Painting on Film: Creating the Canvas of 'Loving Vincent'

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Most filmmakers would be insulted to have their work likened to an oil painting, the implication being that the movie is static and unmoving. But “oil painting” was exactly what directors Dorota Kobiela and Hugh Welchman were going for with Loving Vincent, the first fully painted feature film, and a portrayal of van Gogh like no other. 

What Kobiela intended as a short a decade ago expanded into a feature-length enterprise drawing (so to speak) on the expertise of 125 professional oil painters, replicating the Post-Impressionist style of the Dutch master to conjure the 65,000 frames of the film in studios in Greece and Kobiela’s native Poland. Each one is an oil painting, meticulously hand-painted over live footage of the actors enlisted to explore the mysteries of the artist, in a script the co-directors (who fell in love amidst the shoot) co-wrote with Jacek Denhel.

“I thought my passion for van Gogh would result in a film about van Gogh of this type, as the genesis was that I wanted to make a short film combining my passion for painting, for film and for Vincent,” Kobiela, a graduate of Warsaw’s Academy of Fine Arts, recalled. “I trained as a painter, but after I graduated I worked in various roles on films, mainly animated films. I was looking around for a project that would allow me to combine film and painting, and when I was re-reading Vincent’s letters, one book among many that I was reading in search of inspiration, it hit me that Vincent’s story was the perfect story for a painted film, and from the outset I had a clear idea about the visual technique I wanted to use. But to paint an entire feature film by hand in oil paints would have sounded like a crazy idea to me back in 2007—it would have sounded crazy to anyone with experience in animation.”

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