As soundtrack work came to be his staple, he moved to the US in 2010, where he worked on movies like Kick-Ass (2010), Sucker Punch (2011) and George Lucas’s animated fairytale musical Strange Magic (2014). De Vries’ first foray into movie soundtracks came with Baz Luhrmann’s Romeo + Juliet (1996), and he later went on to become music director of the same filmmaker’s Moulin Rouge (2001). In the early 1990s he became renowned as a programmer and producer, and he has since worked with the likes of Björk, Annie Lennox, David Bowie, U2, Madonna, Robbie Robertson, Rufus Wainwright and countless others. Originally from London, de Vries actually enjoyed a brief spell in the 1980s writing for Sound On Sound, and also played keyboards in the Blow Monkeys. Add the many on-set recordings, Damien’s tendency to shoot in long, unbroken takes, and the complexity of much of the orchestration, and it meant that the music tech involved was extreme.” From The Topĭe Vries is talking from his Berry Drive studio, in the Arts District of downtown LA. The tiniest vibraphone note that was played too soft or too hard, or with the wrong mallet, had the potential to bring the whole thing down. ![]() Nick hardly slept for the last six months! Damien has such an eye and ear for detail. “The recording and mixing sessions were among the most intense and complex I have ever done,” recalls de Vries. Executive music producer Marius de Vries and music engineer and mixer Nicholai Baxter faced many challenges during the movie’s two-year gestation, and there were times when recording, post and mix sessions required extreme working schedules of 16 hours a day, with some DAW sessions ballooning to Pro Tools' maximum of 768 voices. In the quest for authenticity and emotional honesty, the on-screen musicians and actors had to look and sound 100 percent convincing, and one obvious but technically complicated way of achieving that was to record as much of the singing live on set as possible. The narrative and visualisations move gradually from the primary-coloured and idealised to the gritty and realistic, resulting in an emotionally affecting ending that does not conform to the Hollywood feel-good stereotype.Ī major factor in the movie’s strong emotional impact is that the jazz-flavoured soundtrack favours the gritty and realistic over Hollywood schmaltz and smoothness. Both the visuals and the music are to a significant degree a homage not only to Hollywood musicals from the ’40s and ’50s, but to the romanticism of the French New Wave musicals of Jacques Demy and Michel Legrand. La La Land traces the fortunes and misfortunes of jazz pianist Sebastian (Ryan Gosling) and aspiring actress Mia (Emma Stone), as they try to balance the pursuit of their professional dreams with the needs of their romantic relationship. The virtuoso opening scene, in which hundreds of dancers and singers strut their stuff in a huge traffic jam on a sun-drenched LA freeway overpass, accompanied by an infectious Latin jazz track, has already become iconic. Sales of the soundtrack album have also snowballed, taking it to the top of the UK album chart and to number two in the US. The brainchild of director Damien Chazelle and composer Justin Hurwitz, the musical has, at the time of writing, won a record-breaking seven Golden Globe Awards and garnered a record-equalling 14 Academy Award nominations. Unless you have spent the last few months lost in the jungle, you will know that La La Land has become the biggest movie in a very long time. Photo: Dale RobinetteĪchieving a naturalistic sound on a Hollywood film set isn’t easy - but was central to director Damien Chazelle’s vision for La La Land.
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The problem for developers may be clear, but how do the new Apple developer terms affect customers? Forget for a moment that more time and energy in development probably means higher prices for some software. Some are already, and others are considering pulling their products off the iPhone. Although many developers want to sell their software to iPhone and iPad users, eventually many may give up. Any time you tell developers how they should work, you limit technical and business choices that might be valid and useful. Gruber does go on to say that there's no change for iPhone developers, and I'd disagree with that. I'm just arguing that it makes sense from Apple's perspective - and it was Apple's decision to make. I'm not arguing (up to this point) that it benefits anyone other than Apple itself. I'm not arguing that it's anything other than ruthless competitiveness. ![]() So from Apple's perspective, changing the iPhone Developer Program License Agreement to prohibit the use of things like Flash CS5 and MonoTouch to create iPhone apps makes complete sense. Straightforward enough, and I largely agree with Gruber's analysis, though you have to wonder whether Jobs also noticed this: That's the sort of situation that creates a license to print money.Īpple doesn't want another platform that could become the standard and keep Apple from locking in developers and the customers that come with them. At a certain point developers wrote apps for Windows because so many users were on Windows and users bought Windows PCs because all the software was being written for Windows. But the point of the post was that Apple wanted to lock developers into the iPhone OS platform and turn the app store into a de facto platform: Jobs said that Apple thought that Gruber was insightful and didn't see what he wrote as negative. Tao Effect blogger and software developer Greg Slepak posted that he emailed Jobs about the term changes and that Apple's CEO responded, pointing to John Gruber's post about the situation. Are app developers truly independent businesses, or would tax codes let the IRS classify them as employees? If some class action lawyers don't have a field day with this, I could see the IRS having some fun. Through the terms, Apple becomes a quasi-employer that controls how app developers do their work and, effectively, makes it more difficult for them to create and sell software for multiple handsets. That action is beyond setting technical specifications. ![]() ![]() ![]() Or even give a lyric print of the song that was number one on the day they were born! 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When we create the alien Actors, we can also add a status flag, and we need to determine which side of the row they’re on as when they break formation, the two sides fly in opposite directions. ![]() You could add extra types and any number of rows. We’ll stick to just one type of alien for this sample, but draw two rows of them. The aliens are arranged in rows and move left and right across the screen together. As in the original Galaxian, you can only shoot one bullet at a time, so we only need one Actor for this. We can also fire off a bullet with the SPACE bar, which will travel up the screen until it hits an alien or goes off the top of the screen. Next, we set up the player ship as an Actor, and we’ll capture the left and right arrow keys in the update() function to move the ship left and right on the screen. We need a second blit of the stars to fill in the space that the first one leaves as it scrolls down, and we could also have another static background image behind them, which will provide a sense of depth. Next, we can create a scrolling backdrop of stars using a bitmap that we blit to the screen and move downwards every update. Our homage to the classic Galaxian, with angry aliens that love to break formation.įirst, Galaxian has a portrait display, so we can set the play area’s width and height to be 600 and 800 respectively. For this sample, we’re going to look at that swooping mechanic, and make the bare nuts and bolts of a Galaxian game with Pygame Zero. The subsequent waves of enemies get more difficult as the player progresses. The aim is to destroy all the enemy ships and move on to the next wave. With Galaxian, however, the aliens have a habit of breaking formation and swooping down towards the player’s ship, and dive-bombing it. 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One of the things different than the demo is that you have tons of points on the map to race from, and to start a race you just pull up to any traffic light on the map and hit “Gas” and “Brake” at the same time and you are instantly taken into the race or other events. This is what I did in Need for Speed Most Wanted and Carbon and wanted to do the same in Burnout Paradise after playing the demo. I was hoping that they would include an optional menu system similar to the recent Need for Speed games that let you skip the driving from point to point and go right to the next race. I felt that it would be a pain and I didn’t want to drive around to get from race to race or other events. I was worried about the open world idea that Criterion Games built into Burnout Paradise. 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It follows the formula well and the characters are appealing. At that point, my main complaints are that it uses way too many montages and I thought cutting the girls' hair is a step too far. For an hour, this is a formulaic underdog sports movie. As soon as he had the first daughter, it seems obvious where this is going. This is based on the real family of wrestlers. He is inspired to train them for girls' wrestling. Then neighborhood parents complain that Mahavir's daughters Geeta and Babita had beaten up their boys. He is disillusioned after getting four daughters and no sons. With no support from the government, he failed to get an international gold medal for his country but hoped to be redeemed by a son. Mahavir Singh Phogat is a former Indian national champion wrestler. I was especially shocked when I saw him take off his shirt early in the film.the guy was ripped! His weight loss, gain and muscle mass is incredible. By the way, I was shocked at what Khan went through in order to make this movie. Well made from start to finish and a most enjoyable story. While I wouldn't say this film is quite as good as his "3 Idiots" or "Like Stars on Earth", it is an extraordinary film.and I can see why it did so well at the box office. What will Geeta do? And, what of Mahavir's plans for producing a champion? Aamir Khan has an incredible record and has produced some of India's best films. Things do not go well there and Geeta experiences loss for the first time. Eventually, his oldest, Geeta, becomes the Indian women's champion and is sent to the national training center. So, he has his daughters wrestle boys.and they win. Instead of abandoning the idea, Mahavir decides he'll teach his daughters and make them champions.even though women generally don't compete in the sport in India. Mahavir comes up with the idea of him and his wife having a son.and he could teach the son to be a great champion wrestler. As a result, he never had a chance to compete internationally. Mahavir (Aamir Khan) was an Indian national wrestling champion but his father insisted he give up the sport and get a job. Why? I assume it's because in both countries, women's roles are very traditional and the film celerates women stepping outside the normal female roles and succeeding.a great message of empowerment. ![]() "Dangal" is the highest grossing Indian film of all time and among the highest grossing non-Chinese films in China. |
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