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yourfavoritehouseplant · 5 months

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I watched James Somerton's final video, and all I got was this 6 page document

As soon as I learned his final unreleased video was on Revolutionary Girl Utena, I knew I had to hate watch it. I didn't know that I'd spend the following 4 hours making a comprehensive doc on everything I hated about it. But here we are.

The TLDR (is this too long to be a TLDR?)

The intro section, as well as Part 2, are directly plagiarized from wikipedia. The rest is unclear.

He makes a “haha this show is so weird right guys” joke 10 different times

He reads Anthy as so emotionally stunted she literally has to be taught how to think for herself, and believes that being the rose bride makes her feel good

He says that his reading is ‘vastly different” from the rest of the community, before boldly stating that this is because he sees it as a “deeply allegorical and symbolic story”

He sees the sexual abuse as “not to be taken literally”

Insists that the show be separated into parts that are strictly literal and strictly allegorical for the entirety of parts 3 and 4, before making the contradictory move of analyzing characters as allegories during part 5

The only characters that get dedicated sections are Akio and Dios, who he doesn’t believe are the same person.

He says Dios gets his powers by “deflowering women”

He calls Akio, known child predator, a chaotic bisexual

Uses 14 year old SA survivor Anthy’s passive personality to make a joke about her being a bottom

His final point is that Utena was the real prince all along

There are no citations

Anyway, full version for people who hate themselves under the cut. With time codes, because I cite my sources.

Part 1: Intro

This entire section is almost exclusively quoted from the Wikipedia article for Revolutionary Girl Utena. Words have been changed, but the order at which certain topics come up is not. Highlights include:

0:56 In his introduction of Be-Papas, lists the founding members in literally the exact same order as Wikipedia.

1:40-2:00 His list of Be-Papas previous works is lifted entirely from wikipedia, only with the words changed. This leads to a strange moment at 1:52 where he claims Be-papas ‘lent their talents to’ Neon Genesis Evangelion, a show which started production at least a year before Be-papas was founded. On the wikipedia article for Utena, this is instead referring to the previous work of Shinya Hasegawa and Yōji Enokido

4:23 he uses a quote by Yūichirō Oguro describing the production as a “tug of war”. He seems to have lifted this in its entirety from Wikipedia, as he does not cite the actual source it is from (the box set companion book, btw)

As for James Somerton originals, at 0:44 he claims that out of all magical girl series,”none to my knowledge have been more discussed and dissected than the 1997 series Revolutionary Girl Utena” He will go back on this at 5:05, where he states that “Sailor Moon takes the lion’s share of discussion” in regard to influential magical girl anime

Part 2: Part 1

(At least I know I’m not funny, unlike James Somerton)

Speaking of which. Here is every single time he makes a “wow this show is sooooo weird you guys” joke: 6:00, 8:50, 10:40, 10:58, 13:46, 17:07, 24:16, 30:34, 41:19, 48:01

Here’s every time the punchline to the joke is the existence of Nanami, a character who he otherwise completely disregards: 10:56, 12:05, 16:22, 42:40

6:16 Claims that the “Apocalypse saga” and “Akio Ohtori saga’ are two names for the same several episodes, depending on the release. This is untrue. Instead, different releases either only have the Apocalypse saga, or split the episodes into an Akio Ohtori saga and then the Apocalypse saga.

7:58 Claims Utena intervening on Anthy’s behalf begins the first duel. While this happens in the movie, Touga intervenes in the scene he uses clips from (like literally right after the shot he uses in the video). Utena only gets drawn into the duels when Wakaba’s love note to Saionji is posted. Youtuber Noralities’ Utena video also gets this wrong, which makes me wonder if this was copied.

9:09 Claims Akio’s “End of the World” moniker is actually more closely translated to “Apocalypse”. In reality, the translation moves away from a more apocalyptic reading, with 世界の果て (Sekai no hate) apparently translating closer to “the furthest reach of a known world” or “edge of the world”. (Love the implications of this translation, but I digress)

9:10 As can be assumed from the previous point, this means I can’t find any sources that point to them not using the title “apocalypse” for religious reasons

10:10 Uses Anthy’s extreme passivity under her Rose bride persona to make a top/bottom joke. I’m gonna repeat this in case you’re just skimming. He uses a trait that likely stems from years of abuse, (possibly exaggerated by the persona Anthy uses to manipulate people), and uses it to call her a bottom.

He also just doesn’t seem to understand how the whole point of Utena constantly telling Anthy that she's just a normal girl who should make more friends is framed as Utena imposing her will on Anthy, just as much as the previous Engaged have done.

11:54 Apologies in advance for my most “um, actually!” point yet, but technically his statement that Anthy stops being host to the Sword of Dios is wrong. Akio literally pulls a sword out of her chest in the final duel. It's a more evil-looking sword of Dios, granted.

13:02 !!! CANTARELLA SCENE ALERT !!! He interprets it as them fighting over Akio?? Which like. I will allow people to have their own interpretations of vague and symbolic scenes. I will. I swear. This is not technically incorrect. It just makes me want to eat my own intestines.

14:44 Bad Anthy take #1: He states Anthy “is emotionally stunted to the point where she needs people to make decisions for her because she does not know how to think for herself” This ignores several moments of Anthy clearly making her own choices throughout the show, including the suicide attempt Somerton mentions about a minute prior. This also strips Anthy of what little agency she has throughout the story, usually exerted through messing with Utena or Nanami. (The fact that she repeatedly makes choices that contribute to her own abuse is, in my opinion, one of the most interesting parts of her character, and it's a shame that Summerton’s ‘reading’ of the story completely disregards that)

Additionally, he once again reads Utena ‘urging Anthy to think for herself” in the first arc as an unambiguously good move, and not as something critiqued in the show.

14:52 Summerton reads the Swords of hatred as symbolizing men’s hatred specifically. Again, I’m trying not to completely disregard differing interpretations to a show like Utena, but this feels very simplistic, especially considering the harm we see aimed towards Anthy by other women

16:42 Here he claims that his reading of the story seems to be “vastly different” from the bulk of Utena discourse. What is this reading? That the show shouldn’t be read literally. Or, in his words, “[we can interpret] Revolutionary Girl Utena as a deeply allegorical and symbolic story about the struggles of coming of age amidst widespread institutional corruption in a high school and which describes a passive culture of inaction in regard to brazen instances of domestic exploitation in which there is not only a question about the caporeality of the events transpiring but also which events can be taken for granted and which events are meant to signify abstract sociological institutions.” The idea that he believes this is in any way a new reading of the material honestly baffles me.

Part 3: Part 2

17:48 through 18:50 differently quotes the Wikipedia article for postmodernism. He even makes a joke at 17:55 about Wikipedia. Please kill me.

The first three themes he lists at 19:11 are just the three main themes listed on the Revolutionary Girl Utena Wikipedia page. What was that about a “vastly different” reading, James?

You’re gonna have to take my word for it, but this section is so short because it's just him talking about the various ways the story can’t be taken literally. He does, ironically, call this a hot take.

Part 4: Part 3

Here’s where the reading falls apart folks

At 23:15, he states that some things in Utena are allegorically coded, while others are to be taken literally. This is true. However, he seems to take this to mean that some parts of the show are Strictly Literal, while others are Strictly Allegorical for things going on in the Literal World.

This is apparently why he prefers the Anime to the Movie, where there basically is no separation between the Literal and Allegorical

This take is bizarre to me for several reasons, but here is my favorite. At several points, he mentions how Revolutionary Girl Utena is a work of Magical Realism. Magical Realism is literally defined by its blending of the “literal” and “allegorical”, the mix of fantastical elements in a mundane, realistic setting. This idea of the impossibility of a blurred line, that Utena must either have lore where the magic is all real and means nothing, or dedicated allegory segments quarantined from the rest of the story, is contrary to the very idea of Magical Realism.

I can’t help but wonder if Somerton took his mentions of Magical realism from a previous work, due to how little it is consistent with his final argument. Either way, this section suggests a great lack of creativity in his analysis, a shame for such a creative work.

24:36: Shiori slander, for those who care

After this he gets really worked up about people assuming symbolism in everything, even when the author ‘doesn’t make it clear something is symbolic’. He shuts down a reading of a shot in the Lord of the Rings. Miley Cyrus is there? Very The Curtains Were Blue of him.

28:22 Claims that Wakaba is the key to telling where the Strictly Literal segments end and the Strictly Allegorical segments begin. He states that, under this lens, deeply personal moments of character suffering such as all of the sexual abuse and Anthy’s suicide attempt (which he literally cites) should be read as symbolic and be “approached with uncertainty rather than confusion”. (28:24-29:13)

This also somewhat falls apart when you consider Wakaba is the jeep in the movie's car chase

And then he rants about people not liking his Attack on Titan video for a bit. Since its potential symbolism also doesn't follow hard enough rules to be symbolism. Once again, the separation of “fact vs allegory” I haven’t watched AOT, so that's all I’ll say.

Part 5: Part 4

Thank god this part is short. Much like Dios’ on-screen presence.

32:55 Makes the extremely bold claim that Dios is not Akio. As in, never even became Akio. because Dios is Strictly Allegorical.

Just to be a pedant, this is pretty explicitly disproven in the show

Confusingly, both earlier and later he will address these two as the same character.

33:04 he also explains the root of Akio’s name in a tone that suggests this is supplemental information and not like. Literally something he explains out loud in the show?

Part 6: Part 5

This section is nearly entirely about Akio Ohtori. I would like to note that him and Dios are the only characters with dedicated segments.

38:30 The part where he states that Dios gets his powers from deflowering women.

38:46 Claims, once again, that Akio’s abuse of Anthy “may not be literal”.

38:59 “the instance of exploitation here is used because assault has deep roots as indicating that akio's gender is the source of his imbalance” THE ASSAULT IS ABOUT AKIO NOW???

39:45 Bad Anthy take #2: “Anthy’s conformity to the Rose bride is based around the fact that she feels good being subservient because this is the only thing in her life that has ever brought her any kind of positive reward”. This is a direct quote. Anyway, I can’t think of any instances in the show where Anthy’s subservience gives her a positive reward, except maybe when she’s intentionally using it to manipulate others. As for her feeling good being the rose bride. She tries to commit suicide. Dude.

Side tangent, but isn’t this exactly what Akio says during the final 2 episodes? That Anthy enjoys being a witch? Is the main villain, who consistently says things during that very episode that are blatantly false, our source of information for this take? I guess so, since this is the dedicated Akio section.

At 40:20 he decides to introduce the concept of Anthy, Akio, and Utena as stand-ins for wider concepts, which is antithetical to his approach in analysis beforehand

Part 7: Part 6

42:40 he finally acknowledges that he’s been spending too much time talking about Akio, and literally no time on characters like Nanami

46:10 states that Utena’s exclusive motivation “is to protect Anthy from the predatorial intentions of the other dualists”, which disregards the fact, which she states herself, that she was largely participating in the duels and protecting Anthy to feel like a prince

48:04 The part where he says that Akio has ‘chaotic Bi vibes’ in regards to him sleeping with Touga, who is 17 and implied to be a long-term victim

Part 8: Part 7

54:01: His concluding point is that Utena was the real prince all along.

In true Somerton fashion, the video then ends over a scrolling wall of patrons, with not a single citation in sight.

#the autism won again you guys #revolutionary girl utena #james somerton #shoujo kakumei utena #utena #anthy #hbomberguy

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demifiendrsa · 7 months

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youtube

Like a Dragon: Infinite Wealth | Story Trailer

youtube

Gameplay Trailer

Like a Dragon: Infinite Wealth will launch both physically and digitally for PlayStation 5, Xbox Series, PlayStation 4, Xbox One, and PC (Steam, Microsoft Store) on January 26, 2024 worldwide.

Overview

■ About

Two larger-than-life heroes, Ichiban Kasuga and Kazuma Kiryu are brought together by the hand of fate, or perhaps something more sinister… Live it up in Japan and explore all that Hawaii has to offer in an RPG adventure so big it spans the Pacific.

Epic Emotional Drama

Two larger-than-life heroes brought together by the hand of fate, or perhaps something more sinister…

Ichiban Kasuga, an unstoppable underdog who’s no stranger to crawling up from rock bottom, and Kazuma Kiryu, a broken man facing down his last days.

Best-in-Class RPG Action

Experience one-of-a-kind combat with dynamic, fast-paced RPG battles where the battlefield becomes your weapon, and anything goes. Adapt your party’s skills to the situation with outlandish jobs and customizations to strategically subdue enemies with over-the-top moves.

Infinite Adventure

Live it up in Japan and explore all that Hawaii has to offer in an adventure so big it spans the Pacific. Unforgettable moments await at every step of the journey with a unique mix of quests and activities to enjoy at your leisure.

Locations

Explore Yokohama’s Isezaki Ijincho and the series’ first overseas region, Hawaii!

Encounter new faces, create new bonds, and enjoy minigames in these immense and vibrant environments.

Cast

Ichiban Kasuga (portrayed by Kazuhiro Nakaya)

Kazuma Kiryu (portrayed by Takaya Kuroda)

Jo Sawashiro (portrayed by Shinichi Tsutsumi)

Yu Nanba (portrayed by Ken Yasuda)

Eiji Mitamura (portrayed by Ryo Narita)

Eric Tomizawa (portrayed by Satoru Iguchi)

Koichi Adachi (portrayed by Akio Otsuka)

Saeko Mukoda (portrayed by Sumire Uesaka)

Joon-gi Han (portrayed by Yuichi Nakamura)

Tianyou Zhao (portrayed by Nobuhiko Okamoto)

Chitose Fujinomiya (portrayed by Anju Inami)

Seonhee (portrayed by Hana Takeda)

Masumi Arakawa (portrayed by Kiichi Nakai)

Masataka Ebina (portrayed by Hiroki Hasegawa)

Dwight (portrayed by Danny Trejo)

Masataka Ebina (portrayed by Daniel Dae Kim)

■ Game Editions

Standard Edition ($69.99)

Like a Dragon: Infinite Wealth

Deluxe Edition ($84.99)

Like a Dragon: Infinite Wealth

Master Vacation Bundle

Ultimate Edition ($109.99)

Like a Dragon: Infinite Wealth game

Master Vacation Bundle

Assorted Outfit Bundle

Sujimon & Resort Bundle

Yakuza CD Collection Set

■ Pre-Order Bonus Content

Hero’s Booster Pack

This pack allows you to increase your party members’ level and job rank by 1.

Includes:

Leveling Set (Small) x 1

Gearworks Crafting Set (Small) x 1

Job Leveling Set (Small) x 1

* These consumable items grant enough EXP to raise a character’s level by 1 and enough Job EXP to raise the rank of the corresponding job by 1. * Please note that these items only grant as much EXP as needed and are therefore of greatest benefit when characters are their furthest from a level or rank up. * These items cannot be used by characters who have reached their maximum level or job rank.

Special Job Set

This set contains the special jobs of Linebacker and Tennis Ace.

Male Job: Linebacker will be available to all male party members.

Female Job: Tennis Ace will be available to all female party members.

* To unlock the Linebacker job, Kasuga’s Confidence must be level 6 or higher. * To unlock the Tennis Ace job, Kasuga’s Charisma must be level 6 or higher.

#Like a Dragon Infinite Wealth #Like a Dragon 8 #Yakuza 8 #Ryu Ga Gotoku 8 #Yakuza Like a Dragon #Yakuza #Ryu Ga Gotoku #Ryu Ga Gotoku Studio #Sega #video game #PS5 #Xbox Series #Xbox Series X #Xbox Series S #PS4 #Xbox One #PC #Steam #Microsoft Store

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hoyeeyoh · 1 year

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Sacai x WTAPS for Hello Sacai

Styled and directed by Akio Hasegawa

Photo by Seishi Shirakawa

#wtaps #sacai

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satoshi-mochida · 5 days

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GINKA coming to Switch on September 19

From Gematsu

Publisher Bushiroad Games and developer Frontwing will release visual novel GINKA for Switch on September 19, the companies announced.

The standard edition will be priced at 3,520 yen, the limited edition at 13,200 yen, and the limited edition with body pillow cover at 27,500 yen. The limited edition includes a B2-size tapestry, visual book, acrylic key holder, and a soundtrack CD featuring background music from the game, as well as the full opening and ending theme songs. The limited edition with body pillow cover adds a Ginka body pillow cover, and a “lying down with Ginka (voiced by Ikumi Hasegawa)” voice CD. The physical editions will also be available for PC.

GINKA first launched for PC via Steam on October 26, 2023.

Here is an overview of the game, via its Steam page:

About

GINKA, Frontwing’s latest visual novel, is brought to you by a talented creative team that includes Asta Konno and Yusano, the duo behind ATRI: My Dear Moments.

Planning / Story: Konno Asta

Art / Character Design: Yusano

Character Design: Akio Watanabe

SD Artwork: Nanaca Mai

Background Music: Fuminori Matsumoto

Cast

Ginka: Ikumi Hasegawa

Opening Theme

Title: “Star Trail”

Vocals: Shinomiya Ginka (Voiced by Ikumi Hasegawa)

Composition and Arrangement: Fuminori Matsumoto

Lyrics: Konno Asta

Story

Five years ago, Aoba Ryusei’s childhood friend, Shinomiya Ginka, disappeared without a trace on the night of the summer festival. The superstitious islanders believed this to be an act of God, saying that she was “spirited away.” Now in high school, Ryusei decides to visit the island over summer break. He needs to know: Did Ginka ever come back? Could she be living a normal high school life? Sadly, his faint hopes are crushed when he learns that Ginka was never seen again after that night. He dejectedly prepares to depart, but then he meets a young girl who looks exactly like his missing childhood friend― Ginka. “Welcome back, Ryusei.” The girl doesn’t know her own name. All she knows is that she loves Ryusei. Where has she been? Why hasn’t she aged? Finally reunited with his long lost friend, Ryusei vows to have the best summer vacation ever on the tranquil little island of his childhood.

#GINKA #Frontwing #Bushiroad Games #visual novel #Nintendo Switch #Gematsu

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osharenippon · 2 years

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Popeye’s Revolution (Part 1)

Popeye’s Revolution (Part 2)

Popeye's launch in 1976 was a watershed moment for Japanese fashion. Editors envisioned a fashion and lifestyle magazine, which should also be a record of its time. Popeye's iconic slogan, "Magazine for City Boys," sums up its concept.

The 80s were an extremely prosperous decade for Japan. Not coincidentally, shopping became the country's favorite activity.

While Popeye started the decade with its original balance of fashion, goods, and lifestyle, it became a catalog-like magazine increasingly with time.

The magazine helped propel some huge 80s fashion trends, such as the D.C. brand boom and Shibuya Casual/American Casual.

By the decade's end, it had lost its crown to competitor "Hot Dog Press."

By the 90s, Popeye kept its relevancy by playing it safe. Sexy bikini girls and celebrities with ardent fanbases, such as the 90s ultimate "it boy" Kimura Takuya, took over its covers. While promoting the significant trends of the decade -- such as Ura-Harajuku streetwear, hip-hop-inspired style, and sneakers --, Popeye became a bit indistinguishable from its competitors.

During the 2000s, "Popeye" went through two remodels. The first coincided with a periodicity change (bi-weekly to monthly). It emphasized a mixture of content that traditionally worked in fashion and lifestyle titles -- interior design, trends, urban tips -- alongside celebrities.

By 2009, the publication got a makeover, going into a "mode" (high fashion) route, heavily inspired by celebrity stylist Tomoki Sukezane.

Finally, in 2012, under the leadership of new EIC Takehiro Kinoshita and fashion director Akio Hasegawa, Popeye returned to its "Magazine for City Boys" concept. It revived the Popeye brand and briefly interrupted its decline in readership.

#popeye magazine #1970s #1980s #1990s #2000s #2010s #magazines

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generalofficestudio · 2 years

Photo

Editorial by Akio Hasegawa

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cosmicanger · 1 year

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Uomo magazine

styling by akio hasegawa

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balenciaga-ga · 2 days

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#akio hasegawa

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wintercorrybriea · 1 year

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Uomo magazine

styling by akio hasegawa

#akio hasegawa #photography

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demifiendrsa · 2 years

Video

Bleach: Thousand-Year Blood War TV Anime - English subbed Trailer #1

Bleach: Thousand-Year Blood War TV Anime will premiere in October 2022.

Key visual

Cast

Masakazu Morita as Ichigo Kurosaki

Fumiko Orikasa as Rukia Kuchiki

Noriaki Sugiyama as Uryū Ishida

Yuki Matsuoka as Orihime Inoue

Hiroki Yasumoto as Yasutora Sado

Kentaro Ito as Renji Abarai

Shinichiro Miki as Kisuke Urahara

Satsuki Yukino as Yoruichi Shihōin

Binbin Takaoka (replacing Masaaki Tsukada) as Genryūsai Shigekuni Yamamoto

Houko Kuwashima as Suì-Fēng

Shouto Kashii as Rōjūrō Ōtoribashi

Aya Hisakawa as Retsu Unohana

Masaya Onosaka as Shinji Hirako

Ryotaro Okiayu as Byakuya Kuchiki

Tetsu Inada as Sajin Komamura

Akio Ohtsuka as Shunsui Kyōraku

Tomokazu Sugita as Kensei Muguruma

Romi Park as Tōshirō Hitsugaya

Fumihiko Tachiki as Kenpachi Zaraki

Ryusei Nakao as Mayuri Kurotsuchi

Hideo Ishikawa as Jūshirō Ukitake

Naomi Kusumi as Ichibē Hyōsube

Yōji Ueda as Ōetsu Mimaiya

Tomoyuki Shimura as Tenjirō Kirinji

Rina Satou as Senjumaru Shutara

Ayumi Tsunematsu as Kirio Hikifune

Takayuki Sugo as Yhwach

Yuichiro Umehara as Jugram Haschwalth

Shunsuke Takeuchi as Askin Nakk Le Vaar

Ayana Taketatsu as Bambietta Basterbine

Yūki Ono as Bazz-B

Yumi Uchiyama as Candice Catnipp

Natsuki Hanae as Gremmy Thoumeaux

Satoshi Hino as Lille Barro

Staff

Director: Tomohisa Taguchi

Character Design: Masashi Kudo

Music: Shiro Sagisu

Chief Animation Director: Michio Hasegawa, Sei Komatsubara, Kumiko Takayanagi

Action Effects Animation Director: Satoshi Sakai, Yoshihiro Kanno, Yong Hoon Chong

Art Director: Yoshio Tanioka

Art Design: Toshiki Amada

Color Design: Saori Goda

Editing: Akinori Mishima

Director of Photography: Kazuhiro Yamada

CG Directors: Toshihiro Sasaki, Kazushi Goto

Sound Director: Yukio Nagasaki

Sound Production: Zack Promotion

Animation Production: Studio Pierrot

#Bleach Thousand Year Blood War #Bleach TYBW #Bleach #Bleach anime #Studio Pierrot #anime #TV anime

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altair1206 · 11 months

Video

vimeo

Lexus "Next Chapter" from Caleb Slain on Vimeo.

Use headphones! IG: @calebslain

5 productions. 4 countries. 3 continents. This sonic experience is the reveal film for the first ever Lexus all-electric car. The creative challenge was to express the imperceptible side of nature through sound, exemplifying the erosion between driver and natural world. Logistically, this was my first time directing any part of a shoot remotely (about 75% remote), which at one point involved directing two productions in Japan and Thailand simultaneously. Very fun challenge, made possible by the extraordinary talent who contributed around the globe.

Friends have asked how much of the footage we filmed ourselves, so I’ll come out and say there are THREE shots in this video we licensed and modified instead of filmed. See if you can guess them!

xo Slain

–––––––– CREDITS ––––––––

Executive Creative Director: Hiroyuki Ito Director: @CalebSlain

Agency (Dentsu) Creative Director: Masashi Sada Art Director: Hirofumi Isoya Planner: Daisuke Matsunaga Planner: Takahiro Hasegawa

Production (AOI) Producer: Hirohide Takene Producer: Ryuta Iwasa Production Manager: Koichiro Narita Production Manager: Naoko Kido Production Manager: Haonan Mak Production Manager: Haruka Ono

U.S. Production: @ampersand_us Managing Director: @detchmendy Exec Producer: Susan Herbert Line Producer: @DaveJRobertson Post Producer: @susanagosti

Mr. Slain Producer: Keita Yamamura

CINEMATOGRAPHY Big Sur: @williamdstone Japan: @erwancloarec Michigan: @mr_terpstra Thailand: @garndp Peru: @danielgarate77

Starring: @makoto88kamiya

POST PRODUCTION Editor: @pezzillosview Audio Post Production: @otbirds OTB Sound Design + Mix: @idelgas OTB Executive Producer: Guin Frehling Colorist: Benoit Coté Rodeo Prost Prod: @nkmcgregor Rodeo Asst: @_bugbee_ VFX + CG: SLANTED * Atsushi Ueta * Shinji Santoh * Kazushi Nagase * Ayano Watanabe Online Editor: Chitoshi Murata

— PRODUCTION UNITS —

BIG SUR Production Supervisor: @flyin321 Commercial Coord: @ursiebrown Travel Coord: Lina Hou DOT Coord: Marques Jackson 1st AD: Paul Chaput 2nd AD: Adam Stern Chili Cinematographer: Will Stone 1st AC: Mark Quintos 2nd AC: Theresa Wong DIT: Bryan Perido Gaffer: Frank Stzalkowski BBE: Tom Cloutier Key Grip: Mark Otewalt Production Designer: Brett Lama SPFX: Matt Heon FX: Zack Lonas FX: Jennifer Terrel Prop Master: Josh Frager Precision Driver: Matt O'Sullivan Arm Car Op: Robert C. Barcelona Arm Car Driver: Patrick Roth Remote Head Tech: Keaton Bowlby Drone Pilot: @jofhanwright Drone Op: @seanriv Drone Tech: Kai Hill Gimbal Tech: Ruben Palacios VFX Supervisor: @tikiguy_69 VTR: Andreas Tarazi Script Supervisor: Carol De Pasquale

JAPAN Assistant Director: Nagisa Kodama Director of Photography: Erwan Cloarec Translator Producer: Taka Kawatsu 1st AC: Yasushi Miyata 2nd AC: Moe Arizumi 3rd AC: Alex Witmer DIT: Sou Tony Naoi DIT: Fuya Imai  Car Stylist Team (SEEK) * Nozomu Sato * Akio Kawamura Low Loader Operator (S3) * Teppei Kazama * Shota Saito Drivers (GROOVE) * Shinji Kikuchi * Shigenobu Murayama * Touma Suzuki * Toru Tanaka * Muneo Hirakawa * Shingo Omori * Akane Ikemoto * Masaki Matsumoto Stylist: Takumi Iwata Stand-In: Masaru Tsuzuruki Nurse: Hayato Takahama

MICHIGAN Cinematographer: Chad Terpstra Production Coordinator: Dennis Nagelkirk Camera Assistant: Jackson Ezinga Production Scout Assistant: Andrea Napierkowski

THAILAND Passion Pictures Bangkok Producer: Beryl Anne Tan Cinematographer: Mr. Rattakarn “Garn” Srithavatchai Production Manager: Ms. Kornlapas Sawasdee Assistant PM: Mr. Weerasak Kala Location Manager: Mr. Ekthanat Sawasdee Prop Master: Mr. Jirapat Theparvut Props: Mr. Chaiya Changphauk Props: Ms. Kanitwanan Pornjarungsak Focus: Mr. kitikorn Nuchpum Head Lighting: Mr. Tanayut Muhamud Key Grip: Mr. Ittipol Nabangchang // Lighting & Grip (Gear Head co., ltd) Camera Team (Lifeboat Camera)

PERU APU Productions Cinematographer: Daniel Gárate Producer: Bruno Canale

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