In the shadow of the horse by Paweł Kosuń

In The Shadow Of The Horse

Visual Guide

Director: David Ondříček

LUCKY MAN FILMS

CAST

CAST LOCATIONS POSTPRODUCTION AUTOMOBILES COSTUMES SKETCHES

3—10

11—25

26—27

28—29

30—31

I have been working on the casting for In the Shadow of the Horse for over two years now. In the process, I have endeavored take full advantage of my experience and potentiality from the previous movies, stage directing and dozens of castings I have done. The final cast is underpinned by outstanding, experienced professionals but at the same time attempts to present talented, lesser-known faces. The film’s two headliners hitters are Ivan Trojan and Sebastian Koch. Trojan is a brilliant stage and film actor who debuted ten years ago in the movie Loners, which he also directed. Since then he has become the most popular actor in the Czech Republic. In the Shadow of the Horse is his top priority, and he is also involved in the project as a script advisor. Sebastian Koch fascinated me in The Lives of Others. I have kept an eye on his work ever since, and I finally mustered the courage to ask him to work with me. Despite his myriad offers, he reacted positively to our screenplay. As did the outstanding Slovak actress Barbora Bobulová, who works mainly in Italy. Having these three internationally acclaimed actors work side by side would constitute an extraordinary cinematic event. Alongside them, I have endeavored to assemble a cast that will come off as cohesive and believable. Even for the smaller roles I have selected actors whom I believe have incredible potential. I trust that these bold words will materialize on the silver screen in the movie In the Shadow of the Horse.

HAKL – Ivan Trojan

David Ondříček director and producer

ZENKE – Sebastian Koch

JITKA – Barbora Bobulová

BEŇO – Jaroslav Plesl

PÁNEK – Alois Švehlík

BÁROVÁ – Blanka Bohdanová

TOM – Lucas Saidl

KUNC – Marek Taclík

JÍLEK – Martin Myšička

KIRSCH – Miroslav Krobot

HUBNER – Petr Vaněk

VÍŤA – Jiří Macháčk

KARLOS – Tomáš Bambušek

JANATA – Norbert Lichý

SLUT – Zuzana Bydžovská

LOCATIONS / ART DEPARTMENT Reference materials, Locations, Set sketches

1950’s Prague, Czechoslovakia

EXT. Street Scene where Hakl shots horse. Location: Prague 2

Director screenwriter Mark Director David David Ondříček, Ondříček, and cinematographer Epstein have joined to produce Pawel Edelman and forces screenwriter Markan indubitably ambitious project, In the Shadow Epstein have joined forces to produce an of the Horse. I was delighted the indubitably ambitious project,to Inaccept the Shadow offer join them and co-create visual of thetoHorse. I was delighted to the accept the aspect film. As for art concept, in a offer toof join them andthe co-create the visual nutshell – Iﬁsee thefor colors as being partially aspect of lm. As the art concept, in a muted, by aas rainy-day atmo- nutshelloft – I supported see the colors being partially sphere. Thesupported choice of by theaseason for atmothe muted, oft rainy-day shoot is important Additionally, in sphere. The choiceas ofwell. the season for the contrast to the intimate world of the sub- shoot is important as well. Additionally, in urbs, inhabited contrast to the deck-access intimate worldapartments of the sub- and I would like toapartments build an urbs,courtyards, inhabited deck-access impersonal worldI would of monumental buildings and courtyards, like to build an defying human scale. All of that will bolster impersonal world of monumental buildings atmosphere of the story’s 1950s setting. I defying human scale. All of that will bolster personally believe succeed making atmosphere of thewe’ll story’s 1950sin setting. I an impressive period film and amin quite loo- personally believe we’ll succeed making king forward toperiod working on it. am quite looan impressive ﬁlm and king forward to working on it. Honza Vlasák

production designer Honza Vlasák

production designer

1950’s Prague, Czechoslovakia

EXT. Hakl’s Building Location: Prague 8

EXT./INT. Hakl’s Building – courtyard and balcony

Hakl’s Building courtyard and Balcony Studio Set Sketch

1950’s Common Household, Prague, Czechoslovakia

Hakl’s Flat Studio Set Sketch

“First republic“ style ﬂat, Prague Czechoslovakia

Bárová’s ﬂat Studio Set sketch

INT. Police Headquaters Location: Prague 7

1950â&#x20AC;&#x2122;s Football Pitch, Prague, Czechoslovakia

EXT. Footbal Pitch Location: Lodz, Poland

1950’s Political showtrial of Milada Horáková, Prague, Czechslovakia

EXT./INT. Court house Location: Prague 4

1950’s Wenceslaw square and Old Town Squares, Prague, Czechslovakia

EXT. Wenceslaw square – National Museum Location: Prague 1

EXT. Wenceslaw square – – view down fron the National Museum Location: Prague 1

1950’s Stalin’s Monument, Prague Czechoslovakia

EXT. Stalin‘s Monument Location: Prague 7

EXT: Hospital Location: Prague 1

POSTPRODUCTION Visual Effects

Postproduction Visual – Stalin’s Monument

Digital post-production of In the Shadow of the Horse at AVION FILM – the post-production technology will be chosen in order to maintain the best technical and visual quality – that is, film negative scanning and subsequent processing in 4K resolution, color grading with screening on roughly 5m screen, and film recording on the industry standard Arrilaser. Visual effects shots: VFX shots will be produced in high definition (4K) on the most modern composition software (Nuke, Fusion) under the direction of an experienced VFX supervisor. VFX shots will be quality-controlled on a movie screen. That process will ensure “seamless” link-up of real and special effects scenes. Martin Hřebačka director AVION FILM

1950’S VARIOUS AUTOMOBILES

Police Car

Secret Police Car

Humanitarian Aid Car, Border Scene

Post Ofﬁce Car

Police Car

Criminal Police Car

Taxi

Rilke’s Car, Shooting Scene

Prison Van

Fire Track, reference photo

COSTUMES SKETCHES

Bárová

Jitka

In designing the wardrobe for In the Shadow of the Horse, there are naturally a variety of important historical factors; at the same time, however, even more important are the character-building factors in relation to the actors’ dramatic personas. The colorfulness of the scenes, their succession in the plot, the interchange of colorful and graphically-designed spaces, miniscule historical details that evoke strong emotions in audiences - all of that is just as important as costumes corresponding to the period, which is naturally a given. Everything I have mentioned in brief must come together as a whole to complement the integral composition of the movie’s atmosphere and each of its scenes, and to help evoke the visual emotions imparted by the screenplay and the director’s realization plan. Jarmila Konečná costume designer