Cars 1 Deutsch Film Download
The advertisement has been parodied in Internet memes, including those using the phrase "You wouldn't download a car." In 2007, The IT Crowd episode "Moss and the German" parodied the advertisement, mirroring its initial points before comparing copyright infringement to increasingly ludicrous crimes and consequences. Finlo Rohrer of the BBC considered this version to be "perhaps the best known" of over 100 parodies of the ad that had been created by 2009. In 2021, the old domain name used by the campaign was purchased and redirected to a YouTube upload of the parody, possibly inspired by a Reddit discussion. An advertisement for the 2008 film Futurama: Bender's Game parodied the campaign by having Bender repeatedly interrupt the narrator to say he would do the crimes described. The advertisement was titled "Downloading Often Is Terrible", or "D.O.I.T".
Cars 1 Deutsch Film Download
"Chasing Cars" was released as an overlapping single in early June, and the video was re-edited to include clips from Grey's Anatomy. The video failed to catch on, regardless, so a third version was filmed for the edited single version of the song. On 13 September 2006, the song soared in the digital music charts to become the most-downloaded song in the U.S. iTunes Store, just one day after the DVD release of the second season of Grey's Anatomy. The song was used in Verbotene Liebe, a German soap opera.
Cars is a 2006 American computer-animated sports comedy film produced by Pixar Animation Studios and released by Walt Disney Pictures. The film was directed by John Lasseter from a screenplay by Dan Fogelman, Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, and Jorgen Klubien and a story by Lasseter, Ranft, and Klubien, and was the final film independently produced by Pixar after its purchase by Disney in January 2006. The film features an ensemble voice cast of Owen Wilson, Paul Newman (in his final voice acting theatrical film role), Bonnie Hunt, Larry the Cable Guy, Tony Shalhoub, Cheech Marin, Michael Wallis, George Carlin, Paul Dooley, Jenifer Lewis, Guido Quaroni, Michael Keaton, Katherine Helmond, John Ratzenberger and Richard Petty, while race cardrivers Dale Earnhardt Jr. (as "Junior"), Mario Andretti, Michael Schumacher and car enthusiast Jay Leno (as "Jay Limo") voice themselves. Set in a world populated entirely by anthropomorphic talking cars and other vehicles, it follows a hotshot rookie race car named Lightning McQueen (Wilson) who, on the way to the biggest race of his life, gets stranded in Radiator Springs, a run down town, and learns a thing or two about friendship, family, and the things in life that are truly worth waiting for.
Unlike most anthropomorphic cars, the eyes of the cars in this film were placed on the windshield (which resembles the Tonka Talking Trucks, the characters from Tex Avery's One Cab's Family short and Disney's own Susie the Little Blue Coupe), rather than within the headlights. According to production designer Bob Pauley, "From the very beginning of this project, John Lasseter had it in his mind to have the eyes be in the windshield. For one thing, it separates our characters from the more common approach where you have little cartoon eyes in the headlights. For another, he thought that having the eyes down near the mouth at the front end of the car feels more like a snake. With the eyes set in the windshield, the point of view is more human-like, and made it feel like the whole car could be involved in the animation of the character. This decision was heavily criticized by automotive blog Jalopnik.
In 2006, the supervising animator of the film, Scott Clark, spoke about the challenges of animating car characters, saying: "Getting a full range of performance and emotion from these characters and making them still seem like cars was a tough assignment, but that's what animation does best. You use your imagination, and you make the movements and gestures fit with the design. Our car characters may not have arms and legs, but we can lean the tires in or out to suggest hands opening up or closing in. We can use steering to point a certain direction. We also designed a special eyelid and an eyebrow for the windshield that lets us communicate an expressiveness that cars don't have." Doug Sweetland, who also served as supervising animator, also spoke about the challenges, saying: "It took a different kind of animator to really be able to interpret the Cars models, than it did to interpret something like The Incredibles models. With The Incredibles, the animator could get reference for the characters by shooting himself and watching the footage. But with Cars, it departs completely from any reference. Yes they're cars, but no car can do what our characters do. It's pure fantasy. It took a lot of trial and error to get them to look right."
Lasseter also explained that the film started with pencil and paper designs, saying: "Truth to materials. Starting with pencil-and-paper designs from production designer Bob Pauley, and continuing through the modeling, articulation, and shading of the characters, and finally into animation, the production team worked hard to have the car characters remain true to their origins." Character department manager Jay Ward also explained how they wanted the cars to look as realistic as possible, saying: "John didn't want the cars to seem clay-like or mushy. He insisted on truth to materials. This was a huge thing for him. He told us that steel needs to feel like steel. Glass should feel like glass. These cars need to feel heavy. They weigh three or four thousand pounds. When they move around, they need to have that feel. They shouldn't appear light or overly bouncy to the point where the audience might see them as rubber toys." According to directing animator James Ford Murphy, "Originally, the car models were built so they could basically do anything. John kept reminding us that these characters are made of metal and they weigh several thousand pounds. They can't stretch. He showed us examples of very loose animation to illustrate what not to do."
Technical director Lisa Forsell explained that to enhance the richness and beauty of the desert landscapes surrounding Radiator Springs, the filmmakers created a department responsible for matte paintings and sky flats, saying: "Digital matte paintings are a way to get a lot of visual complexity without necessarily having to build complex geometry, and write complex shaders. We spent a lot time working on the clouds and their different formations. They tend to be on several layers and they move relative to each other. The clouds do in fact have some character and personality. The notion was that just as people see themselves in the clouds, cars see various car-shaped clouds. It's subtle, but there are definitely some that are shaped like a sedan. And if you look closely, you'll see some that look like tire treads. The fact that so much attention is put on the skies speaks to the visual level of the film. Is there a story point? Not really. There is no pixel on the screen that does not have an extraordinary level of scrutiny and care applied to it. There is nothing that is just throw-away."
Computers used in the development of the film were four times faster than those used in The Incredibles and 1,000 times faster than those used in Toy Story. To build the cars, the animators used computer platforms similar to those used in the design of real-world automobiles.