About this project
About The Film: “ALL ME: The Life and Times of Winfred Rembert”
With his intensely autobiographical paintings, Winfred Rembert, an artist raised in Southwest Georgia, has preserved an important, if often disturbing chapter of American history. His indelible images of toiling in the cotton fields, singing in church, dancing in juke joints, or working on a chain gang (which Rembert himself did for seven years) are especially powerful, because they represent his personal experience, much of it laced with bigotry and injustice. Rembert was almost sixty when he assumed the identity of being artist, and within a relatively short time, he has developed a growing following among collectors and connoisseurs, He has lived to see a one-man show of his work in a top New York American art gallery and to have become the subject of a retrospective exhibition that was seen in leading museums across the country.
In the film about Rembert’s life and rise to recognition, “ALL ME: The Life and Times of Winfred Rembert,” the artist relives his turbulent life. The film makes use of the incredible detail in his paintings as well as archival footage and still images from the time and place, interwoven with the narrative drawn from Rembert’s amazing ability to tell stories in words as well as in pictures. The film is glowing portrait of how an artist—and his art—is made, and it is also a triumphant saga of race in contemporary America.
For more information about "All Me: The Life and Times of Winfred Rembert" and it’s creators, go to: http://www.allmethemovie.com/index.html
WHAT NEEDS TO BE DONE?
The translator we chose for the German version of All Me, Jamila Mohamad Hooker, is both a native German speaker and a media professional with experience working on projects about the lives and cultures of African-Americans. Much of the dialogue in the film reflects the idiom of Southwest Georgia, where Winfred and Patsy and a number of the other characters in the film have their roots. We wanted that the subtlety of language in the English version to be reflected in the German subtitles. We have confidence that Jamila has the sensitivity to deliver that level of translation.
One of the most time-consuming parts of subtitling is the placement of the words and the many decisions that must be made on the spot to condense the language of the translation to fit the tempo of the delivery of the words in an interview bit or in an exchange between two people. It may look easy when it is done well, but subtitling is an art in and of itself, and it require painstaking precision, and much doing and redoing until it feels absolutely right. Even the color of the band that lies behind the words on the screen in the subtitles needs to be tweaked practically shot by shot, depending on the dominant colors in that section of the film, so that the words will stand out enough to be legible but not so much that they take away from what is going on in the pictures. Last but not least, when the word placement is finished, our editor, Doug O'Connor, who was the post production supervisor on All Me, will need to create a new subtitled video master.
To put it another way, we are talking about lots of time and effort, all of which is reflected in the cost of many hours in an editing suite. There are no corners that can be cut if we want it done right.
The festival is in October and the film needs to be in Lucerne by early September. Time flies, maybe even more quickly in the summer, when there are many other distractions going on. If we don't start now, we won't have the processes done in time and in Lucerne in time for the festival.
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Risks and challenges
Compared to the risks of “casting” and shooting a film, and establishing the right tempo and rhythm to the film, the translation of the dialogue, the creation and addition of subtitles and the production a new master is a relatively risk free endeavor.
We know what the language should be, we are placing the phrases (which have been “timecoded;” our translator has told us exactly where each sentence belongs using a code based on minutes and seconds. But, as a second line of defense, we are having those phrases place onto the film by a German-speaking assistant editor. When the subtitles are typed out and applied to the film, we will invite our initial translator into the editing room to comment and possibly correct their placement.
Creating a new master with the subtitles is not a particularly risky endeavor.
The only risk in all of this is that all of it takes more time than we estimated. Our safety for that is having flat fees for all the professionals working on this process of adding German subtitles to the film.
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