Wednesday, April 14, 2021

Jordan Vogt-Roberts to Helm Netflix’s Live-Action Gundam Movie

(Photo Credit: Alberto E. Rodriguez/Getty Images)Jordan Vogt-Roberts to helm Netflix’s live-action Gundam movieIt has been four years since the successful release of Kong: Skull Island, and now director Jordan Vogt-Roberts has finally found his next big project with Legendary. Vogt-Roberts has officially signed on to direct the studio’s first-ever live-action feature film version of Gundam for Netflix, which will be based on the universe of Sunrise’s iconic Japanese robot franchise.This marks Legendary and Netflix’s latest collaboration together, the two companies previously worked on films such as 2016’s Spectral and last year’s Enola Holmes as well as shows like Lost in Space and Pacific Rim: The Black. They are also currently working on the anime series adaptation of Skull Island and Tom Raider.RELATED: Netflix’s Live-Action Cowboy Bebop Series Wraps Production!Plot details for the Netflix film are being kept under wraps but the original Gundam series is set in the Universal Century, an era in which humanity’s growing population has led people to emigrate to space colonies. Eventually, the people living in the colonies seek their autonomy and launch a war of independence against the people living on Earth. Through the tragedies and discord arising from this human conflict, not only the maturation of the main character but also the intentions of enemies and the surrounding people are sensitively depicted. The battles in the story, in which the characters pilot robots known as mobile suits, are wildly popular. The Gundam universe is replete with numerous storylines of love and conflict along with the popular Gundam battles, in which the characters operate robot suits called Mobile Suits.The live-action Gundam film will be penned by Brian K Vaughan. It will be produced by Vogt-Roberts with Vaughan set as executive producer. Legendary’s Cale Boyter will oversee the project along with the Sunrise creative team. The project was actually first announced in 2018 at the Anime Expo.RELATED: Sony & Netflix Ink First-Pay Streaming Licensing DealCreated by Hajime Yatate and Yoshiyuki Tomino, the franchise first started in 1979 with the TV series titled Mobile Suit Gundam. The massively popular Mecha anime and science fiction media franchise is Sunrise’s multi-billion-dollar property that has spawned a multi-platform universe encompassing televised anime, manga, animated films, video games, plastic models, toys, and novels among other media. Gundam continues to dominate Bandai Namco’s earnings almost forty years after its inception.

    Latest Posts

    I’m Your GPU – Crafting the digitally-infused pop of Astro’s Playroom

    Hi folks! Later this week to mark the release of the state digital soundtrack for Astro’s Playroom, I thought it’d be fun to have a wee “behind the scenes” consider the creative process for the track that players have taken care of immediately probably the most enthusiastically – the GPU song.

    The majority of the music featured in this article doesn’t actually come in the overall game or on the soundtrack – it includes excerpts from ” inside info “, slightly embarrassing sketch material that has been never designed to be heard by anyone’s ears apart from those of my Team Asobi collaborators. But hopefully that’s also why is them interesting!

    The GPU Jungle was the initial section of the game that I tackled – whilst it had been still a work-in-progress at that time, the furthest was felt by the gameplay along so that it appeared like a sensible place to begin. My first attempt was a normal method of scoring a jungle stage quite, filled with the requisite panpipes:

    The feedback from the united team was that was a touch too predictable. However, it did have a catchy melody, that is something we shoot for in the Astro Bot games because they’re, at their heart, ‘old-skool’ platforming experiences. So, before shifting, I had a chance at rendering it a bit more “digital” or synthetic sounding:

    That felt appropriate for Astro certainly, but we were still concerned that men and women unfamiliar with gaming music culture might not “obtain it.” So, I started exploring something a bit more contemporary sounding and began experimenting with the thought of writing a song.

    Before I’d even started focusing on the overall game I have been considering personifying the PlayStation 5 console giving it a voice. This tapped in to the proven fact that perhaps you’ve always known PS5 or somehow encountered it before, as though it were your real love. But I have been saving this notion for the CPU Plaza area since it felt just like the best suited spot. However now that I was starting on the music for the GPU Jungle again, I saw a chance to introduce this idea to the united team. Here’s my first sketch:

    The lyrics you can find:

    GP-You and GP-Me, amongst the trees here.
    GP-You and GP- Me, as as your eyes can easily see far.
    Voxels; pixels delight; shaded perfectly.
    GP-You and GP-Me.  

    That is intriguing, however the overall tone was too closely aligned with these “ethereal real love” concept which wasn’t an excellent fit for GPU Jungle. THEREFORE I didn’t share that with the team (this’ll function as first-time they’ve heard it too – surprise!). But I stuck with it as a starting place and developed this:

    The feedback with this version was that whilst it had been playful the fun had been missed because of it, had opted far another way and be too serious in tone too. D’oh! However, the team really liked the primary riff by the end and thought that people could find a house for this in the CPU Plaza area.

    Starting once more, I felt like having tested the waters in several different directions and found where in fact the lines of acceptability were. I possibly could now develop an approach which may provide best of both worlds hopefully. I was thinking about attempting to make the song idea work still, but instead than lead with that and getting side-tracked, I started with the groove of the drums and bass to find the energy right and done the lyrics and melody. What I sent to Nicolas Doucet here’s, Creative Director of Astro’s Playroom (with reassurances that I would put in a vocoder to my voice!):

    It’s ready and rough, but even at this time it had something going on and we were excited to make it happen.

    When I was writing it I was taking into consideration the genius graphics coders I understand or been employed by with and wanted the lyrics to be a thing that they might recognise to be at the very least vaguely authentic. But I also knew it couldn’t you need to be a grocery list of rendering terminology, because that’s not at all something a lot of people can relate with. I’m uncertain at what point I realised that the love song idea I have been exploring previously could possibly be designed to fit, but I really do remember being worked up about obtaining the lyrics to use on multiple levels because that’s what chamfers the hard techy edges off and makes the song palatable.

    Obtaining the tone of the track right took some iteration – it had been tricky to include elements to the core I’d established without them taking something away.  Here’s a version out of this exploratory production phase:

    You learn something out of every little misstep and, in the event that you persevere, all of them leads to a thing that clicks. Rinse, repeat. Then at some time you understand it’s baked! Here’s a preview of the ultimate version on the soundtrack album:

    I’m incredibly grateful to possess such brilliant and trusting collaborators in Team Asobi that provide me the encouragement, time and space had a need to explore ideas like this and use their skills and craft to get methods to incorporate them in to the project in a holistic fashion. Don’t assume all little bit of music I write is at the mercy of this type of circuitous or lengthy gestation period – when you are the very first thing that I tackled, this track had to bear the responsibility of getting a direction for the whole project.

    But I also wished to take the chance to shine a light on an innovative process that is frequently hidden from view – composers tend to discuss sort out the lens of the finished product, but our ideas rarely are, if ever, born formed fully. Music direction is attained by way of a journey.

    Thanks for coming along for the ride! You’re hoped by me enjoyed this little insight into my world. The state soundtrack for Astro’s Playroom, released by Sony Music Masterworks, will undoubtedly be available March 12 – happy listening digitally!

    By PlayStation Official blog (

    Latest Posts

    Don't Miss

    Get notified on updates    OK No thanks