{"id":1838,"date":"2025-06-22T11:29:03","date_gmt":"2025-06-22T10:29:03","guid":{"rendered":"https:\/\/mestoakrobatov.si\/?p=1838"},"modified":"2025-06-25T11:31:43","modified_gmt":"2025-06-25T10:31:43","slug":"alvaro-passeri-ko-se-zdruzita-umetnost-in-tehnika","status":"publish","type":"post","link":"http:\/\/mestoakrobatov.si\/eng\/zgodbe-akrobatov\/alvaro-passeri-ko-se-zdruzita-umetnost-in-tehnika\/","title":{"rendered":"Alvaro Passeri - when art and technology merge"},"content":{"rendered":"
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As a teenager, he trained in oil on canvas, graduated in sculpture from the Art Institute of Rome, and studied music and clarinet at the same time. An artist, you might say, but he has the same weight of interest in the technical field, so he went on to study electronics. \"I'm a bit reluctant to say this, because people think I'm completely distracted. That I don't even know what I want to do. But it's not like that - I'm just interested in a lot of things,\" he comments on his versatility.<\/p>\n\n\n\n

From 1973 he worked in the cinema as a set sculptor, and in 1982 he started to create special effects (animals, monsters, miniatures, etc.) for hundreds of films. He even worked with Darius Argento<\/strong>, the king of horror in the 70s and 80s, and James Cameron<\/strong> for his first film \"Pirania\".<\/p>\n\n\n\n

Special effects<\/em> worked at a time when most people had never even heard the term. It was only with the E.T. and Star Wars films that understanding of it slowly spread. Alvar's animations were remarkable for the time! How could he have so much knowledge at a time when there were no schools of this kind, YouTube did not exist and the internet was not even well developed?<\/p>\n\n\n\n

\"By trying. By failing. You know what you want to achieve, but you don't know how. So you try and try until you succeed.\" Every day, she learns new skills, which she selflessly shares through Youtube channel<\/a>. Why? \"When I was young, it would have meant a lot to me if someone had been able to tell me ...\"<\/p>\n\n\n\n

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On one of the shoots, they needed footage of a house explosion. He built a 1:10 scale model of a beautiful house made of wood, with every brick on the roof artistically finished. Whereupon he sees the cameraman start filming. \"It won't be good if you use a telephoto lens and film from ten metres away,\" he quickly warned. \"It will work well if you take a fisheye lens and position the camera closer and slightly from bottom to top...\" The cameraman did not listen. <\/p>\n\n\n\n

When the projection room looked at the footage, all they could hear was Alvarov: \"See, I told you it wouldn't be good.\" He bought cameras and laboratories with a projection room, an art workshop, a separate room for mechanical and electronics development, another for woodworking, and two scaffoldings so that he could film these scenes himself.<\/p>\n\n\n\n

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The end of the 20th century was a turning point in many respects. The development of computers made it possible to create special effects purely virtually, the internet spread around the world and cinema began to lose its power. The horror-crazed Japanese commissioned low-budget films. He made it and negotiated a 7-year licence fee, allowing him to sell the same film to 25 other countries around the world, always for seven years. He has built a business model that brings him a steady income. So he is no stranger to the business side.<\/p>\n\n\n\n

But he was increasingly drawn to the development of mechanics for robots, for performances.  <\/p>\n\n\n\n

When you combine the knowledge of art, technology, electronics, music and animation, and add to all this an endless passion for creation, the result is Animal Orchestra<\/strong>.<\/p>\n\n\n\n

My wife commented, \"If you make an accordion-playing monkey, why not a cleaning monkey?\" Clever wife ... <\/p>\n\n\n