On planet Perdide, an attack of giant hornets leaves Piel – a young boy – alone in a wrecked car with his dying father. A mayday message reaches their friend Jaffar, an adventurer travelling through space. On board Jaffar’s shuttle are the renegade Prince Matton, his fiancée, and Silbad who knows the planet Perdide well. Thus begins an incredible race across space to save Piel…
Les Maîtres du temps is a finely animated metaphysical rescue mission, previously seen in English-speaking countries as a dubbed version entitled Time Masters. The Masters of Cinema Series is proud to present the original French version of Laloux’s distinctive vision in this newly restored 25th anniversary edition.
In France, the director of animated films is an artistic-director but also a promoter: he takes charge of the scenario or the literary adaptation, he proposes the film to a producer, he preoccupies himself with the conception of the film from A to Z, all the way up to the negative. ... There are, also, directors who illustrate, like Paul Grimault or Ralph Bakshi, but most, as was the case with Walt Disney, don't illustrate their own films. Basically, there are two main bosses on an animated film: the financial boss, namely the producer; and the artistic boss, the director, who, in the end, doesn't differ very much from the live-action sort
~ RENE LALOUX, 1996
One of the best things about a Eureka! Masters of Cinema release is the ability to get into the minutiae of the making of a particular film. This they do not only with the plethora of extras usually added onto the dvd but also with the in-depth booklets. This is no exception. Below are extracts from the booklet to whet your appetite.
Noother company comes closes in this respect to Eureka!. They are miles ahead of the field - a universe away from the mainstream film companies who offer as no chance to understand the making of a company.
Breathtakingly in-depth.
PAUL PAGE, 2011
© Below Craig Keller/Eureka! ~ Extracts from Dvd Sleeve Notes
He's obsessed with presenting depictions of "long-distance" communication, either through telepathy, radio-sets and, not infrequenntly, headphone-like devices. He understands that man may be an iland of one, but he exists in an archipelago.
THERE'S ALWAYS A SENSITIVE, EVEN SYMBIOTIC, RELATIONSHIP BETWEEN LALOUX'S FLORA AND FAUNA ... FOR THAT MATTER, CAST AN EYE ON THE STRIKING RESEMBLANCE BETWEEN SOME OF THE PLANT VARIETIES IN LALOUX'S 1982 FILM AND THOSE IN YU SUZUKI'S 1985 SEGA CLASSIC SPACE HARRIER.
The "individual alone" inside of a Laloux film always stumbles across his sympathetic assistant - but because that assistant is Wah-Wah the Quin-Quin in Les Maitres du temps, the less said here the better.
Laloux's not only against fascism, or authoritarianism of any camp-stripe - he's against the individual's loss of identity, and returns constantly in his films to this conflict between total anonymity and blessed idiosyncrasy.
Sadly, neither Laloux nor Moebius had, and have, been able to reflect with any convincing fondness upon the project in the years since its release. The production's move to Hungary had been necessary for the sake of seeing the project through to the end, but at the same time ended up irreparably compromising the pair's original conception of the film's pictorial qualities. Quoting Laloux, shortly before his death:
In hindsight, I consider all my films to be failures, more or less, and this is due to lack of money
He did add, however, that he didn't consider the end result of Les Maitres du temps to be outright "disreputable".
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© estate of rene laloux/eureka!
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© estate of rene laloux/eureka!
© estate of rene laloux/eureka!
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