Izidor is a 30-minute short film which fictionalizes the real-life tragedies and triumphs of Izidor Ruckel. It takes place in 1988 communist Romania where children with disabilities were banished (there’s archival footage of how they were treated and it’s not for the faint of heart). But Onisa, one of the nannies working at the hospital for disabled children, breaks protocol to take the titular character to spend a day with her children. And that trip ends up changing Izidor’s entire life. I sat down for a virtual chat with director David Kabbe about the animation techniques used in the film, the symbolism of some of its most meaningful scenes, and more.
Film Fugitives: How did you learn about the story of Izidor?
David Kabbe: In 2015, I was introduced to Izidor and Sarah through a mutual friend. They were looking for a director/producer who could come alongside them in the development process. At the time, they were looking for a path towards a feature film. After meeting both Izidor and Sarah, I was deeply curious about his story and the impact he already had in the world. I felt the story of his life was inspiring and a testament of human resilience and love. From that point on, I threw myself into the material and studied the cause/effect of the history and circumstances surrounding his incredible story.
FF: What were the animation techniques used for depicting the center for children with disabilities? More importantly, what was the intent behind using that particular animation style?
David: We used traditional 3D animation techniques and tools to create the characters and mixed in motion capture with animators to make up the performances. In 2022, AI was just in its infancy when it came to moving images and animation. We carefully curated AI processes that could help us cut corners and save money while animating just under thirteen thousand frames and almost 9 minutes of animation. With the small team we had, this was no easy task. The intent for using the animation style was twofold; we couldn’t film the reality of the horrifying conditions in live action (300 deformed and naked children stacked in a room screaming, crying and rocking back and forth) and we needed to lesson the brunt force trauma of a mass audience being thrust into that world on the onset of the film. We did this for emotional effect. We also used the color “Pantone 448 C” which is scientifically the ugliest color in the world to look at as the base color and other little techniques to make the audience uncomfortable with the animation and the room full of children with blurred faces. They seem to disappear in the background but we can always hear them. All of these choices and many more were intentional and we spent many hours, days, weeks, months working on every detail in the film.
FF: What kind of direction did you give to the children for the scenes of Izidor playing around with Onisa’s kids?
David: This is a fun question! Thank you for asking. No one has asked me this. I became a kid with the kids and we just had a fun day. We are on a beautiful apple orchard farm called SunRai Village in Romania. They had horses, sheep, goats, ducks and other animals on the farm. The days usually started with prepping the kids to have fun. And we were so blessed to have such great kids. They made the days fly by. I would make suggestions and they would just be so brave and go for it! I tried to create an imaginative, playful environment that Peter Pan would be proud of and they really delivered. Working with children takes a different approach because you work in 10-15 minute increments with lots of breaks. The days in the forest and on the horse and buggy were awesome because the kids were having so much fun. When it was time to get serious, I would explain the whole scene and its purpose and they would eat it up. I believe in bringing everyone into the process and, if I do my job right, each kid will walk away from the experience believing they could have directed the film.
FF: The food at Onisa’s house looked delicious. Was it all made from scratch? How much of it was consumed on-screen and how much of it was left for the rest of the crew?
David: Another great question! Momma Mia is my adopted Romanian mother. She plays the mother of Onisa in the film and her husband is the character we modeled Albescu (the guard at the gate) after. The property where we filmed the traditional dinner scene was a house on their property that has been preserved as a traditional house from that era. Momma Mia cooked all the traditional food from scratch as if it were the time period. Everything was authentic, even the cake. Not a morsel of food remained. Even at the end of the day, I had a mini director heart attack thinking, “did I get enough B-roll of the food?” while stuffing my face with the last of the sarmale.
FF: The scenes with Onisa’s family can seem ordinary to most viewers because we’re privileged enough to enjoy such moments on a daily basis. But when seen through Izidor’s eyes, it feels so meaningful because it’s rare for him. Was that contrast intentional?
David: Yes, of course. We wanted to have a loving home with a strong father figure, who loves his kids and holds court at dinner where everyone is a captive for his nightly jokes. And Onisa as a strong mother showing her love through cooking and the warmth of the home. Life in Romania at the time was hard but the family was and still is the beating heart of the culture. I wanted to glimpse into that world, not only as a contrast to the orphan/family experience but as a way of bringing Romanian culture to the world and showing how similar we all are. This could be any home in any culture, as certain family dynamics are woven into the fabric of life.
FF: Coming back to the animation process, what techniques were used for Izidor’s nightmare sequence? And why did you decide to differentiate the look of the animation in the nightmare sequence from the one in the center for children with disabilities?
David: We used VR sculpting to design and create the characters and a simple animation process for the nightmare sequence. We needed to differentiate the animation styles to leave no doubt in the viewers mind that this was a nightmare. I didn’t want there to be this moment that tricked the audience into believing this was a real moment for Izidor and then reveal later that it was only a dream. I wanted the audience to trust the story and not feel misled in any way. Because we are telling a story based on true events with multiple media styles, it seemed out of place to use misdirection. As the director, I want to have the audience fully immersed in the story and fully committed to following the emotional journey of Izidor to the end without questioning or even thinking about the techniques or who made the film.
FF: The archival footage is truly painful to look at. What was your initial reaction to learn about such horrors?
David: It was and still is horrifying. I still get emotional looking at the archival footage. My background in war documentation and genocide documentation does not dull the senses to such tragedy. No child should ever have to endure this kind of suffering. It’s the reason we limited the exposure of the audience and only showed flashes. It serves its purpose for the story, the desired effect is satiated and we get the point across without having to overdo it. Less is more.
FF: What’s the significance of the final scene between the young and old versions of Izidor?
David: We all face that kid in us. What more can I say? A picture says a thousand words.
FF: Which are the movies that have influenced your storytelling, especially while making Izidor?
David: Chariots of Fire in my youth because of the use of two protagonists, the score and the message of sacrifice and victory and finally the journey of the film itself to critical acclaim. During the filming, I was watching Come and See, Schindler’s List, The Boy, the Mole, the Fox, and the Horse, Glory, One Flew over the Cuckoo’s Nest, The Kid, and The Bicycle Thief.
FF: What opinions, or overall thoughts, would you want the viewers to have after watching Izidor?
David: This is not a film about an orphan, in so much as a film about an adult facing the worst fears and overcoming them. If Izidor can go to the hell that was his childhood and put his trauma to rest, then so can you. Go slay your dragons and find peace! And if you have already done this in your life, then you can be Onisa. You can be the one to bring hope to others through acts of courageous kindness. There is hope, even in the darkest places!
