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automaticvr · 5 years ago

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TOULOUSE-LAUTREC - Ballet Création mondiale Kader Belarbi Chorégraphie, mise en scène et livret Bruno Coulais Musique Danièle Devynck Conseillère artistique Laure Muret Assistante à la scénographie Laurence Fanon Collaboratrice artistique Sylvie Olivé Scénographie Luc Riolon Réalité virtuelle Olivier Bériot Costumes Nicolas Olivier Lumières Sergio Tomassi Accordéon Raúl Rodríguez Bey Piano Ballet du Capitole Coproduction Théâtre du Capitole / Scène nationale d'Albi CRÉATION MONDIALE Toulouse-Lautrec, dit Monsieur Cloche-pied, peintre esclave de son petit corps et du regard des autres, consomme, consume et transcende sa vie en croquant celle des gens grâce à des yeux clairvoyants et à un geste virtuose. Une nouvelle chorégraphie de Kader Belarbi avec les Etoiles, les Solistes et le Corps de Ballet du Capitole. Le rideau se lèvera sur les mélodies et les rythmes de Bruno Coulais, la scénographie de Sylvie Olivé, la lumière de Nicolas Olivier, les costumes d’Olivier Bériot, où le petit grand homme croise des figures légendaires. Pour la première fois, plongez dans un spectacle à la fascinante expérience immersive grâce à un casque de réalité virtuelle. Une nouvelle rencontre avec Toulouse-Lautrec à la tonalité d’une fête éternelle. The prisoner of his own deformed body, Toulouse-Lautrec, also known as Monsieur Cloche-Pied due to his club-foot, devours and transcends life through drinking and painting. His perspicacious gaze and virtuoso hand portray his contemporaries with uncompromising clarity, unveiling the depths of the human soul. A new choreography by Kader Belarbi with the Principals, Soloists and Corps de Ballet of the Ballet du Capitole. The curtain rises to Bruno Coulais’s rhythms and melodies, Sylvie Olivé's scenography, Nicolas Olivier's lighting, Olivier Bériot's costumes, as legendary figures come and go on stage. For the first time, immerse yourself in a dance show with a fascinating experience thanks to a virtual reality headset. A new encounter with Toulouse-Lautrec rhyming with eternal revelry. THÉÂTRE DU CAPITOLE 4, 5, 6 ET 7 NOVEMBRE, 20H 8 NOVEMBRE, 15H DURÉE 2H TARIF D : DE 8 À 60 € TARIF RÉALITÉ VIRTUELLE : 63 € / - 27 ANS : 28 € (dans la limite des places disponibles) Avec le soutien AÏDA S- SAFRAN BANQUE COURTOIS (260 ANS)

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dweemeister · 7 years ago

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Valerian and the City of a Thousand Planets (2017)

In modern movie industry parlance, the summer of 2017 has been noted as a rejection of more reboots and sequels than usual, at least if you only consider North America. Baywatch, the fifth Pirates of the Caribbean movie, The Mummy (supposedly the rebooted universe of the Universal Monsters films), Cars 3, and Transformers: The Last Knight all struggled at the North American box office. So, the reasoning went, audiences must be thirsting for newer faces, ideas, and worlds instead. Luc Besson’s Valerian and the City of a Thousand Planets fits that facile argument, but will be destined to lose tens of millions of dollars for the French, American, Chinese, Emirati, and German production companies that financed the most expensive European film ever. Beyond those figures, Valerian is not a great movie – its lead actors are dreadful, Besson’s screenplay is unorganized, and the movie itself is, to put things charitably, like falling from a fifty-foot stupid tree and smashing into every branch on the way down. And yet, I must admit I enjoyed this hot mess of sci-fi.

Orbiting the Earth, the International Space Station (ISS) has evolved into a multispecies settlement named “Alpha” over centuries. How lucky humans have been to encounter so many peaceful aliens. By the twenty-eighth century for safety reasons, Alpha has broken free of Earth’s orbit. Two of its human special police officers are smooth-talking, shoot-first-ask-questions-later Major Valerian (Dane DeHaan) and his partner – professional and romantic – Sergeant Laureline (Cara Delevingne), who usually doesn’t tolerate Valerian’s nonsense. One day while traveling to recover an illicit device from a black marketer, Valerian has a vivid dream where a peaceful, humanoid race sees their idyllic planet destroyed. Brushing it off for now, Valerian performs his duties with the confidence of a younger Han Solo, but with greater purpose and arrogance towards his targets. Back on Alpha, Valerian and Laureline’s superior, Commander Arün Filitt (Clive Owen) commends his two most accomplished subordinates. Yet other machinations are in the offing, and it is up to our two young protagonists to investigate after an attack on Alpha’s governing council.

Other characters of note are Bubble (Rihanna), a shapeshifting performer located in a red-light district, Bubble’s pimp Jolly (Ethan Hawke), and the Defense Minister (Herbie Hancock).

Adapted from the comic book series Valérian and Laureline by Jean-Claude Mézières (as with many comic books, I haven’t read the source material), Besson’s screenplay is a structural and philosophical wreck. For every scene such as when Valerian and Laureline are retrieving the aforementioned illicit device in a tense, complex operation, there are two other juvenile moments that steer the film off a tonal cliff. Don’t be surprised if there is a Very Serious Top Secret Conversation one moment and then, a few minutes later, Valerian is dishing off about ridiculous wedding plans or the names of his and Laureline’s babies or Laureline has her head stuck up a gelatinous creature’s asshole upon the advice of three insistent, eavesdropping busybodies. There is a balance that can be struck between world-building – which Valerian pulls off spectacularly, with the immense amount of alien species onboard Alpha and the details of the station itself – and depicting a coherent storyline that challenges the audience’s intelligence. Valerian fails to meet the latter, which is its fatal flaw.

Science fiction in its most enduring iterations – in literature, film, and television – poses questions about humanity’s character, whether exemplified through humans themselves or other life-forms. What drives a person to perform an altruistic act at any given time, any given context? How does one respond to an injustice, and at what point in a narrative are they able to recognize that injustice’s effects? Why would an individual attempt to alleviate that injustice, or perhaps exploit it? The comic book series has been heralded for its space opera intermingled with its fierce, leftist (it’s French, what did you expect, Laureline pressuring the governing council to institute the gold standard in space?) humanism. If that is what Jean-Claude Mézières wished might be the bedrock of his creation, then the film adaptation dispenses such ideologies only until the closing half-hour.

Skip this rest of this paragraph if you don’t want even the slightest spoilers, Besson’s Valerian is looking to make an emphatic statement about genocide, cultural imperialism, and the politics of apologism and reparation – interesting, given that Besson produced and wrote Taken (2008; with the Muslim characters catering to European xenophobia) as well as his role as writer/director of Lucy (2014; a product of guns-blazing white feminism at the expense of anonymous Asian villains). With Besson’s best intentions written into his adaptation, I didn’t think that Valerian and Laureline’s eventual decision to openly defy the governmental-military apparatus felt organic – this is given how the two characters are developed in all prior events that are depicted. Though the two possess the occasional maverick tendencies, raining down force on others is their trade, and their ultimate decisions – though, in my opinion, the morally correct one – comes from almost nothing.

So Valerian and the City of a Thousand Planets is a clusterfuck based on the writing alone. But I think those who know me can attest to the fact I can turn off my brain sometimes for a half-baked movie like this – probably. And by a certain point, I just surrendered to the terrible writing and soaked all the visuals in.

Oh yes, I’m not quite done with bashing Valerian yet.

Dane DeHaan and Cara Delevingne have two of the worst performances I’ve seen in any movie – this blog concentrates on pre-1980s releases, but I consume plenty of newer releases – that I have seen this year. DeHaan’s Valerian is masculinity breaking the douchebaggery meter – it is monotonous to watch, and, at times, gratingly uninteresting. Also, I am now convinced model-turned-actress Cara Delevingne cannot act, as she never quite moves away from scowling disapproval or annoyed neutrality. After she starred as Enchantress in the useless Suicide Squad (2016), what the hell was anyone supposed to expect? Maybe this could have been remedied if they were fighting siblings or platonic friends instead, but alas. Put those two together alongside Besson’s writing, and they have as much chemistry as an Easy-Bake Oven – with apologies to Hasbro.

In an unexpected surprise, it is Rihanna – star of the classic nautical adventure Battleship (2012; Hasbro, what were you thinking?) – who steals this movie in the ten or so minutes that she appears as a shapeshifting Sally Bowles-like character. Well, a Sally Bowles-like character if Sally Bowles had a pole to dance with and was a slave. Rihanna might only be there to spout exposition but, would you believe it, she plays the only character I give a damn about.

What saves Valerian and the City of a Thousand Planets are its technical strengths. That begins with the visual effects – all patched together by various effects companies worldwide. Sometimes grungy, other times as colorful as the likes of Life of Pi (2012) and Pacific Rim (2013), and showcasing a beautiful production design by Hugues Tissandier based off the illustrations by Mézières himself. Color injects personality into a movie, and – with the exception of any of the humans – there is plenty of personality to go around here. Olivier Bériot’s costume design and Thi Thanh Tu Nguyen’s makeup direction here are Star Trek-worthy in their variety (two hundred aliens appear in the movie – some CGI, some donning heavy makeup), invention, and unbridled experimentation. Very few contemporary movies are driven by their visuals as much as Valerian – a series of technical triumphs and a marvel of universe creation within a poor movie.

French composer Alexander Desplat (2007′s The Golden Compass, the last two Harry Potter movies) has been working in movies since 1992, and only since the mid-2000s has forged a named for himself as one of Hollywood’s most prominent, consistent composers. That admirable consistency has never resulted in an indisputably spellbinding masterpiece until now – despite the fact Desplat has never collaborated with Besson before. One of the opening cues, “Pearls on Mül”, is as warm and moving as any cue in contemporary cinema can be today – outfitted with a sparkling flute line and gravity-defying strings and chorus. But as the cue progresses, this musical bliss modulates the minor keys, and the paradise promised here might be more fragile than believed. In an environment where melody-less music is rampaging through Hollywood’s big-budget movies, this is a prime example of what movie music can do – complement and strengthen the emotions of a scene, whatever they might be. Valerian’s theme is the major motif in this film, with one of its first appearances in “Big Market” (five notes, beginning at 0:03 on piano), and it returns in distinct ways throughout the film. Less accessible is Laureline’s theme – underdeveloped like the character is – makes an appearance in “Shoot” as she recovers Valerian from danger as well as a meaningful, brief quotation in “Bubble” after a tragic moment.

Outside of Desplat’s score, David Bowie’s “Space Oddity” is an inspired song to lead off the opening expository montage. But for Desplat, his work for Valerian and the City of a Thousand Planets contains depth in melody and harmony – utilizing every section of the orchestra as much and as appropriately as possible, while not having synthetic elements interfering or overshadowing the orchestra’s efforts.

There were times in Valerian where I wanted Besson to wait just a few seconds longer, to explore a place on Alpha with more detail. Curiosity – of others, other places – is crucial in science fiction. The concept behind Jean-Claude Mézières’ Valerian has much of this curiosity, but I’m afraid that the movie adaptation seems unsure too often how to express that and other questions it wants to ask. The movie seems to have reached its target audience – which includes yours truly, at least partially. For those who have not had the pleasure of seeing Valerian yet, my only advice to you is to leave your brain outside the door – the film, upon the slightest unpackaging, is as rickety as a Jenga tower. Once again, my apologies to Hasbro.

My rating: 4.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

#Valerian and the City of a Thousand Planets #Luc Besson #Dane DeHaan #Cara Delevingne #Clive Owen #Rihanna #Ethan Hawke #Herbie Hancock #Jean Claude Mezieres #Alexandre Desplat #Hugues Tissandier #Olivier Beriot #Thi Thanh Tu Nguyen #My Movie Odyssey

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womeninmovieswearinghats · 7 years ago

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Rihanna in Valerian and the City of a Thousand Planets (2017)

Direction: Luc Besson

Costumes: Olivier Bériot

#movies #hat #rihanna #valerian and the city of a thousand planets #luc besson #olivier beriot

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wanweird-of-an-argonaut · 7 years ago

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The sequence was also a special one for costume designer Olivier Bériot who, with his team, created nearly 400 costumes based on drawings Besson commissioned from concept artists in the years leading up to production. When it came to the makeover montage, though, Besson let Bériot have free rein over the designs after giving him a few guidelines.

It was Besson’s idea, for example, to give Rihanna a throwback cabaret costume complete with bowler hat, one of the lone references to an era long gone in the film’s 28th-century galaxy. For the design, Bériot looked back to classic cabaret costumes—like the ones worn by Liza Minnelli’s Sally Bowles in the 1972 film.

“We kept the shape of the design of the costume that you see on Liza Minnelli,” Bériot said of the black halter top, plunging neckline, thigh-high boots, and short-shorts shared by both designs. “But we used some shiny material, embroidery, sequins to give it something modern and make it a little less 70s.”

The Story Behind Rihanna’s Sexy, Shape-Shifting Alien in Valerian

#valerian #rihanna #liza minnelli

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ljones41 · 7 years ago

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"3 DAYS TO KILL" (2014) Review

"3 DAYS TO KILL" (2014) Review Although I have seen Kevin Costner appear in movies in the past few years, they have mainly been in supporting roles. So image my surprise when I discovered that he had a leading role in a film that hit the movie theaters back in early 2014. I had heard a good deal of negative press about it, but due to sheer boredom, I decided to go see it, anyway. Written by Adi Hasak and Luc Besson, and directed by McG; "3 DAYS TO KILL" is about veteran C.I.A. agent Ethan Renner, who is manipulated into carrying out one last mission for the agency, in exchange for an experimental drug that might cure his cancer. The story begins in Berlin where Ethan and a team of fellow agents converge upon a hotel to find and capture "The Albino", lieutenant to an arms trafficker called "The Wolf". The operation's leader, Vivi Delay, has been informed that "The Wolf" is selling a dirty bomb to some terrorists. "The Albino" becomes aware of the trap when he recognizes one of the C.I.A. agents. Renner manages to shoot "The Albino" in the leg, but not capture him. And the veteran agent passes out. When Renner regains consciousness inside a hospital, his doctor informs him that he is dying of brain cancer and that the disease has spread to his lungs. Renner realizes that he had spent most of his career keeping it a secret from his estranged wife Christine and daughter Zoey and damaging his relationships with them both. He becomes determined to fix his relationship with his family upon his return to Paris. However, his efforts are threatened when Vivi Delay approaches him with a deal - to find and kill "The Wolf", in exchange for an experimental drug that could extend his life significantly. He reluctantly accepts in order to get more time with his family. I could say that "3 DAYS TO KILL" failed spectacularly at the box office. But since it ended up making a profit of seven million dollars, perhaps I will limit my observation to a failure to become a bit hit. The critics really raked this film over the coals. The only positive comments I have heard about it came from my boss, who thought it was pretty good. One could say . . . what does he know? Well, I saw the movie, because I could not find anything else to do. And honestly? I rather liked it. In fact, I liked it a bit more than Kevin Costner's other Winter 2014 film, namely "JACK RYAN: SHADOW RECRUIT". Why? I thought "3 DAYS TO KILL" was a more original film. Renner's mission to hunt down and kill a notorious arms dealer did not strike me as particularly original. But when Besson and Hasak added the element of a doomed agent dying of cancer, an experimental drug and family problems . . . well, I found myself spellbound by the story. Perhaps other moviegoers and critics would have preferred a more unoriginal tale. I certainly would not have appreciated it. All I can do is sigh with relief that "3 DAYS TO KILL" proved to be such an odd and if I may say so, entertaining film. The movie also featured some top-notch action sequences, deftly shot by McG and cinematographer Thierry Arbogast; and skillfully edited by Audrey Simonaud. The scenes that especially come to mind are the original attempt to snatch "The Albino" in Berlin, Renner's kidnapping of Mitat Yilmaz, limousine driver for "The Wolf", an attempt on Renner's life at a local grocery store, Renner's killing of "The Albino" at a subway and the final action sequence in which Renner goes after "The Wolf" at a party held by the parents of Zoey's boyfriend. I also enjoyed Arogast's photography of Berlin and especially Paris, considering that the story is set in the late fall. The costumes designed by Olivier Bériot and Roemehl Hawkins not only struck me as very chic, but perfect for a clothing boutique. As much as I liked "3 DAYS TO KILL", it had its problems. I must admit that the idea of an experimental drug that can cure cancer seemed to be stretching it a bit, despite its originality. I really hate to say this, but I found Amber Heard's character, Vivi Delay, a bit hard to swallow. Actually, I rather disliked the character. She seemed rather over-the-top to me, reminding me of some Bond villain or villainess - despite the fact that she was a protagonist. And honestly? Heard gave a pretty interesting performance, but she is not exactly John Travolta or Al Pacino, who can be hammy with style. My last problem with "3 DAYS TO KILL" has to do with the last action sequence. As much as I liked it, I found it rather flawed. The biggest mistake that Besson, Hasak and McG did was inter-cut Renner's last attempt to kill "The Wolf" with scenes of his daughter Zoey and her boyfriend Hugh, cuddling and who knows what else, in a private room of the club. It just did not work. Especially since the moments with Zoey and Hugh did not really add to the action sequence. Although I found the Vivi Delay character a bit too showy for my tastes, at least I was impressed by Kevin Costner and other members of the cast. What can I say about Costner? Well . . . he gave a performance that reminded me why I became a big fan of his so many years ago. I was especially impressed by how he balanced the professional and private lives of his character, Ethan Renner. Hailee Steinfeld, who had made such an impression in her Oscar-nominated performance in 2010's "TRUE GRIT", proved to be equally impressive as Renner's strong-willed and slightly eccentric daughter, Zoey. Connie Nielsen made a nice impression as Renner's ex-wife. Unfortunately, I wish she could have been in the film a little longer. Both Richard Sammuel ("INGLORIOUS BASTERDS") and Tómas Lemarquis gave impressive performances as the arms dealer "The Wolf" and his lieutenant "The Albino". Eriq Ebouaney gave a charming performance as the West African who squats in Ethan's Paris apartment, along with his family. Bruno Ricci gave a hilarious performance as an accountant who works for “The Wolf”. But the performance that I found really entertaining was Marc Andréoni's portrayal of Mitat Yilmaz, limousine driver of "The Wolf". Like Costner, he did a first-rate job of balancing his character's dangerous profession and his private life as a family man with a great deal of sharp humor. What else can I say about "3 DAYS TO KILL"? I would never regard it as one of the best action movies I have seen. And it certainly had its flaws. But I did end up enjoying it, much to my surprise, especially since I found the screenplay written by Luc Besson and Adi Hasak rather original. More importantly, I thought the screenplay was well served by energetic direction from McG and first-rate performances (well, most of them) from a cast led by Kevin Costner.

#3 days to kill #luc besson #adi hasak #kevin costner #hailee steinfeld #amber heard #connie nielsen #richard sammel #marc andreoni #eriq ebouaney #tomas lemarquis #bruno ricci

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universomovie · 7 years ago

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Cara Delevingne para “Valerian e a Cidade dos Mil Planetas”

Existem muitos motivos pra estar empolgado com a estreia de “Valerian e a Cidade dos Mil Planetas” em 10/08 aqui no Brasil. Primeiro que é uma ficção científica (a gente adora!) e é dirigido por ninguém menos que Luc Besson, o responsável pelos visualmente deliciosos “O Quinto Elemento” (com figurino de Jean-Paul Gaultier!) e “Lucy” (aquele da Scarlett Johansson metendo bronca, mas que não é nem “Vingadores” nem “Ghost in the Shell“! Risos!). Mas, claro, existem vários outras razões – e a gente enumera 6 abaixo:

1. Rihanna! Na trama, ela é um alienígena, Bubble, que trabalha numa casa de strippers e muda de forma. Ou seja: da imagem da cantora em si a gente vê apenas uns 5 minutos na telona. Porém, quem já viu afirma que são os 5 minutos que valem o filme inteiro. “Algumas pessoas duvidam que ela pode atuar, mas no filme ela prova que pode”, declarou Besson em si. E diz que Riri deu pitaco em cada um dos figurinos que usou, como boa fashionista que é… Mal podemos esperar!

2. Falando nisso: Olivier Bériot, o figurinista! Você pode nunca ter ouvido falar dele mas… lembra da infame versão francesa em longa da série “Absolutely Fabulous“, de 2001? Aquela que trazia um desfile com uma bolsa aquário de Jean-Paul Gaultier, as versões de Eddie e Patsy enlouquecidas por ela e uma Jennifer Saunders bem discreta ao lado de Catherine Deneuve na fila A dizendo “Não as conheço, não olhe pra mim”? Bom, se você nunca viu isso, precisa ver – e sim, Olivier é o figurinista desse filme. Ele também escolheu o look street de Scarlett em “Lucy”, o look assassina implacável de Zoe Saldana em “Colombiana: Em Busca de Vingança“, o country europeu da versão de “Lucky Luke” de 2009… Percebeu que a especialidade é “vestido pra matar”? Sim: queremos!!!

Sim, temos Rihanna!

Dane DeHaan, de “A Cura”, faz o papel principal, Valerian

Espere por muitos efeitos especiais…

E 200 espécies diferentes de alienígenas! Besson chegou a escrever um livro sobre todas elas pros atores entenderem o universo no qual estavam adentrando… Que tal?

A história é baseada nos quadrinhos “Valeriean et Laureline”, e o roteiro saiu (com diversas adaptações) dessa história: “L’Empire des Mille Planètes”

Cara Delevingne pra “Valerian e a Cidade dos Mil Planetas”

3. Cara Delevingne! Não que ela tenha convencido a gente em “Esquadrão Suicida” – aliás, bem pelo contrário… Mas veja bem: nós amamos esse par de sobrancelhas. E se esse par de sobrancelhas vai atuar “marromeno” de novo, porém ao redor de todo um apelo visual daquele tipo que Besson é capaz de nos dar… OK, estamos nessa! É como ver uma edição da “Vogue” Itália!

4. Pra quem não sabe, “Valerian et Laureline” na verdade é um título de quadrinhos franceses que durou de 1967 até 2010. Uau! Reparou que ele está completando 50 anos? Ou seja: esse filme é como uma versão francesa de filmes de super-herói, só que com atores que falam em inglês. Besson defendeu a escolha justificando que assim teriam uma possibilidade de alcance maior do que se fosse francófono. E de qualquer forma é uma alternativa pra quem gosta desse tipo de longa mas já está meio cansado da linguagem de Marvel e DC.

5. Esse é o filme mais caro da história da cinematografia francesa. Bateu o recorde de “Asterix nos Jogos Olímpicos” de 2008, que custou US$ 113 milhões (cerca de R$ 354 milhões). “Valerian” tem um orçamento de nada menos que US$ 210 milhões (R$ 658 milhões).

6. Por fim, uma curiosidade! Existe uma ligação entre “O Quinto Elemento” e “Valerian”: o 1º foi visualmente inspirado em “Os Círculos do Poder“, uma HQ da série… “Valerian et Laureline”.

6 motivos para se empolgar com “Valerian e a Cidade dos Mil Planetas” Cara Delevingne para "Valerian e a Cidade dos Mil Planetas" Existem muitos motivos pra estar empolgado com a estreia de “

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fuckyeahcostumedramas · 3 years ago

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Liya Kebede as Reine Paya in 'Houba! On the Trail of the Marsupilami/Sur la piste du Marsupilami' (Film, 2012).

#liya kebede #reine paya #houba! on the trail of the marsupilami #fashion #brown hair #brown eyes #fantasy #Olivier Bériot

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lorrainecparker · 7 years ago

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Recording audio in Luc Besson’s Valerian

In space no one can hear you scream… unless you’ve a microphone inside your spacesuit. That’s how the sound for the film Valerian and the City of a Thousand Planets was captured. The whole story revealed now.

Valerian and the City of a Thousand Planets, the Sci-Fi blockbuster based on the French comics from 1967 that were the inspiration for much of Star Wars, is, reportedly the most expensive movie ever produced in Europe. The new film from internationally acclaimed director Luc Besson features over 100 characters, many of whom wearing intricate costumes including space suits. While it looks great for production and really helps the narrative, taking viewers into the universe of the heroes Valerian and Laureline, those garments represent a problem for audio specialists.

Capturing audio properly was the difficult task faced by French sound engineer Stéphane Bucher, when asked to record intelligibly the dialogues. How and where to place microphones, how to best capture sound, while making it happen at the pace that director Luc Besson likes to work? Bucher accepted the challenge, knowing that he had the solution in his tool kit: the d:screet 4060 Omnidirectional Miniature Microphone from DPA. DPA microphones are an integral part of Bucher’s audio tool kit, and he has used the company’s products on many previous films, including Taken 3 and Lucy, so was more than happy to try them out for this role. Still, that was only the beginning, as the crew faced more challenges.

“From an audio point of view, this was an insanely complicated movie to capture,” Bucher explains. “It wasn’t just the costumes – we also had to cope with actors talking through walls and hopping around in space. The spaceship, Intruder, also has a mind of its own and therefore a voice that needed to be recorded. Added to this, Luc Besson was very clear from the outset that he didn’t want to replace dialogue in ADR, so we had to get it right first time on set.”

Stéphane Bucher says that “DPA’s wireless d:screet 4060 Miniature Microphones deliver exceptional audio quality and are also very small, which makes them much easier to hide. Thanks to their omnidirectional characteristics, they don’t need to be aimed directly at a sound source to capture great audio. They are incredibly tough, which is important when you are shooting an action film with a lot of movement and when you have to keep swapping them from one costume to another.”

More than 30 d:screet 4060 microphones were delivered to the Valerian set in Paris, all supplied by DPA’s French distributor Audio2. As Luc Besson likes to play his cards close to his chest, Bucher and his team had very little time to go through the script and prepare before shooting started. On filming days, time was even tighter because the microphones had to be positioned within each costume before the actors came on set.

“Luc likes to start shooting immediately – there’s no point trying to fit or to move a mic in a costume because it is just too late,” Bucher says. Knowing that, Stéphane Bucher worked closely with Olivier Bériot, who headed up the costume department, in order to find ways to properly add the microphones to the customs used by the actors.

“Many of the costumes are made from thick, synthetic fabrics that give them a futuristic look but are not that easy for the sound team because they make a lot of noise. With Olivier’s help found places to hide our mics without them being visible on screen. Our main challenge, however, was the spacesuits worn by Valerian (played by Dane DeHaan) and Laureline (Cara Delevingne). Olivier chose a fabric that was light and well insulated from a sound point of view, but we couldn’t hide the mics inside the shell of the suit because they would still have been muffled by the plastic. Instead we decided to mount them inside the huge ruff that the actors wear around their necks.”

As the microphones needed to stick out but at the same time blend into the design or the ruff, Bucher and Bériot decided to make them look like an intercom between the spacesuits.

photo: Lou Faulon

“We tried various options,” Bucher says, “At first we had the microphone sticking out of the ruff but that didn’t work, so then we tried a d:screet 4060 with a high boost grid, which was chosen for aesthetic reasons. We didn’t worry about high frequencies because we thought we could bring them down in post production, but when we heard the sound we realised it didn’t work because the high frequency was way too powerful and was bouncing off the surface of the grid in an unacceptable way. Finally we swapped to a soft boost grid, which gave us a much more balanced sound. By adding a small rubber joint and lifting the mic capsule completely clear of the ruff, we were also able to reduce vibration noise.”

Valerian and Laureline each had three ruffs so that spares were immediately available. The microphones were left in position, which meant that all the sound crew had to do was plug in the wireless transmitter. DPA d:screet 4060 microphones were also used on the motion capture costumes that the actors wore when shooting CGI scenes.

“To reduce noise, we put the microphones on the costumes with a semi rigid surface that we built with a 3D printer,” Bucher explains. “For the main actors who were wearing camera helmets, we positioned one mic on the helmet and one on their chest in case Luc wanted them to take the helmet off for a close up.”

photo: Lou Faulon

Besson’s decision to keep ADR to a minimum put additional pressure on the sound team to capture great audio on set.

“The good thing about Luc is that he really understands sound so he was able to get involved when we were debating microphone positions and what would work best,” Bucher says. “He expects you to find solutions and that pressure does make you raise your game. In the end, the audio we recorded with our DPA microphones was fantastic and everyone was impressed, especially the post-production team who said the richness and clarity of the sound gave them many more options to play with.”

Valerian and the City of a Thousand Planets opens in cinemas at the end of July. The film is based on the comic series Valerian and Laureline, written by Pierre Christin and illustrated by Jean-Claude Mézières, published between 1967 and 2010. The series is considered a landmark in European comics and pop culture, and traces of its concepts, storylines and designs can be found in science fiction films such as Star Wars and The Fifth Element.

The post Recording audio in Luc Besson’s Valerian appeared first on ProVideo Coalition.

First Found At: Recording audio in Luc Besson’s Valerian

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joaquimblog · 7 years ago

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Juan José De León (Don Ramiro) i Teresa Iervolino (Angelina) ONP 2017

Roberto Tagliavini (Alidoro), Alessio Arduini (Dandini), Maurizio Muraro (Don Magnifico) i Juan José De León (Don Ramiro) a La Cenerentola ONP 2017

La Cenerentola Acte 1er ONP 2017 Producció de Guillaume Gallienne

Chiara Skerath (Clorinda), Alessio Arduini (Dandini) i Isabelle Druet (Tisbe) La Cenerentola ONP 2017

La Cenerentola ONP 2017 Producció de Guillaume Gallienne

L’ONP ha proposat en la temporada 2016/2017 una nova producció La Cenerentola de Rossini amb un cast jove i prometedor, sota la direcció d’Ottavio Dantone, que se’n surt molt millor que el seu col·lega en la música antiga, Stefano Montanari que l’altre dia us deia que s’havia endut per endavant l’estil rossinià de Il viaggio a Reims a Roma.

La producció d’aquesta proposta parisina és de l’actor, director teatral i de cinema Guillaume Gallienne, que s’estrena com a director operístic amb aquesta Cenerentola i de la que en fa una versió molt intel·ligent, adulta i dramàtica, sense refusar els aspectes còmics, però donant molta més importància als aspectes més sòrdids d’uns personatges tan odiosos com Don Magnifico, Tisbe i Clorinda. Estem per tant allunyats de produccions amb conceptes naïf, acolorides i infantils, farcides de ratolins, perruques confeti multicolor.

Hi ha el “finale lieto” escrit i esperat, que ningú esperi una bieitada, però Gallienne treballa molt bé els aspectes més humans dels personatges del relat, i el conte esdevé una història molt més polièdrica i per tant més interessant, que agraeixo.

L’escenografia única ens situa davant la façana del palau en absoluta decadència, on viu Don Magnifico i les seves filles, palau d’arquitectura meridional que bé ens podria situa a Nàpols, si bé li manca una llum solar que no trobareu en aquesta posada en escena més aviat fosca com l’interior recòndit dels personatges que la fan possible.

Dantone aporta a la seva direcció molta vida, no només per els contrasts de la seves dinàmiques, els matisos i la varietat de colors i timbres d’una orquestra espurnejant, aspectes tots ells tècnics i sense cap mena de dubte imprescindibles, sinó també per la tendresa o el dramatisme i en definitiva la teatralitat carregada de vitalitat que la seva direcció transpua.

L’orquestra i el cor masculí (direcció de Basso) de l’ONP responen amb espectacular precisió i expressivitat.

El cas és jove i millorable, no tots estan en el magnífic nivell de les direccions, hi ha aspectes discutibles, però també esperançadors, però manca en la seva globalitat l’emoció i l’esclat genial del millor Rossini.

Teresa Iervolino és una magnífica mezzosoprano acontraltada que en aquesta versió no es deixa anar. La seva Angelina és correcta, amb trets notables i unes variacions molt interessants en la zona central i greu, ja que el seu prioncipal haver vocal es troba en el centre i greu d’una tessitura més propera a la contralt que no pas a la mezzosoprano. El seu agut és més conflictiu i no l’acaba de resoldre de manera neta i afinada. No és la millor de les Angelines possibles, però és una mezzosoprano que esperem que el debut potser massa aviat en els principals cases operístiques podria fer malbé.

El tenor texà Juan José De León tampoc sembla ser la millor opció per assolir el rol de Don Ramiro en un teatre com Paris. No està a l’alçada dels primers rossinians de l’actualitat i malgrat ser la típica veu del contraltino rossinià, té en la zona aguda el seu punt més discutible, tant pel que fa al color, com en la emissió plana i a vegades fixada quan ataca les notes i la temible zona de pas. Fa coses boniques, amb estil acadèmic i massa fregilitat, però en el seu cant li manca l’espontaneïtat que atorga la seguretat del domini tècnic absolut del cant rossinià i sobretot l’elegància imprescindible. Potser serà un bon Don Ramiro, però encara no, per a Paris, no.

Els millors del cast són Maurizio Muraro, un bon Don Magnifico, l’extravertit i divertit Dandini d’Alessio Arduini, però sobretot el fantàstic Alidoro de Roberto Tagliavini, el gran triomfador sense cap mena de dubte. Veu àmplia, flexible, expressiva, de projecció generosa i seguretat exultant. No és la primera vegada que parlo molt bé d’aquest baix de veritat.

Les germanastres interpretades per Chiara Skerath i Isabelle Druet arrodoneixen un cast correcte mancat del toc genial que hagués fet d’aquesta representació una gran Cenerentola. Els noms de qui ho hagués pogut fer possible estic segur que tots els tenim al cap.

Gioacchino Rossini LA CENERENTOLA Dramma giocoso en dos actes (1817) Llibret de Jacopo Ferretti

Teresa Iervolino (Angelina) Juan José De León (Don Ramiro) Alessio Arduini (Dandini) Maurizio Muraro (Don Magnifico) Chiara Skerath (Clorinda) Isabelle Druet (Tisbe) Roberto Tagliavini (Alidoro)

Choeurs et Orchestre de l’Opéra national de Paris Chef des Choeurs José Luis Basso Direcció musical: Ottavio Dantone

Director d’escena: Guillaume Gallienne Escenografia Éric Ruf Vestuari Olivier Bériot Disseny de llums: Bertrand Couderc Coreografia: Glyslein Lefever Col·laboració artística: Marie Lambert

Palais Garnier, Paris 20 de juny de 2017

La retransmissió es va fer a través dels cinemes i també pel canal Cullturebox però aquí i degut a una qüestió de drets televisius, no la podem veure.

ONP 2016/2017: LA CENERENTOLA (IERVOLINO-DE LEÓN-ARDUINI-MURARO-TAGLIAVINI;GALLIENNE-DANTONE) L'ONP ha proposat en la temporada 2016/2017 una nova producció La Cenerentola de Rossini amb un cast jove i prometedor, sota la direcció d'

#Alessio Arduini #Chiara Skerath #Gioachino Rossini #Guillaume Gallienne #Isabelle Druet #Juan José De León #La Cenerentola #Maurizio Muraro #ONP #Orchestre et choeur de l&039;Opéra national de Paris #Ottavio Dantone #Roberto Tagliavini #Teresa Iervolino

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