For me, Animals and humans: My own beginning with this subject, though, occurred almost in infancy. An innate attraction to animals, these others with whom we co-exist on this planet, is shared by almost all small children and all human cultures in one way or another, and is represented throughout human history. And as we see in very small children, in this oldest relationship of the human species we still find a deep connection and resonance. In bringing together and editing this book, it was wonderfully liberating to be able to combine a lifelong passionate interest in animals with my own professional field of eighteenth-century literary and cultural studies.
While the defence of animal rights itself goes back to classical times, in the eighteenth century it was directly linked to a growing awareness of universal human rights and a new definition of humanity based on the ability to feel rather than in the primacy of reason. Together with the abolitionist and feminist movements of the later eighteenth century, animal welfare came to resemble its modern self, with legislation first enacted in He presents us with a paradox.
Voltaire wrote a huge amount — the definitive edition of his Complete works being produced by the Voltaire Foundation in Oxford will soon be finished, in around volumes. And yet he is really famous for his short sentences. Another saying from the novel was an instant hit with French readers: One French expression from Candide has even become proverbial in English.
In , the British lost Minorca to the French, as a result of which Admiral Byng was court-martialled and executed. Voltaire has fun with this in Chapter After a painting, by Bouchot No. Public domain via Wikimedia Commons. And one phrase that still resonates with us comes from a private notebook that Voltaire surely never intended to publish: The expression was made up in by an English woman, biographer E. But she meant well, and we have collectively decided that Voltaire should have said it.
Et pourtant, il ne supporte plus sa vie. Hortense a un peu peur… Heureusement, avoir une amie comme Polka, cela donne beaucoup de courage! Now he moves beyond the City of Light to skewer the many idiosyncrasies that make modern France so very unique. In France, the simple act of eating bread is an exercise in creative problem solving and attempting to spell requires a degree of masochism.
Petite biblio Payot voyageurs. Pourquoi les courtisans portent-ils la perruque? Ce recueil se compose de trois longues nouvelles fantastiques: Six mois plus tard, le bilan est cata: Ils sont porteurs de valises, manutentionnaires, boxeurs, mais aussi avocats ou musiciens de jazz. Folie des grandeurs, trahisons, obsessions: Au soleil ou sous la pluie, le mercredi, le week-end ou pendant les vacances, profitez en famille de la vie et de Paris!
At the request of readers charmed by this first book published in we decided to continue the adventure with a second volume: We have included with each expression a delicious recipe, illustrations and anecdotes. There is something here for everyone: The book is in two languages: Un livre magistral et qui fera date. The first guide published in Paris in English, to help visitors to discover the City of lights as if they were being led by the hand! Compiled from over twenty years of hard-won knowledge and personal experiences, the more than tips found in this guide will help you to move around, shop, eat, explore, discover or get to know the city of Paris, both inside and out, as good, if not better, than many of the people living in it!
The dozens upon dozens of QR codes in the guide will also provide you with instant access to the kind of up-to-date information that most people need when either planning their trip or especially while they are on it. Our former ambassador lead a full life and was the life of the party. Pamela always got what she wanted, but was she happy? Le peuple sera-t-il dupe? A play that is still pertinent today years later. Seems that people and politics never change.
Cet ouvrage rassemble recettes de la cuisine traditionnelle. De nombreux conseils enrichissent le livre: Des rumeurs courent, les gens fuient. This book is a unique guide to France for lovers of classic and modern cars. Love cars, love France? Then make the most of your next trip with this essential guide! Enjoying a special journey across the channel with friends or a club?
Looking to include automotive-themed locations in your family holiday? Full of practical, clear, easy-to-find information, this is the ideal companion when planning a trip, or as an on-the-road reference book. With sections on museums, classic and modern car shows, automobilia, buying car parts, historic and modern motorsport events, and race circuits, each entry is illustrated in full colour. This unique guide, now in its 2nd edition, has been fully updated for , and provides you with all you need to know to enjoy a visit to France with a motoring twist — when to go, how to get there, and where to find out more.
This is where he and his painting of the Mona Lisa spent his last three years. Here, Leonardo found a security incomparable with his previously precarious existence. He entered old age basking in the gentle climate of the Loire Valley with no more financial insecurity, no more wars on his doorstep, no more jealous rivals. No longer forced to take commissions, Leonardo spent his days editing notebooks filled with his scientific studies and treatises on painting and anatomy. He had with him his paintings of The Virgin and Child with St.
John the Baptist and the Mona Lisa. Leonardo was a tourist attraction. Fans can see where he lived, where he died and where he is buried. The book contains many interesting, little known facts. Did you know that Leonardo designed and made elaborate wigs for his models as seen in his lost painting of Leda and the Swan?
That he dissected thirty corpses? Or that to dissect an eye ball he first immersed it in egg white then boiled it? Les Editions des Elephants. Chagall lived in Saint Paul for almost 20 years and is buried in the local cemetary. La Foundation Maeght in Saint Paul is a mega mecca of modern and contemporary art. An immense world-class cultural heritage. He wants a quiet place to sleep away from the bustle of Nice and ends up renting a cave-like apartment in Saint Paul. His year in Provence in about to begin.
The thread he is going to pull in order to make sense of life in the land of the long bread and to become accepted there is a sport many have heard of but few have practiced: And he knows nothing of the game itself. He was very lucky to have met them. And he knows it. His luck and chutzpah will help him break into the arcane French culture, and this transformation to almost-French status, becoming a riverain, is the leitmotif of Uncorked. Was it difficult to persuade him to participate? People are getting better at understanding that, yes there is acting in videogames, especially now that you have….
We had this role of the analyst that we wanted to be confusing for the player: And as the analyst comes back more and more in the game, it gets more and more weird and distressing. Did he have the full script when accepting this role? And maybe the script changed in the course of development? Yes he had the full script ahead. We did change the script but not his part. They only have a short time to do it, and they have to jump to several versions.
One scene is maybe five lines and has to be done ten times for each version. And also the way they perform has to have the right timbre. You just mentioned it, the game often breaks the fourth wall and use several gimmicks to have characters making eye contact with the player by talking directly to the screen… This could turn into a double sword trick: Obviously a big part of the game is in the choices to make, and especially in the conversations.
If you look at something like Sherlock Holmes on the BBC One, there is text coming up on screen, there is this kind of weird abstract level up of an interface within the screen within the world. We had to allow the player enough time to make his choices and we wanted it to be engaging. You could have another character just outside the frame so the main one would look at him like in a regular movie dialogue shot as in a champ-contrechamp…. Yes and we do that as well but it depends. And the face to face on her own is very hard to make it right.
But the main objective is still to involve the player more because we look directly into the eyes of the character, right? And we also try to do a thing when as soon as you drop the controller down, like you said, we cut to a close-up. A french edit is accessible here and here. Do you have to have a firm release date?
Regarding release dates… of course there are internal completion dates that the team is stringently aiming for, but we are not announcing a release date until we are confident that our product is of the quality that we are committed to and our audience has come to expect from us. The audience will forgive us for delaying or being fuzzy on a release date.
We then formally announced New N Tasty after we determined a goal and the ability to finance it. That was over a year ago and it has been the JAW and extended teams focus ever since then. Now, obviously, we would always prefer to release sooner than later, but as a self published indy we are not penalized by retail or publisher conditions if it takes us longer to insure that our quality is up to snuff before releasing it into the audience. How many people are working on the project in both companies for instance?
To have a sense of scale: JAW is the developer that is producing this game with just under 20 talents in the studio dedicated full time to the project. Other talents have been contracted to supplement the development team in specific areas, which I will let the developer diaries discuss and identify on the OWI site. Which is ongoing and still tbd.
At Oddworld back in San Luis Obispo we employed just under 80 at our max. So mine is more of a Creative Exec Director role while doing our best as the client to empower the team to deliver their best. When it comes to hands on… I am recording most of the voices while also lending art direction and design feedback throughout the development. As we get closer to the end, my role in feedback to the team increases.
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Some fans are also contributing directly to the project music, illustrations? How fair is it? We have been encouraging fans to participate in the project. The first was that we wanted to give fans an opportunity to have something that they created be in the released game. In return we will include them in the credits and promote their story to the larger audience of gamers and industry whenever we have the opportunity to.
But understand, at Oddworld the voices always came from the development team itself. We never hired voices. Everyone who ever did this with us always had fun and always got credit. None of us ever got paid for voices. It was something we did because we had a lot of fun doing it and we wanted to keep it in-house.
On New N Tasty we had the opportunity to extend this tradition into the fan community and asked if they wanted to participate. To reach out to fans and give them an opportunity to actually have them in the released game, that was something that excited us and excited fans in the community. The second kind of content participation is fan art or fan music that I encountered already made that was posted on Facebook.
We liked it that much and we want to promote fan passions, so this seemed perfect. We do what we can to offer a compensation for a licensing usage on the painting, but the creator retains their rights and ownership to their work. Another case is Elodie Adams, a singer songwriter out of Australia. She posted some music she had made on FB and showed interest in wanting to do something for us. She retains her rights and ownership of her music, just as Alex does on his painting. But make no mistake, the effort and resources that it takes to manage community and include them in all ways that we are able… is not a cost saving measure.
It actually increases our overhead to manage the process. What we did believe was that it would be cool to bring attention to such emerging talents and help promote them to a wider audience. Is it in the details of his non achievements or in general? Can or could anybody do better in this kind of democracy? Your suggestion that the US is operating as a democracy indicates we are viewing wildly different perspectives on what constitutes reality.
We are living the perpetuated illusion of a democracy that, fortunately, greater numbers of people are coming to see thru and comprehend that something else is in play. The school book version of democracy and the version that the mainstream media and politicians keep trying to convince us still exists… simple does not stand up to rational, obejctive scrutiny. But first, you need to understand the multiple layers of how corporate media works. Regarding Obama, we see a branding and a manufacturing of a politician to serve a special agenda. Who the man is very hard to determine.
Anyone who still sincerely believes that our two party system is actually looking out of the better health and well being of the population, is severely out of touch and serves as a good indicator that they are a mainstream media consumer. Meaning, they are still under the spell being perpetuated by 5 financial multi-national interests that control the over media outlets in the US alone.
But you can research this on your own. If someone promises something then does the exact opposite, then how can you trust them for anything they say? I pay attention to the whistleblowers and have for three decades now. We do not live in a democracy.
That concept and practice of democracy in the US has been undermined and taken from us. We now live in something else, but the web will enable people who unplug from the mainstream matrix to learn for themselves what is more likely going on. One needs to understand the policies to understand the ramifications. Meanwhile, our message to the youtube community is that we will continue to enable them to use our footage in ways that does not conflict with our trademarks and obvious legal conflicts. This is what has been happening on Youtube for years now, and we see no legal IP conflicts in the way our IP has been used by youtubers.
Allowing people to do walk throughs and game reviews is not encouraging people to sell our IP. There is an enormous difference between the two usages and while we are still a legally protected, copyrighted and trademarked brand in a wide variety of territories, we do not want youtubers to have to change their ways when they have not been in violation of our brands legal protections. We want to support youtuber practices and enable them to continue what they have built their income on, which is advertising rates based on views they get.
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This is NOT a usage where youtubers are selling our content. Put simply, the reason larger publishing entities are pressuring youtube into creating tighter policies around this issue, is due to those entities wanting all the views of their content to be directed to THEIR sites for viewing, NOT youtuber channels. There are multiple reasons they want this, but we see this as a practice of control that worked for the 20th century, but is outdated as an approach in the 21st century. But there in no way there should be any confusion around letting youtubers continue their reasonable ways versus putting your content out as public domain.
Are you playing Don Quichotte? We left hollywood so that we could create and control our own IP. We now own IP and control its destiny. We were forward thinking and secured these rights when few understood their value in the gaming space. When the game business grew to the point where budgets were so high that publishers wanted to own you and your IP or not fund you any longer, it was time to wait for better conditions for independence. Now with the proliferation of digitally distributed networks its possible to reach an audience without publishing partners.
There will be a lot more pivoting in our future, but it will be based on the conditions at those future moments, which are not predictable but must be responded to when they arise. Personally, I believe our best years are ahead of us. Meanwhile, the business of Oddworld is growing steadily as an independent entity. In the meantime, we are avoiding the old school funding conditions that come with all the embedded hooks that conflict with much of the purpose as to why developers started their companies in the first place.
Obviously, Abe, Stranger and you are fighting about the same war. Twenty years ago educated people would call me a conspiracy theorist if I said fast food companies where destroying our rain forests. Those and many other practices that inspired Oddworld continue to this day. For example, the human slavery figures are higher today than ever before in the history of civilization. Fortunately the ignorance factor is lessening as the public wakes up, and this is largely due to alternative media access via the internet, it is not due to mainstream media doing a better job informing people, quite the contrary.
So I think now more then ever its critical for us not to be complacent and to seek alternative views than those heavily sponsored and shaped for us, and to ultimately do our best to shed our ignorance. In your D. What do you think about having all those pop cultural icones under one big corporation? I think its pretty clear as a critical analysis, that the nature of our dysfunctional capitalist system inevitably allows the biggest to get bigger which enables them the power acquire smaller players in the same arena.
This is a fundamental problem at a higher level than any one goliath company. The model of capitalism is only emulated in biology by… cancer. Growth for growth sake… is a cancer. At DICE I proposed that we look at the larger influence properties have on the health of a culture and specifically how SOP licensing practices are in conflict with the health of our youth and are thus negative for the future health of our species and the coming generations.
Poor health is a genetic decline. In the United States overall health and overall IQ levels are dropping. This is not an opinion, these are facts. From this day forth, we recognize that childhood obesity and childhood diabetes are integrally linked to poor nutritional habits traditionally promoted by our brand.
While we expect to lose a few billion dollars over the next couple of years in this transition, we have the resources to absorb the short term loss for what we have confidence will be a long term gain for us all. I think as public awareness rises and health and environmental conditions continue to deteriorate that corporations not engaging better practices will eventually be faced with this challenge by their audience.
In Oddworld will clock 20 years. What are Oddworld next big steps? More remakes, brand new original games? Where do you see Oddworld in 5, 10, 20 years? Do you dream of an Oddworld Attraction Parc? We hope that Oddworld: Success will enable us larger risks, and so we do our best, cross our fingers and hope for results that keep people employeed and empower us forward. Since Oddworld left the videogame industry, you tried very hard to make one or several CGI movies within the Oddworld universe.
You already had experiences with movie studios and you came back with a potentially great new IP, so what went wrong besides the general economy? You know, I should have known better. So when we saw that the compromises would be too great, we pulled out. We need to hook up with folks that really understand what we are trying to accomplish and want to partner with us to make it happen. If it is all about nickel and diming us, just for more profit, it most likely is not a good fit.
So we shall continue to look and always keep it on the back burner. What are your responsibilities in Oddworld affaires now that the company is sailing as an independant self publisher? How easier is it compared to the time you were working under the likes of GT Interactive or Microsoft? There are no words to describe what it is like to be responsible for your own decisions. It is like working on an indie movie and not having to take notes from the studio execs. It is freeing and lovely. If you screw up, you have no one to blame but yourself.
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But if you do well then you can feel really good about your choices. I am doing most of the same things I did in the past…finance, legal, negotiations etc. What I am not doing is day to day which is a huge relief. Did you know that you would eventually come back to the videogame industry when Oddworld threw in the towel? And how do you shake the feeling that, maybe, coming back to the games biz might sound like a back-up plan? Is there more hope for the videogame industry nowadays?
I always knew that we would never abandon Oddworld. There is so much more of the story to tell that to me it would be a shame if we never were allowed to tell it. I guess I never thought of it as a back- up plan so there was no feeling to shake. Lorne is a story teller and his stories are about what is happening to our planet that we are not always aware of. So I am not sure what you mean when you ask is there hope for the videogame industry nowadays. And the game industry seems to be doing quite fine on their own, with their own share of billionaires. They are giving the public what they want and making money doing that and while that may not be my goal it is certainly working for them.
Do you find more games that can you play now that you could years ago? I never was a gamer and still am not. I guess I am one of those old fogies who requires a strong story and great characters and I have not been able to find but a handful of the games that appeal to me. Et, en effet, Ubisoft fait tout pour. Les outils ne font pas le savoir faire. Pas encore en tous cas. Entre gamers, il y a toujours moyen de se comprendre.
Dimanche matin, le vrai footing … dehors!? Depuis quand avons-nous ressenti une telle joie de vivre et de faire sur console de salon, y compris sur Wii? Depuis Mario Galaxy sans doute. Yahoo, Google, voire en France, Noos. Les deux ii qui peuvent devenir mille ne rappellent-ils pas aussi les Pikmin? Si Nintendo gagne son pari, les journaux pourront facilement titrer Wiintendo! Entre la SD et la HD, surtout.
La vie littéraire. Première série by Anatole France
Est-ce utile de filmer documentaires et interviews en HD? Oui, nous filmons tout en HD. Il y a beaucoup de gimmicks. Ces formats HD ont clairement des constitutions informatiques.
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Do you think there is a need for high definition bonus or is it still for some happy few passionate? Meaning, is it worth the efforts for you, the studios and even the movie directors? What is the first film you worked, or are working on, that is going to be released on any HD formats? If you mean as opposed to standard DVD, yes.
Even though most of the goals are the same movie, commentaries, bonus content , the formats are completely different in terms of technical approach. Would the bonus be a simple transfer from the DVD or would you work again on it? Did the digital transfers of past archives have been readied for HD formats and could be ported without going back to the digital scan?
What is your opinion regarding those past documents? Going HD with them or keeping the already digital transfer? What is the position of the studios you work with regarding this issue? Most films that have been transferred to video in the past seven to eight years were transferred to HD in the first place, so many of them are already usable. What about future archives you might dig up, which kind of technical treatment would you do for the HD formats or not?
Most older archival material tends to have originated on standard-definition video or 16mm film, so it is more of a challenge to decide how to present a mixed-format documentary or featurette. But with the advent of the new HD formats, more and more special features are being done in HD, because consumers expect that when they buy an HD disc, as much of the content as possible will be in HD format.
Are you shooting your documentaries and interviews in HD? Since when, or do you plan to? Is it relevant to do so? Yes, for current films, all of the material is shot in HD, as are all interviews and new footage shot for bonus material on older titles. It is generally accepted as a good practice to shoot in HD if it can be afforded, even if you are currently finishing the project in standard definition. All of my projects going forward will likely be in HD. Are movie directors you work with concerned, interested by those high def contents that they may have to provide for future HD DVD or Blu-ray releases?
Whether for a new projects or past projects? The younger generations of filmmakers are already savvy to the possibilities of the HD formats and are usually very open to creating or participating in new HD content, while the older generation of directors view it as a good way to get more people to experience their films, which are still the most important component of any release. They are usually thrilled to see their films in such high resolution. Both HD DVD and Blu-ray may be programmed for some special interactivities during movie footage… Did you start working on that technology?
Is it easy to do? Does is really open some new doors for you as a DVD producer and maybe the consumer or is it just a gimmick? There are a lot of gimmicks, but I hope that some of them will evolve into actual useful features. How do you deal with that? These HD formats are much more clearly computer formats, and the more like a computer your format is, the more capabilities you have… but the more opportunities you have to mess things up.
From my standpoint, I just keep pushing. I find out what they think the format can do, and then come up ways for it to do more. And try to work with people who are willing to try it. Do you have a preference as a professional between the two formats: And the only way the consumer will win is if there are really good combo players so the viewers never have to worry about whether they can or cannot play any disc they buy. I can say that IF you have access to visual elements that are potentially of higher quality than standard definition video, obviously anything you produce will be of greater value eventually, as the world switches to HD.
Originally, we intended to shoot and finish all new materials in HD because the North American distributor intended an HD home video release. But shortly after starting work, we were told that due to confusion in the industry over formats, the plan was to release the DVD in just standard definition.
We created menus and some bonus materials for the release of Marie Antoinette which may get a BD release. The menu preparation and programming is different, but we only do graphic design elements which are authored by others. I would say it depends on whether or not we can improve the original bonus content in any way by incorporating newer or better visual elements.
Many industry insiders have told me that, according to their marketing research, most people think standard definition materials viewed on a up-converting DVD player or even a HD-DVD or BD player like a Sony PS3 when seen on an HD display look great, and they have no motivation to spend more money to re-master the bonus elements in HD. No simple answer, no official position that I know of.
Every case is different. There are HD X transfers of films made years ago that are not very good. There are other HD transfers made 6 years ago that are fantastic. Some films are finished for creating theatrical 35mm release prints using Digital Intermediate technology for color correction, replacing the laboratory color timing step. Indeed, most films finished with DI, end up with a film negative element that is scanned on a Telecine for home video, which might sound a bit strange.
I say, this is a constantly evolving process, and the most important thing a responsible studio can and should do is to consult the filmmakers anytime they re-transfer the image to confirm that they are reflecting the original artistic intent. At the moment, some of the distributors are having internal discussions about what characteristics make an older film title suitable for HD-DVD or BD release.
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We are doing some restoration work for some wonderful documentary films made in the s and s. We encouraged the filmmakers to locate the best film elements possible and we transferred them to HD format on a good telecine. We see that the cost of doing transfer and restoration at HD is far greater than SD, because imperfections that require DNR or other kinds of treatments are far more visible at the greater resolution, and digital repair work is far more time consuming and expensive.
Most directors I work with so far are preoccupied with finishing their film, or with making plans for their next film, and the technical details of the home video release seem like a distraction to them at the time. But this is changing, as filmmakers recognize the importance of the home video and electronic record we are creating, both artistically and commercially. I have very little experience with the interactivity.
We accessed the original 16mm documentary negative more than 20 hours of behind-the-scenes footage negative which was pristine, and we transferred it to HD. We cropped the original 4: We also made use of over 80 hours of informal doc footage shot on Hi 8 videotape at 60i. We had to treat this footage to make it 24 fps progressive. We are working on creating bonus materials for a new feature that began photography in North Africa with a doc unit shooting in HDCAM, but after a few weeks, for budget reasons and uncertainties about BD and HD-DVD, the documentary unit actually switched down to standard definition cameras!
Ironically, the older films with doc footage on 16mm will make the transition to HD better. Pas pour le moment. Aucun des deux formats ne rend mon travail plus facile ni plus satisfaisant. Everything else is icing on the cake. Not at the moment. Both formats have their pros and cons. Neither one makes my job any easier, or more fulfilling. What part of your work you are most proud of on this 4 DVD edition? And did you fail to achieve something you were aiming at? We try to avoid promotional fluff at every turn. It was literally just me and my camera. In retrospect, I think I went a little too negative with the ending.
I seriously doubt there will ever be another cut of this film. On ne peut plus reculer maintenant. Pour moi il y a cinq versions majeures: Et enfin il y la prochaine Final Cut. Nous ferons humainement tout notre possible. Cette ressortie du montage de est une surprise pour moi. Too early to say.