#hairman
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Frank dear, what's your haircare routine?
Hair, like a body, is home to a vast and subtle ecology of microorganisms, so let's not try to get too complicated.
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【傳統後梳】傳統理髮店的後梳油頭，不用誇張髮油全靠吹整完型。之後才上點髮油收細毛。 層次的剪裁帶出線條感，讓後面的交疊也能夠更完整。 感謝蒞臨本店感受傳統又不失時尚的手藝！ #祖傳理髮 #理髮師 #男士理髮 #傳統理髮 #台灣 #taiwan #barber #barbershop #barbershopconnect #hairstyles #hairtattoo #hairman #manhairstyle #punkhair #haircuts #散髮 #シェービン #メンズヘアカタログ #メンズヘア #メンズヘアカタログ #修容 #修鬍 #修眉 #掏耳 #短髮 #理髮（在 祖傳理髮） https://www.instagram.com/p/CisfN11v5eb/?igshid=NGJjMDIxMWI=
#祖傳理髮#理髮師#男士理髮#傳統理髮#台灣#taiwan#barber#barbershop#barbershopconnect#hairstyles#hairtattoo#hairman#manhairstyle#punkhair#haircuts#散髮#シェービン#メンズヘアカタログ#メンズヘア#修容#修鬍#修眉#掏耳#短髮#理髮
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#hairprem #hairman #hairstyles #toncreative #ช่างต้น #ดัดผมชาย (at Toncreative) https://www.instagram.com/p/CeYdoSavryr/?igshid=NGJjMDIxMWI=
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Getting creative!
Back again for some more, heck yeah!
So I'll admit: it's not always easy for me to come up with a design for some of my origami coaches. Some, like Caz (Rapper's Delight), came pretty easy... others require a little more creative thinking. Rouny and Ron (Stay Inflatable Version) were a prime example of this, I actually had to tape on bits of crepe paper to make their little fluttery bits on their heads!
Levitating Extreme worked out nicely with his helmet shaping, and Hairman was super fun, simply because I had an idea to just make a tall puppet and use the extra space for his hairdo! All in all, I think it's paid off!
As always, be sure to stay tuned for more cool stuff! Also, I now have my first request for a coach to make a puppet of, and I AM going to get on that! Keep the requests coming, guys! I love the inspiration!
Peace!
#just dance#origami#origami puppets#just dance 2024 edition#jd caz#rapper's delight#just dance 2023 edition#stay#jd rouny#jd ron#just dance 2022#levitating#jd levitating extreme#just dance 2021#without me#jd hairman
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just dance + shitposts (part 5/?)
part 4: https://at.tumblr.com/kiiwii3084/just-dance-shitposts-part-4-part/5zy5fd92rf1l
#we're back baby#just dance#jd2023#jd phone girl#jd hairman#jd amanita#jd rubika#jd rosaria#jd eteria#jd reuben#jd polo#jd pulse#jd chicken#jd sara#jd scotty#just dance 2024#just dance 2022#just dance 2023#jd2024#jd2022#calypso's creations
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Whoever just submitted Amanita from Just Dance, this has lead me to google her to see if she qualifies as a “character” and I’m reading her page on the villains wiki and this is an absolute gift this is the most insane thing I’ve ever read out of context
#mushroom madness#submissions#amanita#just dance#amanita just dance#villains wiki#everyone please go read this if you want a Trip#who is hairman#there’s a connected plot between songs for just dance????#hello???
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“You like looking at my hairy chest, huh?”
“Yea”
I felt a warm and strong yet gentle grip on my palm. It strung my fingers in place with his to knit a hand hold. He just kept looking straight without acknowledging me now completely checking him out. I could smell his odor and it had me frozen. I let him hold my hand til the sun shone it’s last rays along the mountains.
“We should kick it later.” His voice make me shiver in excitement. His big thumb massaged mine, almost as if to assure me to stay calm.
Oh lord..
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How would Molly & Ollie’s relationship will go if season had ever happened/& after The End? Sorry I’m a huge Mollie shipper!🫢
If Season 3 had happened?
That's the thing, i'm not sure what direction were the writers going to go with that. Would Molly and Ollie's relationship have gone on with Ollie's new resposibilties? What about Ollie starting to forget things of his human life? Was Ollie supposed to give the role to someone else at some point or stay as the hairman?
As for after The End, following the series as it is. I think they continue their relationship just fine over the rest of school. Then they follow different careers, they still keep in touch and meet every once in a while. I believe that later in life they would start their own family. Scratch would join them at some point after he dies of old age as human.
They would continue helping ghosts. Maybe they try spreading awareness that ghosts aren't evil and that there is a lot of misinformation about them. If not they start finding more people who can help them with their Ghost Friends group.
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The Dancer League!
It all started with an idea... well, an idea and a photo. In the words of Nick Fury: "The idea was to bring together a group of of remarkable people to see if they could become something more. To see if they could work together when we needed them to, to fight the battles that we never could."
And the photo only helped bring things to life...
Ladies and gentlemen, I present to you... the Dancer League!
Inspired by DC's Justice League, it's the Danceverses' mightiest heroes together in one team! These are some of my HCs for these heroes, who they are, and what they do!
First and foremost, Mister Overload! Secretly Dancity weather man Richard "Rick Roll" Roland, Mister Overload gained his powers of lightning one night when he nearly got struck by a bolt of it!
A prominent member of the League, he is already ready with a joke and encouragement for his fellow heroes whenever they're having a rough time!
Up next is the incredible Peacenator! No one really quite knows who this hero hailing from WackyGroove secretly is, but no one has fought to find out, mostly because they can't!
Peacenator always has an aura of calm around him that soothes others and helps put an end to quarrels. Of course, he can use his fists if he needs to.
Lady Dynamite! Stacy Prince takes up the explosive role of Lady Dynamite and her powers always pack a punch! Just as quick to start a fight as to finish it as Lady Dynamite, Stacy happens to know and be friends with our next hero outside of her life as a hero as well...
Justice! Secretly known as... ready for it? DAHLIA, has been best friends with Stacy Prince since they were kids and now they fight crime in Dancity together! Both are powerful heroes on their own, but when working together, they are unstoppable!
Next up is Cybeam! Outside of his work as Cyberfunk's finest hero, he's the tech genius Marcus West! Blinded in one of his one experiments with virtual reality, he invented his signature visor that helped restore him "sight" and now he helps to keep the streets of Cyberfunk safe with his own unique flair!
What could would this League be without a little controversy? The Without Me trio are longtime favorite heroes of the people of Dancity! Phone Girl (Bella Swift) Hairman (Danny Davis) and Pool Man (Bobby Wood) were initially a joke when they debuted as heroes during a particularly nasty wave of crime in Dancity, but they quickly showed everyone just how amazing they could be when working together!
And THAT ladies and gentleman, is the Dancer League for you! (Don't kill me for not having the Wannabe Girls in here, I honestly view them as more of of working on their own!
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The things that The Flow can do
I'm kinda of a newcomer to the JD comunity, but I reunited all the possible things that The Flow can do, welp, here it goes:
-Create portals and just teleporting (Used by The Traveler, Si'Ha Nova, Wanderlust and Night Swan)
-Cloning yourself (Used by The Traveler and Wanderlust)
-Break/Fix things (Sweet but Psycho and I Am My Own Muse)
-Transforming people in your personal minions
-Root (The power of remaining in the same spot regardless of the circumstances. As seen in Dragostea Din Tei)
-Give life to objects (Probably used to create Discoball)
-Air/earth manipulation(?) (Used by Agent D in Toxic to ooof the agents who were against her and in Gimme More by the same reason)
-Change clothes REALLY FAST (Ok, you CANNOT convince me that Agent D in that scene in Toxic, she didn't used The Flow to change her clothes realy fast, also, I Wanna Dance With Somebody used that same power at the ending of the song)
-Metal/Electrical manipulation (Bellis from "Daisy" uses her powers to manipulate the factory functions)
-"Animagus" (used by Felicia in 'Bloody Mary')
-Influence other people (I think that's the "base" power of The Flow, that is, being able to influence other people to do what you want/what you doing, maybe Night Swan powers is a EXTREME evolution of this power)
-Water manipulation
-Dream powers (Cthylla)
-Fire powers (Derkes, goddess of fire, and Luke Cypher)
-Firearms (Diego in Livin La Vida Loca)
-Giving powers to objects (Hairman hairdryer, Phone Girl phones)
-Telekinectic powers (revealed by the lore master that HTE, has those)
-Plant/fungus powers/manipulation (Amanita and Rosaria)
-Glass manipulation(?) (Icona Shard avatar)
-Rubik cubes manipulation (Rubika)
-Power to create ANYTHING (Selios)
-Shadow Manipulation (Shadow Rider in 'Judas')
-Screen manipulation (?) (Talia and Sandy)
-Butterfly manipulation (?) (Giulia and Mothingan)
-Ilusion (Iluquim)
If I forgot anything, please let me know.
Ok, ok, all this Flow thingi is quite interesting, but *how* does it work?
Well, I have a theory/headcanon, that, it's The Flow that choses its user, it's stated that everyone on the Danceverse, but only a few can use it, so my theory/hc is basicaly:
There's this person, this person has *mad* moves, The Flow looks at the person and thinks "damn, this person has mad moves!" then The Flow permits this person to utilize them, but here's the catch!
The Flow always gives the person the powers to manipulate what The Flow finds suitable for that person.
Example: Diego flowbend involves firearms, he has this power because The Flow saw that he would be the best suitable to have this power, Diego *could* have the power to create portals or air manipulation, but The Flow wouldn't let him because it doesn't find suitable for him, and even if he gets those powers, The Flow will try to resist on him trying to use.
Thanks for coming to my TED-talk.
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【店休公告】 理髮師不是確診喔！ 店休分兩階段請注意。（禮拜日固定休息） 造成不便請見諒。 感謝蒞臨本店感受傳統又不失時尚的手藝！ #祖傳理髮 #理髮師 #男士理髮 #傳統理髮 #台灣 #taiwan #barber #barbershop #barbershopconnect #hairstyles #hairtattoo #hairman #manhairstyle #punkhair #haircuts #散髮 #シェービン #メンズヘアカタログ #メンズヘア #メンズヘアカタログ #修容 #修鬍 #修眉 #掏耳 #短髮 #理髮（在 祖傳理髮） https://www.instagram.com/p/Cg7DEZrPwiw/?igshid=NGJjMDIxMWI=
#祖傳理髮#理髮師#男士理髮#傳統理髮#台灣#taiwan#barber#barbershop#barbershopconnect#hairstyles#hairtattoo#hairman#manhairstyle#punkhair#haircuts#散髮#シェービン#メンズヘアカタログ#メンズヘア#修容#修鬍#修眉#掏耳#短髮#理髮
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Gonna start posting my weird disjointed headcanons with no context purely so I have record of what Ubisoft does/does not fuck with in the future. Prepare for utter chaos under the cut
Daphne Lantana has a younger sister
Her sister is named Laurel Lantana
They both become supervillains
Laurel just wanted to rob a bunch of places with her friends (aka the Get Busy coaches, her two "henchmen" of sorts)
Her villain persona was P1 of No Limit/Tribal Dance
One of the places they robbed was Luz Solar, where Laurel used a gas attack to force people to dance while she and her friends took what they wanted
Which meant Hairman and his crew had to stop her
She tried to worm her way out of the situation by taking a kid hostage (briefly), but that didn't work and she was apprehended
Jack was that kid
And then shortly afterwards, Laurel went missing
*cough* Leda Nox tried to have her murdered, and would have succeeded if a different supervillain didn't swoop in to save Laurel at the 11th hour
Anyway check this shit out, all of these are Laurel Lantana at various points in her life
Also the whole reason Daphne/Amantia is a supervillain is because she blames Hairman's crew for Laurel's "death", and all her villainous acts are intended to lure them out so she can fight them again
She's also got help from another supervillain (but I aint saying who he is rn, only hint is that he's one of the coaches in Walk This Way classic.)
Anyway I got far less Daphnes up my sleeve but-
Yes, I headcanon that the two coaches of The Ketchup Song were both villains
Also the aforementioned "other supervillain" helping them both is a guy with a lot of interest in helping various other evildoers in the Danceverses
Granted, as long as they agree to be his underlings
He's a secretive puppet master that the superheroes (unofficially led by Louise Dials) are trying to combat. Although Night Swan was someone he didn't have connections to, gods forbid she be somebody else's underling right?
My lore about Louise Dials and the Gaga coaches will have to wait for another day though
#just dance headcanons#Bard In Red's storyline is all over the place lemme tell you-#tbf the tidbit that involves Jack directly has already been referenced in BIR but not the whole story
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"Se você não tivesse ido eu não ia me resolver... 😎😘 'Tava confortável né?" . . . . . . . . . . . . . . #love #amorgay #amor #gay #brother #boys #happiness #boyscute #floripa #follow #tbt #boyfloripa #man #GayBrasil #GayWorld #loveless #Garotos #boygato #likeallphotos #Beautiful #Lindo #Eu #hairMan #lgbtqi #boyfriend #boy #ManBrasil #tbt #TBT #Tbt #cássiospinelly (em Centro, Florianópolis) https://www.instagram.com/p/CnNE3YlviIW/?igshid=NGJjMDIxMWI=
#love#amorgay#amor#gay#brother#boys#happiness#boyscute#floripa#follow#tbt#boyfloripa#man#gaybrasil#gayworld#loveless#garotos#boygato#likeallphotos#beautiful#lindo#eu#hairman#lgbtqi#boyfriend#boy#manbrasil#cássiospinelly
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vimeo
Ad | AppleWatch - Flight from MPC x The Mill Paris on Vimeo.
AppleWatch "Flight"
Directed by Jonathan Glazer
Prod: Reset/Academy
Agency: Apple
Song: Breathe Out by SonLux
- MIKROS MPC -
VFX supervisor: Stéphane Allender
VFX producers: Xavier Questel, Christophe Huchet
Flame: Jonathan Hairman, Nick Seal
VFX sup: Stéphane Allender, Emmanuel Pichereau
3D : Adam Tinning, Jonathan Deniard, Benjamin Lenfant, Mathieu Kornacki, Maxime Faure, Thien-Co Pham-Ke, Boris Duong, Vincent Coni, Philippe Manuel, Frédéric Barbe, Laurent Launès
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The funny part to me when the fat man falls on paprika is that they cut out instead of what you ussually see where a man falls on a woman, touchign her breasts or something.
fatman is so bad at assessing hte situation he culd come off as an accompish to due imcompotent logic.
iti s man's responsibility to control science nad techonogloy says the hairman, but htis same man fights for possession of it.
What is terrorism
im ridig the anikme ocean waves
visually and surrealy paprika is portrayed as a superhero
the story is about how your subconscious affects you dreams
Kon's creativity is about not goign stritly by hte book, but ti pick up imrpovised idea on the spot, and use them if you feels instictively that htey are good
kon sometimes realizes he is dreaming, and remembers those if he want to alter them for use in anime like he did in paprika scenes. underwater mermaid darkness one and paprika monkey ring swallowed by butterflies are 2 exmaples. not sure if there are more.
"I didn't think about that possibility at all. I have never done psychedelic drugs, so I wouldn't really know. I'm not able to imagine that what I conceived in my mind would be the same as the images one might get from taking psychedelic drugs."
reality vs illusion in the movies. this is one way he tries to make his films engaging:
", to be moved by that experience, is important. The goal is to force the audience to participate in the movie."
The author liked the movie so much, he said he wished he could have added certain anime only lines like where the two paprikas talk about you are me, or me is you and fatty"
"Mr. Yasutaka, who viewed Paprika after it was completed, said that in a sense the movie was very true to the novel. He said that it was faithful in that it had an attitude of breaking through common-sense notions."
On religious things in the parade:
"These are things that were thrown away, that are now returning. A hundred years ago in Japan, there was much religiosity. In these modern times, it's become rare. Go to a Shinto shrine, and you might see the gates. Go to a Buddhist temple, and you might see the statues. You might see maneki-neko, and all of these things are now coming back. It's as if they've all returned from the unconscious. Of course, it cannot be helped that these things are being thrown away. However, I would like to see that they not lost completely."
Why blend fantasy and reality?
"There is the reality that we are living, and there are also the thoughts we see. It seems as if these are separated. However, we ourselves experience this in quite a synthesized manner. I might be here in this restaurant in Washington, talking to you today, and my consciousness is focused on this interview at hand. However, I might also notice that you remind me of a teacher I had when was in junior high school in Japan. And so that brings me back to that time and place, which is different from this time and this place. I wanted to see if it was possible to create that overlap between reality and illusion."
On the parade:
"What fascinates me in dreams is the idea that they emanate from our subconscious. I think that there are many possibilities to interpret dreams but a great deal of mystery always remains. When a dream is explained to us, it’s necessary to know the personal context of the subject. For example, what his childhood was like, his adolescence, his interpersonal relations. You’ve got to understand all these elements in order to tally up the dream and to decode it. At the cinema, that can’t happen because the approach demands the introduction of too many elements. In order for viewers to identify with this dream, I chose a parade which makes one think automatically of other common dreams and unconscious states. There are very old characters like objects that are discarded by people today or religious symbols that people have forgotten. I think that even nowadays, people have forgotten the importance of dreams."
on the internet:
"To my way of thinking, the Internet has two functions. First of all, as any other tool, like television and the telephone. But in addition to this function, I think that the Internet possesses similarities to dreams. For example, dreams take place at night. You enter into a very vast universe. The Internet is the very same thing. Fanatics log on the Internet at night. In both cases, there are two universes which remove us from reality."
Should movies be comprehensible?
"I don’t think so.
Whether I am in the audience or in the crew, I can say with confidence that movies that are 100% comprehensible are absolutely boring.
Of course, unlike dreams, most of the things expressed in movies are expected to arouse audiences’ empathy. But without some kind of a mysterious aftertaste, I believe the movie wouldn’t leave much of an impression. Needless to say, that “mystery” wouldn’t prove effective if it confuses the story, or if it has developed from the writer’s selfish reasons. The “mystery” that I’m talking about is, in other words, “a little margin” that leaves some room for the audience’s imaginations.
And the mystery can well exist in anything—in the pictures, the characters’ feelings, the storyline, or even in the setting. But in any case, the audience would still be able to put the pictures together and undergo their “original” experience of the movie with some help from their own imagination, even without understanding where the mystery lies. Watching the very same movie and having different thus original ways of experiencing it, is indeed a big similarity between filmmaking and dreaming."
On atsuko and paprika"
"These expressions can be interpreted in a wide sense, but as you have pointed out, in Paprika, obvious doubling can be seen in the heroines Atsuko Chiba and Paprika. These characters actually developed from the same person’s two distinct personalities, but as the director I considered them two different people when directing. That way, I thought I could describe a person’s inner conflict and antagonism more clearly.
I’ve seen Atsuko Chiba as a “father’s daughter.” It’s a psychological term for a woman who regards her father as the archetypal hero, and this kind of person tends to be very particular about “following an example.” Atsuko Chiba, too, is the kind who prioritizes “what she’s supposed to do”, suppressing her desire of “what she wants to do.”
Because of this, she thinks she lacks emotions, or it’s more like she finds it difficult to express her feelings. And as a result, she doesn’t know how to express her feelings in romantic relationships where a gush of emotions is supposed to be seen.
I’ve thought that Atsuko Chiba’s personality careening to the extreme stimulated Paprika’s emotional, wild side, and as a consequence, the two lost touch with each other and ended up splitting. But this doesn’t mean one is good and the other is bad—it’s the balance that is important, and both sides are to be blamed for not maintaining it. The big image of a woman that is reborn at the climax is indeed the mature version of Atsuko and Paprika integrated."
*We started developing Paprika while we were still in production on Paranoia Agent.
on the importance of making paprika:
"I realized I had been influenced by him far more than I expected. In fact, after I finished making Perfect Blue, I considered making Paprika as my next film, not with Madhouse but with the producer who financed Perfect Blue, but that company (Rex Entertainment) unfortunately went bankrupt. But I did have the idea in my mind of making Paprika back in 1998. When I met Tsutsui-san and got his blessing to make it into a film, it was as if something came true that I'd had in my mind for a long time. The visualization of the film goes beyond the initial concept. It's a film that demanded to be made in this era. It's something I had to make, a personal commitment."
on CG in anime:
"Yes, there was. We considered how far we could expand the possibilities using computer graphics, so the role that CG played in this film was bigger than in my previous work. The biggest challenge was that in all kinds of 3D and 2D animation, there's a big divide between hand-drawn analog animation and digital animation. In all the projects I've seen, it's been difficult to blend them harmoniously. I prefer hand-drawn imagery myself, so my biggest challenge was how to blend them so the textures worked together."
More on the parade and how it was heading towards reality:
"The parade itself is something I came up with. It's one of the most important motifs for me, and wasn't in the original story. I didn't feel a strong desire that I had to change the original story, but the novel was very text-based and psychological. Trying to visualize all that text couldn't compete with the novel as it is, so I had to find a way in one visual step to represent the mindset of the novel and that became the parade of inanimate objects. Where that parade goes is also interesting - it overflows into reality. It starts in the desert, which is the furthest point from civilization, through the jungle, over a bridge, and finally intrudes into reality."
more on the internet:
"where internet is prevalent, people can anonymously seek or release things they can't speak of offline, as if there's a part of the subconscious that's uncontrollable and comes out on the internet. That is very much like dreams. This may be a very visualistic analogy, but I've always thought we drop down into dreams, and when you're sitting in front of your computer and connect to the internet, you're also going down into some kind of underworld. I've always thought those two images had something in common. I'm not trying to say that dreams and the internet are good or bad, I'm trying to saying that there's good and bad that cannot be judged in both worlds. Some people say that in the virtual world, different rules exist or try to say that a lot of vicious things happen there, but I don't think there's a reason to differentiate the virtual world from reality because reality includes that virtual world."
view on where anime dustry is going and dreaming machine:
"As far as Japanese animation, I'm not in the habit of giving overviews in that way, but I know from personal experience the number of animated productions is increasing and that there's not enough staff to go around. Which directions animation will go in is something I never really thought about, but I do think that there needs to be more education because the crews aren't maturing. Those people who have access to the technology are often over 40 and they can't work forever. For animation to continue at the same level or to go beyond is going to be difficult. As far as where my own filmmaking is going, I have an idea for a children's story, but with the same kind of realistic techniques. I've honed those techniques over the years and they're difficult to just stop using. So, I think changing my subject matter will force me in new directions."
On why film over animation:
"Depending on what the idea of the project is, some mediums are more suited for a particular idea. As far as TV series goes, the schedule is generally much tighter, and the budgets are much smaller as well. You have to choose which part you want to emphasize – if it’s an interesting story you have to tell the story right, so it’s a little bit of a challenge. As far as a feature film goes, the final length may only be 90 minutes or two hours, but you do have a much bigger budget to work with and much more time on the schedule so you’re able to produce something that is higher quality. While there may be fewer minutes to work with than a TV series, it’s more packed full of quality per minute than a TV series is. I prefer film."
on the chiba and fatty romance:
"Yes, Dr. Tokita is purposely portrayed as a pretty nerdy scientist, that was something we were aware of, and of course physically, he's certainly not a good match for Dr. Chiba, who is very beautiful. I actually think that the unbalance there is good. It's in the original work that this somewhat mismatched couple do end up together at the end, but I really liked that in the original work. Perhaps it's not often seen as a couple in the real world, but if you look at it this way, Dr. Tokita has a very childlike world view, which is not quite in harmony with the enormous genius he possesses and his intellect. Dr. Chiba, she also has this unbalance in herself in that she has almost this multiple personality situation and this alter-ego Paprika, so in a way, these two people who are both somewhat unbalanced in themselves come together, compliment each other and bring more harmony into each other's lives. That's why it's a great couple."
purpose of paprika and also on rewatch value:
"As a basic rule, there has not been a big difference in how audiences have been enjoying the film overseas and in Japan. Also as a basic rule, my intention was to make a film that seen once would not be enough, so I think that's basically been the case overseas and in Japan. With "Paprika," the idea is that I wanted to create a film that is more like an attraction in an amusement park. For example, what's fun about a rollercoaster is not because you understand the angles it turns or the particular rate of acceleration or anything like that, but it's fun and you enjoy it. I think "Paprika" has been created to have the same effect. If you think about times when you've had a very odd, interesting or curious dream and you wake up and are a little astounded and a little bit dazed, and it makes you think about why you had such an odd dream. If people have the same effect after watching the movie, then that would be great. If you're the type of person who wants to know more about that dream you had and why you had it, then it would be great if you watch the movie again."
More on the parade:
"For example, people are less religious compared to 100 years ago, and traditional icons have lost their real meanings and are now mere fashion items. And during the years of rapid economic growth, people have thrown away cars and appliances that can still be used, and repeatedly gone through the buy-and-trash cycles. As I thought about the trash, I cultivated the image of them coming back to real life through the dream world. I saw the parallel connection between that “trash” and the suppressed dreams and the unconscious state that modern age people have ignored."
on repeating scenes in his movies:
"“Repetition” is a common phenomenon seen in our dreams, and therefore I did attempt to adopt the idea in Paprika. Actually I have used repeating images not only in Paprika, but in my previous works such as Perfect Blue and Sennen Joyu [Millennium Actress]. Repetition of similar scenes undergoing slight changes is very dreamlike, and also, it is an effective way of expressing the mental/emotional changes within the dreaming character, along with the passage of time. If the scenes are almost the same, but have an obvious but slight change, the audience would definitely focus on that point.
The importance lies in the obviousness at a glance, and since it is very visual, it would be hard to implement this in novels and literary works.
The more similar the scenes are, the more striking the changes. It is similar to music where the same motif repeats itself like A、A'、A''…undergoing changes and developing into variations, and I think dreams and visual expressions are musical at the same time."
on his creative process:
" I wouldn’t have a hard time coming up with creations and expressions if I knew what kind of stimulation I need, or what kind of condition I should be in to get inspiration. That way I should be able to meet all the deadlines, but unfortunately, I haven’t acquired it yet.
In Paprika, I found it very difficult to come up with the images of dream scenes. Those dream people don’t follow logic or linguistic connections, development, or coherency. In other words, dreams unfold in one’s right brain, not the left, controlled by its visual connections.
And that means, the more linguistically and logically I pile images up, the farther away I end up from what’s characteristic of dreams. But of course, I can’t think of ideas in my sleep, so when preparing the storyboard, I actively utilized the idea of “association.”
In this process, I see things around me, like collections of paintings and photos, music and creations at our work, the dreams and experiences I had, and conversations with the staff. And from there, an image occurs, and I keep associating the images vaguely to other things, and after a while I come across this image that I never would have even expected. I draw that image, and once again keep thinking of associated images. I narrow them down into one image and draw it again, and this just keeps going.
What’s important when choosing the images is how well they go with the picture, and not with the scenario or with the story. When connecting the images, I had to be careful not to have similar and linked images adjacent to each other. If they are linked, you don’t see the jump, but at the same time, if the jump is too big, you won’t be able to tell the connection. I wanted the images to unfold in unexpected ways, but still be subtly understandable. This kind of standard was a delicate one to work on, and that should explain why the completion of the storyboard was greatly delayed."
on sexuality in paprika:
"I didn’t really think sexual metaphor and metonymy were necessary as a part of the plot, but since dreams reflect suppressed sexual desires, needless to mention what Freud said, I thought it was indispensable to this movie which has got a lot to do with dreams.
However, sexual depiction is more obvious in the original, adding more appeal to it. But if we kept the same kind of atmosphere in the film version, it would be pornography under certain circumstances. But also, if we eliminated the sexual overtones, the dreams would just be an eccentric theme park. The scary, dark sides of dreams would be lost. Dreams are fun and mysterious, and at the same time they scare you beyond your imaginations. I’ve mentioned earlier that I put importance on “Tai (opposition, contrast),” but I found the double and multi-sidedness of dreams also as important.
In the movie Paprika, I believe the most obvious sexual expression is seen when Osanai captures Paprika and then sticks his hands inside her to tear her apart. This is nearly rape, but this is what I came up with to show the direct sexual expression in the original in a form other than sex.
And actually the importance of this scene lies not only in the shocking sexual expression, but also in the childish desire and personality of Osanai who tries to use his force to control her. This reflects his selfishness of not accepting her entire personality but only picking out what he finds favourable. That’s why he doesn’t desire the Paprika-Atsuko personality as a whole, but lusts the Atsuko part, resulting in him extracting Atsuko from Paprika’s body.
On the other hand, Tokita, the man who says he swallows anything, is the complete opposite of Osanai. He accepts Paprika and Atsuko as a whole, and I think that’s why Atsuko realizes her love for him towards the end.
And there’s one more image I had concerning the sexual overtone. I considered Paprika, who enters the clients’ dreams to treat them, as “hetaira,” a sibyl and prostitute of ancient Greece and Asia who had sex with the worshippers to give them divine revelation and blessings.
I guess I didn’t hesitate giving the heroine Paprika a sexual overtone because I considered her the modern age “hetaira.”"
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