Roy del Espacio (lost Mexican animated film; 1983): Difference between revisions

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'''''Roy Del Espacio''''' (aka '''''Roy From Space''''') was a Mexican animated movie directed by Hector Lopez Carmona, Rafael Angel Gil and Ulises P. Aguirre that was produced from 1979 to 1982, being released in theaters in Mexico City on March 3rd, 1983.<ref>[https://books.google.com.co/books?id=XLxBcHacjkAC&pg=PA164&lpg=PA164&dq=roy+del+espacio+1983&source=bl&ots=UgX0vBdrea&sig=ACfU3U1506mcNNay_p6TIwfmSLt4aby-Pg&hl=es&sa=X&ved=2ahUKEwjqpOfDtevqAhUEnOAKHVDtCjsQ6AEwFXoECAoQAQ#v=onepage&q&f=false ''Cartelera cinematográfica, 1980-1989''.] Retrieved 26 Jul '20</ref> It was the third Mexican animated feature film made. The online information about Carmona and Gil is nonexistent, but Perez Aguirre is the only one who has credits as producer and writer of several movies. Aguirre was involved in sex comedies and low-budget explotation films during the eighties, as IMDb shows. Though there is not biographical information about him online, Andy, his daughter, confirmed Pérez Aguirre died in 1997 after a long illness.<ref name=":0">Phone interview with Andy, Ulises Pérez Aguirre's daughter, done on October 18, 2021 by Donrodrigo63 (Alejandro Vidal Charris).</ref> The scarce plot details found on the ''Anuario Cinematográfico 84'' (Cinematographic Yearbook 84), edited by the National Autonomous University of Mexico Film Archive (Filmoteca UNAM) and published in 1984, go as follow: Alome, emperor of a distant red planet, threatens to destroy Earth. Roy, Dr. Faz and psychologist Elena are sent by Earth leaders in a peace mission to this planet, but they get involved in a series of adventures that include romance, robot fights and space battles. According to information from Cineteca Nacional, the movie had a runtime of 63 minutes.  
'''''Roy Del Espacio''''' (aka '''''Roy From Space''''') was a Mexican animated movie directed by Hector Lopez Carmona, Rafael Angel Gil and Ulises P. Aguirre that was produced from 1979 to 1982, being released in twelve theaters in Mexico City on March 3rd, 1983.<ref>Amador, M., L. & Ayala Blanco, J. (2006). ''[https://books.google.com.co/books?id=XLxBcHacjkAC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q=roy%20del%20espacio&f=false Cartelera Cinematográfica 1980-1989]''. Universidad Nacional Autónoma de México.</ref> It was the third Mexican animated feature film made. The online information about Carmona and Gil is nonexistent, but Perez Aguirre is the only one who has credits as producer and writer of several movies. Aguirre was involved in sex comedies and low-budget exploitation films during the eighties, as IMDb shows. Though there is not biographical information about him online, Andy, his daughter, confirmed Pérez Aguirre died in 1997 after a long illness.<ref name=":0">Phone interview with Andy, Ulises Pérez Aguirre's daughter, done on October 18, 2021 by Donrodrigo63 (Alejandro Vidal Charris).</ref> The scarce plot details found on the ''Anuario Cinematográfico 84'' (Cinematographic Yearbook 84), edited by the National Autonomous University of Mexico Film Archive (Filmoteca UNAM) and published in 1984, go as follow: Alome, emperor of a distant red planet, threatens to destroy Earth. Roy, Dr. Faz and psychologist Elena are sent by Earth leaders in a peace mission to this planet, but they get involved in a series of adventures that include romance, robot fights and space battles. According to information from Cineteca Nacional, the movie had a runtime of 63 minutes.  


==Production==
==Production==
While many of the details of the production still remain unknown, thanks to a Reddit thread on r/mexico,<ref>[https://reddit.com/r/mexico/comments/ocndb7/roy_del_espacio_1983_película_animada_mexicana/ ''Roy del Espacio (1983) - película animada mexicana perdida''- Reddit] Retrieved 04 Jul '21</ref> where users Modern_harpsichord and Escilas compiled several sources, it is possible to know some details about the production process of the movie. The director, Hector Lopez Carmona, has been described as unprofessional and unskilled, since he had plenty of experience as cameraman, but none as an animator. Carmona was a technician who belonged to the STIC (''Sindicato de Trabajadores de la Industria Cinematográfica'', Union of Workers of the Cinematographic Industry). He had a long career making titles for newsreels, but he had neither animation knowledge nor experience.<ref>[http://132.248.9.195/ptd2009/septiembre/0648139/0648139.pdf ''El Zorro Curioso: cortometraje de animación para niños (Dissertation)''.] Retrieved 04 Jul '21</ref> Finally, about Aguirre Valdez Productores y Distribuidores, (according to the legal authorization for commercial exhibition, included in file A-01421, located at the Cineteca Nacional de México) it is known that it had its headquarters at Avenida Chapultepec No. 428, in Mexico City.
While many of the details of the production still remain unknown, thanks to a Reddit thread on r/mexico,<ref>[https://reddit.com/r/mexico/comments/ocndb7/roy_del_espacio_1983_película_animada_mexicana/ ''Roy del Espacio (1983) - película animada mexicana perdida''- Reddit] Retrieved 04 Jul '21</ref> where users Modern_harpsichord and Escilas compiled several sources, it is possible to know some details about the production process of the movie. The director, Hector Lopez Carmona, has been described as unprofessional and unskilled, since he had plenty of experience as cameraman, but none as an animator. Carmona was a technician who belonged to the STIC (''Sindicato de Trabajadores de la Industria Cinematográfica'', Union of Workers of the Cinematographic Industry). He had a long career making titles for newsreels, but he had neither animation knowledge nor experience.<ref name=":1" /> Finally, about Aguirre Valdez Productores y Distribuidores, (according to the legal authorization for commercial exhibition, included in file A-01421, located at the Cineteca Nacional de México) it is known that it had its headquarters at Avenida Chapultepec No. 428, in Mexico City.


Ignacio "Nacho" Renteria, a veteran animator, and the only known professional artist who worked in the movie, gives a detailed account of the particular conditions in which it was produced. His testimony quoted in the book ''El Episodio Perdido: historia del cine mexicano de animación'' (The Lost Episode: History of Mexican Animated Cinema), written by historian Juan Manuel Aurrecoechea and published by Cineteca Nacional in 2004, proves the production process was troubled by lack of experience and overall carelessness: <blockquote>"Hector Lopez, who was a great professional in his field, wanted to make an animated film according to his own ideas. He made makeshift projection mechanisms on the light boxes so some girls could copy an old space travel film frame by frame. Those were girls with no experience at all, hired through newspaper ads. "For such a simple thing, I don't need professionals," said Lopez. It was a painful task. It did not work, the girls could only trace the center of each frame, because the projection on the edges was too blurry. I was the only animator, but he was inflexible, he didn't accept any suggestions. My profession meant very little to him, because he thought I should make two hundred drawings a day when I only was making twenty. When I told him about exposure sheets, he said: "Look, you are the animator, and I am the photographer, so don't talk to me about exposure". It was devastating to me. However, he was an honest man, and he paid me timely, but when I got a better job, I quit."</blockquote> Renteria also said that the paper used for the drawings was tissue paper, instead of the conventionally used bond paper. Moreover, there was not much attention to details, since Renteria tells at times he had problems trying to determine if Roy was holding a gun or another type of weapon, or even if the spaceship that arrived to a place in one scene was the same that departed during the previous one. These accounts confirm the movie was crudely rotoscopied, plagiarizing real-action Flash Gordon movies from the 1936 serial.<ref>[http://web.archive.org/web/20091031003037/http://animacionenmexico.blogspot.com/2008/04/iniciadores-de-la-animacin-en-mxico.html ''Iniciadores de la animación en México: Nacho Rentería. Animación Mexicana (Blog)''] Retrieved 04 Jul '21</ref> In addition to these details, Andy, Pérez Aguirre's daughter, revealed that she and several of her cousins participated in the design of backgrounds, coloring and character drawing when they were all teenagers, thus making the production process a trivial experience for all the involved. According to her, the project in general was the result of a "whim" of her father and Héctor López, who had been great friends since childhood and wanted to produce the movie with no intention to make a profit, and to see "what would happen"<ref name=":0" />
Ignacio "Nacho" Renteria, a veteran animator, and the only known professional artist who worked in the movie, gives a detailed account of the particular conditions in which it was produced. His testimony quoted in the book ''El Episodio Perdido: historia del cine mexicano de animación'' (The Lost Episode: History of Mexican Animated Cinema), written by historian Juan Manuel Aurrecoechea and published by Cineteca Nacional in 2004, proves the production process was troubled by lack of experience and overall carelessness: <blockquote>"Hector Lopez, who was a great professional in his field, wanted to make an animated film according to his own ideas. He made makeshift projection mechanisms on the light boxes so some girls could copy an old space travel film frame by frame. Those were girls with no experience at all, hired through newspaper ads. "For such a simple thing, I don't need professionals," said Lopez. It was a painful task. It did not work, the girls could only trace the center of each frame, because the projection on the edges was too blurry. I was the only animator, but he was inflexible, he didn't accept any suggestions. My profession meant very little to him, because he thought I should make two hundred drawings a day when I only was making twenty. When I told him about exposure sheets, he said: "Look, you are the animator, and I am the photographer, so don't talk to me about exposure". It was devastating to me. However, he was an honest man, and he paid me timely, but when I got a better job, I quit."</blockquote> Renteria also said that the paper used for the drawings was tissue paper, instead of the conventionally used bond paper. Moreover, there was not much attention to details, since Renteria tells at times he had problems trying to determine if Roy was holding a gun or another type of weapon, or even if the spaceship that arrived to a place in one scene was the same that departed during the previous one. These accounts confirm the movie was crudely rotoscopied, plagiarizing real-action Flash Gordon movies from the 1936 serial.<ref>[http://web.archive.org/web/20091031003037/http://animacionenmexico.blogspot.com/2008/04/iniciadores-de-la-animacin-en-mxico.html ''Iniciadores de la animación en México: Nacho Rentería. Animación Mexicana (Blog)''] Retrieved 04 Jul '21</ref> In April 2022, user Agustín K., from the Fandom platform, was able to determine the Flash Gordon movies used for the animation, which were the three first episodes from the serial:  ''The Planet of Peril, The Tunnel of Terror'' and ''Captured by Shark Men.'' Starting from the few extant lobby cards, he could find the exact plagiarized scenes. They can be seen in the gallery of this article.


==Premiere==
In addition to these details, Andy, Pérez Aguirre's daughter, revealed that she and several of her cousins participated in the design of backgrounds, coloring and character drawing when they were all teenagers, thus making the production process a trivial experience for all the involved. According to her, the project in general was the result of a "whim" of her father and Héctor López, who had been great friends since childhood and wanted to produce the movie with no intention to make a profit, and to see "what would happen"<ref name=":0" />
''Roy del Espacio'' was finally premiered on March 3, 1983 in twelve cinemas from Mexico City, a good amount of theaters for a Mexican movie at the time. Despite this, the final result was of really poor quality, so much that the movie was pulled from ten of those twelve theaters, only two days after its premiere. The other two remaining ones played the movie for one more week.<ref>[https://132.248.9.195/ptd2009/septiembre/0648139/0648139.pdf ''El Zorro Curioso: cortometraje de animación para niños (Dissertation)''] Retrieved 04 Jul '21</ref> Fernando Ruiz, another renowned
 
animator, and one of the very few people who actually managed to see the movie, said in this regard: ''"we were five people in the theater. But after a while, I was the only person there, and I was forced to stay because I work as an animator"''.<ref>[https://biblio.upmx.mx/tesis/150370.pdf ''Revisión histórica y recopilación de cortometrajes de animación producidos en México (1917-2014) (Dissertation)''] Retrieved 04 Jul '21</ref> After this short-lived screening time, no other exhibition attempts were heard of. The movie was never broadcasted on TV nor released on home video. It would take another 24 years for another Mexican animated feature film to be released commercially.
==Premiere ==
''Roy del Espacio'' was finally premiered on March 3, 1983 in twelve cinemas from Mexico City, a good amount of theaters for a Mexican movie at the time. Despite this, the final result was of really poor quality, so much that the movie was pulled from ten of those twelve theaters, only two days after its premiere. The other two remaining ones played the movie for one more week.<ref name=":1" /> Fernando Ruiz, another renowned animator, and one of the very few people who actually managed to see the movie, said in this regard: ''"we were five people in the theater. But after a while, I was the only person there, and I was forced to stay because I work as an animator"''.<ref name=":1" /> After this short-lived screening time, no other exhibition attempts were heard of. The movie was never broadcasted on TV nor released on home video. It would take another 24 years for another Mexican animated feature film to be released commercially.


In October 2021, and thanks to the efforts of users Alexch1928 (Donrodrigo63 on this site) and Paco Cifuentes, from the Spanish-speaking version of the LMW (on the Fandom platform), it was confirmed that the original film negatives of the film are still stored at Cineteca Nacional de México. However, Pérez Aguirre's widow, is the rights owner of this material and the only person who can give authorization to release or transfer the movie to other formats. No agreement has been reached regarding any possible digitalization of the film, keeping it inaccessible for the time being.<ref name=":0" />
In October 2021, and thanks to the efforts of users Alexch1928 (Donrodrigo63 on this site) and Paco Cifuentes, from the Spanish-speaking version of the LMW (on the Fandom platform), it was confirmed that the original film negatives of the film are still stored at Cineteca Nacional de México. However, Pérez Aguirre's widow, is the rights owner of this material and the only person who can give authorization to release or transfer the movie to other formats. No agreement has been reached regarding any possible digitalization of the film, keeping it inaccessible for the time being.<ref name=":0" />


==Mentions==
==Mentions==
While the online information available is still limited to a handful of websites, the movie has been mentioned or reviewed in three books throughout these years. The first mention is made in ''Anuario Cinematográfico 84'' (Cinematographic Yearbook 84).<ref>Pérez Turrent, T. (Coord.). (1984). ''Anuario Cinematográfico 84''. Filmoteca UNAM</ref>. The book has a synopsis, which is the one mentioned at the beginning of this article. The second reference can be found in the book ''El Episodio Perdido'', which has been quoted throughout this article. <ref>Aurrecoechea, J. M. (2004). ''El episodio perdido: Historia del cine mexicano de animación''. Cineteca Nacional</ref>. Aurrecoechea quotes again Fernando Ruiz' account which describes the film as ''"an extravagance, a daring experiment and (…) an absolute disaster"''. The third reference is part of ''El Futuro más Acá: Cine mexicano de Ciencia Ficción'', a book edited by Itala Schmelz and published by CONACULTA in 2006. The only two lines reffering to the movie state that the producers of the flim wanted to publish a comic based on the character, but it never happened (p. 262)<ref>Schmelz, I. (Coord.). (2006). ''El Futuro más Acá: Cine mexicano de Ciencia Ficción''. CONACULTA</ref>
While the online information available is still limited to a handful of websites, the movie has been mentioned or reviewed in three books throughout these years. The first mention is made in ''Anuario Cinematográfico 84'' (Cinematographic Yearbook 84).<ref>Pérez Turrent, T. (Coord.). (1984). ''Anuario Cinematográfico 84''. Filmoteca UNAM</ref>. The book has a synopsis, which is the one mentioned at the beginning of this article. The second reference can be found in the book ''El Episodio Perdido'', which has been quoted throughout this article.<ref name=":1">Aurrecoechea, J. M. (2004). ''El episodio perdido: Historia del cine mexicano de animación''. Cineteca Nacional</ref> Aurrecoechea quotes again Fernando Ruiz' account which describes the film as ''"an extravagance, a daring experiment and (…) an absolute disaster"''. The third reference is part of ''El Futuro más Acá: Cine mexicano de Ciencia Ficción'', a book edited by Itala Schmelz and published by CONACULTA in 2006. The only two lines reffering to the movie state that the producers of the flim wanted to publish a comic based on the character, but it never happened (p. 262).<ref>Schmelz, I. (Coord.). (2006). ''El Futuro más Acá: Cine mexicano de Ciencia Ficción''. CONACULTA</ref>


==Alternative Material Found==
==Alternative Material Found==

Revision as of 22:22, 1 May 2022

Roy del espacio.jpg

Promotional poster containing a still from the movie.

Status: Lost

Roy Del Espacio (aka Roy From Space) was a Mexican animated movie directed by Hector Lopez Carmona, Rafael Angel Gil and Ulises P. Aguirre that was produced from 1979 to 1982, being released in twelve theaters in Mexico City on March 3rd, 1983.[1] It was the third Mexican animated feature film made. The online information about Carmona and Gil is nonexistent, but Perez Aguirre is the only one who has credits as producer and writer of several movies. Aguirre was involved in sex comedies and low-budget exploitation films during the eighties, as IMDb shows. Though there is not biographical information about him online, Andy, his daughter, confirmed Pérez Aguirre died in 1997 after a long illness.[2] The scarce plot details found on the Anuario Cinematográfico 84 (Cinematographic Yearbook 84), edited by the National Autonomous University of Mexico Film Archive (Filmoteca UNAM) and published in 1984, go as follow: Alome, emperor of a distant red planet, threatens to destroy Earth. Roy, Dr. Faz and psychologist Elena are sent by Earth leaders in a peace mission to this planet, but they get involved in a series of adventures that include romance, robot fights and space battles. According to information from Cineteca Nacional, the movie had a runtime of 63 minutes.

Production

While many of the details of the production still remain unknown, thanks to a Reddit thread on r/mexico,[3] where users Modern_harpsichord and Escilas compiled several sources, it is possible to know some details about the production process of the movie. The director, Hector Lopez Carmona, has been described as unprofessional and unskilled, since he had plenty of experience as cameraman, but none as an animator. Carmona was a technician who belonged to the STIC (Sindicato de Trabajadores de la Industria Cinematográfica, Union of Workers of the Cinematographic Industry). He had a long career making titles for newsreels, but he had neither animation knowledge nor experience.[4] Finally, about Aguirre Valdez Productores y Distribuidores, (according to the legal authorization for commercial exhibition, included in file A-01421, located at the Cineteca Nacional de México) it is known that it had its headquarters at Avenida Chapultepec No. 428, in Mexico City.

Ignacio "Nacho" Renteria, a veteran animator, and the only known professional artist who worked in the movie, gives a detailed account of the particular conditions in which it was produced. His testimony quoted in the book El Episodio Perdido: historia del cine mexicano de animación (The Lost Episode: History of Mexican Animated Cinema), written by historian Juan Manuel Aurrecoechea and published by Cineteca Nacional in 2004, proves the production process was troubled by lack of experience and overall carelessness:

"Hector Lopez, who was a great professional in his field, wanted to make an animated film according to his own ideas. He made makeshift projection mechanisms on the light boxes so some girls could copy an old space travel film frame by frame. Those were girls with no experience at all, hired through newspaper ads. "For such a simple thing, I don't need professionals," said Lopez. It was a painful task. It did not work, the girls could only trace the center of each frame, because the projection on the edges was too blurry. I was the only animator, but he was inflexible, he didn't accept any suggestions. My profession meant very little to him, because he thought I should make two hundred drawings a day when I only was making twenty. When I told him about exposure sheets, he said: "Look, you are the animator, and I am the photographer, so don't talk to me about exposure". It was devastating to me. However, he was an honest man, and he paid me timely, but when I got a better job, I quit."

Renteria also said that the paper used for the drawings was tissue paper, instead of the conventionally used bond paper. Moreover, there was not much attention to details, since Renteria tells at times he had problems trying to determine if Roy was holding a gun or another type of weapon, or even if the spaceship that arrived to a place in one scene was the same that departed during the previous one. These accounts confirm the movie was crudely rotoscopied, plagiarizing real-action Flash Gordon movies from the 1936 serial.[5] In April 2022, user Agustín K., from the Fandom platform, was able to determine the Flash Gordon movies used for the animation, which were the three first episodes from the serial: The Planet of Peril, The Tunnel of Terror and Captured by Shark Men. Starting from the few extant lobby cards, he could find the exact plagiarized scenes. They can be seen in the gallery of this article.

In addition to these details, Andy, Pérez Aguirre's daughter, revealed that she and several of her cousins participated in the design of backgrounds, coloring and character drawing when they were all teenagers, thus making the production process a trivial experience for all the involved. According to her, the project in general was the result of a "whim" of her father and Héctor López, who had been great friends since childhood and wanted to produce the movie with no intention to make a profit, and to see "what would happen"[2]

Premiere

Roy del Espacio was finally premiered on March 3, 1983 in twelve cinemas from Mexico City, a good amount of theaters for a Mexican movie at the time. Despite this, the final result was of really poor quality, so much that the movie was pulled from ten of those twelve theaters, only two days after its premiere. The other two remaining ones played the movie for one more week.[4] Fernando Ruiz, another renowned animator, and one of the very few people who actually managed to see the movie, said in this regard: "we were five people in the theater. But after a while, I was the only person there, and I was forced to stay because I work as an animator".[4] After this short-lived screening time, no other exhibition attempts were heard of. The movie was never broadcasted on TV nor released on home video. It would take another 24 years for another Mexican animated feature film to be released commercially.

In October 2021, and thanks to the efforts of users Alexch1928 (Donrodrigo63 on this site) and Paco Cifuentes, from the Spanish-speaking version of the LMW (on the Fandom platform), it was confirmed that the original film negatives of the film are still stored at Cineteca Nacional de México. However, Pérez Aguirre's widow, is the rights owner of this material and the only person who can give authorization to release or transfer the movie to other formats. No agreement has been reached regarding any possible digitalization of the film, keeping it inaccessible for the time being.[2]

Mentions

While the online information available is still limited to a handful of websites, the movie has been mentioned or reviewed in three books throughout these years. The first mention is made in Anuario Cinematográfico 84 (Cinematographic Yearbook 84).[6]. The book has a synopsis, which is the one mentioned at the beginning of this article. The second reference can be found in the book El Episodio Perdido, which has been quoted throughout this article.[4] Aurrecoechea quotes again Fernando Ruiz' account which describes the film as "an extravagance, a daring experiment and (…) an absolute disaster". The third reference is part of El Futuro más Acá: Cine mexicano de Ciencia Ficción, a book edited by Itala Schmelz and published by CONACULTA in 2006. The only two lines reffering to the movie state that the producers of the flim wanted to publish a comic based on the character, but it never happened (p. 262).[7]

Alternative Material Found

In December 2020, an alternative poster (sold in June 2021) from the movie was listed on Ebay. This poster does not have any movie still as the other one shown on this page. Regarding the origin of the item, the seller claims it comes from a "regional film archive in Mexico that had serviced 20 theaters for 50 years from the 1930s to the 1980s". It also shows on the left top corner the logo of the distribution company, Aguirre Valdez Productores y Distribuidores de Películas S.A. (which has been defunct since long ago, according to Pérez Aguirre's daughter), along with the contact information. In September 2021, a new lobby card was sent by Reddit user u/benritter2 to user u/Modern_harpsichord on account of a post about the movie. Benritter2 said he bought this poster on eBay in 2010, approximately, but he had no further information about the film.[8] This lobby card is identical to the one that illustrates this article, but it has a different still.

Currently, there are three lobby cards available, all of them containing both original art and black and white stills. Those cards, and the full-sized poster, are so far the only visual information of any kind available from the movie.

Gallery

External Links

References

  1. Amador, M., L. & Ayala Blanco, J. (2006). Cartelera Cinematográfica 1980-1989. Universidad Nacional Autónoma de México.
  2. 2.0 2.1 2.2 Phone interview with Andy, Ulises Pérez Aguirre's daughter, done on October 18, 2021 by Donrodrigo63 (Alejandro Vidal Charris).
  3. Roy del Espacio (1983) - película animada mexicana perdida- Reddit Retrieved 04 Jul '21
  4. 4.0 4.1 4.2 4.3 Aurrecoechea, J. M. (2004). El episodio perdido: Historia del cine mexicano de animación. Cineteca Nacional
  5. Iniciadores de la animación en México: Nacho Rentería. Animación Mexicana (Blog) Retrieved 04 Jul '21
  6. Pérez Turrent, T. (Coord.). (1984). Anuario Cinematográfico 84. Filmoteca UNAM
  7. Schmelz, I. (Coord.). (2006). El Futuro más Acá: Cine mexicano de Ciencia Ficción. CONACULTA
  8. Roy del Espacio (1983, lost Mexican animated movie) - Second post. Reddit Retrieved 25 Sep '21