The Legend of Zelda: The Movie

Não queria uma animação japonesa de Zelda, acho que um filme nas mãos certas poderia dar algo bem porreiro. Anime é Monster, o resto é treta.

Grande anime (estão a converte-lo para filme, mas é um estudio americano, que não me recordo do nome)

Mas zelda em filme??em anime??? nenhum dos dois deixei lá estar o link no mundo dos jogos que ele lá estás bem, só o facto de terem de por o link a falar :puke:
 
Bem, visto este tópico não morrer, fiquei admirado e deixo aqui a minha BRILHANTE ideia:

Um Filme MUDO!! : D ?

:D Quem sabe? Se ainda se vão fazendo filmes a preto nos dias que correm, um Zelda mudo não era totalmente impossível. Mas prefiro que fique como está, só como jogo. Acho que nem em anime iria resultar plenamente...
 
Entrevista com o realizador do Trailer:

You directed the now famous April Fools Zelda Movie trailer for IGN. How did this all come about?

Sam Balcomb:
I met up with Fran Mirabella at IGN a couple years back, and we seemed to hit it off. I originally had an idea to create an ongoing series of fake movie trailers based on games, kind of like "how would we envision this". It wasn't an april fools at that point. We got the go-ahead to shoot the Zelda trailer in early Summer of 2007, and completed it in the Fall.

At that point the decision was made to release it on April 1st as an elaborate hoax. We were bummed at first, because it meant waiting almost half a year to release it, but in the end it wouldn't have made such a big splash if we just said 'hey, here's a fake trailer we made.'

What was the project budget like? Did you have to cut out any features cause of this?

SB:
Respecting IGN's wishes, I can't say exactly what the budget was, but it was tiny. I think craft service for public access shows have more dough. No one really got paid for it, but we did it because we believed in the project and loved the Zelda games. It's not often you get handed something as awesome as this, so we considered it a once-in-a-lifetime opportunity. The only thing that got cut was a few stunts that involved wire-work.

What kind of camera did you guys use?

SB:
Panasonic's HVX-200. It's a wonderful camera. It shoots to P2 media cards, so it can record a native 24 frames per second, and do genuine overcranking for slow motion. We also used the RedRock Micro M2 adapter, which allows us to fasten 35mm pro lenses onto the body. In fact, we just learned that RedRock opened their keynote speech at NAB with the Zelda trailer. Wish I'd been there to see it!

How did you get access to a soundstage with a green screen? Did you guys DIY it?
SB:
We were looking for a large greenscreen until we remembered Link wears a green tunic. That would've been a pretty hilarious mistake. So we switched to a bluescreen, which is actually harder to find. We ended up totally lucking out with a place called Ready Set Studio in Sun Valley. They hooked us up with a massive stage for a full day, for such an amazing bargain. The space allowed us to get a much wider variety of shots, as opposed to my usual method of nailing a cloth to my living room wall.

What software did you use to edit the trailer?

SB:
Final Cut Pro was our editing software of choice. We shot with the DVCPRO-HD codec, then pipelined to lossless Animation for color grading and visual effects. I'm an unabashed Mac guy... there's a rivalry between us and IGN, who are all about PCs. However I'm man enough to admit our sound designer, Jeff Dodson, used PC software like Cubase.

What about the 3D graphics, effects, and compositing?

SB:
All 3D work was done with Maxon's Cinema 4D. It's a robust little program, very much underappreciated in my opinion. Camera tracking was done with Syntheyes, and compositing in Adobe After Effects. All particle effects were done with Trapcode's Particular plugin, which is awesome. We set up a little home brewed render farm for the more complex shots.

I'm a particular supporter of Syntheyes, due to its ease of use and robust 3D tracking system. It allows poor filmmakers like us to match-movie intricate shots without the need for expensive motion control equipment, and in my opinion, that's one of the biggest godsends to smaller productions right now.

What was involved in finding the actors to portray such famous video game characters?

SB:
It was tough. We couldn't post casting notices for Link and Zelda due to the secrecy of the project, so we had to be both descriptive and vague. But overall it came down to hours upon hours of searching through online databases. About ten thousand headshots later we found JR Killigrew and Camille Brown, and they were a pleasure to work with.

The other cast members are all people I've worked with before. We try to keep our cast and crew as familial as possible, and most people who visit our set understand that vibe. There's no room, especially on low budget stuff, for egos. Except for mine.

What future plans do you and the studio have? Making shorts or even a feature-length?

SB:
We've been pretty busy, thankfully. There's a lot of interest right now for online content, and we will continue our collaboration with IGN on new ideas. Music videos and commercials are also our bread and butter now. In the background we're developing several features, but we're in no rush to plunk a bunch of money into something until we feel the project is ready.

Short films are still a passion for us. They're so much fun, can get done quickly, and are a constant learning process. And nowadays there's more marketability for them, and clearly a wider audience.

Any advice for aspiring Directors and maybe even some tips for actors wanting to work with directors?

SB:
I'm wary of giving advice until I feel like I've earned that position. I've made a lot of mistakes, as we all do, along the way, and I'm still a relative infant in this industry. However I count myself incredibly lucky to work on such awesome projects, with such talented people. I suppose the best advice I can give is to set a bar for yourself, and don't rest until you reach that level. And when you do, set a new bar.

Regarding actors, I'd rather give tips to directors and producers. I see too many actors mistreated, or under valued. Ninety percent of actors in LA work insanely hard, and in return get little or no money, no benefits, and sometimes not even a copy of their work! It's tough for them out there, so I'd like to see a shift in the mindset.

The interwebs, they can be both a blessing and a curse, how has it treated your career so far?

SB:
Yeah, it's a series of tubes isn't it? Actually I have to credit the internet almost entirely for my career so far. Back in 1999, I sent out some stills from a short film I was producing to a fan site, and the next day I had dozens of emails asking about it. On that day I realized how important the web was to filmmakers. In a way, that event paved the way to the Zelda trailer.

Conversely, we had a big scare a week before that trailer was released. Someone actually leaked a few shots online, to some gaming bulletin boards. Thankfully that's all that happened, and it didn't ruin the launch, but still... we never found out who did it. That's pretty scary, and on a miniscule level we felt what kind of pressure it must be to keep a big movie top secret.
Fonte: http://www.phirebrush.com/interviews.php?iid=61
 
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