May 16, 2024 • 43 mins
En este episodio, exploramos la fascinante relación entre el cine y los videojuegos, dos universos que comparten más similitudes de las que podrías imaginar.
Para adentrarnos en este emocionante tema, reunimos a dos expertos en la materia: Angy de la Rosa, directora de fotografía y environment artist para videojuegos 3D dominicana, y Oscar Berroa, comunicador y promotor de la industria de videojuegos en la República Dominicana.
Acompáñanos mientras descubrimos la estrecha relación entre ambos sectores a través de adaptaciones e historias de narrativas de videojuegos.
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández Lora
Angy De La Rosa
Oscar Berroa
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
Préstale tus oídos al cine y después los ojos.
Descubre La Boca Fílmica, un medio muy casual creado por Lauren Fernández Lora en 2019, que sumerge a su audiencia en el apasionante mundo del cine con un enfoque de entretenimiento educativo, convirtiendo cada espacio en una cautivadora conversación sobre los diversos temas que rodean el fenómeno cinematográfico y la televisión. Prepárate para hablar de cine hasta por los codos en esta experiencia que conjuga el conocimiento y la diversión. Co-hosted por JuanCa Gil y Carlos Toribio.
Un podcast original de DBC Network & Studios.
Síguenos en:
La Boca Fílmica en Instagram
La Boca Fílmica en Letterboxd
La Boca Fílmica en Youtube
Para adentrarnos en este emocionante tema, reunimos a dos expertos en la materia: Angy de la Rosa, directora de fotografía y environment artist para videojuegos 3D dominicana, y Oscar Berroa, comunicador y promotor de la industria de videojuegos en la República Dominicana.
Acompáñanos mientras descubrimos la estrecha relación entre ambos sectores a través de adaptaciones e historias de narrativas de videojuegos.
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández Lora
Angy De La Rosa
Oscar Berroa
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
Préstale tus oídos al cine y después los ojos.
Descubre La Boca Fílmica, un medio muy casual creado por Lauren Fernández Lora en 2019, que sumerge a su audiencia en el apasionante mundo del cine con un enfoque de entretenimiento educativo, convirtiendo cada espacio en una cautivadora conversación sobre los diversos temas que rodean el fenómeno cinematográfico y la televisión. Prepárate para hablar de cine hasta por los codos en esta experiencia que conjuga el conocimiento y la diversión. Co-hosted por JuanCa Gil y Carlos Toribio.
Un podcast original de DBC Network & Studios.
Síguenos en:
La Boca Fílmica en Instagram
La Boca Fílmica en Letterboxd
La Boca Fílmica en Youtube
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Hey. I am Denis Gómez andI Louren Fernández and this is the film
mouth, an original podcast by Fernándezand Gómez, recorded communications in the studies
of the American Dominican. In eachepisode, the magic of cinema comes to
life through our conversations. You canlisten to all our episodes in Spotify and
(00:24):
Apple Podcast. Cinema and video gamesare two worlds that have more in common
than you think. Join us inthis episode to explore this close relationship.
Welcome to a new episode of filmmouth. My name is Loren Fernández and
I' m Dennis Gomez, andwe bring you a new episode that maybe
(00:46):
comes out a little bit of whatwe' re always exploring. But the
theme we bring you in this episodegoes hand in hand with formats that,
over the years, have become arevolution of the digital age and the media.
(01:07):
These formats are movies and video games, and in this episode we specifically
want to explore how they have interwovenat the level of narratives and at the
level of nematography, at the levelof cinematography, at a level as you
say a little bit more technical,because we are already in a digital age
(01:30):
in which everything has evolved, theway video games are made, but also
the way in which films are made, which have many special effects that without
artificial intelligence and both formats, whatthey do is make us as part of
them immersive. Exactly, they're two very immersive formats. And for
(01:55):
that we bring two experts so tospeak, so to speak, they are
two experts who have soaked a lotof this because, as I say,
it is a subject that even infilm festivals there is a lot to talk
about. That' s what Angeland Rosa are here for, who'
(02:16):
s an artist. Be director ofphotography and environment arts for video games and
animations. The focus is basically ontelling stories from a sensitive, gender-
sensitive and awareness- raising perspective.Through his work, he seeks to transmit
significant emotions and messages, using hiscreativity to inspire and generate reflection in the
(02:40):
viewer. And he is also withus oscar Berroa, who is a communicator
and promoter of the video game industryin the Dominican Republic. His speech is
usually aimed at exploring and disproving taboosaround video games and to motivate the growth
of this industry in our country and, of course, is a collaborator at
(03:01):
EA Sports event in the country Wow. Welcome to own these introductions with rumiso
here. Thank you very much forthe invitation, not thanks to you for
coming to explore this topic that basicallyhappened to us in the cinema, but
I know that you too are verypassionate about that exact video game theme we
(03:25):
need that like that collaboration at thevideo game level. Pass this close relationship,
which we will try to address inthis video game chapter then assist to
break the ice. First question,what is the vanga relationship of redundancy?
You understand he' s got videogames with the movies. Currently answer your
(03:47):
first topic. Ok they plugged methat good look today and how good that
you specify it in time the question, because there really is a whole track
record of how video games have beenevolving involved in the film industry and vice
versa. One influences the other inlarge part. Today, for example,
I can give you a quick example. The game that won the game of
(04:09):
the year last year, Clusters GateThree, with implementation of a cast of
voices actsurs of the highest category,with the best technologies of capturing motion both
facial as well as full body,body and artificial intelligence, to create more
dialogues and content with those same voicesthat were not foreseen, creates an experience
(04:31):
that the director said Mira. Ineed these people to start here, know
where they stand, come through hereand finish there how they' re going
to get there. I' mnot interested in the experience that brings you
from the role- playing board games, dungeons and dragons and things like that.
They take you to a video gameand you and you and me,
(04:54):
we four can play that game andhave a completely different experience, because we
enter the world as we want tolisten to voices, not read so much
text. It' s not reallyworrying about character falling in love with characters,
hating characters. For me there isa very good performance and a very
good script when you really hate notonly the character, but the actor.
(05:16):
For example, I fri de gameor Thrones. I think the biggest example
of that is Dron, because Ifind that little face on the street.
I love him that they' reas tanzo and that' s very interesting
that you mean those factors that youmention that people may not see it,
so the one who doesn' tknow much that if there' s a
director, there' s a clearscript, and there' s also the
(05:40):
part of the actors. And morenow, as you say they make it
a little more realistic with that movementthat they do have to act, so
it' s not just you givingthose characters a voice anymore. Even I
was reading that there are already videogames that look for famous actors that only
(06:00):
use them. I don' tknow what this techno factions are called.
Yes, yes, yes, thefactions and not necessarily the voice. But
if you take the image of anactor, for example, famous, an
actress in avatar, for example,they make it look like a helmet with
a camera that not only serves asa motion capture, but is also scanning
the actor' s entire face.So, already when it is implemented in
(06:20):
a movie, between ste or videogame, the much capture is extremely easy,
a very nice process too and itis very crazy, because now the
movies that are animated and the videogames animated, well, that is not
something of now we come seeing,already, to avatar, to come moving.
(06:41):
But, for example, Matrix inthe 1 5' s, over
there, the 1 4' sgot a video game when Matrix number one
came out, two thousand two,out there and out there got matrixs neo,
I think, and I think itwas Max time, PlayStation one,
PlayStation one. And for example,let' s tell you to get a
(07:01):
game out or the movie out andthen the game comes out. For me
it is a very nice relationship,because such the gaming industry, gaming industry
is storytelling, foolishly, then,when we see, we see the movie
and we see the game, likeWow, we are expanding the clear story,
beautiful and angel and I weren't rigiding much, because I think
(07:26):
we didn' t put images likeYouTube video and that of that video game
Matrix also imagines me in the twothousand that don' t have those same,
that same visual quality that has thelast Matrix, that looks literally like
a movie, a movie, ananimated movie, it appears is crazy look.
And, for example, we havedirectors like Kojima, who makes some
(07:48):
masterly video games that are movies,are films, are novels worthy of reading
it, of watching it in movies, of watching it in a series.
You tell yourself only the story ofthe enjoyment and then the entertainments and interactive
video game adds an additional value,which are also of the highest quality.
And there you say conchuer is thatit' s really so much relationship.
(08:09):
However, I have a subject thatI would like to bring to the table
and it is the fact that,at the same time as I give you
this speech. I' m tellingyou, it' s very difficult to
pass one piece of work from oneof these industries to the other. Okay,
for example, cases like The Lastof Voss and now I don'
t know we' ve discussed itbefore, even in the air and out
of the air, as it wasWitcher' s at first. Yeah,
(08:31):
yeah, there' s a lotof a video game, sure, yeah,
I think, but it' sa book in a video game and
then in the movie, yes,but in an exact series. Then all
these adaptations that have gone well inthe last five years really fill you with
nostalgia, because they are not thefirst attempts nor are they the last ones.
(08:54):
There have been attempts for decades tomigrate from the video game industry to
the cinema and vice versa, avideo game from this film. Or why
is this movie so fantastic? TheLord of the Rings, what a novel,
what a movie, what a performanceor we' re going to make
a video game. They' vedone about twenty- five and nothing else.
One was good, because there issomething You have to understand that in
video games there is the interactive factorand the inversive is also more immersive and
(09:20):
the control of the player, becausethen I tell you you mentioned, right
now out of the air of howthese fall Out episodes, for example,
which is also an adaptation of avideo game, is an hour and peak.
I' m telling you it can' t be less than that because
I, to pass fall out,I have to dedicate 150 hours to it.
WOW, and that' s oneof the many games. Not that
(09:41):
there is much and the world,the world building, the construction of these
situations is developing over many games thataccumulate thousands of hours. I have the
contract. He says I can giveyou eight crazy episodes at least give it
to me for an hour, becausein eight hours I' ll be alone.
I pass the tutorial. Then Ineed how I carry this experience as
honest as possible. The Last ofVos a masterful play, because they made
(10:07):
you a full game of forty-five hours. At least it' s
so long they did it to you. How many episodes were apologies. It
was eight, like, fifty minutesan hour. I think there was one
very long of honor and beak.In less than ten hours. They told
you. I felt like I wasand they respected him a lot. The
very important game script. They respectedhim so much. One of the games
(10:28):
of the two thousand decade of thetwo thousand ten, and brought him in
a judicial way to the screen becausethey dedicated his time to a question.
So, since I didn' tknow the Last of You and, for
example, full Out, when I' m in video game, when I
' m playing the decisions I madeit' s going to impact the end,
(10:50):
then, when you take that tothe movies or a series and you
say you had a good script.What a result, what narrative development they
did for you to consider that you' ve already played a game, which
was a good script. I askyou to fuck her. Yeah, yeah,
I want to look at something thatI love and that' s why,
apart from that game like I thoughtit was crazy to do video game
(11:13):
development, it' s because somethinghappens to me in video games, playing
video games that doesn' t happento me or come to me and make
movies, and that' s becauseI get to get into a video game,
in the character, in the worldin a way that doesn' t
allow me, to limit myself tothe cinema, because you have to make
(11:33):
the character' s decisions, youhave to make sure that your life saves
you. And that in a movie, for example, you present it to
you and they don' t giveyou options. And one thing I love
about video games is that you haveto be there. Okay, this is
my life, this is this person' s life in surviable mons Babamo and,
for example, in the S,in the Sophas. I love it
because I got here a moment Ithought that I was full Eli and I
(11:56):
and I had to protect Eli andthe decisions that I made to protect him
and they scared me and I feltthat I was like that ok, this
is a real person that such aside of me and I feel that with
the cinema that does happen, butvery mild, like there it makes me
like out of the world, butlike, you' re an observer,
(12:18):
you' re not part of it. The cinema is exactly yes. Even
though in the movies you do thinkabout those different possibilities and what I had
done and I didn' t doto you. I think that' s
like the clear difference in my humbleopinion, so it doesn' t exactly
become real and to the sons I' m going to gossip forgiveness. I
got something out there, but myhumble opinion, for example, the choice
(12:41):
of Henry Cabill for the role ofThe Witcher of geitld of Ir, what
' s going on. It wasexcellent, because he' s gamer ok
he' s passionate about and wedidn' t know that age. Clear
data for that man not on aproject right now and when he gets out
you have to prepare, that he' s working with Warhammer fory Kate,
(13:03):
that he' s expressed in agame of months. That' s a
miniature table game of what you've had when you' re described as
a nerd in a basement. That' s the kind of game that makes
that nerd and that' s HenryCabilia is doing. I think it'
s film universe. Around that one. There are even directors who before those
directors are gamers yes and lots ofactors that I think you' re going
(13:26):
to Steven Speelberg out of exact air, it' s going to play one
exactly and I figured that' swhere I' m going, because when
you bring a person who' spassionate about the video game industry to do.
Cinema knows what it has to respect, because you have freedom in the
video game. That freedom translates tocinema, it translates to the screen,
to television or whatever, because howyou respect that understanding the same thing that
(13:48):
happens in rock that I told youthe director, I believe it is your
story understanding where you start key points, where he wants, that you spend
experiences, moments he wants, thatyou live that are important to history and
an end, how you move.Among those things there is a lot of
freedom then and there are many gaps, many spaces of empty information that already
the cinema tells you ok I needyou to understand that this corduroy I do
(14:11):
not care that it is white,that it is woman, whatever it is,
but this bread enemy of you Fulano, this bread taficiado of this person,
but it has a relationship love hatebecause I am this. I mean,
you have to respect those ties thatcreate events that for me are memorable
in the original story. Okay,if you respect those memorable events from the
original story, you can do whateveryou want. The Last of Vows,
(14:31):
for example, an example that washow many times I said example, ay
Papa God. The Last of Usis an example of how he did it
very much to the script and Irespect it and that' s not why
it went well. That was oneor, it was a take and it
looked good for other things. ButThe Witcher nothing happened to you at The
Witcher I had played it. ButI' m seeing Gerard, the one
I was playing with. I'm looking at the Geneffer. I'
(14:52):
m looking at the gennefer that Iwas in for, that I was looking
for. So you see those personalitiesput what you want in Spanish and I
' ll like it clear in theend is as Angellie says, it'
s like expanding that initial story,but respecting yes clear things from the original.
I mean, yeah, yeah,like, out of your universe you
(15:13):
don' t go here, butit' s just going to detail you
more, for example, something thathe said really seems interesting to me,
that he had a movie, aseries that I know I have ten hours,
a series, a movie. Youhave an hour and a half to
two hours to introduce you to acharacter. You don' t mean,
you get attached to the character forthat time, but after You have forty
(15:33):
fifty hours, you think like thecharacter at the end and I feel like
it' s the power of videogames in storytelling and I have the perfect
storytelling example. Super Mario a franchisethat has I think is thirty years old,
already thirty- five years old,more or less. I think she
' s over 35 years old.The three- generation ranch, yes,
(15:54):
yes, four, you think she' s over thirty- five years old.
I think the 35th anniversary was lastyear. If I don' t
remember in those thirty- five yearsthere' s very little that has really
been talked about Mario And it's and Mario' s world is a
universe. It' s a multiversewhere at one point I rescued the Princess
for this and there was a happyending and all of a sudden you prescribe
the story and I join the Princessin this way. But who really is
(16:18):
Mario? There was an attempt inthe nineties to do I think there was
an animated series and there was anda live action series also that x ah,
because they are plumbers that how sucha thing. But there really isn
' t a nor Mario story.What chi compso says Mario Ama says letzego
is the environment that gets you involvedand you and over the years, you
(16:40):
have been enriching that story. Sowhat they did with the adaptation. I
didn' t imagine Coupa singing Haman, she' s not singing iconic and
I was going to like her somuch, sir I slept tremeses singing piachess,
pitches, pitches, for God's sake and that Jack Black was
the voice. Sure, because Ialso eat with that song it' s
(17:00):
like you do have Bauser that aniconic character, but also Jack Black is
an ancon that happens to him itis and that' s where the fact
that I respect the roles and whatyou want clearly to use your creativity comes
from. I don' t wantyou to pot and bring me the little
(17:22):
penguins and it' s funny atfirst. Tho shal no joy in Mike
cast, that' s like thelittle penguin saying" bogser" is going
to do what a natingola tells him. You know that penguins are nothing,
but I didn' t know thatthey could have a personality where they had
this pride, so you would pickthem up and throw them it does good,
or disgrace, they never talk yousee no penguin in the game,
(17:42):
but they never talk about what heavyyou give me a pride for their nation.
You understand that I like it andI feel that with the Mario movie
or meeting everyone you' ve playedMario Karl, Mario, yes, everything
not Mario sixty- four and allthe thing that happens in the universe of
the movie, you look full becauseit makes you crazy, but that I
played this, I felt this,but it' s been a little controversial,
(18:03):
Mario, because I' ve seena lot of mixed opinions from people
who say it wasn' t agood fit in that part. Yeah,
really, that' s good context. I saw her I' m giving
you in Spain, I saw heralready and the people in the next were
commenting in the middle of the moviehow that is wrong. That didn'
t happen. I don' tlike it, and since you' ve
(18:25):
been using that prayer, that personand I can tell you, don'
t make a lot of cases,because when you said that, that didn
' t happen. Mario, it' s not an exact novel, Mario,
which offers us a fantastic world ofopportunities and adventures. In that world,
whatever is clear can happen, aslong as it is consistent with the
actions you have already seen in thepast. There he was dedicated his fifteen
minutes to Smash, his fifteen minutesto Mario Cours, his fifteen minutes to
(18:48):
the classic Brinco for the platforms andthe lame. What you had a little
bit of everything and aside, youhad forty minutes of something original that you
had, so it leaves you buffmind blown, about which I put a
lot of punglish sometimes, but it' s just that I' m passionate.
It is the universal language, alreadythe most spoken language in the world
(19:08):
of s spanglish. Well, thenwhich of you would say modes of reference
are very good adaptations from cinema tovideo game or video game to cinema.
We talked about The Last of Us, we talked about Mario Bros and The
Witcher. So, another one whosays ufff good is Arkane Arke I don
(19:33):
' t know if they saw her. I know what fres are. They
have no fan and this is theprayer you seek for yourself to know if
the adaptation is good. You don' t have to play the game to
appreciate it. It happens with Fallop, that' s why it' s
good. It happens with The LastoBus, that' s why it'
s good. With Irkine. Alsoa game is based on the legu of
Legends. There you heard the nameh of Legends. Not if a brother
premum, a college partner, someonehas played lea of Legends. League Oflaloyns
(19:55):
is another game that you do thatgives pineapple and I have to get to
the other side of the map anddestroy your castle to win you and suddenly
and dialogues of a line that betweentimes say for Thermas and I will protect
Demasia. It' s the onlything they hear in the game. They
make an adaptation with a huge animation. You see her as a paracilematic animate,
a voice act. There' sa girl who has a crazy girl.
(20:18):
You know who Halyquin is, hisname is Jocans. It' s
a heteroid hallicle It' s crazyand it' s one of the main
characters It' s called Jinks,and the way they played that character is
masterful. Yeah, and the storyI didn' t know about that one.
Nobody knew. I am ten yearsold I knew going League of Legends
and when I saw you I saiday. But that' s what happens
in piltover I didn' t knowwhat I thought piltover everyone had to close
(20:41):
building, a wall giving that blow. You know, I thought the same
thing. I also have a question. It is related more to the part
of photography, of cinematography. Youthink where it is right now, just
like video games at the cinema level. It' s more because it'
(21:04):
s been like a push you've received from the players. Or it
also has a lot to do withthose technological advances that we have today.
Or it can also be something toput us on the same level as the
movies, because the film was thesame time in the TOPE at the cinematography
(21:25):
level. I think that depends onthe history of games and the style of
games, because there are many gamesthat are epicellated pixel art, which are
very appetizing. Yes, as thereare so many games with dras oft you,
which is as photo- raalistic aspossible. So I feel that this
is a demand that does have todo with the public, but it also
has to do with the development oftechnology. So, for example, your
(21:49):
game that you see extremely futureist usuallyhave are storytelling, as well as dras
of s, as well as TheWitcher, but there are some games also
that are storytelling and that use apixel art and that with pixel art give
you some scenes. You see agarden yes ba pixel art and you say
that garden wow how beautiful that gardenyes you can It is a bit of
(22:12):
context of what is pixelated, alot of squares that create an im you
imagined it, but many pixel squaresare bigger than usual not and that create
an image that looks distorted. Yousee as usually in miniature the mario that
you jump and have the quadritos,and the quadritos pull out the kitchen and
your matalonguito the thing that we areone screen like aha two exactly, because
(22:37):
eight eight beats. But you,for example, if you think about Mario,
he' s Super Nintendo and he' s got Bucher. I think
like this. If Mario has Buche, there are curves. If there'
s something round, it' sno longer brushed, then there' s
the Mario from before you see anythingelse. So you can' t and
it gets like a robotic do moveslike robotics, and that' s pixelated.
And, for example, the Fantasyfinals that you made in your original
(23:00):
pre- question we opened the programwith, you said now. But finally
Fantasy is one of the oldest franchises, with one of the best narratives continued
for the last twenty, both thirtyyears, starting in Nintendo, with Pixel
Art, with some wonderful scripts andstories and beautiful scenes. A corduroy saving
(23:21):
a princess from a dragon at thetip of a castello. They were pretty
cliché in history, it was the' 90s to' 80s, you know,
but they were pretty cliché. Andbut it was good heavy, because
you felt like crazy pussy was gonnafall for you. You don' t
see the role of a little neographic, you get a goal of strategism,
but you assume you are so emergentin history that you imagine the pana falling
from the edge of the castle.Not princess, not that, that'
(23:42):
s interesting that what you mention that, for example, there were certain stories
in the eighties and nineties, buttoday there are others. This is counting
ok is evolving. Or in storytelling, as in the films before, he
had another narrative and now he hasa more different narrative, a little more
(24:02):
realistic, he looks at human beingsas social beings that we are. At
last we are evolving and learning fromthe mistakes of our past generations, in
the eighties, in the seventies,in the nineties, that there was much
division. There' s still division, but we' re not going to
get into politics. There was alot of division in the art part.
Let' s say it like that, not the one that was a rocker?
I was a rocker and I'm not talking about bachata. You
(24:25):
don' t owe me anything.The one who liked movies, liked movies
and was crazy about movies. Notbad video game that I' m a
kid. Today there is already anintegration where we appreciate art, where it
is in the way it is presented. And we are generations that, for
example, I, although my greatestpassion is in video games, from conception
to delivery, I very much appreciatecinema and I very much appreciate literature.
(24:48):
So what does that do that thesegenerations who are making video games now don
' t see it as two separateand profiting things. So, now video
games comes the technology that loren mentions, but it' s not just.
The technology I' m going toput in technology is enough for them.
But I' m gonna make atake that when he gets there, there
' s a take with a sunset. That' s a beautiful artistic construction.
(25:08):
People, who don' t knowabout art, underestimate it, of
course, but those who know aboutart understand what I' m saying.
The power he has the five stepshe' s going to take to get
from walking, the drive went toknock on the door, the take of
how many butterflies pass the sor inwhat position he' s in the lighting
and you stay like what. Videogames are really a work of art.
(25:29):
For example, my favorite video iscalled KOs O Tsushima and KOs O Tsushima
looks like, it looks like apainting is what you stay that you'
re watching a movie or the series' not really can' t you absolutely
everything about that video game looks likea crazy painting. You look like you
' re traveling in Japan over theyears. Edo that you are this emperor,
(25:53):
that you are trying to save youruncle. But in all that you
' re exploring the world. You' re exploring Japan, feudal and crazy.
Whether or not in a photo perity, that game is very apericious,
of dialogue, very apericious, ofplot, very apericious. They created it
with the intention that it would feellike a movie to the point that there
(26:15):
is an option that you literally putit the way it is black moments,
yes and you can put it andwhat reference to this director. What it
' s called, I don't remember the name, it doesn'
t exactly send and if everything isseen, it eliminates everything that' s
not much. There' s nota lot of hoods like I tell you
(26:36):
to fuck up the elements of life, the numbers, the points, you
eliminate all that and you see onlythe corduroy walking I' m playing.
It tastes like a cinematic, whileI' m playing and it looks black
and white like that tape, aswell as when I go. Sometimes,
and that' s how bad ofthat game that I loved is that,
for example, you, in thesegames, which is an open world,
you have like a map that pointsyou to where you' re going.
(26:56):
And they ploughed a resource and saidthat wow and how we can make you
not have to have that map.And because I want you to really feel
that you' re playing and thatyou' re there, that you'
re in Japan, and they cameup with this magnificent idea of taking you
to the wind direction, that is, you' re the wind direction.
You tell yourself where you have togo. Wow. Yeah, and you
(27:18):
' re not hanging a map.You think you were really in Japan walking
and if you' re riding ahorse and if you' re about a
secret, there' s a foxand the fox is in the front,
you' re in a bullet andyou' re after the fox. The
fox, for Japanese mythology, isvery important. It has a lot of
meaning. Then you chase the fox. But apart from the fox, there
' s another one that' sa little bird. I don' t
remember if it was a raven or, it wasn' t a bird like
(27:41):
a hummingbird. It was exact Ithink it was like a hummingbird and also
or you saw it, you followedit as far as I came and he
to follow it, you had togo through certain tests and find a treasure.
And that' s right. Andthere' s no line. No.
No, no, no, notbecause of the digital feel, because,
unlike cinema, part of the storyon TV in video games is the
playability with which you interact, whathelps you with such a story. The
(28:03):
wind is an element in the birdsand we animals is another element and that
is what makes it more immersive andmore interactive and, therefore, has as
different type of source where you cancreate a story within the video game.
Hey, but okay they love mebecause they already talk like you' ve
been passionate about a subject. No. No. How nice the ling and
(28:23):
I feel that I had never satdown to think about the level of detail
and that I need to build avideo game. Yes, and we'
re talking about music or solid soundengineer in general, because from the effect
of the steps and sory that youinterrupt, not it, but I'
m passionate. The scholar makes itsimple. This way, there' s
a game he' s just playinglast night. It' s not new.
(28:45):
That' s called apex It's competitive. Online, all characters
are quite different physiologically. There's one that' s a robot,
there' s one that' sa chubby, there' s short ones,
there' s tall ones. Eachone has a different sound of steps,
very iconic so they carry on orby their dimensions. There' s
a corduroy that' s big andwhen he walks, you hear it boom
boom. The robot sounds not onlythe metal plate on the floor, but
(29:07):
the jones the seams as they moveand from there to the music, but,
on that side, it is anentirely separate industry. That' s
why I like me and this isthe part where it comes from my introduction
that I like to try to promotethe industry here, promote the video game
industry. Not to say we're going to do more events that we
(29:27):
' re doing great, we're going to develop game that we'
re doing great, but we're going to start that those art classes,
as Angie says, that the partthat they send you to that clear
way, the people that make music, we have to start making music for
video games. Imagine a single Fernándezin a video game. Sure. You
know that you have, and muststudy, to study cinematography. The camera
(29:48):
part, I don' t knowwhat it' s called? That'
s where you can help me withthe corduroy you' re studying for the
House, I don' t knowwhat your name is? A director of
photography, which is the photo ofthe photograph. You have to study that
for everyone to do the shots thatI' m describing in video games.
So we' re going to trainthose people to give you those opportunities and
create an industry that you have amovie team, but in video game,
(30:11):
that is, you have apart fromthe movie team making you a video game,
you have the programmers, you haveyour creative directors, you have you
these people who, apart from thecinema, also have to think about the
technical part of how your reality avideo game. There is no video game
production today that does not have thesame elements that has a production basically every
booth, recording and editing time,post production audio and all cast or,
(30:36):
be it the entire cast is veryvery important, because the Witcher is very
cool in the video game, butthe character that makes the voice something else.
We are also talking about the king, the god of war. Gor
of War is a game that isvery appealing but the last one is the
(30:56):
best they have done for a veryimportant element. The Pana, which has
won consecutively the best actor when ithas released one of the Gord Warre games,
is the best actor of that year, the Nordboys actor in the video
game I remember the name. I' m bad at that, sorry,
but the corduroy has an imposing voicethat if you know the one who knows
video game to this exercise. Onyou go out and say you' ve
played the war uncle. Yeah,or if you know he' s played
(31:18):
it. Tell him boy and onceand for all, Salo Pelitte is going
to say. And it' sbecause it' s a voice that'
s already ains, badges already aspowerful. Good and good no Mames passes
to another side of the coin.Let' s say it' s the
cinema that' s made with videogame narrative. We' re not talking
(31:41):
about adaptations, we' re talkingabout films that are basically narrative. It
' s a video game. Aboutthat what opinion they deserve, what film
you have seen, what they havesaid works or what else. That person
has never caught a video game inhis life. I' m a fan
fan of last year' s Spikess. Also because I love it, that
(32:06):
is, in my childhood, Iwas a fan of spikes and then when
they merged it with video games,with the world of video games, which
is really what we see now asvirtual reality. Of course, what I
was moving now, yes, exactlywas like we' re not moving forward
to the future, because literally,what they do to you in spikes is
(32:27):
they put you one lens for youget into a fire as literal as what
lens you' re using now islike a machine being the lens. But
what he' s doing with themusks is that you all give him the
virtual reality, a chip in thebrain that you can literally see things and
how you can play as if hewere a Lend goal that you have,
(32:47):
but that you don' t needthe lens, that' s like a
Chip and that' s basically whatSpikeits is about, that you enter this
inversive game, that' s virtualreality in quotes, but that Tatta connects
a machine. So that was likeon medie Ba act The Feucher. But
well, I also like Spikeds'story and here' s where it breaks
(33:10):
a little bit that it' snot just a video game and it passes
to levels, but I also hadhow that emotional part connects and how it
influences like the decisions they make,because in the end and in the end
it' s all a shared story. You know I remembered how you mentioned
(33:32):
Spikets now, I thought Chark Boyand Lava Gil I love it, I
went head- to- head forthat and I remembered this show that came
out on Netflix as well. Ithink it was a pandemic around the pandemic
that was interactive Black bass No orThe Blackfir has an episode Yes, Tender
statsh yes, Bander vanders Natch testeyes. That started me in Black or
(33:58):
I confused you in two. Itwas a show that was just part of
it. Or that' s alsowhat vanders Nash, so, you'
re playing interactive, you' remaking decisions for the staff and they always
end up the same thing a wasthe corduroy that was developing the video game.
In that case, that falls perfectlyin your description, because not only
is the theme of video games beingplayed within history, but the way in
(34:19):
which the beat the viewer, theviewer, Thank you, the viewer is
interacting gives a little touch of videogame. And that' s nothing that
comes out of a video game.It' s a very creative and very
original idea. I loved it.It was a little gory and bloody are
other things, but it was verycool yes totally loved yes. Another one
that I really liked and that,I mean, I went crazy was Free
(34:43):
Guy Rayang. I was too readybecause it also came out of all the
cliché of video games, that is, it was like a freer world.
I don' t know, shewas too good for me. That was
super darks that at one point ona PC I have to catch up.
Basically that' s what tom toyes happened, yes, exactly and that
(35:05):
reminds me of a meme The Sims, which say that wander Sims doesn'
t have the simulation anymore and youknow that you' re controlling it and
they' re staring at you.It does Tik Super Dicks, I mean,
literally that' s what Free Guayis treated like it has PC,
it' s becoming aware, it' s falling in love with a clear
human, of course, and thatdoesn' t take much again. Ain
O Moss Story, which doesn't pc so much, but they'
(35:25):
re sponsoring the podcast. Yeah,ah, well full On, you know
the one for each of the gueststhat you propose idea of getting to too,
because it' s a podcast thattech then what you do, what
you don' t talk about aboutthis, about what really pulls us out
of the simulation and we' reaware that we notice a simulation and then
(35:51):
what crazy in the form of humorthey put you in then. But the
movie is really super deep be superpmovie and it' s just that you
' ve seen it. There havebeen different cases throughout the history of cinema
not, but I think that wherethe most impact has been made by the
ease for thirty years to carry thosefantastic stories inspired by video games is you
feel it very much in the animeand to the point that I will sum
(36:12):
it up simple. There is acomplete genre created inspired by the concept of
a video game that is and fallswhat the concept says literally falls. I
died and revived in a world ofvideo games and suddenly, with all my
memories of the real world and nowI have to raise levels and do that.
That' s a complete genre yougive her. You googlea it and
the amount of anime there are areabsurd and they are very cool and it
(36:36):
is inspired by the fact that noneis a work that has been released a
video game is simply the concept itis inspired by the video game and because
that is where you see it mostnow in what you are moving now,
because technology allows it, artificial intelligenceallows you to do more things more crazy.
Let' s say and I thinkthere' s a lot to be
(36:57):
done, yes, totally and nothing, like a closing country came up with
a thought. I don' tknow how crazy that guy is that I
would like to see like this partof the video games. Maybe intercepted a
chinga at the festival, this movietheater. I think something that could be
given in time, maybe because everyonehas like their own has like their space
(37:17):
and their industry. But yes,because they are two industries. Yeah,
yeah, yeah, but let itso work nothing, so fused or run.
But, for example, in thevideo game industry generates so much look.
Maybe you' re not that much. I don' t remember the
detail because he doesn' t knowwe' re going to touch on that.
(37:37):
But last year he won the firstprize of one of these awards.
I think it was an Emmy,these awards that are usually given to movies
and television. I think so,almost certainly it was an Emmy, the
first Emmy to be given a videogame for the story. I don'
t remember the data right now.So it was part of what we covered
in last year' s songs andit was crazy for me, because it
(38:00):
' s just what you say totrans history, because we' re already
accepting it as art and we're taking it and we' re presenting
it at festivals. By chance itwas Arkane. I find that a m
I think I wasn' t theone in him that I said, but
it' s nice to know thathe too Lowel is the same thing is
(38:20):
the League of Legends arch I didn' t remember that fact, but I
' m talking. I know itwasn' t that it was because he
earned it like Arkane' s betterconfirms, I think it was animation or
music. What you confirm is theone I' m the best animation series
ever. It' d better beanimation. The one I' m telling
you was better narrative or original story, a thing like that I was competing
(38:45):
with movies. I believe that whatwas of the glasses I think was of
the ofos the part of two thegame. I think it was such a
thing. Yeah, no, that' s interesting to you and nothing I
' m gonna do to them.I have a little question both of us
now for definitely if something flash toclose this episode, which has been very
(39:07):
exciting and we ourselves, that weare not so expert on video games.
We' ve learned enough and openedthe doors. I mean, I feel
like it happened to me a lotof times. I was saying I don
' t understand video games, Imean, it doesn' t give me,
but the way it' s sopretty. Obviously passionate, because you
notice that they love it, butthe great bond and relationship it has with
(39:29):
the sign, that is, ifI have the ability to sit down and
observe detail, namely, this worksin tone. Take this actor, yeah,
he pulls the character out of me. This element could have been a
better cast. I don' tknow what narrative video games and another level,
that is, another level totally justthink about it. This way you
love movies. It' s yourpassion. You like all the movies in
(39:50):
principle, okay, but wow,there' s a movie for everyone who
' s clear there' s avideo game for them to be yes,
you just have to find out whatyour niche is what' s done.
Yeah, well, the question iswhich movie they' d like to adapt
to a video game movie and howyou throw that flashert at me to a
(40:14):
question. Plashtar was exploding. Rightnow there' s some movie that you
guys, that you liked so muchuff that whatever you play or you want
to play be me would want toplay or yes, I can stand it
and that Kojima does it a gameof inception how crazy. Of course he
wanted it It came to me thatit' s fast that inter Stellar.
(40:35):
Well they go for the same directorthe Minu or, but I feel it
was Nolan' s narrative. They' re extremely inversive. It' s
also that I feel that for thatit' s easy, like you get
to video game at once. Almostany Nolan movie can make a video game.
I totally believe, because you alreadyknow success in the rail has become
very adaptable. Yes, formatting andas action and adventure. Yeah, yeah,
(40:57):
yeah, I' m a reallygood time history fear, I'
m a good story tanin no,because that' s what we did,
I mean, I' d playit. Yeah, yeah, you'
re crazy. Yes, yes,that' s true a good notation,
my credit and my good one,because Oscar and Angeli and thank you so
much for coming to our space tocontribute a lot on topics that are obviously
(41:24):
intertwined with cinema and that I thinkit contributes a lot to having these kinds
of conversations. It is an artof video games are something clear that it
has started so, not just asvideo game, truth, yes, there
is like a lot of sigma ingeneral. I feel about myself. For
that, my friend Gamerta here makesme my mission to be an adult,
(41:44):
you shouldn' t play video games. Video games do psychological damage, they
create violent people. Video games arearts. Video games teach us. All
these are taboos that my mission ischeaply and it is clear only by talking
about that which is yes zero exact, totally good, because they are invited
for another occasion and where they canfollow them in their networks so that Angie
(42:08):
of the Rosa angelistagram Yes, becausethere, where the theme Angel of the
Rose comes I come one year ofthe Rose, yesterday exact and shoot my
friend gamer on Instagram. Although I' m a little inactive, follow me
that events are going to reactivate soon. Chulo and nothing, well, thank
you all for listening to us,thank you for the invitation. Thank you
(42:30):
always until we see each other inan upcoming episode. Thanks chau chch Piches,
Prestres spet Well, the film mouthis a podcast recorded in the studios
of the American Dominican and produced byDennis Gómez. Filloren Fernández listens to all
(42:54):
our episodes in Spotify and Apple Podcast
Hey. I am Denis Gómez andI Louren Fernández and this is the film
mouth, an original podcast by Fernándezand Gómez, recorded communications in the studies
of the American Dominican. In eachepisode, the magic of cinema comes to
life through our conversations. You canlisten to all our episodes in Spotify and
(00:24):
Apple Podcast. Cinema and video gamesare two worlds that have more in common
than you think. Join us inthis episode to explore this close relationship.
Welcome to a new episode of filmmouth. My name is Loren Fernández and
I' m Dennis Gomez, andwe bring you a new episode that maybe
(00:46):
comes out a little bit of whatwe' re always exploring. But the
theme we bring you in this episodegoes hand in hand with formats that,
over the years, have become arevolution of the digital age and the media.
(01:07):
These formats are movies and video games, and in this episode we specifically
want to explore how they have interwovenat the level of narratives and at the
level of nematography, at the levelof cinematography, at a level as you
say a little bit more technical,because we are already in a digital age
(01:30):
in which everything has evolved, theway video games are made, but also
the way in which films are made, which have many special effects that without
artificial intelligence and both formats, whatthey do is make us as part of
them immersive. Exactly, they're two very immersive formats. And for
(01:55):
that we bring two experts so tospeak, so to speak, they are
two experts who have soaked a lotof this because, as I say,
it is a subject that even infilm festivals there is a lot to talk
about. That' s what Angeland Rosa are here for, who'
(02:16):
s an artist. Be director ofphotography and environment arts for video games and
animations. The focus is basically ontelling stories from a sensitive, gender-
sensitive and awareness- raising perspective.Through his work, he seeks to transmit
significant emotions and messages, using hiscreativity to inspire and generate reflection in the
(02:40):
viewer. And he is also withus oscar Berroa, who is a communicator
and promoter of the video game industryin the Dominican Republic. His speech is
usually aimed at exploring and disproving taboosaround video games and to motivate the growth
of this industry in our country and, of course, is a collaborator at
(03:01):
EA Sports event in the country Wow. Welcome to own these introductions with rumiso
here. Thank you very much forthe invitation, not thanks to you for
coming to explore this topic that basicallyhappened to us in the cinema, but
I know that you too are verypassionate about that exact video game theme we
(03:25):
need that like that collaboration at thevideo game level. Pass this close relationship,
which we will try to address inthis video game chapter then assist to
break the ice. First question,what is the vanga relationship of redundancy?
You understand he' s got videogames with the movies. Currently answer your
(03:47):
first topic. Ok they plugged methat good look today and how good that
you specify it in time the question, because there really is a whole track
record of how video games have beenevolving involved in the film industry and vice
versa. One influences the other inlarge part. Today, for example,
I can give you a quick example. The game that won the game of
(04:09):
the year last year, Clusters GateThree, with implementation of a cast of
voices actsurs of the highest category,with the best technologies of capturing motion both
facial as well as full body,body and artificial intelligence, to create more
dialogues and content with those same voicesthat were not foreseen, creates an experience
(04:31):
that the director said Mira. Ineed these people to start here, know
where they stand, come through hereand finish there how they' re going
to get there. I' mnot interested in the experience that brings you
from the role- playing board games, dungeons and dragons and things like that.
They take you to a video gameand you and you and me,
(04:54):
we four can play that game andhave a completely different experience, because we
enter the world as we want tolisten to voices, not read so much
text. It' s not reallyworrying about character falling in love with characters,
hating characters. For me there isa very good performance and a very
good script when you really hate notonly the character, but the actor.
(05:16):
For example, I fri de gameor Thrones. I think the biggest example
of that is Dron, because Ifind that little face on the street.
I love him that they' reas tanzo and that' s very interesting
that you mean those factors that youmention that people may not see it,
so the one who doesn' tknow much that if there' s a
director, there' s a clearscript, and there' s also the
(05:40):
part of the actors. And morenow, as you say they make it
a little more realistic with that movementthat they do have to act, so
it' s not just you givingthose characters a voice anymore. Even I
was reading that there are already videogames that look for famous actors that only
(06:00):
use them. I don' tknow what this techno factions are called.
Yes, yes, yes, thefactions and not necessarily the voice. But
if you take the image of anactor, for example, famous, an
actress in avatar, for example,they make it look like a helmet with
a camera that not only serves asa motion capture, but is also scanning
the actor' s entire face.So, already when it is implemented in
(06:20):
a movie, between ste or videogame, the much capture is extremely easy,
a very nice process too and itis very crazy, because now the
movies that are animated and the videogames animated, well, that is not
something of now we come seeing,already, to avatar, to come moving.
(06:41):
But, for example, Matrix inthe 1 5' s, over
there, the 1 4' sgot a video game when Matrix number one
came out, two thousand two,out there and out there got matrixs neo,
I think, and I think itwas Max time, PlayStation one,
PlayStation one. And for example,let' s tell you to get a
(07:01):
game out or the movie out andthen the game comes out. For me
it is a very nice relationship,because such the gaming industry, gaming industry
is storytelling, foolishly, then,when we see, we see the movie
and we see the game, likeWow, we are expanding the clear story,
beautiful and angel and I weren't rigiding much, because I think
(07:26):
we didn' t put images likeYouTube video and that of that video game
Matrix also imagines me in the twothousand that don' t have those same,
that same visual quality that has thelast Matrix, that looks literally like
a movie, a movie, ananimated movie, it appears is crazy look.
And, for example, we havedirectors like Kojima, who makes some
(07:48):
masterly video games that are movies,are films, are novels worthy of reading
it, of watching it in movies, of watching it in a series.
You tell yourself only the story ofthe enjoyment and then the entertainments and interactive
video game adds an additional value,which are also of the highest quality.
And there you say conchuer is thatit' s really so much relationship.
(08:09):
However, I have a subject thatI would like to bring to the table
and it is the fact that,at the same time as I give you
this speech. I' m tellingyou, it' s very difficult to
pass one piece of work from oneof these industries to the other. Okay,
for example, cases like The Lastof Voss and now I don'
t know we' ve discussed itbefore, even in the air and out
of the air, as it wasWitcher' s at first. Yeah,
(08:31):
yeah, there' s a lotof a video game, sure, yeah,
I think, but it' sa book in a video game and
then in the movie, yes,but in an exact series. Then all
these adaptations that have gone well inthe last five years really fill you with
nostalgia, because they are not thefirst attempts nor are they the last ones.
(08:54):
There have been attempts for decades tomigrate from the video game industry to
the cinema and vice versa, avideo game from this film. Or why
is this movie so fantastic? TheLord of the Rings, what a novel,
what a movie, what a performanceor we' re going to make
a video game. They' vedone about twenty- five and nothing else.
One was good, because there issomething You have to understand that in
video games there is the interactive factorand the inversive is also more immersive and
(09:20):
the control of the player, becausethen I tell you you mentioned, right
now out of the air of howthese fall Out episodes, for example,
which is also an adaptation of avideo game, is an hour and peak.
I' m telling you it can' t be less than that because
I, to pass fall out,I have to dedicate 150 hours to it.
WOW, and that' s oneof the many games. Not that
(09:41):
there is much and the world,the world building, the construction of these
situations is developing over many games thataccumulate thousands of hours. I have the
contract. He says I can giveyou eight crazy episodes at least give it
to me for an hour, becausein eight hours I' ll be alone.
I pass the tutorial. Then Ineed how I carry this experience as
honest as possible. The Last ofVos a masterful play, because they made
(10:07):
you a full game of forty-five hours. At least it' s
so long they did it to you. How many episodes were apologies. It
was eight, like, fifty minutesan hour. I think there was one
very long of honor and beak.In less than ten hours. They told
you. I felt like I wasand they respected him a lot. The
very important game script. They respectedhim so much. One of the games
(10:28):
of the two thousand decade of thetwo thousand ten, and brought him in
a judicial way to the screen becausethey dedicated his time to a question.
So, since I didn' tknow the Last of You and, for
example, full Out, when I' m in video game, when I
' m playing the decisions I madeit' s going to impact the end,
(10:50):
then, when you take that tothe movies or a series and you
say you had a good script.What a result, what narrative development they
did for you to consider that you' ve already played a game, which
was a good script. I askyou to fuck her. Yeah, yeah,
I want to look at something thatI love and that' s why,
apart from that game like I thoughtit was crazy to do video game
(11:13):
development, it' s because somethinghappens to me in video games, playing
video games that doesn' t happento me or come to me and make
movies, and that' s becauseI get to get into a video game,
in the character, in the worldin a way that doesn' t
allow me, to limit myself tothe cinema, because you have to make
(11:33):
the character' s decisions, youhave to make sure that your life saves
you. And that in a movie, for example, you present it to
you and they don' t giveyou options. And one thing I love
about video games is that you haveto be there. Okay, this is
my life, this is this person' s life in surviable mons Babamo and,
for example, in the S,in the Sophas. I love it
because I got here a moment Ithought that I was full Eli and I
(11:56):
and I had to protect Eli andthe decisions that I made to protect him
and they scared me and I feltthat I was like that ok, this
is a real person that such aside of me and I feel that with
the cinema that does happen, butvery mild, like there it makes me
like out of the world, butlike, you' re an observer,
(12:18):
you' re not part of it. The cinema is exactly yes. Even
though in the movies you do thinkabout those different possibilities and what I had
done and I didn' t doto you. I think that' s
like the clear difference in my humbleopinion, so it doesn' t exactly
become real and to the sons I' m going to gossip forgiveness. I
got something out there, but myhumble opinion, for example, the choice
(12:41):
of Henry Cabill for the role ofThe Witcher of geitld of Ir, what
' s going on. It wasexcellent, because he' s gamer ok
he' s passionate about and wedidn' t know that age. Clear
data for that man not on aproject right now and when he gets out
you have to prepare, that he' s working with Warhammer fory Kate,
(13:03):
that he' s expressed in agame of months. That' s a
miniature table game of what you've had when you' re described as
a nerd in a basement. That' s the kind of game that makes
that nerd and that' s HenryCabilia is doing. I think it'
s film universe. Around that one. There are even directors who before those
directors are gamers yes and lots ofactors that I think you' re going
(13:26):
to Steven Speelberg out of exact air, it' s going to play one
exactly and I figured that' swhere I' m going, because when
you bring a person who' spassionate about the video game industry to do.
Cinema knows what it has to respect, because you have freedom in the
video game. That freedom translates tocinema, it translates to the screen,
to television or whatever, because howyou respect that understanding the same thing that
(13:48):
happens in rock that I told youthe director, I believe it is your
story understanding where you start key points, where he wants, that you spend
experiences, moments he wants, thatyou live that are important to history and
an end, how you move.Among those things there is a lot of
freedom then and there are many gaps, many spaces of empty information that already
the cinema tells you ok I needyou to understand that this corduroy I do
(14:11):
not care that it is white,that it is woman, whatever it is,
but this bread enemy of you Fulano, this bread taficiado of this person,
but it has a relationship love hatebecause I am this. I mean,
you have to respect those ties thatcreate events that for me are memorable
in the original story. Okay,if you respect those memorable events from the
original story, you can do whateveryou want. The Last of Vows,
(14:31):
for example, an example that washow many times I said example, ay
Papa God. The Last of Usis an example of how he did it
very much to the script and Irespect it and that' s not why
it went well. That was oneor, it was a take and it
looked good for other things. ButThe Witcher nothing happened to you at The
Witcher I had played it. ButI' m seeing Gerard, the one
I was playing with. I'm looking at the Geneffer. I'
(14:52):
m looking at the gennefer that Iwas in for, that I was looking
for. So you see those personalitiesput what you want in Spanish and I
' ll like it clear in theend is as Angellie says, it'
s like expanding that initial story,but respecting yes clear things from the original.
I mean, yeah, yeah,like, out of your universe you
(15:13):
don' t go here, butit' s just going to detail you
more, for example, something thathe said really seems interesting to me,
that he had a movie, aseries that I know I have ten hours,
a series, a movie. Youhave an hour and a half to
two hours to introduce you to acharacter. You don' t mean,
you get attached to the character forthat time, but after You have forty
(15:33):
fifty hours, you think like thecharacter at the end and I feel like
it' s the power of videogames in storytelling and I have the perfect
storytelling example. Super Mario a franchisethat has I think is thirty years old,
already thirty- five years old,more or less. I think she
' s over 35 years old.The three- generation ranch, yes,
(15:54):
yes, four, you think she' s over thirty- five years old.
I think the 35th anniversary was lastyear. If I don' t
remember in those thirty- five yearsthere' s very little that has really
been talked about Mario And it's and Mario' s world is a
universe. It' s a multiversewhere at one point I rescued the Princess
for this and there was a happyending and all of a sudden you prescribe
the story and I join the Princessin this way. But who really is
(16:18):
Mario? There was an attempt inthe nineties to do I think there was
an animated series and there was anda live action series also that x ah,
because they are plumbers that how sucha thing. But there really isn
' t a nor Mario story.What chi compso says Mario Ama says letzego
is the environment that gets you involvedand you and over the years, you
(16:40):
have been enriching that story. Sowhat they did with the adaptation. I
didn' t imagine Coupa singing Haman, she' s not singing iconic and
I was going to like her somuch, sir I slept tremeses singing piachess,
pitches, pitches, for God's sake and that Jack Black was
the voice. Sure, because Ialso eat with that song it' s
(17:00):
like you do have Bauser that aniconic character, but also Jack Black is
an ancon that happens to him itis and that' s where the fact
that I respect the roles and whatyou want clearly to use your creativity comes
from. I don' t wantyou to pot and bring me the little
(17:22):
penguins and it' s funny atfirst. Tho shal no joy in Mike
cast, that' s like thelittle penguin saying" bogser" is going
to do what a natingola tells him. You know that penguins are nothing,
but I didn' t know thatthey could have a personality where they had
this pride, so you would pickthem up and throw them it does good,
or disgrace, they never talk yousee no penguin in the game,
(17:42):
but they never talk about what heavyyou give me a pride for their nation.
You understand that I like it andI feel that with the Mario movie
or meeting everyone you' ve playedMario Karl, Mario, yes, everything
not Mario sixty- four and allthe thing that happens in the universe of
the movie, you look full becauseit makes you crazy, but that I
played this, I felt this,but it' s been a little controversial,
(18:03):
Mario, because I' ve seena lot of mixed opinions from people
who say it wasn' t agood fit in that part. Yeah,
really, that' s good context. I saw her I' m giving
you in Spain, I saw heralready and the people in the next were
commenting in the middle of the moviehow that is wrong. That didn'
t happen. I don' tlike it, and since you' ve
(18:25):
been using that prayer, that personand I can tell you, don'
t make a lot of cases,because when you said that, that didn
' t happen. Mario, it' s not an exact novel, Mario,
which offers us a fantastic world ofopportunities and adventures. In that world,
whatever is clear can happen, aslong as it is consistent with the
actions you have already seen in thepast. There he was dedicated his fifteen
minutes to Smash, his fifteen minutesto Mario Cours, his fifteen minutes to
(18:48):
the classic Brinco for the platforms andthe lame. What you had a little
bit of everything and aside, youhad forty minutes of something original that you
had, so it leaves you buffmind blown, about which I put a
lot of punglish sometimes, but it' s just that I' m passionate.
It is the universal language, alreadythe most spoken language in the world
(19:08):
of s spanglish. Well, thenwhich of you would say modes of reference
are very good adaptations from cinema tovideo game or video game to cinema.
We talked about The Last of Us, we talked about Mario Bros and The
Witcher. So, another one whosays ufff good is Arkane Arke I don
(19:33):
' t know if they saw her. I know what fres are. They
have no fan and this is theprayer you seek for yourself to know if
the adaptation is good. You don' t have to play the game to
appreciate it. It happens with Fallop, that' s why it' s
good. It happens with The LastoBus, that' s why it'
s good. With Irkine. Alsoa game is based on the legu of
Legends. There you heard the nameh of Legends. Not if a brother
premum, a college partner, someonehas played lea of Legends. League Oflaloyns
(19:55):
is another game that you do thatgives pineapple and I have to get to
the other side of the map anddestroy your castle to win you and suddenly
and dialogues of a line that betweentimes say for Thermas and I will protect
Demasia. It' s the onlything they hear in the game. They
make an adaptation with a huge animation. You see her as a paracilematic animate,
a voice act. There' sa girl who has a crazy girl.
(20:18):
You know who Halyquin is, hisname is Jocans. It' s
a heteroid hallicle It' s crazyand it' s one of the main
characters It' s called Jinks,and the way they played that character is
masterful. Yeah, and the storyI didn' t know about that one.
Nobody knew. I am ten yearsold I knew going League of Legends
and when I saw you I saiday. But that' s what happens
in piltover I didn' t knowwhat I thought piltover everyone had to close
(20:41):
building, a wall giving that blow. You know, I thought the same
thing. I also have a question. It is related more to the part
of photography, of cinematography. Youthink where it is right now, just
like video games at the cinema level. It' s more because it'
(21:04):
s been like a push you've received from the players. Or it
also has a lot to do withthose technological advances that we have today.
Or it can also be something toput us on the same level as the
movies, because the film was thesame time in the TOPE at the cinematography
(21:25):
level. I think that depends onthe history of games and the style of
games, because there are many gamesthat are epicellated pixel art, which are
very appetizing. Yes, as thereare so many games with dras oft you,
which is as photo- raalistic aspossible. So I feel that this
is a demand that does have todo with the public, but it also
has to do with the development oftechnology. So, for example, your
(21:49):
game that you see extremely futureist usuallyhave are storytelling, as well as dras
of s, as well as TheWitcher, but there are some games also
that are storytelling and that use apixel art and that with pixel art give
you some scenes. You see agarden yes ba pixel art and you say
that garden wow how beautiful that gardenyes you can It is a bit of
(22:12):
context of what is pixelated, alot of squares that create an im you
imagined it, but many pixel squaresare bigger than usual not and that create
an image that looks distorted. Yousee as usually in miniature the mario that
you jump and have the quadritos,and the quadritos pull out the kitchen and
your matalonguito the thing that we areone screen like aha two exactly, because
(22:37):
eight eight beats. But you,for example, if you think about Mario,
he' s Super Nintendo and he' s got Bucher. I think
like this. If Mario has Buche, there are curves. If there'
s something round, it' sno longer brushed, then there' s
the Mario from before you see anythingelse. So you can' t and
it gets like a robotic do moveslike robotics, and that' s pixelated.
And, for example, the Fantasyfinals that you made in your original
(23:00):
pre- question we opened the programwith, you said now. But finally
Fantasy is one of the oldest franchises, with one of the best narratives continued
for the last twenty, both thirtyyears, starting in Nintendo, with Pixel
Art, with some wonderful scripts andstories and beautiful scenes. A corduroy saving
(23:21):
a princess from a dragon at thetip of a castello. They were pretty
cliché in history, it was the' 90s to' 80s, you know,
but they were pretty cliché. Andbut it was good heavy, because
you felt like crazy pussy was gonnafall for you. You don' t
see the role of a little neographic, you get a goal of strategism,
but you assume you are so emergentin history that you imagine the pana falling
from the edge of the castle.Not princess, not that, that'
(23:42):
s interesting that what you mention that, for example, there were certain stories
in the eighties and nineties, buttoday there are others. This is counting
ok is evolving. Or in storytelling, as in the films before, he
had another narrative and now he hasa more different narrative, a little more
(24:02):
realistic, he looks at human beingsas social beings that we are. At
last we are evolving and learning fromthe mistakes of our past generations, in
the eighties, in the seventies,in the nineties, that there was much
division. There' s still division, but we' re not going to
get into politics. There was alot of division in the art part.
Let' s say it like that, not the one that was a rocker?
I was a rocker and I'm not talking about bachata. You
(24:25):
don' t owe me anything.The one who liked movies, liked movies
and was crazy about movies. Notbad video game that I' m a
kid. Today there is already anintegration where we appreciate art, where it
is in the way it is presented. And we are generations that, for
example, I, although my greatestpassion is in video games, from conception
to delivery, I very much appreciatecinema and I very much appreciate literature.
(24:48):
So what does that do that thesegenerations who are making video games now don
' t see it as two separateand profiting things. So, now video
games comes the technology that loren mentions, but it' s not just.
The technology I' m going toput in technology is enough for them.
But I' m gonna make atake that when he gets there, there
' s a take with a sunset. That' s a beautiful artistic construction.
(25:08):
People, who don' t knowabout art, underestimate it, of
course, but those who know aboutart understand what I' m saying.
The power he has the five stepshe' s going to take to get
from walking, the drive went toknock on the door, the take of
how many butterflies pass the sor inwhat position he' s in the lighting
and you stay like what. Videogames are really a work of art.
(25:29):
For example, my favorite video iscalled KOs O Tsushima and KOs O Tsushima
looks like, it looks like apainting is what you stay that you'
re watching a movie or the series' not really can' t you absolutely
everything about that video game looks likea crazy painting. You look like you
' re traveling in Japan over theyears. Edo that you are this emperor,
(25:53):
that you are trying to save youruncle. But in all that you
' re exploring the world. You' re exploring Japan, feudal and crazy.
Whether or not in a photo perity, that game is very apericious,
of dialogue, very apericious, ofplot, very apericious. They created it
with the intention that it would feellike a movie to the point that there
(26:15):
is an option that you literally putit the way it is black moments,
yes and you can put it andwhat reference to this director. What it
' s called, I don't remember the name, it doesn'
t exactly send and if everything isseen, it eliminates everything that' s
not much. There' s nota lot of hoods like I tell you
(26:36):
to fuck up the elements of life, the numbers, the points, you
eliminate all that and you see onlythe corduroy walking I' m playing.
It tastes like a cinematic, whileI' m playing and it looks black
and white like that tape, aswell as when I go. Sometimes,
and that' s how bad ofthat game that I loved is that,
for example, you, in thesegames, which is an open world,
you have like a map that pointsyou to where you' re going.
(26:56):
And they ploughed a resource and saidthat wow and how we can make you
not have to have that map.And because I want you to really feel
that you' re playing and thatyou' re there, that you'
re in Japan, and they cameup with this magnificent idea of taking you
to the wind direction, that is, you' re the wind direction.
You tell yourself where you have togo. Wow. Yeah, and you
(27:18):
' re not hanging a map.You think you were really in Japan walking
and if you' re riding ahorse and if you' re about a
secret, there' s a foxand the fox is in the front,
you' re in a bullet andyou' re after the fox. The
fox, for Japanese mythology, isvery important. It has a lot of
meaning. Then you chase the fox. But apart from the fox, there
' s another one that' sa little bird. I don' t
remember if it was a raven or, it wasn' t a bird like
(27:41):
a hummingbird. It was exact Ithink it was like a hummingbird and also
or you saw it, you followedit as far as I came and he
to follow it, you had togo through certain tests and find a treasure.
And that' s right. Andthere' s no line. No.
No, no, no, notbecause of the digital feel, because,
unlike cinema, part of the storyon TV in video games is the
playability with which you interact, whathelps you with such a story. The
(28:03):
wind is an element in the birdsand we animals is another element and that
is what makes it more immersive andmore interactive and, therefore, has as
different type of source where you cancreate a story within the video game.
Hey, but okay they love mebecause they already talk like you' ve
been passionate about a subject. No. No. How nice the ling and
(28:23):
I feel that I had never satdown to think about the level of detail
and that I need to build avideo game. Yes, and we'
re talking about music or solid soundengineer in general, because from the effect
of the steps and sory that youinterrupt, not it, but I'
m passionate. The scholar makes itsimple. This way, there' s
a game he' s just playinglast night. It' s not new.
(28:45):
That' s called apex It's competitive. Online, all characters
are quite different physiologically. There's one that' s a robot,
there' s one that' sa chubby, there' s short ones,
there' s tall ones. Eachone has a different sound of steps,
very iconic so they carry on orby their dimensions. There' s
a corduroy that' s big andwhen he walks, you hear it boom
boom. The robot sounds not onlythe metal plate on the floor, but
(29:07):
the jones the seams as they moveand from there to the music, but,
on that side, it is anentirely separate industry. That' s
why I like me and this isthe part where it comes from my introduction
that I like to try to promotethe industry here, promote the video game
industry. Not to say we're going to do more events that we
(29:27):
' re doing great, we're going to develop game that we'
re doing great, but we're going to start that those art classes,
as Angie says, that the partthat they send you to that clear
way, the people that make music, we have to start making music for
video games. Imagine a single Fernándezin a video game. Sure. You
know that you have, and muststudy, to study cinematography. The camera
(29:48):
part, I don' t knowwhat it' s called? That'
s where you can help me withthe corduroy you' re studying for the
House, I don' t knowwhat your name is? A director of
photography, which is the photo ofthe photograph. You have to study that
for everyone to do the shots thatI' m describing in video games.
So we' re going to trainthose people to give you those opportunities and
create an industry that you have amovie team, but in video game,
(30:11):
that is, you have apart fromthe movie team making you a video game,
you have the programmers, you haveyour creative directors, you have you
these people who, apart from thecinema, also have to think about the
technical part of how your reality avideo game. There is no video game
production today that does not have thesame elements that has a production basically every
booth, recording and editing time,post production audio and all cast or,
(30:36):
be it the entire cast is veryvery important, because the Witcher is very
cool in the video game, butthe character that makes the voice something else.
We are also talking about the king, the god of war. Gor
of War is a game that isvery appealing but the last one is the
(30:56):
best they have done for a veryimportant element. The Pana, which has
won consecutively the best actor when ithas released one of the Gord Warre games,
is the best actor of that year, the Nordboys actor in the video
game I remember the name. I' m bad at that, sorry,
but the corduroy has an imposing voicethat if you know the one who knows
video game to this exercise. Onyou go out and say you' ve
played the war uncle. Yeah,or if you know he' s played
(31:18):
it. Tell him boy and onceand for all, Salo Pelitte is going
to say. And it' sbecause it' s a voice that'
s already ains, badges already aspowerful. Good and good no Mames passes
to another side of the coin.Let' s say it' s the
cinema that' s made with videogame narrative. We' re not talking
(31:41):
about adaptations, we' re talkingabout films that are basically narrative. It
' s a video game. Aboutthat what opinion they deserve, what film
you have seen, what they havesaid works or what else. That person
has never caught a video game inhis life. I' m a fan
fan of last year' s Spikess. Also because I love it, that
(32:06):
is, in my childhood, Iwas a fan of spikes and then when
they merged it with video games,with the world of video games, which
is really what we see now asvirtual reality. Of course, what I
was moving now, yes, exactlywas like we' re not moving forward
to the future, because literally,what they do to you in spikes is
(32:27):
they put you one lens for youget into a fire as literal as what
lens you' re using now islike a machine being the lens. But
what he' s doing with themusks is that you all give him the
virtual reality, a chip in thebrain that you can literally see things and
how you can play as if hewere a Lend goal that you have,
(32:47):
but that you don' t needthe lens, that' s like a
Chip and that' s basically whatSpikeits is about, that you enter this
inversive game, that' s virtualreality in quotes, but that Tatta connects
a machine. So that was likeon medie Ba act The Feucher. But
well, I also like Spikeds'story and here' s where it breaks
(33:10):
a little bit that it' snot just a video game and it passes
to levels, but I also hadhow that emotional part connects and how it
influences like the decisions they make,because in the end and in the end
it' s all a shared story. You know I remembered how you mentioned
(33:32):
Spikets now, I thought Chark Boyand Lava Gil I love it, I
went head- to- head forthat and I remembered this show that came
out on Netflix as well. Ithink it was a pandemic around the pandemic
that was interactive Black bass No orThe Blackfir has an episode Yes, Tender
statsh yes, Bander vanders Natch testeyes. That started me in Black or
(33:58):
I confused you in two. Itwas a show that was just part of
it. Or that' s alsowhat vanders Nash, so, you'
re playing interactive, you' remaking decisions for the staff and they always
end up the same thing a wasthe corduroy that was developing the video game.
In that case, that falls perfectlyin your description, because not only
is the theme of video games beingplayed within history, but the way in
(34:19):
which the beat the viewer, theviewer, Thank you, the viewer is
interacting gives a little touch of videogame. And that' s nothing that
comes out of a video game.It' s a very creative and very
original idea. I loved it.It was a little gory and bloody are
other things, but it was verycool yes totally loved yes. Another one
that I really liked and that,I mean, I went crazy was Free
(34:43):
Guy Rayang. I was too readybecause it also came out of all the
cliché of video games, that is, it was like a freer world.
I don' t know, shewas too good for me. That was
super darks that at one point ona PC I have to catch up.
Basically that' s what tom toyes happened, yes, exactly and that
(35:05):
reminds me of a meme The Sims, which say that wander Sims doesn'
t have the simulation anymore and youknow that you' re controlling it and
they' re staring at you.It does Tik Super Dicks, I mean,
literally that' s what Free Guayis treated like it has PC,
it' s becoming aware, it' s falling in love with a clear
human, of course, and thatdoesn' t take much again. Ain
O Moss Story, which doesn't pc so much, but they'
(35:25):
re sponsoring the podcast. Yeah,ah, well full On, you know
the one for each of the gueststhat you propose idea of getting to too,
because it' s a podcast thattech then what you do, what
you don' t talk about aboutthis, about what really pulls us out
of the simulation and we' reaware that we notice a simulation and then
(35:51):
what crazy in the form of humorthey put you in then. But the
movie is really super deep be superpmovie and it' s just that you
' ve seen it. There havebeen different cases throughout the history of cinema
not, but I think that wherethe most impact has been made by the
ease for thirty years to carry thosefantastic stories inspired by video games is you
feel it very much in the animeand to the point that I will sum
(36:12):
it up simple. There is acomplete genre created inspired by the concept of
a video game that is and fallswhat the concept says literally falls. I
died and revived in a world ofvideo games and suddenly, with all my
memories of the real world and nowI have to raise levels and do that.
That' s a complete genre yougive her. You googlea it and
the amount of anime there are areabsurd and they are very cool and it
(36:36):
is inspired by the fact that noneis a work that has been released a
video game is simply the concept itis inspired by the video game and because
that is where you see it mostnow in what you are moving now,
because technology allows it, artificial intelligenceallows you to do more things more crazy.
Let' s say and I thinkthere' s a lot to be
(36:57):
done, yes, totally and nothing, like a closing country came up with
a thought. I don' tknow how crazy that guy is that I
would like to see like this partof the video games. Maybe intercepted a
chinga at the festival, this movietheater. I think something that could be
given in time, maybe because everyonehas like their own has like their space
(37:17):
and their industry. But yes,because they are two industries. Yeah,
yeah, yeah, but let itso work nothing, so fused or run.
But, for example, in thevideo game industry generates so much look.
Maybe you' re not that much. I don' t remember the
detail because he doesn' t knowwe' re going to touch on that.
(37:37):
But last year he won the firstprize of one of these awards.
I think it was an Emmy,these awards that are usually given to movies
and television. I think so,almost certainly it was an Emmy, the
first Emmy to be given a videogame for the story. I don'
t remember the data right now.So it was part of what we covered
in last year' s songs andit was crazy for me, because it
(38:00):
' s just what you say totrans history, because we' re already
accepting it as art and we're taking it and we' re presenting
it at festivals. By chance itwas Arkane. I find that a m
I think I wasn' t theone in him that I said, but
it' s nice to know thathe too Lowel is the same thing is
(38:20):
the League of Legends arch I didn' t remember that fact, but I
' m talking. I know itwasn' t that it was because he
earned it like Arkane' s betterconfirms, I think it was animation or
music. What you confirm is theone I' m the best animation series
ever. It' d better beanimation. The one I' m telling
you was better narrative or original story, a thing like that I was competing
(38:45):
with movies. I believe that whatwas of the glasses I think was of
the ofos the part of two thegame. I think it was such a
thing. Yeah, no, that' s interesting to you and nothing I
' m gonna do to them.I have a little question both of us
now for definitely if something flash toclose this episode, which has been very
(39:07):
exciting and we ourselves, that weare not so expert on video games.
We' ve learned enough and openedthe doors. I mean, I feel
like it happened to me a lotof times. I was saying I don
' t understand video games, Imean, it doesn' t give me,
but the way it' s sopretty. Obviously passionate, because you
notice that they love it, butthe great bond and relationship it has with
(39:29):
the sign, that is, ifI have the ability to sit down and
observe detail, namely, this worksin tone. Take this actor, yeah,
he pulls the character out of me. This element could have been a
better cast. I don' tknow what narrative video games and another level,
that is, another level totally justthink about it. This way you
love movies. It' s yourpassion. You like all the movies in
(39:50):
principle, okay, but wow,there' s a movie for everyone who
' s clear there' s avideo game for them to be yes,
you just have to find out whatyour niche is what' s done.
Yeah, well, the question iswhich movie they' d like to adapt
to a video game movie and howyou throw that flashert at me to a
(40:14):
question. Plashtar was exploding. Rightnow there' s some movie that you
guys, that you liked so muchuff that whatever you play or you want
to play be me would want toplay or yes, I can stand it
and that Kojima does it a gameof inception how crazy. Of course he
wanted it It came to me thatit' s fast that inter Stellar.
(40:35):
Well they go for the same directorthe Minu or, but I feel it
was Nolan' s narrative. They' re extremely inversive. It' s
also that I feel that for thatit' s easy, like you get
to video game at once. Almostany Nolan movie can make a video game.
I totally believe, because you alreadyknow success in the rail has become
very adaptable. Yes, formatting andas action and adventure. Yeah, yeah,
(40:57):
yeah, I' m a reallygood time history fear, I'
m a good story tanin no,because that' s what we did,
I mean, I' d playit. Yeah, yeah, you'
re crazy. Yes, yes,that' s true a good notation,
my credit and my good one,because Oscar and Angeli and thank you so
much for coming to our space tocontribute a lot on topics that are obviously
(41:24):
intertwined with cinema and that I thinkit contributes a lot to having these kinds
of conversations. It is an artof video games are something clear that it
has started so, not just asvideo game, truth, yes, there
is like a lot of sigma ingeneral. I feel about myself. For
that, my friend Gamerta here makesme my mission to be an adult,
(41:44):
you shouldn' t play video games. Video games do psychological damage, they
create violent people. Video games arearts. Video games teach us. All
these are taboos that my mission ischeaply and it is clear only by talking
about that which is yes zero exact, totally good, because they are invited
for another occasion and where they canfollow them in their networks so that Angie
(42:08):
of the Rosa angelistagram Yes, becausethere, where the theme Angel of the
Rose comes I come one year ofthe Rose, yesterday exact and shoot my
friend gamer on Instagram. Although I' m a little inactive, follow me
that events are going to reactivate soon. Chulo and nothing, well, thank
you all for listening to us,thank you for the invitation. Thank you
(42:30):
always until we see each other inan upcoming episode. Thanks chau chch Piches,
Prestres spet Well, the film mouthis a podcast recorded in the studios
of the American Dominican and produced byDennis Gómez. Filloren Fernández listens to all
(42:54):
our episodes in Spotify and Apple Podcast
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