Wheels For Suzuki Swift

just a question of balance

I was wondering ... if the oppressed peoples of our planet were aware of how the exercise of democracy, to which they aspire so much was something very broken jaws. And especially, I should specify, as a democracy is "the French" sensible advocate of brotherhood, equality and all ...

is basically the thought that keeps going through my head since I read the "measures" the government has decided to apply to the community of Travellers.

My problem lies in the fact that I can not collect any form of communalism ... And if you look carefully, the Travellers are a typical example of communitarianism and has been for centuries.

But at the same time, when we decide to do some cleaning in these communities, it is automatically taxed, probably rightly, of all names ... Recent history is sufficiently ingrained in our collective imagination to remind us of the excesses of such practices.

It is therefore, I think, a matter of balance (As in all things by the way). A little freedom here, a little there ... repression A little tolerance, a bit of firmness ...

Yes, but you say, are there no a middle ground? A midline, virtuous and that would work for the happiness of all?

Well no, there is none. Because the balance still does not exist. It rocks, wanders from one side to another, it is pushed by pressure from each other.

Where things start to go on a testicle is when one side begins to push a little harder than the other. Example of this scrogneugneu Elected President who took the opportunity to really (but really) insist on the suppression ... It grows, it grows ... And what will happen, is that our democracy tightrope walker will eventually break the mouth.

It's like the guy who is walking. Yeah, if you look closely, a man walking in balance on both feet. What, then, if a man is constantly falling, and that catches up with every step?

If one of the legs show his work, it is certain that the man will break his mouth.

And good for our democracy is the same. She leans dangerously, and eventually wallow

Ah ... less At least until someone decides to push a big blow in the opposite direction.

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THE PRINCESS AND THE FROG IN BLURAY: Interview with directors John Musker and Ron Clements (Part 2)

What makes a great animated film, according to you?
Ron Clements Good characters, great story with a happy ending, and an interesting world in which you would want to spend an hour and a half. And finally, we must present all of the most funny and entertaining as possible.

What is the hardest part in creating a character?
Ron Clements Good characters are the heart and soul of these movies. It is important that they are real for the audience, that people identify with them, they remind them of people they know. This is also true for the human characters as alligators and fireflies. We want our characters have depth and relief, and we work hard to achieve this goal. This happens mainly when writing the script and storyboard development. Finding the right voice is also extremely important. And finally, finding the right leaders, themselves good players at their level, is essential to create the character.

Who have you inspired to create your characters?
Ron Clements Many characters were inspired by people we met during our research trips to New Orleans. Tiana is strongly inspired by Leigh Chase, a famous restaurateur in New Orleans, which started as a waitress and eventually opened the famous restaurant Dookie Chase. Mama Odie is partly inspired Ava Kay Jones, a voodoo priestess who dances with her snake, and Colleen Salley, a storyteller from New Orleans. Dr. Facilier is based on "Bokur" of New Orleans. They are solitary figures who have broken away from the Voodoo religion to make pacts with the spirits of black voodoo magic and sell them to make money. But as Ava Kay said: "These magic spells are often a backlash because easy solutions are not real solutions."

How collaboration Clements / Musker happens it?
John Musker; When we started the film we first see a number materials that were written during the years when the studios planned to adapt "The Frog Prince" in animated version. One of them was a version of Dean and Chris Welin Ure, two artists who had imagined a firefly who fell in love with the evening star. We loved the idea and we thought it would fit with the concept of a love so strong that it kills all obstacles, even the impossible. We thought it looked like a Cajun. When we were in New Orleans to prepare the film, we visited the bayou, and our guide was a toothless Cajun who harbored alligators from his boat. His name was Reggie, and we thought of him when writing the script. We imagined that he could sing a melancholy song for his star adored. Evangeline name comes from a poem by Nathanial Hawthorne, who speaks with a Cajun woman named Evangeline, who was looking for his lost love.

Have you had any complaints from colleagues who have been caricatured?
John Musker; Lorry Shea, the bold red, was too small, but it is small and it's part of his character. In any case it's like what I see, and I got into.

The Princess and the Frog marks the creation of the first African American Disney princess.
Ron Clements With hindsight, we realize that it was indeed time. But we have not made the film for this purpose. John Lasseter suggested to adapt "The Frog Prince" at New Orleans. The idea that African-American heroine silk resulted from this choice, and that was the case from the version we have presented to John in March 2006. We all thought it was a good idea. But we have realized the importance of this election for the African American community that later.


About the African American community, what kind of impact have you noticed?
Ron Clements We were personally thanked by many African-American mothers who were thrilled to see a princess who looks like their daughters to them on the big screen. Sometimes it was extremely touching, and very rewarding.


I heard that Princess Tiana will be the first African American Disney had impact on the movie title and character names. How much truth?
Ron Clements The original title of the film was The Frog Princess, and that was the title of a children's book by ED Baker which Disney bought the rights in 2003. A little later, we decided to change the name to The Princess and the Frog. It is not unusual. Many of our films have undergone title changes as and when they are developed. Tiana named Madelyn (Maddy nickname) in the first version. But we chose Tiana, meaning "princess" in Greek. Name changes are also common. But we did feel that this movie was eagerly awaited, and this has led to some pressure. Our goal was to adapt to people's expectations while staying true to the story we wanted to tell.

By breaking with the tradition of the girl in distress rescued by the brilliant hero, did you want to Tiana, the incarnation of the strength of young women today?
Ron Clements We've always liked the idea that Disney Princess Tiana is a like no other. This is the first to have a job and a career plan. We create the character of Charlotte to a little fun of the stereotype of the princess, and contrast with Tiana. We see a bit like a modern princess Tiana.

I love the character of Mama Odie. It is somewhat the opposite of Facilier, a bit like a fairy light from the dark lord. Have you ever considered confronting them directly?
John Musker; We considered a direct confrontation between these two characters at the climax of the film, where light would triumph over darkness. But we have not managed to run the scene. We even planned to make a scene music. It could be fun.

How did you get the idea to life in the shadow of Facilier?
Ron Clements From the beginning, we called Dr. Facilier "man of the shadows." But it is a concept designed by Sue Nichols, who gave us the idea of giving life to his shadow.
John Musker; Soon enough, Ron Facilier called the "shadow man" after the "Bokur" of New Orleans, fortune tellers and practitioners of Voodoo who sell charms to help you find love or get revenge of your enemies. Sue Nichols Maciorowski, a great visual artist, is originally the idea of giving a life in the shadow of Facilier. She made drawings where we saw the shadow react independently of the wicked. She also made a drawing of Facilier dancing with his shadow. These two images were very attractive and fun to animate.

What Dr. Facilier is it different from other Disney villains?
John Musker; It does not seek to conquer the world as other villains. He has no real chance. One of its features is that it interacts with its own shadow. He is very charismatic, is a showman and he was very nice to animate.

How Tiana and Charlotte can be best friends with characters so opposite?
John Musker; I think it is possible for two best friends to be different. Though Tiana is repelled by the idea of kissing a frog, fairy tales are intriguing. As seen in the beginning, they are both interested in the story by Eudora. They are both crown princess. Life harder Tiana makes him lose a bit of fun she had in her life as a child. Tiana enjoys the exuberance of Charlotte, although she nature is more reserved. Sometimes we are friends with very different people, doing things they dare not do it yourself.

The film really takes off when the animals become stars. Was this intentional?
John Musker; It was not intentional, but the level of entertainment seems to actually take off when Tiana turns into a frog. There are more opportunities for visual comedy, cartoon and entertainment related to the situation of persons in a situation that is unfamiliar. The challenge from the beginning of the film was to engage the public in the situation of the character Tiana and Naveen, they remember it for later in the story.

How did you get the idea of an alligator musician?
John Musker; The alligators come from Louisiana and we have seen a few in our study tours. Their large size gives a funny contrast compared to the small size of frogs. The person who inspired the great trumpeter is a native of New Orleans Louis Armstrong. The original concept was that the alligator was a human who had consulted Dr. Facilier to become the greatest jazz musicians, so he did not leave a note. Facilier made him a good jazz musician, but he turned also alligator. The story had to be simplified because the film was too long.

Louis Armstrong influenced The Jungle Book (which he should even be included), The Aristocats (Scat Cat), and now you create the alligator Louis. How do you explain the success of the famous trumpet player in the animation?
John Musker; is one of the greatest artists of American entertainment. It stirred passions. And it caused a sensation with his trumpet playing very rich, jazzy phrasing, her singing techniques, this kind of distinctive rumble ... but also with his look, his sweat, his handkerchief, his smile and squint. It was an icon, by his aura and style.

A big thank you to Lauriane and Caroline for their help on this interview!

And always our gratitude for his translation Angeline!

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A ban stinks spout

Then I start to type these words, I doubt that I'll write more risk of a shock, even if the heat is sufficient, turn the pan over the comments. But hey, I take the risk. People are always well kept home, and there is no reason to change that.

Yesterday the Parliament of Catalonia has voted by 68 votes against 55, in pain and independence as a crisis, ban bullfighting in its territory ...

Well I who just returned from Catalonia and who have enjoyed the rich cultural (and culinary), I can tell you that this news saddens me.

Yes, frankly it saddens me. Well, I think it is unnecessary for me to do here advocating the bullfighting tradition, I think it would be perfectly sterile.

Everyone has an opinion on the issue, more or less substantiated elsewhere, and respondent's own sensibility.

And my own opinion (as low as most supported) is that I love bullfighting. I always liked bullfighting. I find it beautiful and tragic at once. I can not explain it to you otherwise, I like that's all.

After that a majority of the ban on its territory, does not bother me more than that. It saddens me a bit, but I will not do much for jaundice.

By cons, which drives me up the towers, is when I hear the arguments these anti-bullfighting lobby ... Then yes, I have a sudden urge to raise the roof, or even become rude.

I find these zealots of bienpensance totally undrinkable and methods for stacking.

Their speech is violent, as much if not more than the alleged abuse they intend to withdraw. Their dialectic is binary and reductive (You're the life or death? Use of the term rather abolish a prohibition ...), and their tendency to use guilt as a means of communication is the most disturbing.

Also, if you look a little on the anti-bullfighting sites reveals that they do not hesitate to mix happily genres to get their message. A mixture of genres that is reminiscent of delusions that can be found on the websites of the extreme right.

You have a very good example here .

short, as I respect their opinion on the issue, as I find the arguments of those Taliban suspect that most ecologists. Behind this communication two bullets intended for weak-minded and ignorant, and I would compare to Nazi propaganda, I see dawn dangerous and totalitarian ideology.

Moreover, I believe Dr. Malthus, it is not the first time I have on these fanatical environmentalists such suspicions ... Read, if you're interested, this article I wrote last year.

Everything stinks beak, I tell you.

And what about the reaction This old starlet also become rancid that his comments? There is very simple, it borders on the ridiculous so I prefer to keep quiet.

Well, fortunately in the face organized resistance (yours, I too am amalgam!) And some argue for the register bullfighting cultural heritage of our region ... That way these morons will not touch it! Olé!

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But Keskidizes?

I can not resist the urge that grips me to circulate this bluette hit the ring of common sense.

I asked myself

sneak the issue this morning listening to the news and noting this same contradiction in two different editions of the newspaper permanent I-Tele.

The Post has observed and imaged.

And Aliciabx puts it online for you to enjoy finally here too ...

unemployment figures: it smells like scrambles!
sent by LePostfr . - The Info Live Video.

It's nice information flowing, eh?

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TOY STORY 3: Interview with animator Victor Navone

How did you find the first Toy Story?
I saw at the cinema in 95 during the first week of release. I remember seeing previews at SIGGRAPH last year, and I was very impressed. I already knew the name of Pixar because I had already seen several of their short films as well as the Spike & Mike's Animation Festival. I really enjoyed the movie but it had not given me desire to become a leader or joining Pixar. This world seemed very foreign.

How was embedded in a project such as Toy Story 3?
At first I did not want to work on Toy Story 3 because I wanted to learn as a spectator, like the first two films. I hesitated also have to work on characters which were already well established and appreciated. But the more I learned about the movie, the more I thought it was great to finally work on it, so I asked to be included in the project. I am very happy to have been accepted.

What scenes are you moving?
As I indicated earlier, I was anxious to work on classic toys, so I asked them to work on sequences that showed the human characters. I did not have much experience in realistic animation of humans, and I thought it was a good opportunity to learn.
To draw physical and mechanical equipment realistic, I'm leaning more than ever on references videos. I animated a few scenes with Andy and his mom, and I was the first to make plans for Bonnie, the new character of the girl. It was a great experience for me, and it is also thanks to my own children I was able to draw and develop my performance lively. I even filmed my 5 year old daughter for references on some scenes.
Once I had enough scenes with humans, I decided like practicing on some of the classic characters. I was able to ask a few scenes of Buzz, Woody and Jessie. I did a few scenes early in the film with Woody toys that informs the bad news about "The operation is replayed, and I also had to make some scenes of Rush when he meets English first Jessie and is under the spell. These scenes were more challenging and we're all closer to the work of Carlos Baena, who had set the bar high for the animation of Buzz
English

What is your favorite scene?
I think my favorite scene is the first appearance of Bonnie. It does not say a word the whole scene and everything is silent performance. I used the storyboards as a starting point but I mainly drawn from the personality of my daughter who helped me generate ideas. I did extensive research, I shot my daughter, I had shot myself, I watched films reference other children in kindergarten, I looked at many pictures and I am a lot of sketches. From there he had to take the best ideas that could lead story on a unique and authentic way, satisfying the director's vision. One of the hardest parts was to animate two adults, then you can not see their faces. I had to keep them sufficiently "alive" for the viewer to deduce who was speaking, but not too much not to hide the performance of Bonnie.

What was your most complex scene?
The previous two, that of Bonnie and that of Andy and his mom were complex because they are very long and they need the natural and human-performance seen in its entirety. Bonnie has to walk on his knees and interact with a box of toys, and Andy must bear boxes, walking up and down a ladder and have a silent conversation with her mother. I know technically how to animate scenes so it does not bother me to have to play with more complicated constraints and actions. The trick is to keep everything organized and manage my key frames efficiently. I chose to work in step mode for most of my scenes, and I often had to start all over again for two seconds so as to maintain control of my timing and have as much space as possible before converting to spline . It was a new method for me and a new learning opportunity on this film.

Have you worked with other leaders?
In fact it is very usual for us to share our pictures. Often an animator working on the characters of substance, and another on the characters in the foreground. This type of separation is the simplest because it does not require much communication and collaboration between the leaders, because their characters do not interact. Sometimes two leaders share a scene of dialogue, each animator, working on one of the characters. It is more complicated and requires more planning and communication. I shared some scenes in Toy Story 3, but the characters did not interact so I worked more on my side. For example in my scene between Andy and his mom, another leader (Mike Stocker) drew the animation of the dog, Buster who walks past the camera at a time. I had to coordinate with Mike images where the dog would appear and how long it would eclipse my characters, but apart from that we did not discuss the animation of our characters.

In Toy Story 3, you pick a few favorite characters from previous movies and where you need to resume the type of animation they had. For new characters, leaders must find a way to animate original and interesting. How did you manage that?
For classic characters, we had two full-length movie reference, of course, which is very useful. We also had the animators who worked on these first two films, which could answer questions from moderators. There was a lot of upstream work, during pre-production, documenting the classic characters and create guides for new leaders as conference and leaves with models drawn. For new characters we faced the same challenge and use the same process we always do. We discuss the character with the director, working very closely with the designer of the character of wire, so as to have the model ready to lead, and we are doing many animation tests (initially silent and then with dialogue) to try to identify the character.

Unlike Pete Docter and Andrew Stanton, Lee Unkrich is editor at the origin. How did you work with him?
Each director has a different style and a different approach to animation, based their personalities and experiences. Lee is not an animator, so he did not note animation complicated, but was very clear in his remarks about how the characters should play and what he expected from the scene. As the creator of the film, I found Lee's more technical and precise because it acted as both editor and as a director.

Do you have any anecdotes about the creation of Toy Story 3?
The animation department likes to have parties and other events to keep in good spirits and good energy. At one point early in production, many of us had decided to shave the hair to have a "net start" on the film. Even Lee Unkrich accompanied us. I never shaved my head before and I liked it, but I'm not sure my wife has enjoyed ...

What you feel for taking part in the adventure Toy Story 3?
I'm glad I took part in Toy Story 3 because I think it's a great movie and it was a good way to learn and a great experience for me. It was especially fun to draw references from my family life, something I could not have done five years before. My talents and sensibilities are constantly changing, and I'm happy to be in an environment that has always offered something new and work that inspired me.

What is your next project?
Cars 2!

With thanks to Scrooge for his translation!