USAGI_film

Cheers, Jason.The alpha release step you are all taking confidence with seems comes with such good reasons. I was fascinated watching you talking together on THE CASTLE DOCTRINE forum during those months in alpha. I could see you needed to do it in order to release an MMO generously. Tell me. I know you chose to be a lone game developer. Have you, specifically found other lone game makers out there? Do you think you have a character trait for this ?

Hi. There is a classic of a book I have,Composing for the films by Adorno & Eisler, first published by Oxford University Press in 1947. Essays about the objectives with music composition pre -games music during the mid twentieth century with the Hollywood model. It's a great read. Musicians had a hard time back then for the division of labour was such that composers, when arranging, could not retouch and correct as the music tracks shipped out from their care for each job. Music was in danger of being trite and being compromised. Now, independent Rohrer, he tweaks as he goes and stays connected ( he has had a musician on a game, haven't you ,Jason?). When I picked thatgamecompany to follow, it being a game company in the middle economic range with just that much more investment to disperse, I knew that Sony Entertainment America had it's reputation as a musical epicenter and that their pride in work would mean something in the industrial relationship here that would be really special. The time that Austin Wintory had with Sony was a heavenly place. I saw a chance to foreground the significance of a musical motif as a focus in the film as soon as I heard about JOURNEY in 2009. My background is filmmaking. The adage always in my learning was that 50% of a film's impact comes from it's music, fx and audio. I hopped over to Burbank as early as 2010 to connect with Austin Wintory. I sensed that he was experiencing a green lit privilege of being able to retouch and tweak the musical tonalities for this game. More delightfully, I popped over( just 10,822 kilometers) when it was time for him to lay in the principle motif. That scene you see in the film is the actual recording of "da da da da daa da da da da etc etc " with Tina Guo. I wanted to be there for the hairs tingling on the arms experience live! Austin was in an exceptional position - almost a once in a lifetime position in the history of games development. Often, as he told me, he had access every twenty four hours and over three years to each game build update to work on JOURNEY. Get him in for a talk at your academy sometime. Where is this? Cheers.

Hello northerner. Hello Jason and Jenova. Good to be here. Hi Zach too. I feel privileged to hear you all talking. Game developments is a thrill to you each of you, I think. I saw it close up. I like seeing elation. What do you developers do on a bad day??

I enjoy hearing this. It was a highlight for me going out to Las Cruces to spend some hours with your family, Jason. We did so many skype interviews as I researched for the shoot. You went through rocking two babies to sleep whilst we talked, each time for an hour. There is no doubt that I fell into making this film as I watched our son draw and get a first game on Kongregate those years ago. I wanted to get insight about where critical thinking was at with game development. Where was whimsy? What did the future hold? Our son was the sign poster for my film research. My inclinations include profundity so the developers I selected were what you got. We must challenge form when new forms emerge. Thanks Tom Robinson. Thanks to each of you developers giving me the time and taking your practice seriously. Would anyone care to receive the film newsletter? link to the film website to subscribe.

He He. There you go, Jenova. We like to be taken seriously. Do you?