The game is viewed from a third person perspective, with the camera changing angles to follow the action - at least, that's the idea. The Fifth Element bears a certain resemblance to Tomb Raider and the more recent Duke Nukem: A Time To Kill. So how do you go about this? Er, by jumping around and blowing things up - which is pretty much what happened in the film, so at least it's true to the movie in that respect. You play Korbin and Leeloo - Korbin on some levels, Leeloo on others - and you have to make your way through a series of locations from the film, collecting the four elements you need to stop the ultimate evil approaching Earth as you go, until you reach the final showdown and are able to activate the elements and repel the evil. And unsurprisingly, the game follows pretty much the same plot. Leeloo, being the supreme being and that, was the only person who could save the Earth from a malevolant force that threatens mankind every 5000 years. The movie centred around the escapades of Korbin Dallas, an ex-marine taxi driver, and Leeloo, the supreme being, a girl who ran about wearing bandages strategically placed over certain areas of her body. The Fifth Element received a bit of a bashing by some critics, although personally I thought it was pretty good, as long as you didn't expect anything particularly deep. Not that it's particularly good, mind you, it's just that it's been over a year since the original movie was released, and I'd imagine quite a lot of people will have forgotten about the movie's existence. I'm happy to say that The Fifth Element, a new game from Kalisto, based upon the film of the same name, is not a hastily churned out effort, released just to cash in on the popularity of the movie. Not that any games companies shied away from release poor quality movie games, though - the people at Ocean were notorious for turning any film license they could their get their hands on and turning it into some poor quality platform game. That said, not all films make good games - the point and click adventure 'Thelma and Louise Hit The Road' and the all-action shoot-em-up 'Forrest Gump: Knee Deep in the Stupid' both never saw the light of day. Then they'd release a game loosely based upon the film, in the hope of cashing in on the movie's popularity. What games companies used to do, and still do to a lesser extent, was to do is find a big box office hit, preferably one with a few recognisable and generally memorable characters. They were like kids.Film licenses have long been a way for companies to make a few quick quid by releasing products with a particular film's name bolted on, and this practice extends to the games industry. She said:”How did you do it?!” She didn’t understand how I could make sounds that were impossible to sing. After their first hearing both turned back and asked: “Can we hear it again?” After the second time they turned back again and they were amazed. Editing it, I felt like a child fooling around with something sacred! I sat them in front of my console. Very high ranked people in a musical environment that I knew little about but for which I had nothing but admiration. When the time of the validation came I was impressed,I was facing Maria Callas’ and the Austrian conductor Herbert von Karajan’s agent and a magnificent opera singer. When I explained them what I was going to do they didn’t quite understand but they decided to trust me. “She sang 85% of what I thought was technically impossible” It might seem obvious nowadays but at the time many wondered how I did it. I then sampled and edited her voice a bit. She sang 85% of what I thought was technically impossible. We sat down and she started to sing, I was overwhelmed. I was astonished, the beauty of her tone of voice and the perfection of her singing gave me shivers down the spine. In the studio before even taking her coat off she started humming from the music sheet. I had never worked with an opera singer before, I didn’t quite realize the technical ability they had, I thought that only 60% of the song was actually possible to sing. So I purposely wrote un-singable things, some too low, some too high, sentences that were too fast, I would then arrange it with the sampler. For the scene to work, we needed her to sound like an alien, thereforee we had to create notes that no human could sing. Today she is in the world’s top ten sopranos. When the scene is shot she is a young talented soprano, yet her agent was Maria Callas‘ one too, showing, if need to be, that she was already a promising artist. In that scene Maïwenn plays the diva but the voice is not hers, it is the one of a true opera singer, the Albanian Inva Mula.
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