunca había trabajado en un musical, pero como yo tengo mi background en música... Entonces se me juntó todo. Para mí, después de 30 años de estar trabajando en cine, el principio son las imágenes, y al final son las imágenes. Pero en esta película se me juntó la música y el cine en una forma increíble, porque estamos en la locación, en el <em>stage</em> somos casi 500 personas y las actrices están cantando a cinco pies (un metro y medio) de vos. Una cosa impresionante. Es como estar en un concierto y tener un asiento justo en frente de los cantantes.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/rBsOBCqXA_720x0__1.jpg"/><img alt=""Yo nunca había trabajado en un musical, pero como yo tengo mi background en música... Entonces se me juntó todo." " loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/rBsOBCqXA_720x0__1.jpg"/><span class="epigraphe">"Yo nunca había trabajado en un musical, pero como yo tengo mi background en música... Entonces se me juntó todo." </span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Una ubicación privilegiada.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, completamente increíble. Ver cómo esta gente, naturalmente, actúa. Ah, y otra cosa que también pasa es que los escenarios, digamos, son tan grandes… Por ejemplo, la parte del bosque la reconstruyeron, y hubo un bosque que también lo filmamos afuera, pero la mayoría fue dentro del escenario. Y los escenarios son tan grandes que cuando termina el día a eso las nueve de la noche, se abren las puertas y los pajaritos entran al escenario. </p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Cuando Cynthia canta en vivo, como es a capella, los pajaritos empiezan a cantar, y esas cosas quedaron también en la película. Fue una experiencia muy linda, muy emotiva. Cuando estábamos filmando el Ozdust Ballroom, donde todo el mundo le hace burla a ella por tener el sombrero. En esa escena no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado, todo mundo estaba llorando. Porque también las tomas fueron de diez minutos.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Largas.</strong></p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/27/IIBsrawgz_720x0__1.jpg"/><img alt="Pablo Helman es marplatense, y ahora vuelve a su ciudad natal después de 15 años. Le darán un premio en el Festival de Cine." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/27/IIBsrawgz_720x0__1.jpg"/><span class="epigraphe">Pablo Helman es marplatense, y ahora vuelve a su ciudad natal después de 15 años. Le darán un premio en el Festival de Cine.</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, eran muy largas, porque el director quería primero hacer los close ups (los planos cortos, o primeros planos) y que no molestáramos en la escena. Fue muy emotivo, a pesar de que yo estuve trabajando en cosas emotivas, todo el trabajo con Scorsese o con Spielberg, en <em>Los Fabelman</em>.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-¿Y qué tan diferente es relacionarte con un director que no viene tanto del cine de acción? Imagino las charlas que vos tenés con Steven Spielberg, o que tuviste con George Lucas, ¿cuál es la gran diferencia con “Wicked”?</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Mirá, es una cosa extraña, porque esta película se ha filmado como se hubiera filmado hace 30 años. Pero fue una combinación de efectos necesarios en el escenario y lo que nosotros hacemos después en post-producción en cuanto a efectos visuales. Por ejemplo, el tren que las lleva a Oz, son como 19 toneladas. Ese tren fue completamente construido, excepto el interior. O sea que es una combinación entre efectos especiales y efectos visuales.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Lo mismo con la cara, la máscara del Mago de Oz. Es un rostro de más o menos unos 20 pies de alto (unos seis metros) y está manejado por una persona que hace animatronics, que tiene unas cosas especiales que cambian la expresión de la cara.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>O por ejemplo, todo el agua que ves en la universidad. Esa agua es de verdad, nada más que nosotros le cambiamos el color. El color del agua llegó un momento que era marrón. Y te imaginás, después de unos 30 días el agua está marrón.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2005/06/27/SyLoDeqsg_720x0.jpg"/><img alt="Con Steven Spielberg en el rodaje de "Guerra de los mundos", por la que obtuvo su segunda candidatura al Oscar como supervisor de efectos visuales. " loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2005/06/27/SyLoDeqsg_720x0.jpg"/><span class="epigraphe">Con Steven Spielberg en el rodaje de "Guerra de los mundos", por la que obtuvo su segunda candidatura al Oscar como supervisor de efectos visuales. </span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Porque no es agua que corre, no circula.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Y estaba llena de patos. Fue una combinación de efectos especiales y efectos visuales también, como la biblioteca que da vueltas… Esa biblioteca son unos 19 pies (casi seis metros) de grande de rotación. Es bastante peligroso. Es una cosa increíble que se mueve.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Lo que noté, como en tantos musicales, pero me parece que aquí más que nada te das cuenta que los escenarios son escenarios. Te sentás a ver la película, pero estás viendo también un musical, una obra de teatro. Que estás viendo una escenografía, premeditadamente.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-A pesar de que yo siempre hago efectos, o trato de hacer efectos invisibles, precisamente los últimos 15 años de mi carrera han sido completamente invisibles, aquí fue un trabajo de escenario. Es un trabajo de hacerle un homenaje al origen de cómo empezó esto. Pero también es tener, tomar ventaja del cine, de cambiar los lentes y ver cosas cercanas, a la cara.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2024/11/20/2xkvfjXCO_720x0__1.jpg"/><img alt=""Cuando estábamos filmando el Ozdust Ballroom, donde todo el mundo le hace burla a Elphaba por tener el sombrero, no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado..."." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2024/11/20/2xkvfjXCO_720x0__1.jpg"/><span class="epigraphe">"Cuando estábamos filmando el Ozdust Ballroom, donde todo el mundo le hace burla a Elphaba por tener el sombrero, no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado...".</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Acá no tuviste que rejuvenecer a nadie, como a De Niro o Pacino en “El irlandés”.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-No, en esta película no. El tipo de retos que tuvimos acá fueron de volumen, porque todas las tomas son efectos visuales, los desafíos acá son de contexto, de fuego, de agua, de humo. Hacer a la bruja volar hacer la burbuja en la que llega Galinda. Hacer luego a todas las criaturas, los animales, hacer la transformación de los monos y cómo vuelan. Y crear la ciudad Esmeralda. La ciudad estuvo construida, pero en el castillo, estamos entre 25 y 50 pies de alto (7,5 metros y 15 metros), pero cuando la cámara va para arriba, toda la parte en que se ven todos los edificios, todo eso es efectos visuales.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Empiezan, digamos, con el diseño de producción, pero termina en efectos visuales.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>Helman lleva trabajando en Industrial Light & Magic 28 años, “pero estoy a préstamo en Universal porque soy, digamos, la cabeza de efectos visuales para toda la película. Hay dos compañías que hicieron los efectos visuales. Una se llama Framestore, que es de Londres, y la otra es ILM. La primera hizo los efectos hasta que Elphaba y Glinda encuentran al Mago de Oz, y a partir de ese momento es todo ILM”.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2023/10/19/lef2Saae__720x0__1.jpg"/><img alt="Junto a Martin Scorsese en la filmación de "Los asesinos de la luna"." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2023/10/19/lef2Saae__720x0__1.jpg"/><span class="epigraphe">Junto a Martin Scorsese en la filmación de "Los asesinos de la luna".</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Vos hiciste todo, tanto trabajaste con Framestore como con ILM.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Sí, como cabeza de Efectos visuales. Fueron mil personas que trabajaron, nada más en efectos visuales, y yo conozco a todas las personas por el nombre.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Jajaja. Se viene la temporada de premios. Y los efectos de “Wicked” probablemente van a estar ahí.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Los premios son como el cherry on top, la cereza del postre. Pero sí, lo mejor es no pensar en ese tipo de cosas y dejar que la vida siga.</p></div><div class="sc-198be8ec-0 cynXbu image-embed image-embed "><picture class="sc-198be8ec-1 kOjRiQ"><source media="(min-width: 975px)" width="720" height="480" srcSet="https://www.clarin.com/img/2019/12/06/FquePyPH_720x0__1.jpg"/><img alt="A ver cómo quedó. Arnold Schwarzenegger, de verde, y Helman, supervisando, en el rodaje de "Terminator 3: La rebelión de las máquinas"." loading="lazy" width="720" height="480" decoding="async" data-nimg="1" style="color:transparent" src="https://www.clarin.com/img/2019/12/06/FquePyPH_720x0__1.jpg"/><span class="epigraphe">A ver cómo quedó. Arnold Schwarzenegger, de verde, y Helman, supervisando, en el rodaje de "Terminator 3: La rebelión de las máquinas".</span><span class="bkg"></span><span class="picture-open"><button class="open-image" aria-label="Open Image"></button></span></picture></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Sos el argentino con más nominaciones al Oscar. Tuviste tres nominaciones. No es poco.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-Tener una nominación es la cereza, digamos. Porque en realidad en las nominaciones los que te votan son los de tu rubro. Después quién gana lo deciden todos los votantes de la Academia. Es una cuestión bastante rara, cuando hablás de la Academia o de los BAFTA. Cualquier cosa puede pasar cuando hay una votación, me imagino que a vos también te pasará que ves que éste ganó un premio, y decís ¿cómo puede ser? No tiene ningún sentido.</p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p><strong>-Gracias, Pablo, me dan muchas ganas de ver la segunda parte de “Wicked”.</strong></p></div><div class="sc-80531b6b-0 chRIGJ container-text text-embed"><p>-A mí también.</p></div></div></div><div class="sign-separator"><div class="sc-43ca08f1-0 hZNFAV sepFullAdaptive"><hr/><div class="sc-43ca08f1-1 hUxcpi sepFullAdaptive"><div class="left" style="padding-left:0"><div style="position:relative"><h2 class="sep">Sobre la firma</h2></div></div><div class="sponsorHead"></div></div></div></div><div class="list-bottom-authors"><div class="sc-4e7e5c5d-1 fBFTyG bottom-author" style="position:relative"><a href="/autor/pablo-o-scholz.html" aria-label="Pablo O. Scholz" class="sc-198398ff-0 dGmAry"></a><picture><img width="60" height="60" src="https://www.clarin.com/img/authors/pablo-scholz___66686e0521267f001b4afe77.png" alt="Pablo O. Scholz"/></picture><div class="author-info"><span>Pablo O. 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Jurado de la Prensa en Cannes -en dos oportunidades-, Toronto, San Sebastián, de los Premios Hugo y ganador de la BECA AVINA 2006.\u003c/p\u003e","shortBiography":"Editor de la sección Spot / Espectáculos","twitter":"@scholzpablo","instagram":"@pablo.scholz","email":"pscholz@clarin.com","imageUrl":"/authors/pablo-scholz___66686e0521267f001b4afe77.png","category":"4","groups":["espectaculos"],"slug":"pablo-o-scholz"}],"gtm_name":"quien-es-el-argentino-detras-de-la-magia-en-la-pelicula-wicked-los-efectos-visuales-tienen-una-parte-creativa-pero-tambien-una-parte-fisica","publishedDate":"2024-11-28T10:38:00-03:00","formattedPublishedDate":"28 NOV 2024","lastModified":"2024-11-28T10:38:22-03:00","gtmPublishedDate":"2024-11-28T","modificatedAt":"2024-11-28T10:38:22-03:00","keywords":"argentino,mago,efectos,visuales,wicked","metadata":{"typeWeb":"normal","origin":"default","payWallAccessControl":"freemium","sponsored":false,"accessProduct":"CLARIN_D","canHaveAmp":true,"canHaveComments":true,"autoRefresh":false,"titleEnable":false,"footer_visible":true,"ualterDisabled":false,"trinityDisabled":false,"disabledTimelineLiveblog":false,"stopWords":true},"mainParentSectionId":"0","createdAt":"2024-11-27T22:03:09.185Z","createdBy":{"username":"pscholz","email":"PScholz@clarin.com","lastName":"Scholz","firstName":"Pablo","roles":["ROLE_EDITOR","milenium","ROLE_MILENIUM","ROLE_WEB_FEATURES"],"product":"clarin","products":["clarin"],"objectGUID":"22677fd5-3a30-4726-ab48-fc7d3392dcc9","hasBlockPermission":false,"groups":[{"_id":"5807f737833102af374f4e8c","name":"Spot"},{"_id":"56280e002c3df5ae5986f86a","name":"Espectáculos"}],"groupsAD":["grp-clarincentral-editores","grp-clarincentral-milenium","grp-clarincentral-clarin-webfeatures"],"role":"ROLE_EDITOR","aliases":[],"type":"USER"},"body":[{"type":"text","value":"\u003cp\u003eNo hay ningún argentino con tantas nominaciones al Oscar como \u003cstrong\u003e\u003ca href=\"https://www.clarin.com/espectaculos/argentino-filmo-leo-dicaprio-robert-niro-martin-scorsese_0_GCcRE5ym9i.html?srsltid=AfmBOoomoRaM1Q5Y1HAnP8SJ2Hfo8_YQFSP0nSzMsrjYljGb1KhyskmT\" target=\"_blank\" title=\"Pablo Helman\" alt=\"Pablo Helman\"\u003ePablo Helman\u003c/a\u003e\u003c/strong\u003e, supervisor de efectos visuales de \u003cstrong\u003e\u003cem\u003e\u003ca href=\"https://www.clarin.com/espectaculos/wicked-pelicula-ariana-grande-cynthia-erivo-duo-memorable-tierra-mago-oz_0_0DGriu8Ew1.html\" target=\"_blank\" title=\"Wicked.\" alt=\"Wicked.\"\u003eWicked\u003c/a\u003e\u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://www.clarin.com/espectaculos/wicked-pelicula-ariana-grande-cynthia-erivo-duo-memorable-tierra-mago-oz_0_0DGriu8Ew1.html\" target=\"_blank\" title=\"Wicked.\" alt=\"Wicked.\"\u003e.\u003c/a\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eComo supervisor de efectos visuales fue candidato al premio de la Academia de Hollywood por \u003cem\u003eStar Wars Episodio II\u003c/em\u003e, de \u003cstrong\u003e\u003ca href=\"https://www.clarin.com/espectaculos/murio-james-earl-jones-george-lucas-pidio-doblara-voz-darth-vader-villano-famoso_0_MKwz3TF710.html\" target=\"_blank\" title=\"George Lucas\" alt=\"George Lucas\"\u003eGeorge Lucas\u003c/a\u003e\u003c/strong\u003e, por\u003cem\u003e La guerra de los mundos\u003c/em\u003e, de \u003cstrong\u003e\u003ca href=\"https://www.clarin.com/espectaculos/streaming-musica-john-williams-mano-spielberg-disney_0_Ri9ADCa8T4.html?srsltid=AfmBOooKK1YdshFdypm9tzK2gef3wHUmRn1dpAqNawz2KGmwMZufszYI\" target=\"_blank\" title=\"Steven Spielberg\" alt=\"Steven Spielberg\"\u003eSteven Spielberg\u003c/a\u003e\u003c/strong\u003e, y por \u003cstrong\u003e\u003cem\u003e\u003ca href=\"https://www.clarin.com/espectaculos/cine/irlandes-culpa-traicion_0_HTe6We-Q.html?srsltid=AfmBOoq4IbQVDYjqzde5ew0Dr3sejnFPobJBZMvQWInJbRsAtB0QLP4h\" target=\"_blank\" title=\"El irlandés\" alt=\"El irlandés\"\u003eEl irlandés\u003c/a\u003e\u003c/em\u003e\u003c/strong\u003e, de Martin Scorsese. Y trabajó también en \u003cem\u003eDía de la Independencia\u003c/em\u003e, en \u003cem\u003eRescatando al soldado Ryan\u003c/em\u003e, alguna de \u003cstrong\u003e\u003cem\u003e\u003ca href=\"https://www.clarin.com/internacional/11-destinos-increibles-filmo-indiana-jones_0_wG6i1BWyRw.html\" target=\"_blank\" title=\"Indiana Jones\" alt=\"Indiana Jones\"\u003eIndiana Jones\u003c/a\u003e\u003c/em\u003e\u003c/strong\u003e, otra de \u003cem\u003eTerminator\u003c/em\u003e, de \u003cem\u003eJurassic Park\u003c/em\u003e, de\u003cem\u003e Bourne\u003c/em\u003e, de \u003cem\u003eMen in Black\u003c/em\u003e, de… En total, 40 películas. Entre las últimas, \u003cem\u003eLos Fabelman\u003c/em\u003e, de Spielberg, y \u003cem\u003eLos asesinos de la luna\u003c/em\u003e, de Scorsese, los realizadores con los que más ha trabajado.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eEl año que viene va a cumplir 30 años en el mundo de los efectos visuales, al que llegó más o menos de casualidad una vez que se marchó a los Estados Unidos.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eHelman tiene 65 años, y antes de trabajar en efectos visuales, fue músico. Tocaba la batería en el grupo Los Moros, que surgió en 1976 y se separó en 1979. Con Los Moros tuvo un hit propio, el vals \u003cem\u003eDime que s\u003c/em\u003eí.\u003c/p\u003e"},{"_id":"2914q0EZv","type":"image","epigraphe":"Pablo Helman, en la mesa de edición de los efectos visuales de \"Wicked\". Puede ser su cuarta candidatura al Oscar. Foto: PH","value":{"entityId":"10504436_1","author":"FTP CLARIN","title":"Pablo Helman. Foto: PH","clippings":[{"url":"/2024/11/27/2914q0EZv_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/2914q0EZv_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/2914q0EZv_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/2914q0EZv_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/2914q0EZv_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/2914q0EZv_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\"Grabé los primeros cuatro long plays, y me fui a estudiar música a la UCLA, en Los Angeles. No sé ni cómo empecé con los efectos. Un canal, PBS, me ofreció trabajo de compaginador electrónico, y ahí me empecé a meter en computadoras\", recordó.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eMarplatense, va a estar mañana viernes en el Festival de Internacional de Cine de Mar del Plata, que le entregará, en la ceremonia de clausura, un Astor a la trayectoria. Y el viernes dará una masterclass, con entrada gratuita.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eDías antes de volar desde San Francisco, donde vive y trabaja en la mítica Industrial Light \u0026amp; Magic, que era de George Lucas hasta que la vendió a Disney, tuvimos un Zoom con él, pero desde Londres, adonde asistió a la première de \u003cem\u003eWicked\u003c/em\u003e.\u003c/p\u003e"},{"_id":"dLzoiKQKA","type":"image","epigraphe":"Cynthia Erivo y Ariana Grande, las protagonistas. Las actrices y cantantes \"interpretaban los temas a capella\" en el set en las afueras de Londres.","value":{"entityId":"65339554_0","author":"UIP","title":"wicked","clippings":[{"url":"/2024/11/27/dLzoiKQKA_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/dLzoiKQKA_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/dLzoiKQKA_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/dLzoiKQKA_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/dLzoiKQKA_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/dLzoiKQKA_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003ePrecisamente de \u003cem\u003eWicked\u003c/em\u003e y de su trabajo hablamos con Helman, quien vuelve a pisar Mar del Plata (y la Argentina) después de muchos años.\u003c/p\u003e"},{"type":"text","value":"\u003ch2\u003ePremiado en el Festival de Mar del Plata\u003c/h2\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Venís al Festival de Mar del Plata. ¿Vos tenés todavía familia allí?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-No, no tengo más. Tengo una hermana, que está en Buenos Aires y va a ir al Festival un par de días nada más para estar conmigo.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Cuánto hace que no vas a Mar del Plata?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-¿Sabés que la última vez que estuve en Mar del Plata fue en una actuación de Los Moros?\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Estamos hablando de…\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-1979. Cuando tenía dos años.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Ja, claro, claro. ¿Te vas a encontrar con algunos músicos de Los Moros también?\u003c/strong\u003e\u003c/p\u003e"},{"_id":"0iO9lBj5","type":"image","epigraphe":"Los Moros, versión 1978. Pablo Helman, que era el baterista, es el último a la derecha.","value":{"entityId":"859332_1","author":null,"title":"foto anoo 1978 pablo helman ultimo derecha exbaterista grupo banda musica loss moros superviso loss efectos especiales de la pelicula de cine terminator3 terminator tres 3 pablo helman exbaterista grupo banda loss moros buenos aires foto anoo 1978 supervisor efectos especiales","clippings":[{"url":"/2019/12/06/0iO9lBj5_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2019/12/06/0iO9lBj5_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2019/12/06/0iO9lBj5_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2019/12/06/0iO9lBj5_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2019/12/06/0iO9lBj5_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e-Me voy a encontrar con Marcelo Requena. Es un muchacho de Los Moros, que siempre hablamos y nos mandamos correspondencia durante las Navidades. Pero hace mucho que no nos vemos. Hace por lo menos 10, 15 años que no voy a la Argentina.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Un montón. ¿Ya tenés pensado en qué va a consistir tu masterclass en el Festival?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Voy a hacer una presentación acerca de los efectos visuales de\u003cem\u003e Wicked\u003c/em\u003e, y después de una hora o algo así voy a abrir la sesión a preguntas. Tengo un montón de cosas que son antes y después de los efectos visuales. Va a ser una presentación importante en el sentido de que es la primera vez que yo hago un musical. Y el tipo de trabajo es directamente abrazar, digamos, al teatro, al teatro musical, que es una cosa completamente diferente de hacer efectos completamente invisibles. Tienen además de ser efectos visuales, tienen que ayudar con la parte de contar la historia.\u003c/p\u003e"},{"_id":"LFHxQQjwO","type":"image","epigraphe":"\"Los tulipanes de la escena del comienzo estuvieron plantados, pero en otro lugar, no donde estábamos filmando. Con los efectos visuales los pusimos juntos.\"","value":{"entityId":"10504440_1","author":"FTP CLARIN","title":"Pablo Helman. Foto: PH","clippings":[{"url":"/2024/11/27/LFHxQQjwO_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/LFHxQQjwO_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/LFHxQQjwO_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/LFHxQQjwO_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/LFHxQQjwO_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/LFHxQQjwO_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Cuál fue el mayor desafío que tuviste con “Wicked”?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-El trabajo que yo hago empieza antes de la filmación. O sea que hace tres años que estoy trabajando en este proyecto. Son diez o quince semanas de preproducción. Y después fueron 155 días de filmación, porque rodamos dos películas al mismo tiempo. Claro, así que estuve viviendo en Londres por un año, filmando y bueno, ése fue el primer reto. Estar con mi familia, dando vueltas y yendo y viniendo a San Francisco, donde yo vivo. Y aparte es el trabajo de filmación, levantarte a las 4:30 de la mañana y tener un día que son 15 horas de laburo y volver al hotel o al departamento a las 9 de la noche, y empezar otra vez hacer lo mismo y hacerlo así 155 días, ¿no?\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eY después está la parte técnica y la parte de contar la historia, que fue difícil en la cuestión tecnológica. Porque el proceso del director John M. Chu es un proceso diferente, muy práctico, en el que filmamos lo más que pudimos en la cámara. Y después, toda la parte de efectos visuales completa el contexto de la historia. Y hay un montón de, digamos, bichos, ¿no?, o de criaturas digitales que fueron difíciles de crear, porque el director no las tenía cuando estaba dirigiendo. Tuvimos que poner un equipo de gente que hace impresiones de animales, y así el director tiene algo para dirigir y algo que poner en la compaginación… Y entonces nosotros, después empezamos a llenar todas las tomas con las criaturas digitales.\u003c/p\u003e"},{"type":"text","value":"\u003ch2\u003eEl encuentro con el Mago de Oz\u003c/h2\u003e"},{"type":"text","value":"\u003cp\u003eLos últimos 40 minutos de la película, que son cuando Elphaba y Glinda se encuentran con el Mago de Oz, toda la parte del encuentro, la de la transformación de los monos, con las alas, hasta la parte de acción del globo… ¿Cómo se dice “baloon”?\u003c/p\u003e"},{"_id":"ODK5T8kmF","type":"image","epigraphe":"La burbuja en la que Glinda llega, obviamente, fue uno de los efectos visuales más logrados.","value":{"entityId":"65339559_0","author":"UIP","title":"wicked","clippings":[{"url":"/2024/11/27/ODK5T8kmF_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/ODK5T8kmF_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/ODK5T8kmF_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/ODK5T8kmF_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/ODK5T8kmF_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/ODK5T8kmF_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Sí, el globo aerostático.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, que va para arriba. Entonces se empieza más o menos a ver qué es lo que va a pasar con la secuencia de \u003cem\u003eDefying Gravity\u003c/em\u003e, no sé cómo se dice en español (es la canción \u003cem\u003eDesafiando la gravedad\u003c/em\u003e), es una de las canciones más famosas del musical. Y toda esa parte fue muy, muy difícil, porque a pesar de que Cynthia Erivo quería ser ella la que estuviera atada con los cables, la tarea del stunt, ¿cómo hacer para volar? En la mayoría de las imágenes fue reemplazada. O sea, nos quedamos con la cara de ella, por supuesto, pero como había tantos cables para sostenerla en el aire… Y aparte la capa fue una capa de efectos visuales. Porque no la podía usar, por la cuestión de los cables, podía enredarse. Y aparte que la capa era acorde a lo que el director quería, es como un personaje.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Tiene como una entidad propia, digamos dentro de la secuencia.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, sí, sí, en realidad, tuvimos muchas conversaciones acerca de cómo como ella vuela. Si necesita la escoba o no. O si alrededor de ella se creaba un vacío donde no hubiera gravedad. Esa parte fue una de las partes de más reto.\u003c/p\u003e"},{"_id":"tTqo7D4iv","type":"image","epigraphe":"Cynthia Erivo, Ariana Grande y el director Jon M. Chu. \"El no habìa hecho películas con efectos visuales. Fue un reto\".\n","value":{"entityId":"10493171_1","author":"Giles Keyte/Universal Pictures","title":"This image released by Universal Pictures shows Cynthia Erivo, left, and Ariana Grande, with director Jon M. Chu, right, on the set of the film \"Wicked.\" (Universal Pictures via AP)","clippings":[{"url":"/2024/11/18/tTqo7D4iv_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/18/tTqo7D4iv_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/18/tTqo7D4iv_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/18/tTqo7D4iv_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/18/tTqo7D4iv_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/18/tTqo7D4iv_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Toda esa charla supongo que estuvo dentro de las diez semanas que necesitaron de preproducción, hablar con el director y con tu equipo para ver cómo organizaban la escena.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, pero con este director fue diferente de cómo trabajo con otros directores. La película me parece que se desarrolla enfrente de todos, se desenvuelve, cambia… Es una cosa orgánica. Sí, por supuesto hay una visión, y una metodología para filmarla, pero con John M. Cho es una cuestión de sentarse y hablar, porque esta película tiene un montón de mensaje social. Y hay que tener cuidado con ese mensaje social, tener siempre claro acerca de cuál es el mensaje de la película. Es un mensaje muy inclusivo, que también es relevante en el momento en que estamos, ¿no?, en el mundo.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Vos habías visto el musical?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, lo vi en Nueva York, cuando arrancó, y cuando estábamos haciendo la preproducción, fuimos todos a ver la producción de Londres. Y ahora está empezando una en San Francisco.\u003c/p\u003e"},{"_id":"c0Yj_kPGO","type":"image","epigraphe":"La \"cara\" del Mago de Oz. \"Sus movimientos se hicieron con animatronics\".","value":{"entityId":"65339553_0","author":"UIP","title":"wicked","clippings":[{"url":"/2024/11/27/c0Yj_kPGO_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/c0Yj_kPGO_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/c0Yj_kPGO_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/c0Yj_kPGO_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/c0Yj_kPGO_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/c0Yj_kPGO_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Pablo, con respecto a cuántas semanas trabajaste vos en post-producción, porque fueron dos películas que tuviste que hacer. La \"Parte 1\" obvio ya está terminada y estrenada, pero tu parte de la segunda película todavía no…\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-No, no, todavía no empezamos. Ya tenemos filmada la segunda película, pero ahora empezamos la parte de postproducción de la segunda película.\u003c/p\u003e"},{"type":"text","value":"\u003ch2\u003eNueve meses de trabajo\u003c/h2\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Cuántas semanas te demandó, la post-producción de la \"Parte 1\"?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Parece que fueron nueve meses. Pero dentro de esos nueve meses también viajo de San Francisco a Los Ángeles todo el tiempo.\u003c/p\u003e"},{"_id":"UYp5W8Soz","type":"image","epigraphe":"La capa de Elphaba no es real cuando ella vuela, porque podía enganchare con los cables que sujetaban el cuerpo.","value":{"entityId":"65339550_0","author":"UIP","title":"wicked","clippings":[{"url":"/2024/11/27/UYp5W8Soz_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/UYp5W8Soz_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/UYp5W8Soz_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/UYp5W8Soz_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/UYp5W8Soz_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/UYp5W8Soz_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Imagino que con Cho, al no ser un director que haya hecho películas que tengan que ver con muchos efectos especiales, viene de otro palo, debe haber sido otro desafío, ¿no?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, sí. A pesar de que es un tipo muy inteligente, que se acomoda a la cuestión de posproducción, en realidad los efectos visuales son muy, muy contra hacia el cine, digamos. Porque los efectos visuales tienen una parte creativa, pero también una parte fisica. O sea que hay que seguir mandando tomas a las compañías que están haciendo los efectos visuales, y ésa es la parte que va un poco contra la continuidad, porque cuando uno dirige una película quiere empezar desde el principio y quiere seguir, porque una de las cosas más difíciles al hacer una película es conseguir el tono de la película. Y me refiero al tono emocional. \u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eY es más difícil cuando arrancás por el medio de la película. Entonces, necesitás una metodología que te abra la cabeza y que puedas responder a ese tipo de cosas. Pero John lo hizo. Lo hizo muy bien. Y es una cuestión muy intensa. Por ejemplo, la primera toma de la película fue la primera toma que empezamos a hacer, hace tres años, y fue la última que terminamos. Son solo tres minutos, que cambiaron y evolucionaron durante todo el tiempo que estuvimos juntos.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-La huelga de los actores también implicó un corte dentro en la producción de la película. ¿Eso cuánto afectó?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Mirá, afectó en el sentido de que hicimos 155 días de filmación, pero nos cortó justo en la última semana. Ya estábamos por terminar. Y se cortó. Tuvimos que volver de Londres a los Estados Unidos y esperar unos cuatro o cinco meses. Y en enero volvimos a Londres por cuatro semanas, porque no es nada más de una semana de rodaje: son dos semanas de preproducción, una semana de filmar y otra semana para terminar. Pero no fue que no estuvimos trabajando esos cuatro o cinco meses.\u003c/p\u003e"},{"_id":"YQkh8Ri1e","type":"image","epigraphe":"Fueron 155 días de rodaje (para las dos partes de \"Wicked\"). Y Helman siguió con los efectos en post-producción por nueve meses más.","value":{"entityId":"65339548_0","author":"UIP","title":"wicked","clippings":[{"url":"/2024/11/27/YQkh8Ri1e_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/YQkh8Ri1e_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/YQkh8Ri1e_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/YQkh8Ri1e_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/YQkh8Ri1e_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/YQkh8Ri1e_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-No podían trabajar con los actores.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Claro. En este momento estamos tomando unas tres o cuatro semanas de vacaciones, pero el volumen de trabajo que tuvimos en la primera película es igual a la segunda. En la \u003cem\u003eParte 1\u003c/em\u003e tuvimos 2.200 tomas de efectos visuales, o sea que cada toma de la película es un efecto visual… Todos los tulipanes de la escena del comienzo estuvieron plantados, pero estuvieron plantados en otro lugar, no donde estábamos filmando. O sea que tuvimos que filmar eso, y después vino la parte de composición de efectos visuales, y los pusimos juntos.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Son tulipanes de verdad?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, son tulipanes de verdad. Pero no están en el mismo lugar.\u003c/p\u003e"},{"_id":"oBXtNU7OB","type":"image","epigraphe":"Un detrá de escena de la segunda parte de \"Wicked\"... A ver si ubican a algunos personajes...","value":{"entityId":"10504441_1","author":"FTP CLARIN","title":"Pablo Helman. Foto: PH","clippings":[{"url":"/2024/11/27/oBXtNU7OB_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/oBXtNU7OB_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/oBXtNU7OB_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/oBXtNU7OB_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/oBXtNU7OB_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/oBXtNU7OB_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿En qué estudio filmaron en Londres?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-En el estudio Sky, que es de Universal, que está a unos 40 minutos de Londres.\u003c/p\u003e"},{"type":"text","value":"\u003ch2\u003eA un metro y medio de Ariana Grande\u003c/h2\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Cómo fue cuando conociste a Cynthia Erivo y a Ariana Grande? Fue en la preproducción…\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, nos conocimos antes. Unas actrices increíbles y unas cantantes increíbles. Fue una cuestión esto de que ellas cantan en vivo. Yo nunca había trabajado en un musical, pero como yo tengo mi background en música... Entonces se me juntó todo. Para mí, después de 30 años de estar trabajando en cine, el principio son las imágenes, y al final son las imágenes. Pero en esta película se me juntó la música y el cine en una forma increíble, porque estamos en la locación, en el \u003cem\u003estage\u003c/em\u003e somos casi 500 personas y las actrices están cantando a cinco pies (un metro y medio) de vos. Una cosa impresionante. Es como estar en un concierto y tener un asiento justo en frente de los cantantes.\u003c/p\u003e"},{"_id":"rBsOBCqXA","type":"image","epigraphe":"\"Yo nunca había trabajado en un musical, pero como yo tengo mi background en música... Entonces se me juntó todo.\" ","value":{"entityId":"10504437_1","author":"FTP CLARIN","title":"Pablo Helman. Foto: PH","clippings":[{"url":"/2024/11/27/rBsOBCqXA_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/rBsOBCqXA_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/rBsOBCqXA_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/rBsOBCqXA_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/rBsOBCqXA_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/rBsOBCqXA_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Una ubicación privilegiada.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, completamente increíble. Ver cómo esta gente, naturalmente, actúa. Ah, y otra cosa que también pasa es que los escenarios, digamos, son tan grandes… Por ejemplo, la parte del bosque la reconstruyeron, y hubo un bosque que también lo filmamos afuera, pero la mayoría fue dentro del escenario. Y los escenarios son tan grandes que cuando termina el día a eso las nueve de la noche, se abren las puertas y los pajaritos entran al escenario. \u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eCuando Cynthia canta en vivo, como es a capella, los pajaritos empiezan a cantar, y esas cosas quedaron también en la película. Fue una experiencia muy linda, muy emotiva. Cuando estábamos filmando el Ozdust Ballroom, donde todo el mundo le hace burla a ella por tener el sombrero. En esa escena no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado, todo mundo estaba llorando. Porque también las tomas fueron de diez minutos.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Largas.\u003c/strong\u003e\u003c/p\u003e"},{"_id":"IIBsrawgz","type":"image","epigraphe":"Pablo Helman es marplatense, y ahora vuelve a su ciudad natal después de 15 años. Le darán un premio en el Festival de Cine.","value":{"entityId":"10504438_1","author":"FTP CLARIN","title":"Pablo Helman. Foto: PH","clippings":[{"url":"/2024/11/27/IIBsrawgz_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/27/IIBsrawgz_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/27/IIBsrawgz_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/27/IIBsrawgz_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/27/IIBsrawgz_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/27/IIBsrawgz_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e-Sí, eran muy largas, porque el director quería primero hacer los close ups (los planos cortos, o primeros planos) y que no molestáramos en la escena. Fue muy emotivo, a pesar de que yo estuve trabajando en cosas emotivas, todo el trabajo con Scorsese o con Spielberg, en \u003cem\u003eLos Fabelman\u003c/em\u003e.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-¿Y qué tan diferente es relacionarte con un director que no viene tanto del cine de acción? Imagino las charlas que vos tenés con Steven Spielberg, o que tuviste con George Lucas, ¿cuál es la gran diferencia con “Wicked”?\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Mirá, es una cosa extraña, porque esta película se ha filmado como se hubiera filmado hace 30 años. Pero fue una combinación de efectos necesarios en el escenario y lo que nosotros hacemos después en post-producción en cuanto a efectos visuales. Por ejemplo, el tren que las lleva a Oz, son como 19 toneladas. Ese tren fue completamente construido, excepto el interior. O sea que es una combinación entre efectos especiales y efectos visuales.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eLo mismo con la cara, la máscara del Mago de Oz. Es un rostro de más o menos unos 20 pies de alto (unos seis metros) y está manejado por una persona que hace animatronics, que tiene unas cosas especiales que cambian la expresión de la cara.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eO por ejemplo, todo el agua que ves en la universidad. Esa agua es de verdad, nada más que nosotros le cambiamos el color. El color del agua llegó un momento que era marrón. Y te imaginás, después de unos 30 días el agua está marrón.\u003c/p\u003e"},{"_id":"SyLoDeqsg","type":"image","epigraphe":"Con Steven Spielberg en el rodaje de \"Guerra de los mundos\", por la que obtuvo su segunda candidatura al Oscar como supervisor de efectos visuales.\n","value":{"entityId":"1106462_1","author":null,"title":null,"clippings":[{"url":"/2005/06/27/SyLoDeqsg_720x0.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2005/06/27/SyLoDeqsg_1200x0.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2005/06/27/SyLoDeqsg_340x340.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2005/06/27/SyLoDeqsg_312x240.jpg","_id":"autos_full","dimensions":{"width":312,"height":240}},{"url":"/2005/06/27/SyLoDeqsg_1256x620.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Porque no es agua que corre, no circula.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Y estaba llena de patos. Fue una combinación de efectos especiales y efectos visuales también, como la biblioteca que da vueltas… Esa biblioteca son unos 19 pies (casi seis metros) de grande de rotación. Es bastante peligroso. Es una cosa increíble que se mueve.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Lo que noté, como en tantos musicales, pero me parece que aquí más que nada te das cuenta que los escenarios son escenarios. Te sentás a ver la película, pero estás viendo también un musical, una obra de teatro. Que estás viendo una escenografía, premeditadamente.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-A pesar de que yo siempre hago efectos, o trato de hacer efectos invisibles, precisamente los últimos 15 años de mi carrera han sido completamente invisibles, aquí fue un trabajo de escenario. Es un trabajo de hacerle un homenaje al origen de cómo empezó esto. Pero también es tener, tomar ventaja del cine, de cambiar los lentes y ver cosas cercanas, a la cara.\u003c/p\u003e"},{"_id":"2xkvfjXCO","type":"image","epigraphe":"\"Cuando estábamos filmando el Ozdust Ballroom, donde todo el mundo le hace burla a Elphaba por tener el sombrero, no sabíamos que ella iba a llorar. Imaginate 500 personas ahí al lado...\".","value":{"entityId":"10497190_1","author":"uip","title":"wicked","clippings":[{"url":"/2024/11/20/2xkvfjXCO_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2024/11/20/2xkvfjXCO_2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}},{"url":"/2024/11/20/2xkvfjXCO_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2024/11/20/2xkvfjXCO_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2024/11/20/2xkvfjXCO_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2024/11/20/2xkvfjXCO_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Acá no tuviste que rejuvenecer a nadie, como a De Niro o Pacino en “El irlandés”.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-No, en esta película no. El tipo de retos que tuvimos acá fueron de volumen, porque todas las tomas son efectos visuales, los desafíos acá son de contexto, de fuego, de agua, de humo. Hacer a la bruja volar hacer la burbuja en la que llega Galinda. Hacer luego a todas las criaturas, los animales, hacer la transformación de los monos y cómo vuelan. Y crear la ciudad Esmeralda. La ciudad estuvo construida, pero en el castillo, estamos entre 25 y 50 pies de alto (7,5 metros y 15 metros), pero cuando la cámara va para arriba, toda la parte en que se ven todos los edificios, todo eso es efectos visuales.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Empiezan, digamos, con el diseño de producción, pero termina en efectos visuales.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003eHelman lleva trabajando en Industrial Light \u0026 Magic 28 años, “pero estoy a préstamo en Universal porque soy, digamos, la cabeza de efectos visuales para toda la película. Hay dos compañías que hicieron los efectos visuales. Una se llama Framestore, que es de Londres, y la otra es ILM. La primera hizo los efectos hasta que Elphaba y Glinda encuentran al Mago de Oz, y a partir de ese momento es todo ILM”.\u003c/p\u003e"},{"_id":"lef2Saae_","type":"image","epigraphe":"Junto a Martin Scorsese en la filmación de \"Los asesinos de la luna\".","value":{"entityId":"9915309_1","author":"gentileza PH","title":"Pablo Helman. Fotos gentileza PH","clippings":[{"url":"/2023/10/19/lef2Saae__1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2023/10/19/lef2Saae__340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2023/10/19/lef2Saae__720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2023/10/19/lef2Saae__1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2023/10/19/lef2Saae__360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}},{"url":"/2023/10/19/lef2Saae__2000x1500__1.jpg","_id":"discover","dimensions":{"width":2000,"height":1500}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Vos hiciste todo, tanto trabajaste con Framestore como con ILM.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Sí, como cabeza de Efectos visuales. Fueron mil personas que trabajaron, nada más en efectos visuales, y yo conozco a todas las personas por el nombre.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Jajaja. Se viene la temporada de premios. Y los efectos de “Wicked” probablemente van a estar ahí.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Los premios son como el cherry on top, la cereza del postre. Pero sí, lo mejor es no pensar en ese tipo de cosas y dejar que la vida siga.\u003c/p\u003e"},{"_id":"FquePyPH","type":"image","epigraphe":"A ver cómo quedó. Arnold Schwarzenegger, de verde, y Helman, supervisando, en el rodaje de \"Terminator 3: La rebelión de las máquinas\".","value":{"entityId":"859408_1","author":null,"title":"pablo helman musico argentino exbaterista grupo banda musica loss moros superviso loss efectos especiales pelicula de cine terminator3 terminator tres 3 pablo helman argentino superviso efectos especiales eeuu cine pelicula terminator3 cine pelicula","clippings":[{"url":"/2019/12/06/FquePyPH_720x0__1.jpg","_id":"modal_horizontal_md","dimensions":{"width":720,"height":0}},{"url":"/2019/12/06/FquePyPH_1200x0__1.jpg","_id":"modal_horizontal_xl","dimensions":{"width":1200,"height":0}},{"url":"/2019/12/06/FquePyPH_340x340__1.jpg","_id":"col_listado_1x1","dimensions":{"width":340,"height":340}},{"url":"/2019/12/06/FquePyPH_1256x620__1.jpg","_id":"Apertura_full","dimensions":{"width":1256,"height":620}},{"url":"/2019/12/06/FquePyPH_360x240__1.jpg","_id":"notification","dimensions":{"width":360,"height":240}}]}},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Sos el argentino con más nominaciones al Oscar. Tuviste tres nominaciones. No es poco.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-Tener una nominación es la cereza, digamos. Porque en realidad en las nominaciones los que te votan son los de tu rubro. Después quién gana lo deciden todos los votantes de la Academia. Es una cuestión bastante rara, cuando hablás de la Academia o de los BAFTA. Cualquier cosa puede pasar cuando hay una votación, me imagino que a vos también te pasará que ves que éste ganó un premio, y decís ¿cómo puede ser? No tiene ningún sentido.\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e\u003cstrong\u003e-Gracias, Pablo, me dan muchas ganas de ver la segunda parte de “Wicked”.\u003c/strong\u003e\u003c/p\u003e"},{"type":"text","value":"\u003cp\u003e-A mí también.\u003c/p\u003e"}]},"widgets":[{"name":"Banner","position":"right","bannerId":"caja0"},{"name":"Banner","position":"right","bannerId":"auspicio"},{"name":"Banner","position":"right","bannerId":"caja1"},{"name":"Banner","position":"right","bannerId":"caja2"},{"name":"LatestRigthColumn","title":"Lo Último","limit":5,"position":"right","contentType":["lilanews"],"type":"latest","lastModified":"2024-12-01T13:44:18.000Z","content":[{"_id":"c38lC5cyrd","url":"/mundo/papa-francisco-cito-acuerdo-paz-argentina-chile-ejemplo-mundial-dialogo-frenar-guerras_0_c38lC5cyrd.html","title":"El papa Francisco citó el acuerdo de paz entre Argentina y Chile como ejemplo mundial de diálogo para frenar las guerras","summary":"\u003cul\u003e\u003cli\u003eLo hizo durante el Ángelus de este domingo, en el que hizo un repaso de los conflictos bélicos en el mundo.\u003c/li\u003e\u003cli\u003eEl lunes había encabezado una ceremonia para recordar el acuerdo, a la que no asistió el canciller argentino.\u003c/li\u003e\u003c/ul\u003e","images":[{"_id":"B1ZlCVKUg","type":"image","title":"El papa Francisco puso el acuerdo de paz entre Argentina y Chile como ejemplo de diálogo. 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