In The Shadow Of The Horse Visual Guide Director: David Ondříček LUCKY MAN FILMS

CAST

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 fi nal cast

is underpinned by outstanding, experienced

professionals but at the same time attempts

to present talented, lesser-known faces. The

fi lm’s two headliners hitters are Ivan Trojan and

Sebastian Koch. Trojan is a brilliant stage and

fi lm 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 fi nally 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.

David Ondříček

director and producer

HAKL – Ivan Trojan3—10CAST

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11—25LOCATIONS26—27POSTPRODUCTION28—29AUTOMOBILES30—31COSTUMES SKETCHES

ZENKE – Sebastian Koch JITKA – Barbora Bobulová

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BEŇO – Jaroslav Plesl PÁNEK – Alois Švehlík BÁROVÁ – Blanka Bohdanová TOM – Lucas Saidl KUNC – Marek Taclík JÍLEK – Martin Myšička

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KIRSCH – Miroslav Krobot HUBNER – Petr Vaněk VÍŤA – Jiří Macháčk KARLOS – Tomáš Bambušek JANATA – Norbert Lichý SLUT – Zuzana Bydžovská

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1950’s Prague, Czechoslovakia EXT. StreetScene where Hakl shots horse.Location: Prague 2

LOCATIONS / ART DEPARTMENTReference materials, Locati-ons, Set sketches

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

Honza Vlasákproduction designer

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Director David Ondříček, and screenwriter Mark

Epstein have joined forces to produce an

indubitably ambitious project, In the Shadow

of the Horse. I was delighted to accept the

offer to join them and co-create the visual

aspect of film. As for the art concept, in a

nutshell – I see the colors as being partially

muted, oft supported by a rainy-day atmo-

sphere. The choice of the season for the

shoot is important as well. Additionally, in

contrast to the intimate world of the sub-

urbs, inhabited deck-access apartments

and courtyards, I would like to build an

impersonal world of monumental buildings

defying human scale. All of that will bolster

atmosphere of the story’s 1950s setting. I

personally believe we’ll succeed in making

an impressive period film and am quite loo-

king forward to working on it.

Honza Vlasák

production designer

1950’s Prague, Czechoslovakia EXT. Hakl’s Building

Location: Prague 8

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Hakl’s Building courtyard and Balcony

Studio Set Sketch

EXT./INT. Hakl’s Building – courtyard and balcony 1950’s Common Household, Prague, Czechoslovakia Hakl’s Flat

Studio Set Sketch

14 15

“First republic“ style fl at, Prague Czechoslovakia Bárová’s fl at

Studio Set sketch

INT. Police Headquaters

Location: Prague 7

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1950’s Political showtrial of Milada Horáková, Prague,

Czechslovakia

EXT./INT. Court house

Location: Prague 4

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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

22 23

1950’s Stalin’s Monument, Prague Czechoslovakia EXT. Stalin‘s Monument

Location: Prague 7

EXT: Hospital

Location: Prague 1

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Postproduction Visual – Stalin’s Monument Postproduction Visual – Stalin’s MonumentPOSTPRODUCTION Visual Effects

Digital post-production of In the

Shadow of the Horse at AVION

FILM – the post-production tech-

nology will be chosen in order to

maintain the best technical and

visual quality – that is, fi lm negative

scanning and subsequent proces-

sing in 4K resolution, color gra-

ding with screening on roughly 5m

screen, and fi lm recording on the

industry standard Arrilaser.

Visual effects shots: VFX shots will

be produced in high defi nition (4K)

on the most modern composition

software (Nuke, Fusion) under the

direction of an experienced VFX

supervisor. VFX shots will be qua-

lity-controlled on a movie screen.

That process will ensure “seam-

less” link-up of real and special

effects scenes.

Martin Hřebačka

director AVION FILM

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1950’S VARIOUS AUTOMOBILES

Police Car

Police Car Criminal Police Car Taxi

Secret Police Car Humanitarian Aid Car, Border Scene Post Offi ce Car

Rilke’s Car, Shooting Scene Prison Van

Post Offi ce Car Fire Track, reference photo

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JitkaBárováCOSTUMES SKETCHES

In designing the wardrobe for In

the Shadow of the Horse, there

are naturally a variety of impor-

tant historical factors; at the same

time, however, even more impor-

tant are the character-building fac-

tors in relation to the actors’ dra-

matic 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 audien-

ces - all of that is just as important

as costumes corresponding to the

period, which is naturally a given.

Everything I have mentioned in bri-

ef must come together as a whole

to complement the integral com-

position of the movie’s atmosphe-

re and each of its scenes, and to

help evoke the visual emotions im-

parted by the screenplay and the

director’s realization plan.

Jarmila Konečná

costume designer

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