What Can You Get From A Jacuzzi

Ratatouille: Ratatouille

When it came time to find music that matches the frenzied pace and subtlety RATATOUILLE's emotions (Ra.ta.tui), Brad Bird did not hesitate and called the composer who had done a great job in "The Incredibles (The Incredibles)." It was Michael Giacchino, who created a soundtrack with jazzy rhythms and metal percussion that is so fun, fast and with a French flavor like the movie. "Although this film does not look like 'The Incredibles (The Incredibles)," Michael records are so great, I knew it was the perfect composer for the film, "says Bird. "This movie is more dizzying than 'The Incredibles (The Incredibles)." Is a romantic and funny journey through Paris, and Michael has done a great job of capturing that feeling. " The spirit of collaboration between Giacchino Brad Bird and prompted them to find a very innovative sound for the film. "These two guys also know that they know what the other is thinking," says producer Brad Lewis. "Brad is expressed with a visual language and Michael is expressed in a musical language, but to fuse beautifully in the movie. A Sometimes music is subtle, sometimes more loud and more comical. Michael is the mood for each movement of history. It can be great and moving at the same time may seem very light and a little clumsy. Exactly what we needed in this film. " When Giacchino was a first assembly of RATATOUILLE (Ra.ta.tui), he knew he would face one of the biggest challenges of his life. "When I saw the movie, scared me a lot because I knew I had that music could not resemble anything I had done before. He had a style that had not worked before. Actually, I had a lot of styles to which more diverse. So I left the cinema and I went to see Brad Bird. I said I was frightened but determined to try, "recalls the composer.

With these words, Giacchino joined the project, but realized that would also have to reverse the process of creation. "Before seeing the film, had a very practical approach. But after seeing it, it became a very emotional, "she explains." It was the final scene of the film in which the food critic Ego writes his criticism that gave me the key to the film. I helped compose the theme of the film and also became one of the songs in the film. "

continues," is a film very happy, but also has a touch melancholy. The melancholy that emerges when you look back and think about all the things you wanted to do. Wanted the music to express this idea. My main goal was to try to capture that feeling. In addition, lots of action and fun, but I never wanted this will give umbrage to the true message of the film. "

also the main theme, Giacchino composed songs for each of the characters, so that reflected their individual personalities and desires. "I like working with a thematic approach because it is the best way to represent the characters," he says. "That's why I like movie soundtracks like 'Star Wars (The War of the Stars)', 'Raiders of the Lost Ark (Raiders of the Lost Ark)' or 'The Adventures of Robin Hood (The Adventures of Robin Hood ) of the thirties. They all have great themes with a focus almost operatic. They are the soundtracks that have impacted me most. "

Remy, he adds, has two themes, as well as a 'theme crony' he shares with Linguini. "At first, Remy has this insistent theme that follows you everywhere, like the genes that make him a rat even though he wants to be something else," says Giacchino. "Domina in the scenes running around the house and between floors.

But when it comes to the roof sees Paris for the first time, there is a new song about the dreams and hope. Remy is leading inside. The first issue is what one thinks when he sees Remy for the first time, but when you look at Paris, this is the real Remy. "

On the issue that arises between Linguini and Remy, Giacchino says:" The issue crony only hear when they are working together. The first occurrence is when Remy understand how you can control Linguini. Then progresses to become a heroic action score at the end of the tape, when rats Linguini go together and sliding with their skates. It looks like an issue of World War II because their friendship has reached a point where they know that the only solution is to try it together. "

Another key theme of the film is that of Colette, which Giacchino explains "that envelops the entire cooking process." He adds: "The first time you hear is when Linguini Colette is teaching what to do in the kitchen and need to learn to become a great chef. After changes as the film progresses, depending on the circumstances. When Linguini has to make a dish that is not on the menu and Remy begins to improvise, the theme recurs, but much more improvisational. The issues and the constantly changing music history. " Skinner also the subject of change according to their moods. Start with a French-style jazz theme that becomes increasingly frantic and orchestral as you lose control of the kitchen. "The track begins in a smooth, light and ends up becoming a craze, as happens to the character," says Giacchino laughing.

By weaving the many styles and colors of the film, made a separation Giacchino Music between the worlds of humans and rodents. "There is an instrument that I used much to the world of rodents, including a giant thumb piano joins the orchestra a lot of pizzicato strings, "he says." A Brad loved the sound of pizzicato strings for rats, but again there was no rule or slogan. What I fit into a scene with the rats could not fit into the next. Everything changes constantly. "

But contrast the visual craziness that offers a frenzied physical comedy RATATOUILLE ( Ra.ta.tui), Giacchino wanted the soundtrack was very subtle. "In animation it is easy to hunt down all the movements," he says. "But what I love about music films is that the smallest detail can suggest something special. So I decided to stay out and let the images speak for themselves, like an action movie. "

With a soundtrack so diverse, the next task was to form an orchestra Giacchino only with jazz influences, which include some unconventional instruments like the harmonica or accordion. The composer was delighted to be able to hire a good number of great musicians who add their styles in the recording sessions. For example, Tommy Morgan, one of the greatest harmonica players in the world that has recorded more than 7,000 sessions for albums, television, film and with a career spanning more than 50 years standing, the award-winning jazz accordionist Frank Marocco, considered the most recorded accordionist in the world, the legend under Abe Laboriel has all recorded with jazz greats ranging from Ella Fitzgerald Herbie Hancock, and the great jazz drummer Harvey Mason began his career with Duke Ellington and Erroll Garner in the sixties and has been nominated seven times GRAMMY ® Awards . "Bringing together some of the best musicians in the world in a room for one week was a wonderful opportunity," says Giacchino, referring to the recording of the soundtrack. And the icing on Giacchino cake is the song "Le Festin" which he wrote and then recorded with the lovely Camille, a young French singer who has created his own style of French song. "He has a unique sound and a very special voice. Nobody could have sung better than she does that movie, "says the composer." The song is based on an old French proverb that talks about bringing your friends and family around a table and a good meal. Is a song that reflects perfectly the story of RATATOUILLE (Ra.ta.tui).

Period Is Due Instead I Have White Stuff

Music: The Photography

would have been easier to tackle the story of RATATOUILLE (Ra.ta.tui) from a human terms. But surprisingly, Brad Bird chose the hard way: tell the story through the eyes of the rodent protagonist. Bird was inspired by some classic films, including a former Hollywood thriller. "One of the sequences have a certain influence of the 'Rear Window' by Alfred Hitchcock," says the director. "In this film, Hitchcock is interfering in the lives of others using the point of view of Jimmy Stewart's apartment. In our film we see an apartment in Paris through the point of view of a rat. "Sharon Calahan, director of photography / lighting, which had already been charged with this work in "Finding Nemo (Finding Nemo)," "Toy Story 2 (Toy Story 2. Toys load again)" and "A Bug's Life (Bichos. An adventure in miniature), I knew I could excel in RATATOUILLE ( Ra.ta.tui). "We wanted to get a rich look, the feeling you get in Paris, and a great restaurant in Paris. We also wanted to have food that looks appetizing and all those little furry characters were beautiful and attractive, "says Calahan to talk about the task that awaited him. He continues saying," I had some ideas about the depth, richness and opulence of the colors and fit very well with the story. And 'd get to do just the opposite is usually done in illumination, ie add black where there is no light. I wanted to substitute this for an area more colorful, and had to try many tricks and cuts. " A Calahan caught at the idea of \u200b\u200bplaying a wonderful October day in France. "When we went to Paris was sunny, but the light is diffused so silvery and soft, the atmosphere was wonderful. That's what I wanted to play in the movie, "says" The film is illuminated with a lot of colored lights and also has large areas of colored shadows as usual. What I wanted was to pay tribute to the color of the city.

When it came time to shoot the food, Calahan watched a lot of food magazines and books for inspiration. "I spent much time studying how food photography, trying to understand where differences lie between good photography and food photography bad food," he explains. "The different positions of the light used to improve the appearance of food. So the problem was how to make food had a more translucent and therefore more credible, or that seem juicy enough to be palatable. And one of the things we learned is that the warm light enhances the color of the food. "

For food RATATOUILLE (Ra.ta.tui) was as realistic as possible, Calahan the technologies used had been used to make fish look more translucent in "Finding Nemo (Finding Nemo)" and to reproduce the human skin in The Incredibles (The Incredibles).

Regarding the characters Rodents, Calahan explains: "The key to making the characters have an attractive appearance was the quality of the coat and the brightness of the ears. We had to make many experiments to get the coat respond well to light. "

Scale also posed a great challenge. "Play and feed in the same world it was very difficult," he adds. "The light was a key to these relationships work." Actually, Calahan's work is much like the traditional cameras. "I try to think as a painter and make it light enhances everything, "he says." RATATOUILLE work (Ra.ta.tui) was a real challenge but the experience was very rewarding. Brad Bird has the ability to make the best of each one ".

Household Objects Used For Masterbation

Ratatouille: Fabric Design

Pixar team was already famous for his pioneering work in the movement of tissues. And RATATOUILLE (Ra.ta.tui), created the "costumes" most complex computer-animated film. For a long time the tissues were a major stumbling block when it comes to recreating a credible means of CGI. This is because the tissues, by nature, are not static and the physical laws of gravity, friction-are always present in one form or another. Pixar was investigating the new possibilities for tissue wrinkled shirt that seems completely real that appeared in "Monsters Inc. (Monsters Inc.)" which was followed by a collection of retro-futuristic clothes that could be See "The Incredibles (The Incredibles)." RATATOUILLE (Ra.ta.tui) presents a more complex tissue with many layers and models of fabrics for tablecloths and napkins. Eventually created more than 190 different models. Christine Waggoner and his team, the simulation supervisor, addressed most of this work also included the simulation of hair. "With RATATOUILLE (Ra.ta.tui), the technical bar is very high," says Waggoner. "The characters have more clothes and that means more layers and more movement than ever. We had to create all that chef clothes with jackets cross and buttons, an apron and a pair of pants, and a cap over the hair. " The clothes he likes to Waggoner is the leading Auguste Gusteau himself, which was a very big but has become a ghost sprite. "First we design the clothes for the real version of Gusteau, then shrink it to make it the sprite that we see in the film," says Waggoner.

"But we also wanted his clothes were very sophisticated and very well done. There is no precedent in the design of some of the styles of clothes you see in the film, so it was very interesting. "

Simple things that may seem as simple as tablecloths or napkins, become something terribly complex in the world of computer generated imagery. "We must take into account a lot of details, eg the interaction between the legs of the character and fabric hanging from the tables," says Waggoner.

To Waggoner, who is both an artist and a programmer, the most fun was to assemble all the elements to have a global vision. "To me, the hardest part was nailing the look and that Brad likes things to be realistic and cartoony at the same time. So it was not to solve a scientific problem of how fabrics move and do the numbers. In fact, it was a much more subtle for all the elements fit into the overall aesthetic of the film, "he says.

The result is that the clothes, along with sophisticated designs, which makes for each character makes the world of RATATOUILLE (Ra.ta.tui) into something much more credible. "By simulating all clothes and fabrics and reproduce the natural wrinkles and all the movements produced a realistic feel incredible," says Waggoner.

Galyn Susman, associate producer, sums it up: "Most Pretty clothes and fabrics RATATOUILLE (Ra.ta.tui) is that they are so natural that do not attract attention, and that's a real feat. "

My Baby Hates The Bottle

Ratatouille: The Recipe for Success

Once inside Gusteau's, Remy has a chance to get what he has dreamed all his life, even if they do dressed: a menu completely revolutionize very dull thanks to the creativity of the dishes. For the filmmakers, the key to the whole story lies in giving life to all the gastronomic world is everything to Remy, and do it accurately and attractively. So the first thing they did was dive into the world of haute cuisine. "The story goes far beyond knowing how to cook, but I realized that if recreating the atmosphere of a real kitchen, and managed to be very nice, this will lend credibility to the fantasy, "says Bird. The process began in Paris where the" investigation "of the filmmakers was to eat at best restaurants, trying all sorts of delicacies and taking a look at the world's most creative kitchens. "We were worried a bit to eat as much and so well within such a short time," Bird said, laughing. "But we learned a lot of fun things that are reflected in the film." Back home, the entire team wore the apron and attended a series of classes in which concia computer artists, more accustomed the mouse and keyboard, learning to cut and slice like the pros do. This was very important to understand the small but essential details such as the manner in which the chef takes a knife, cut onion, stir soup or communicate with others in a kitchen in which reigns a feverish pace. Cooking classes provided many creative skills and also some very funny side effects. "I almost ruined," he laughs Mark Walsh, supervising animator. "I was a frozen food eater and cans of tuna and I suddenly realized I was much more fun to eat something good."

Meanwhile, Brad Lewis moved to Napa Valley, where he made a two-day intensive course in one of the best restaurants in the United States, which incidentally is almost impossible to get a table: the French Laundry. There, the famous chef Thomas Keller, considered one of the most innovative professional kitchen every night revolutionizes the classic dishes and more appreciated.

When Keller learned the story of Remy, he was fascinated. "People thought it would scare the idea of \u200b\u200ba rat in the kitchen," he laughs. "Quite the contrary, I think Remy is someone with which it is easy to identify. Is an outsider who wins, and that's wonderful. "

Besides lending his voice to a restaurant owner in the film, the lead role in the world of gastronomy was much more important to Lewis. "Brad wanted to know what a real kitchen, energy, dynamics and how people move in a kitchen -" the dance "as we say in our restaurant," explains Keller. "Brad and his team also filmed a lot of video material on the French Laundry in order to study and move from reality to animation."

Lewis, the first night he worked until 1:30 in the morning and returned the next day at 5:30, says that it was worth it because he understood what motivated the character of Remy, a passion for good food. "In a kitchen like the French Laundry many details and many secrets to learn," notes Lewis. He adds, "but more important was the discovery that Thomas has the same emotional connection with their dishes and their clients with the public we going to see the Pixar movies. So we had a lot more in common than we thought: it is essential for both involved to feel our computers at work to do. Also I discovered that I like to cook for the same reason that most of the chefs, because it brings people together. "

But despite all that the filmmakers had seen and tasted in Paris, cooking classes and the French Laundry, they knew to be transformed into computer images that wonderful feeling that provides a plate of good food , would be an arduous task. "Our mission was to create the most wonderful food ever seen in an animated film. We wanted the audience to think, 'Hmmm, I'd like to get into the screen and eat it so good! "It is difficult to create all those dishes real life, so do not say in the environment of computer-generated images, "said Michael Fong." So the filmmakers had to 'cook' a series of creative and technical processes completely unique.

To begin The technical team realized they needed real food models to study it. "The only way to recreate the look with the dishes when the sauces are simmering and steam smokes was really cooking the dishes in the kitchen of truth and then photograph them, "says Fong.

Here enters the house culinary consultant, Michael Warche, which was a professional chef before joining the film industry, and also worked as manager of the department layout and sets of RATATOUILLE (Ra.ta.tui). "I had to always be prepared. Effects people called me and told me I needed to recreate the soup that Remy has just redone. So I went and made the soup, "says Warche.

Warche worked throughout the film to ensure that authenticity that even gourmets more snob would value. This occurred especially in the kitchen of Gusteau's.

"The idea was to create something that would be stylish and fun but also resembled as closely as possible to a true French cuisine, "he says." We needed to have the typical French copper pots, knives, real French, the chain of work that makes the chefs are always in motion until the food is emplatado with different sauces and the architectural presentation. We wanted everyone who had ever been in the kitchen of a great restaurant to say, 'Wow, they have achieved'! "

When it came time to transform the food computer-generated images, the team faced a host of technical problems. "We found that the simulation group needed to soften much food to mix well in the plate, "says Fong." That made him look even more delicious. The lighting and modeling group also added transparency that makes food more appetizing . And finally, the effect group created steam and heat waves coming out of the dish. All this meant that the dish was very appetizing. "

Some foods were harder than others. For example, bread, which seems easy to reproduce. But if you want to give that aspect of 'wanting to devour', a lot of difficulties arose. "Bread is complicated because it gives a sense of volume, "explains Fong." You can not paint a flat surface that looks like bread. Must have air bubbles formed when baking bread and give it a fresh look. The bark must have scales so it looks crisp. So we had to have highly specialized people to overcome all these problems. "

Another problem the team had to address the food was plenty of liquid in a restaurant from a thick red wine sauce. "Simulate things like mandarin sauce is very complex and can be a real feat," Fong notes. "Simulating water also poses a major challenge. Simulating a viscous fluid that seems to move in slow motion as salsa and sauces made decor is very difficult because there are few simulators that can reproduce the physical. And things suspended in the fluid is even more difficult. " He continues, "We also needed special fluid simulations such as moving a liquid into a spoon, for example, in the scene where Remy saves a soup important."

The best proof that the food team was doing well was that when he saw them, Thomas Keller will open your appetite. "Some of the dishes they created were so good that I felt like to test them, "says Keller." The way Emplate, presented and pepper the food was fantastic and managed to transfer the animation process that wonderful aspect that has good food. "