#i was the kid in the audience for the special edition release going what the FIERFEK are you DOING | Explore Tumblr Posts and Blogs

denimbex1986 · 9 months

Text

'Coming to the end of Barbenheimer weekend, here are my stats. I have seen Barbie, but I have not seen Oppenheimer. This is not a feminist or aesthetic decision. It’s because Barbie is one hour and 54 minutes long, while Oppenheimer is just over three hours long.

I’m not alone in being perturbed by the length of the movie; over the weekend on TikTok and Twitter people posted the exact time that it was safe to go to the bathroom during Christopher Nolan’s epic. Others shared the app RunPee which is specifically created for this purpose (if you’re interested, it’s when Oppenheimer’s brother first comes on screen, apparently). These people are well practised at the art of knowing what parts of a cinematic epic can be missed because, lately, it seems filmmakers are well practised in the art of making movies and flat out refusing to cut them down to non-epic length.

James Cameron’s original Avatar came in at two hours 42 minutes. A decade later, Avatar: The Way of the Water, comes in at three hours and 12 minutes. The original Dune (1984) came in at two hours 17 minutes. Denis Villeneuve’s upcoming sequel to his reboot is slated to be three hours and 15 minutes. Even non-cinematic releases have embraced epic length; Netflix’s Blonde, released last year, was two hours and 46 minutes long, which felt reasonable given that three years before The Irishman ran for three hours 29 minutes. Ari Aster’s breakout horror, Hereditary, was a reasonable two hours and seven minutes. His follow up a year later, Midsommar, came in at two hours 28 minutes. Beau Is Afraid, released earlier this year, was two hours 59 minutes. Then there is Zac Snyder’s extended cut of Justice League that comes in at a criminally long four hours and two minutes.

Back in 2019 when Martin Scorsese released The Irishman, a long run-time was seen as a problem rather than what it is now; a thing to be endured or a badge of honour. “Meanwhile, traditional Hollywood studios beholden to box office sales have become progressively risk-averse in recent years (producing a three and a half hours-long film definitely counts as a risk, no matter how esteemed Scorsese is),” one article reported at the time. “A fact the filmmaker recently lamented when he argued that ‘cinema is gone.’ Perhaps The Irishman will help bring it back, if audiences can gear up for the long haul.”

It seems that the long movie is now a badge of honour for directors, screeners and filmmakers. Longer is more theatrical, more expensive, more intrinsically artistic. Compare this to previous cult movies that a generation before were noted both for their impact and for their short runtime; La Haine is only one hour 38 minutes long, Gummo is only 89 minutes long, The Nightmare Before Christmas, Pink Flamingos, Kids, Trainspotting — all really very short! But nowadays the ‘kill your darlings’ editing method has been inverted. “Most long films could be promoted as special and prestigious,” Dana Polan, a cinema studies professor at NYU’s Tisch School of the Arts, told Variety. “There was an assumption that length equaled quality. It’s almost to say, we’ve spent the money — let’s flaunt it.”

I had a theory that, given these lengthy blockbuster examples, the 90 minute movie was simply gone, done, over. But then I looked back at the past year’s releases and was proved sadly wrong. Rye Lane was one hour and 22 minutes long. Aftersun also ran at just over 90 minutes. As did Are You There God, It’s Me Margaret, and Sydney Sweeney’s Reality. Even Infinity Pool and A24’s The Whale were both under two hours long. Clearly 90 minute films still are around, but why does it feel like films are getting longer then. Why do we spend so much time talking about the long ones?

“These days, there’s a lot of talk about long running times,” Sarah Atkinson, professor of screen media at King’s College London, told The Guardian last year following the release of Tenet (which somehow didn’t even reach three hours). It’s all part of incentivising people to go out and pay for a ticket, which they won’t do unless it’s for something special – a big, epic film. Just look at the Marvel franchise: almost every one is well over two hours.” Film length isn’t going up, she concluded, but we think it is. Why? Sarah believed it was simply down to good, savvy marketing.

One other answer could be that our attention span is just worse now. That our attention span is destroyed, actually, by short form social media video and constantly having access to information chopped up to be digested as quickly as possible. We watch TV at double speed or 1.5 speed with the subtitles on. We can look up the plot on Wikipedia and even if we can’t be bothered to go to the cinema and figure out when it’s safe to pee, in six months or a year’s time we can watch whatever film we missed on TikTok anyway, chopped up into parts in a post-123 Movies age of piracy. Even if this doesn’t captivate us enough, someone will have edited those cut-up clips further, and put them above or alongside clips from Subway Surfer or Temple Run or people making cakes or pushing vodka bottles down flights of stairs to see if they break. We don’t ever have to concentrate long enough to take anything in. We can always be distracted.

It’s true also that longer movies always did exist, especially for vast historical epics like Oppenheimer. Lawrence of Arabia, released in 1962, ran at three hours and 42 minutes originally (it was cut down by both 20 and 35 minutes in later releases before being extended to three hours 48 minutes in 1980). Further back, 1939’s Gone with the Wind was three hours and 44 minutes long. Cleopatra, one of the world’s longest cinematic commercial films ever, was released in 1963 and is three hours and 53 minutes long. But a generation later, longer films made headlines when they tried to embrace the epic-runtime set by their predecessors. James Cameron’s Titanic – three hours 14 minutes – was originally released for home media in a two VHS bundle to account for its length. All of the Harry Potter movies were just under or over three hours long; Chris Columbus and later directors knew that the franchise’s rabid fan-base would watch, no matter the length, and so studios would pay for big, lengthy productions too. Even accounting for the amount of lore creators had to include, the length is frequently cited as one of the flaws of the series, which is now being remade into more easily digestible TV sized chunks.

For Oppenheimer though – Christopher Nolan’s longest movie to date – the length doesn’t seem to be off-putting, even with the fact the movie’s 70mm film reels are clocking in at over 600lbs (I did actually try to see it, but every cinema close enough to make is sold out even today). Perhaps we’re just more used to a modern lengthy epic than we used to be. It made just over $80 million in opening weekend takings, making it the director’s biggest non-Batman box office hit to date. Barbie, for transparency’s sake, did take $150 million in the same weekend. Despite its three hour length people still embraced Barbenheimer weekend, going to one movie and then the other, spending an entire day at the cinema, unfatigued and impressed. Maybe Barbenheimer weekend is not just what we needed to reinvigorate movie theatres, but what we needed to fix our broken attention spans. We have become death, destroyer of short films.'

6 notes · View notes

riddlemaster101 · 1 year

Text

I posted 3,776 times in 2022

That's 3,776 more posts than 2021!

1 post created (0%)

3,775 posts reblogged (100%)

Blogs I reblogged the most:

@jabberwockypie

@bright-elen

@dathen

@andorerso

@whatrturtles

I tagged 3,773 of my posts in 2022

#humor - 1,324 posts

#rogue one - 433 posts

#cassian andor - 403 posts

#dracula daily - 392 posts

#andor show - 358 posts

#art - 332 posts

#andor spoilers - 304 posts

#this hellsite - 224 posts

#jyn erso - 197 posts

#social commentary - 143 posts

Longest Tag: 138 characters

#i'm mostly ok with seeing it in other people's writing (except sometimes there's a little interaction so bad it yeets me out of the story)

My Top Posts in 2022:

Alright all. I do not tend to make my own posts on here, mainly because I prefer to just comment or expand on other posts. But I haven’t seen this recommended anywhere yet and guys. GUYS. Take a minute (or 1hr 30 min) and go watch this documentary.

It’s beautifully edited. It has an impeccable sense of the rhythm and beat of its own story and the telling is fantastic.

It is, hands down, the best example of how to do thorough internet research I have ever seen. Fact checking. Fact checking the fact checking. Emailing people and asking for interviews to fact check the fact checks. An exhaustively thorough effort to track down who actually gets the credit, because Kevin Perjurer is well aware of the size of his audience and knows that most of them will not bother to check his research...meaning that this is the video people will cite going forward and he effectively gets last say on the subject. And he doesn’t want to get it wrong. It also examines what it means to have the power to give this much “internet famous” credit to someone and whether that’s the right thing to do or not, which is not a question I see getting tossed around enough.

It is an absolutely gripping hour and thirty minute story with better plot twists than most movies these days...all to the tune of the disney channel theme jingle, which I honestly had zero exposure to until watching this.

If you’re bored. If you need a distraction. If you want to have a really, really good example of how to track down true information on the internet. If you want to learn something about storytelling. Go. Watch. This. Documentary.

(also it casually drops some info on how disney would do product placement and hook kids into subjects that they would then release as movies in a year or so, which was...a little sinister. The Finding Nemo fish facts was a trip.)

16 notes - Posted November 24, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review

1 note · View note

project1939 · 2 months

Text

100+ Films of 1952

Film number 105: Ma and Pa Kettle at the Fair

Release date: July 11th, 1952.

Studio: Universal

Genre: comedy serial

Director: Charles Barton

Producer: Leonard Goldstein

Actors: Marjorie Main, Percy Kilbride

Plot Summary: Ma and Pa’s daughter Rosie dreams of going to college, but due to the fact that Pa never has a job, the family can’t afford it. Determined to help their daughter, Ma plans on winning prize money for her jam making and bread baking at the upcoming Fair, while Pa enters a horse race.

My Rating (out of five stars): ***¼

I actually enjoyed this more than I thought I would. Universal cranked out 10 Ma and Pa Kettle movies in the 1940s and 50s, and it was an immensely successful franchise. The folksy charm of the characters and the top-notch performances of the leads drew audiences in for years. Sometimes serials can be obviously cheap and thrown together without much thought, but many of the films in this series feel higher in quality. This edition was deftly executed and worked perfectly well for what it was trying to be-a simple film without any lofty ambitions.

The Good:

Percy Kilbride as Pa. His performance as Pa is so well crafted and amusing, it doomed his career to a specific stereotype that he unfortunately grew to loathe. But his dry line deliveries dripping with his character’s laziness are brilliant. You can’t help but love the guy.

Marjorie Main as Ma. If there is any example of a superstar character actress, it is Main. She put in so many memorable comedic performances in so many films, that she is still instantly recognizable to any Classical Hollywood aficionado. She’s a walking talking masterclass of comedic acting.

The general depth of character actors throughout the film. Virtually all the surrounding adults in the film are recognizable themselves as consistently working character actors. They add to the comedy and folksiness, boosting the quality of the movie.

The plot was lean and efficient. At 78 minutes, every scene had a purpose in tying the plot together.

There were some surprisingly good special effects with horses- both a scene where Ma got trapped on a wagon with a runaway horse and the final sequence of the harness racing at the fair. The rear projection used was pretty damn good, and the editing between stunt actors and the main cast was smooth. For a film of this budget, I was impressed.

This is just a movie that is good for what it is- a well-made comedy serial.

The fact that going to college was an aim for the daughter Rosie. I read enough sickeningly sexist articles and opinions in 1952 about women going to college, so I appreciated that even though this is a rural environment, Rosie got to have some educational ambition.

There were a couple of more sentimental heartwarming moments that felt especially sweet because they were not stretched to the point of shameless sap. A scene where Pa spoke in church and the gesture a local lady made at the end are the best examples of this.

The Bad:

The “Indians.” This was the most horrible cringy stuff in the film, and I would cut it out in an instant. Pa has two stupid lazy “Indian” friends who are even more inept than he is. They are obviously played by white men, which is gross in its own right. But I just hated every minute of it.

There was a “comedy” moment near the end where animals were getting sick because they ate bread Ma threw out that had cement powder in it. Seeing animals suffering is NOT my idea of comedy.

The famous 15 children of Ma and Pa have absolutely no character. They are mostly just a mob of unruly kids. I don’t think they all even had names! In some ways this worked for some of the comedy, but it was just weird to have the kids virtually only be a gag with no character. Rosie did have more of a fleshed-out character, but she was still very one dimensional.

Sometimes the situations the Kettles find themselves in are too wacky and unrealistic... BUT this doesn’t totally detract from the goofy fun of everything. I just occasionally got annoyed at some of the implausibility of things.

#project1952 #1952 movies #100 films of 1952 #ma and pa kettle

0 notes

alternamarian · 8 months

Text

I haven't posted much about Hereditary (if I have at all), which may seem odd since I'm somewhat target-audienced for that film :-D And I guess this would be an occasion to write about films that are not currently on a cancelled press tour. Then again, the movie is from A24, which complied with union terms and thus was granted a waiver. Welp.

The performances, of course, are excellent. And the fact that Toni Collette was not even nominated for an Oscar is yet another reason I don't pay attention to award shows.

The rest of the movie is also very well-made. I am no professional critic, nor well-versed in technical things, but I do agree that the lighting, the sound design, the editing are all crafted to form remarkable images and atmospheres. And the themes of mental illness and other difficulties all make for a film that, as the cool kids say, is 'just for me.'

The movie is ... not the worst thing ever.

Now this movie was released in 2018, and I'm not too fussy about spoiler warnings. Still, for the record —

Spoiler Warning

And I will continue after the cut.

I've heard the 'there's actually two movies in this film' criticisms, and at first I thought I could apply that to Hereditary. But I think there are three movies that, for me, did not quite synthesize at the end.

While I did get the sense that something other was going on, for the most part there seemed to be an attempt to 'stay grounded'. And that's not necessarily a bad thing; again, the performances of all the actors were quite compelling. Even without any untoward powers, the main characters were already faced with severe difficulties with no easy solutions. And I appreciate that the film did not exaggerate the otherworldly aspects, which could have quickly made them cartoonish.

But not-ordinary forces are indeed at work, and from what I can tell, those forces have been busy for a long time before the film even began. I mean the gang's official logo was carved onto the street post. I'm not much good at reading foreshadowing, but surely that's whacking the audience over with a log, yes?

Anyway.

Why did the Joan character insist for Annie Graham to try out the summoning starter kit? The already vulnerable family was oblivious to the grandmother's hobby — which, of course, was actually Ellen Leigh's main focus; her normal life was her facade. After her death, what need was there for Joan (I don't think her family name was ever mentioned) to keep up the act? I doubt that the special niche group was worried about outside interruption. And Joan clearly had the power to just start yelling curses at Peter Graham from the sidewalk without anyone else noticing anything amiss. Anyway, with the way she went oH wHaT a coiNciDENcE!!!1!1!!!1!! about the doormat, she should have just stuck a You’re All Dead Now :-) sign on her forehead and be done with it.

I don't see the need for all the secrecy, and I think the film suffers for it because, as a consequence, the god becomes a bit like an afterthought. The subterfuge feels more like a barrier between the corrupt powers and the family's deterioration: an obstacle for the corporeal takeover, as well as a divider between plot threads that just happened to run parallel, and then sort of tangled together towards the end.

— And that end. I said I think there are three movies in this film. One is a contemporary drama, while the other is a supernatural horror story. By the time the boy was at the tree house, though, I could almost say I was watching an indie comedy. — Specifically, an indie comedy with a happy ending: after all the funny hijinx, the goal was attained; the prospective occupant was successfully installed in the new place, and everything seems to be as it should. Like, I know the evil forces have won and an even bigger fight is about to begin, but that's not what I get from the film. I'm feeling quirky comedy happy-ending feels. Not-Peter is the awkward but cool antihero, complete with paper crown and quirky credits music. Oh, what? That was a flesh crown? Well that makes him even more hipster, doesn't it?

I've mentioned before that comedy and horror tend to overlap. I also don't think the film was purposely negating the horror of the conclusion. And I could rewatch Hereditary for the performances alone. But I can't say that the comedy, the horror, and the drama all combined very well in this instance, so I probably won't be rewatching very often.

0 notes

obriensaleh70 · 1 year

Text

avast cleanup premium license key 2022

There are two forms of Vista Home versions- Vista Home Simple and easy Vista Home Premium. Your home Basic is for those by using a more conservative budget may not really use much of their computers except for checking e-mails or news browsing the particular web. Dwelling Premium edition targets an added broad audience as it allows various approaches to create, view and edit multimedia. However also has that Aero desktop experience that looks very stylish! Let me introduce in order to definitely the open source world. Are usually several many hard working programmers which dedicated several hours of programming to hand in to the city. They do this for a lot of reasons. Let's take Open Office for instance. Many people have probably never regarding this Office suite. This is a completely free download that can allow you to open and save Microsoft office documents. Your credit determines the amount of money you maybe and at what price of interest. If you have great credit, you might get just about anything utilizing your signature when income will support finding money such a service. If you have bad credit, you can have little if any luck in borrowing money from anyone that runs a credit check. The more money you want to borrow, greater stringent requirements will be to loan you sum of money. Eliminate battles over closet. If your kids change clothes a lot and you typically avast cleanup premium find themselves in argument together over what they need to wear, encourage them instead make their clothing decisions the night time before along with out their clothes prior to going to bed. This is most probably what you should have done but didn't. Well, its never too last thing. I personally recommend Kaspersky Internet Security because it's a firewall and anti-virus. avast cleanup premium Activation Code are also NOD-32, BitDefender. If ingestion . afford them you can invariably download the Avast! free version. Its pretty good too. However, when avast cleanup premium Activation Code Free are far too deep within the contamination zone you probably wont possess luck installing these, so lets talk about the second step. Let me introduce that The Cobb Premium Portable Grill. It has "terrace grill" written finished it. well, not literally, but you get the drift! Some have called the Cobb a kitchen-in-a bag. Others have named it a single portable cooking system. Whatever you call it, the Cobb is absolute to please demanding apartment, condo, and townhouse dwellers everywhere, especially together with limited space and a discerning taste buds. This unique machine also comes by using a black-blue color backlight Lcd display. This LCD display is definitely your special command center with programmable buttons for precisely brewing the best coffee using a touch of perfection. Moreover, this product comes having a de-scale indicator, a removable 48 ounce water reservoir, and a removable drip tray regarding and quick cleanup. Additionally, this product also comes with a complimentary 18 k cup variety pack for each your brewing needs. So there you go. You don't must spend offer as your working personal computer owner being the technology keeps changing in addition to to invest on each new version being released or as soon as the license runs out.

#AVAST CLEANUP PREMIUM

0 notes

archrolli · 2 years

Text

Movie called shut in

Movie called shut in movie#

Movie called shut in tv#

You can reach him at here to contact an editor about feedback or a correction for this story. Theaters have got to do a good job of communicating that feeling or making more of an event party of it to make it where it's a special event," Stern said.ĭan Alexander is a reporter for New Jersey 101.5.

Movie called shut in movie#

"I did not expect the feeling of what it's like to be in a room when the lights go out, I don't have my phone, there are no distractions and I can sit and watch a movie for 90 minutes. He almost cried when he went to a movie theater for the first time in over a year after the height of the pandemic. Use the Magic Keyboard for iPad with trackpad support for an extra level of speed and precision when editing. Rainey Qualley plays single mum of two Jessica, a recovering addict not long out of. Create effects like green screen, pictureinpicture, or split screen and play them back instantly. Shut In is not for the squeamish this is a Christian values movie with an unusually high quota of nasty bits. He said the best way cinemas can come back from the pandemic is to remind people about how special being in a theater can be. iMovie delivers a tour de force on iPad Pro. Or certain events where it's fun to be in a crowd with singalongs and the types of things you can't do at home," Stern said. "Maybe they show older films, new film with an older film. Watch it on Redbox., Prime Video, Vudu Movie. Stern said that cinemas can also draw crowds with different types of theater experiences like serving meals and alcohol or making the screening more eclectic Shut In, a thriller movie starring Naomi Watts, Oliver Platt, and Charlie Heaton is available to stream now. "The studios really have to make a point of doing that and be willing to take that financial risk." Mary, who works from home, is given a patient, Tom, a boy grieving after his mothers death. Her teenage son was in the same car and hes in a coma. "You're feeling like you're in those planes and hearing that soundtrack it's a visceral experience where the films themselves are made to be served better that way," Stern said. Child psychologist Mary is trying to put her life back together after losing her husband in a car accident. Movies like "Top Gun: Maverick," which had its release date delayed, was made to be seen on a large screen.

Movie called shut in tv#

Rotten Less than 60% of reviews for a movie or TV show are positive.The movie theater experience can be unique Fresh At least 60% of reviews for a movie or TV show are positive. Apply Tomatometer ® Clear all Close Certified fresh A special distinction awarded to the best reviewed movies and TV Shows. Rotten Less than 60% of reviews for a movie or TV show are positive. Sort Close Most popular Newest A → Z Tomatometer ® (highest) Tomatometer ® (lowest) Audience score (highest) Audience score (lowest) Genre Clear all Close Action Adventure Animation Anime Biography Comedy Crime Documentary Drama Faith And Spirituality Fantasy Foreign Game Show Lgbtq Health And Wellness History Horror House And Garden Independent Kids And Family Music Musical Mystery And Thriller Nature News Other Reality Romance Sci Fi Short Soap Special Interest Sports And Fitness Stand Up Talk Show Travel Variety War Western Apply Rating Clear all Close G PG PG-13 R NC-17 Not rated Unrated Apply Audience score Clear all Close Fresh At least 60% of reviews for a movie or TV show are positive. Sort Genre Rating Audience score Tomatometer ® Certified Fresh

#Movie called shut in

0 notes

thedarkreborn · 3 years

Text

Okay so. It’s not that I’m surprised that sad mean angry gatekeeper boys are losing their minds over Disney “renaming” the Slave I. I’m just annoyed that I keep clicking the links to articles about it thinking that they’ve finally actually told us what the new name is and no, it’s just the same articles about things being labeled “Boba Fett’s starship” and “Firespray” instead. That is not the ship’s new name that is not a name. That is just a label on a product. Folks, come on, stop telling me there’s a “new canon name” for the ship until there is a new canon name for the ship.

(Also like...you do remember there were years there where we only had “Hammerhead” and so on as names because the Expanded Universe hadn’t invented proper names yet and we were just using the labels they slapped on the action figures, right? It’s just that again. It’s not a new name it’s just a product label. Stop lying to me and making me think they’ve actually released their choice of its new name when they haven’t yet!)

Anyway. I'd honestly like to see them rename it as "Vessel One" or "Ship One" or even "Firespray One" (although the latter is my least favorite of the choices because it sounds too flowery for Fett tbh even though it’s just the ship type). All names that don't just keep the pragmatic, disposable vibe of the original (you don't bother to name something "One" if you aren't expecting/prepared to eventually have a "Two," right?) but are in fact even less sentimental in their complete lack of acknowledgement as the vehicle as anything unique or precious.

It's a tool, nothing more and nothing less.

That seems like a very in-character naming choice for Boba Fett tbh. At least, the old school "this is my face" practical man that I grew up knowing as Boba Fett. Disney does seem disappointingly (but unsurprisingly) determined to turn him into something else, but I'm just telling myself that this honor-code guy with an inexplicable interest in running Jabba's old palace is Spar or some other clone who thinks he's Boba Fett, because the barve I know would never.

Seriously though it would be nice to have his ship named something that I could actually put on a T-shirt (or vanity license plate! I spent almost a year when I was a small teen dreaming of getting a vanity license plate for my car and putting the name of Boba Fett’s ship on it until I realized that would be terrible! omg!!!!), though, so I'm totally in for dropping "Slave" as long as they replace it with something fittingly cold and not some sentimental osik. That would be great, actually, please?

#boba fett #star wars #and believe me i am a Classic Fett fan #we're talking old school original jaster mereel barve like that kast-killing guild-destroying cold-space-lubricant-for-blood BOBA FETT #mister ''i remove my helmet for no one this is my face'' boba fett #i was the kid in the audience for the special edition release going what the FIERFEK are you DOING #when they had him tweak rystall's chin like that what the FUCK #i had a ''she's one of his informants and that weird flirty thing was a cover so people wouldn't suspect'' headcanon before i even got home #reading all this modern shit with him being all woobie sentimental over dead jango and CRINGING what are you DOING #boba fett is not sentimental he is RUTHLESSLY practical and pragmatic don't even #yes of course when he's a wee child it makes sense he would be devastated at his dad's death OBVIOUSLY #but by the time we meet grown-ass fett in the OT he has excised emotional imperfections from himself #and the sintas/ailyn/mirta retcon actually works WONDERFULLY and cleans up so much (he was young and desperate to please a dead man sure)#of his continuity mess i can live with that and YES ''ship one'' or ''vessel one'' would be a perfect name for the TOOL he flies #and i am not spouting random ''pc'' nonsense here folks i know what i'm talking about #i KNOW classic fett i CHERISH classic fett #there is nobody who knows and cherishes the original version of him more i assure you #not dala not shysa NOBODY #so do not AT me with your fascist white supremacist fake geek boy BULLSHIT

16 notes · View notes

katyatalks · 3 years

Text

Mob Psycho 100: The Stage Play 3 - Final performance content spoilers

Here are all the notes I compiled after getting the chance to see the final performance for ‘Mob Psycho 100: The Stage Play - A Clash with Claw’s Seventh Division!’ live. Note this is essentially a write-up of the play from beginning to end - this will also likely be the version of the play that is used for the DVD release in December. I will also edit this when the recording becomes available for viewing and I can gain some clarity on sections I missed...

PRE-SHOW

- Reigen and Mob do a pre-show announcement relating to covid prevention measures (referred to not by name as Covid but an evil spirit) plus standard theatre etiquette rules (don’t use your phone, put it on silent, etc.)

SHOW

- Begins where stage 2 left off as a ‘Previously…’ segment for the audience. We once again witness Koyama knocking Mob out with the spray and kidnapping Ritsu.

- In the Teru/Dimple/Mob discussion part of the stage 2 recap, Teru takes the bird’s nest off his head and throws it off stage - we hear the birds within fly away.

- ((We immediately see how the reduced audience affects the play - a funny physical gag where Teru and Dimple bash heads happens but this receives no response from the audience))

- We reach the end of stage 2 recap with Mob stating he’ll destroy Claw as he does at the end of stage 2. The screen goes black and we hear the echo of a voice saying ‘Give [it] back… give [it] back, [It’s] mine, give [it] back…’ - this is implied to be Mob talking about Ritsu but the lights turn on to reveal S&S and turns out it’s Shou talking to Reigen about Touichirou’s card

- Reigen gives the card back to Shou, calls him a ‘baggy-clothed asshole’ and tells him to leave since Reigen is busy. Reigen puts his feet up on his desk and goes on his phone, leading to;

S: “What are you doing?”

R: “Reading the news.”

S: “You’re not busy, you’re bored!”

- Shou mentions that he’s also got 10k yen missing from his wallet and accuses Reigen of stealing it - Reigen insists he didn’t but starts doubting himself

- When Shou leaves, Reigen salt splashes in his direction (An English translation is now given under each of Reigen’s special moves ala Olympic parody)

-Reigen calls Mob, leading back to the Mob/Dimple/Teru scene - Terada and his cronies enter and Mob tells Reigen he can’t talk right now, hang up which leads to…

***

OPENING

- Yoru no Honki Dance - Call Out (as the previous two plays)

- Action takes place on the upper and lower stage - Ritsu and the lab kids on the lower stage with Ritsu in anguish with Mob, Teru, Dimple on the top stage

- Action shot with the show’s “Yeah!” line focuses on Reigen and Mob on the top level

***

- Teru tortures Terada with a taser rather than water - Terada is also wearing a ballgag with multiple kazoos inside it leading to a great sound whenever he screams

- Mob and Dimple are terrified of Teru’s taser torture whenever he does it

- Matsuo’s performance is sensual and slimy - great stage presence

- Ishiguro’s voice is distorted using a pitch filter resulting in something creepy rather than the female voice used in the anime

- Ritsu and the lab kids are seen in the jail cell - great banter with them and their Claw guard (Guard to Rei: “I won’t hit you because you’re a girl!” Kids: “A gentleman!”). Guard tells them they won’t get any food and they start rioting

- Mutou is VERY creepy and accompanied by terrifying music - he skulks around the stage with his ridiculous silicone chin

- When Mutou “kills” Kaito off screen we get a ridiculous extended segment featuring Daichi reacting to what is initially cries of his brother’s pain that turn into pleasure as if he is getting a massage - then turns back into pain

- Kaito is wheeled back on in a luggage/weight carrier with 4 knives in his chest

- Teru vs Terada is visually very fun - movement choreography is great, lots of Teru’s dance techniques that got cut from the anime

- Back in the jail scene Ritsu states he doesn’t remember the kids names so they re-introduce themselves to the audience

- Asahi and Hoshino heating up the spoon/bending spoon/on repeat is very well performed

- Ritsu tries to high-five with with one of the other kids when they escape the jail but finds he has no-one to do it with :(

- Back to Dimple/Mob/Teru - when Dimple-chan(puppet) says “Oh who’s that good looking guy? A model?”, Nadagi pulls a whole bunch of model poses

- When Teru tries to knock the security guard out he screams for AGES leading to one of the funniest moments in the play - he finally is knocked out but when Dimple tries to possess him he takes ages to be possessed - Taa (Teru) breaks character completely and doubles over laughing and Itou (Mob) refuses to face the audience making it clear he is losing it as well

- Muraki is creepy looking but his cloak is see-through and sparkly - his actor plays him as quite a timid guy

- Great visual gag with Mob throwing Koyama around and then sending him through the stage wall

- Ishiguro has a moment where he talks to the audience/the new recruits where he shows off the Claw face mask available as part of the merch

- Great fight choreography between SG!Dimple and Gen (played by Baba) - ends with SG!Dimple pulling his trousers down

- Teru tasing people left and right in this play…

- Great stage effects in Teru vs Miyagawa - Teru tases Miyagawa as well

- Tsuchiya calming down Mukai is lovely - followed by Mukai finding a puppet that she believes hasn’t been destroyed by Mob and getting excited - but the head rolls off so she breaks down crying again

- ((My stream cut here so I didn’t see the start of the Ritsu vs Shou interaction and whether or not he recognised Shou from their interaction in stage 2))

- We see a little Shou vs Ritsu - Ritsu flings an array of spoons at Shou - Shou lands a punch that sends Ritsu off stage

- Character design for Takeuchi has been corrected slightly from the anime

- Matsuo vs SG!Dimple stage effects are great. They’re both very flashy actors which creates fantastic visual comedy

- Matsuo takes off his jacket like he’s at a strip club - it’s all very flamboyant and fun

- ((Stream cut again so I didn’t actually see the joke, but some kind of adlib happens with Reigen in the taxi scene that causes Baba to break character))

- When Mob uses his powers to blow Takeuchi away someone comes on stage with a leafblower to blow his hair away

- Screen goes black and we cut back to Shou delivering the final blow on Ritsu. Shou says someone interesting is coming and leaves stage for Mob’s entrance

- Mob finds Ritsu passed out and holds him, finds he’s breathing but won’t forgive who did this to him

- Mutou enters and stalks around the back and creates the image of Ritsu dead on the floor with a knife in his chest for Mob which causes his freak out

- “What a great pair of brothers” - Shou leaning over Mob and Ritsu’s passed out bodies

- Shou floats Mob and Ritsu into the room with Sakurai/Teru/Ishiguro

- Small cut away to Reigen - he sees 500 yen on the ground and immediately runs to go pick it up

- Mob and Ritsu’s hug is very emotional - Ritsu is more panicked asking Mob if he’s okay and Mob is more emotional responding than the anime

- Mob pats Ritsu’s head to calm him down

- Visual gag where Shou steps on Ishiguro’s shoe - Ishiguro freaks out trying to clean it and Muraki offers emotional support

- Guy walks into the room with Sakurai/Muraki/Ishiguro/Matsuo/Shou and informs them “The boss is coming”, which piques Shou’s interest and he comes along to meet “the boss”

- Play then gives us a “5 minutes earlier” scene. Baba’s performance in the Claw break-in is more on the eccentric/aggressive side than the calmer calculating tone Sakurai had - changes the atmosphere for the scene

- The whole scene with Reigen saving the lab kids is redone to be so eccentric with everyone chanting BOSS! BOSS! BOSS! at the end for Reigen

- When Reigen starts making a comment about Teru’s wig and cuts himself off to not offend him, he goes to Mob like “wtf” and Mob whispers in his ear what happened

- Shou included in the scene when Ishiguro etc. face off against Reigen

- ((ARGH my stream cut out again, when it came back Shou had moved over to Reigen’s side - probably some good dialogue there between them that I missed))

- Shou says to Reigen ‘Give me back my 10,000 yen’ - Shou decides to stand back to watch the show

- When Ishiguro attacks, Mob protects Shou as well as everyone else

- We have Shou/Teru/Mob/Ritsu/Reigen all on one side vs the Claw guys on the other (Ishiguro/Sakurai/Muraki/Matsuo)

- When Reigen does his Anti-Esper Drop Kick, they choose to translate this in English as “Dropkick to the espers”

- Shou: ‘You’re really taking [Muraki] on? lol’ Reigen: ‘Shut UP you brat’

- When Sakurai attacks Reigen (first time), Ritsu helps him up

- Lots of good banter between Shou and Reigen (”Stop calling me ‘old guy!’”)

- Shou sits to the side and enjoys the show while Sakurai/Muraki/Ishiguro/Matuso vs Reigen/Mob/Ritsu/Teru happens, makes some comments (ie. “Damn you’re in a pinch, whatcha gonna do now?”)

- When Reigen is getting sucked up by the anti gravity bubble, Shou helps Teru/Mob/Ritsu out with saving him

- Sakurai cutting off Teru’s wig is made into such a Dramatic moment

- Shou joins the fight against Ishiguro - Ishiguro manages to knock him out of the field and Reigen expresses concern (‘Oh crap! Kid are you okay!’)

- Lots of stage theatrics - now that Shou is no longer in play scene plays out as it does in the anime

- Lots of Reigen protecting Mob and leading him away from danger until the climactic moment where Mob decides to fight

- Mob’s scream of ‘Shishou!!!’ is filled with emotion - Reigen collapses quickly and without theatrics, facing the audience

- He doesn’t get a cut in his jacket, nor does he remove it

- When Reigen destroys Matsuo’s pet - ‘Oh Jesus I’m sorry I didn’t mean to destroy your toy’

- More protective Reigen - puts his arm out to protect Teru and Ritsu & get them behind him

- Reigen’s “Purifying Salt Punch” -> English given as Prime Salt Punch

- ‘It’s rude to wear a mask when talking to people!’ - here his mask doesn’t come off - unsure if intentional

- ((The bento story is REALLY well performed comedically but doesn’t land with attending audience))

- Sakurai shoots Reigen and Reigen catches the bullet

- Reigen uses the spray to spray his armpits

- Reigen at Muraki’s forehead “what is this? A doorbell? Ding dong ding dong”

- Lab kids start making fun of Muraki as well (Rei: What is that, cosplay?)

- Rei has a crush on Reigen in the same vein as her crush on Ritsu - Calls him cool and stuff and tries to reach for him

- Mob: ‘Having powers doesn’t make you popular’ Rei: ‘Lame.’ Reigen: ‘Well there you have it.’

- Shou comes back in centre stage and knocks Ishiguro out - goes to Reigen and says it��s time to repay the debt he owes Reigen - knocks Ishiguro out fully as per anime/manga

- As Shou leaves he pats Ritsu on the shoulder

- When Reigen says ‘is this an evil spirit?’ He hold his nose as if Dimple stinks, then grabs his head and shakes him around. Gets some salt from his pocket and throws it at Dimple

- Rei goes up to Sakurai and asks to date him

- Shou goes on the phone on stage top level and calls Touichirou as per manga/anime lines

FINAL SCENE

- Shou returns to S&S - as it turns out Reigen had the 10k stuck in his pocket the whole time and returns it to Shou

- Mob and Ritsu (with a bag) enter S&S while Shou is still there but leaving - Mob thanks Shou for helping them and asks Ritsu to do the same - Ritsu complies

- Shou looks back at Reigen, then toward Ritsu and Mob and tells them all they’ll meet again

- Mob and Ritsu share a heartfelt moment - “Ritsu, you’re amazing” - “No you’re the amazing one Nii-san”

- Ritsu gets out Takoyaki for Reigen/Mob/Ritsu to enjoy and Dimple joins them

ENDING SONG - ‘mob.’

https://katyatalks.tumblr.com/post/659597484715278336/mob-ed-for-mp100-stage-3-a-clash-with-claws

- Itou’s voice is STUNNING

CAST COMMENTS

- Kawaharada Takuya (Teru) addresses the fact that he’s the person who laughed the most out of everyone

- Nadagi says he wants to do a stage 4 and that’s the general vibe with everyone and it’ll be nice if the anime gets a S3 too

- Lots of talk about stage 4 and it only being possible if everyone comes together

- Itou: ‘Us being able to do this again out of the blue so suddenly is thanks to all of you’

ENCORE

- Itou and Baba

- Lots of crying from Itou relating to covid and how it has cut the audience - he is grateful but he’s still upset about it - Baba gives him a huge hug

#mp100 #mob psycho 100 #mp100 stage play #shou stans we won

116 notes · View notes

rlmfanfic · 2 years

Text

Interview with Mike from 2003

The following is the unabridged interview from Garreb Gilchron’s old FastForward website (note the dickish jab at Mike when Gilfalon calls it “the famously unreleased Gorilla Interrupted”). I’ve included all of the original photos from the site.

Mike is especially snarky throughout the interview, but some of my favorite lines are:

“You're floundering in your own fabricated self worth.”

“The internet is cool, but it can be a tempting siren of laziness.”

“Never give up, never surrender. Unless you make porno.”

Sultan of Schlock: An interview with Mike Stoklasa

Mike Stoklasa of GMP Pictures, along with his star performer Rich Evans, have been creating original comedy for over a decade. Mike’s insanely creative editing, filled with jump cuts, slow motion, warped audio and perfect comic timing, has been much imitated by those who’ve seen his many movies, but never duplicated. Although clearly comedies, the films of GMP rarely have jokes in them, making the audience laugh through sheer force of strangeness, and by constantly taking their expectations and subverting them. Mike’s last major release was The Long Walk Home, a brutal spoof of amateur films.

Mike is very critical of all amateur films and filmmaking, keeping his own library of bad amateur movies, which he often spoofs in his own work. In person Mike comes off as very funny and very depressed. When he’s putting his heart into a project he can release more movies, and release them faster, than seemingly anyone else in the amateur movie world. When he’s unsatisfied with a project, he does nothing and lets the world know … as with the famously unreleased Gorilla Interrupted. He is currently trying to finish up shooting on the relatively expensive talking fruit epic, Oranges: Revenge of the Eggplant.

Mike Stoklasa: My apartment is cold.

Jason Santo: Mine too. Mike, you and your production company, GMP Pictures, have been making movies for many years now, resulting in what's been estimated at over 100 original productions. How do you manage such a prolific output?

Stoklasa: You know...

Santo: I do?

Stoklasa: I ask myself that question. How we made like 9 "features" and all those short movies, and I'm not sure. I think the feature films are shitty, that helps. And the shorts are not well put together either so that helps too. GMP has sort of a midas touch of schlock comedy.

Santo: So do you think quality has been compromised because you've put out so much?

Stoklasa: Depends on the definition of quality. Amateur movies and quality is a fine line. I've seen millions of movies about a guy with a gun, often well-shot but with lame subject matter and horrible acting. You just can't watch it. but they may have spent a year making it. In comparison something we slap together in a day may be funnier and more entertaining. Our features take months, but they look like they took minutes so go figure. Amateur cinema is a dangerous thing.

Santo: Dangerous? Why?

Stoklasa: It's now in the hands of illiterate high school kids. Powerful PCs with complex editing capabilities are now in the hands of total morons, and it's sinking us all down like the Titanic.

Santo: Some would argue that the movies are getting better.

Stoklasa: I guess it can be liberating to some, but others will get lazy and want to rush ahead to the "special edition dvd" of the movie shot in their moms back yard. They're missing the point. I'm someone whose first movies were shot in-camera with one take each. I slowly worked up to a computer. I don't know, just seems like people are stupid now. Rushing things and making movies just to make them, not learning the important stuff. There are people who make movies not to make a movie, but to make a box for a movie. Like Guy McConnell. Promotional stuff really pisses me off …

Santo: Is that because you don't feel you're good at it yourself, or is there something more base in your hatred for it?

Stoklasa: Because there's no point to have a trailer for a 5 minute film. Or a website or a t-shirt, its just self indulgence. It’s not hard to self promote things. It’s just like movies are secondary.

Santo: Part of the movie business is the business end of it. Are you saying people at the amateur level should forsake this?

Stoklasa: Yes, because there shouldn't be a "business" end to amateur movies. Unless you’re really trying to sell the stuff legitimately. Like when Random Foo sold me their compilation of films on the first Foo Base One tape. It was a very slick website, all the movies had titles and their own posters, but the films were just terrible! Like they thought the idea of these movies having titles and posters was cooler than the movies themselves. I paid 12 dollars for the tape, totally insane. There should be a certain level of quality achieved before one makes a theatrical release poster, website, and starts selling a film. It should be something they have worked hard on and invested money and time into, as to not confuse the buyer.

Santo: So effort comes into play with all of this. In your mind, movies made with little or no effort should not be sold as a movie made by people working hard.

Stoklasa: I guess. It's not so much about effort as it is about this new fascination with DVDs and all this marketing. It's like Rich said that all these people are just "playing film makers" especially all these new kids. Like these kids that come out and have a poster for a movie thats not even written yet. And they’re saying what will be on the special edition dvd when the movie is done. I’ve seen this many times. What's so special edition about their DVD? They need to focus on making movies, and learning how to work with actors, and what match cuts are, and how to use different shots, and how to record sound, and expose a good picture, and turn off the auto focus, and to move the dog out of the room when they are shooting. Adherence to the most basic rules. Learn moviemaking first. When you are at least competent, then go out and start selling. You can rush a movie all you want...if you know what you're doing. I wrote a feature script for Gorilla Interrupted in 5 hours and we shot the thing in less than 7 days. Granted it didn't turn out the best, but it still had some funny moments, and we got it done. We got shit done from experience. This darn Internet has taken the patience out of people, that’s my only gripe. No matter how many silly promotional things one makes, whether a movie is entertaining or not will always be the final determination.

Santo: So it's not necessarily that people are making "bad" movies that's got you upset, but rather the fact that they seem to be focusing more on the marketing aspect of things and not trying to learn the craft.

Stoklasa: I am made of walnuts. Yes. I love bad movies, I love good movies. I hate mediocre movies where people seemed less concerned about making a movie than they did about telling people they made a movie.

Santo: What is it that you love about making movies?

Stoklasa: The magic of creation. The magic of shooting a scene and then putting all the pieces together, to make it into something. That’s why I love editing so much. Taking what is sometimes junk and turning it into something. That’s why I like the Oranges stuff so much, cause we're making a miniature world and characters out of our voices, styrofoam, fruit, duct tape, wood, plastic, paint ....things that are in our houses everyday, but we take them and mold them and give them life. It's great fun to see that. Then add in sound and music and editing, and you've created a world out of nothing but your own creativity.

Santo: Have you made any movies that you would feel good about marketing and selling?

Stoklasa: I think this new Oranges film will be sellable. I like GMP’s more subversive and weird shorts. They appeal to people on a strange level, but none of that is sellable cause it’s just home movies.

Santo: So if you don't sell your movies, how do you get people to see them?

Stoklasa: Who cares if people see them? So they can say "good job, what’s next?"

Santo: What would be so bad about that? Why make movies if you don't want people to see them?

Stoklasa: I show them to people around me. Friends. Family. They matter. I show ‘em in South Dakota. Some screen name on the Internet doesn't matter to me. We’re trying to make a quality film now we can sell. I feel after all of my work I have finally learned enough to make something good. EVERYTHING before was just practice. And that’s one thing people don't get. They fall in love with their own movies (and themselves) a little too much. NO ONE wants to see you think you're funny acting like a hitman in your own basement. All these movies are just junk. Disposable junk. Everything I've done, up until the point I sell something, is basically, when you boil it down, just junk. The good you get from it is learning the craft a little more each time. They are not movies you make websites for, and posters, and special edition dvds! Not while millions of shot-on-film indie productions are struggling to make it out there. It's all a waste of time. To me amateur movies are really about learning for yourself and exploring your creativity. They’re not paid-for entertainment for other people.

Santo: So what's your advice to someone getting their start with a camcorder and an editing station: make movies, but show them only to friends and family? Don't start a website and create marketing materials until you actually have something good to show?

Stoklasa: It doesn't hurt I guess, but basically yes. Devote your time into getting good at making movies. Learn how to write a good script and so on. Don't rush the film to get it out on the internet. The internet is cool, but it can be a tempting siren of laziness. And if you feel your movies are bad and you're just copying other people, stop making movies and go out and play baseball.

Santo: So you believe the internet is partly to blame with the mediocrity some associate with amateur movies?

Stoklasa: Yes. Yes it is. The internet is hellspawn for movies .... mainly just newbies though. It’s good for people like Timberwolf that have Paypal and want to trick people into ordering their films with pictures of boobs. Because stuff like that is tough to get into stores, the lower lower end of B grade softcore schlock. But to the 15 year old who wants to copy-cat hollywood marketing with his film starring his little brother in a ninja costume... it's a bad thing. Cause the internet gives false hope to him. Back when I'd make a movie like that, people would want to turn it off... so you try to make one better. So your neighbors and relatives would like it. You try harder and harder to get it good; figure out how to put music in, figure out how to do that early chroma key effect so at one point someone would say "wow.” Rewind is a very bad thing cause we just say "good job" to these kids and their shit movies - Rewind is meant to be "supportive" of these kids, when they need to be told they suck so they try harder. They can not be told "good job," cause then they rush into the DVDs, and they think they’re good cause they have a poster that looks just like the one at the local cineplex. Amateur movies are about sucking. It’s the very nature of it. They aren't meant to be seen by human eyes, much less supported. This is where the misconception comes from that I hate amateur movies. I don't. I cherish them. I hate them being marketed or mistaken as Hollywood product. Or mislabeled, misrepresented as what they are : Rough drafts of talent yet to blossom.

Santo: So this odd clash that the amateur movie world is facing between independent cinema and amateur work - it shouldn't be happening?

Stoklasa: Yes. Queequeg Films is one of the few groups that has come the closet to actual marketable product, along with some other films, but 98% of the rest of it isn't marketable or useable in the Indie sense.

Santo: Do you think having an annual festival that invites the public to view amateur pictures is obscuring what amateur cinema is really all about?

Stoklasa: Yes I do. People don't want to admit it, but an amateur film festival is a contradiction. None of it is sellable to a distributor, and the public isn't too interested.

Santo: Some disagree with you on that...

Stoklasa: Mainly Rewinders filled the theater. To some it is entertaining, but to most public they'd spend their time elsewhere. I love Camp Rewind though, for personal reasons. Meeting people, hanging out. Rewind is now that metaphorical "friends and family" I spoke of since we all know each other.

Santo: So showing movies to people at REwind is a good thing. They can offer valuable feedback and help you move forward.

Stoklasa: If they offer that helpful feedback, sure. But people need to be meaner.

Santo: They’re not being truly supportive by just saying "Yes... very good job."

Stoklasa: Correct. I just think that when making a movie, people need to try hard, or don't try at all.

Santo: So, as you’re working on a movie now that you believe you will be able to sell, will that mean you'll be leaving REwind?

Stoklasa: No. Rewind isn't a house I live in. There is no coming or going. I will always support and be a part of Rewind. Because my film probably won't sell. But Rewind has at least taught me the difference.

Santo: If you were to somehow get the attention of Dreamworks with Oranges 2, and they were to sign you to a picture deal that would bring you millions, what would you do to support amateur moviemaking?

Stoklasa: I would buy Rewindvideo.com and place a picture of a horse on the main page. I would do my best to stop amateur film making. Too many people are doing it now that suck and don't have good ideas.

Santo: But don't you need the bad to appreciate the good?

Stoklasa: No, Confucius. It’s like the Olympics. Olympians are amateur athletes that compete – they are not professionals. We as the public don't need to see the millions of people that tried out for the Olympics running, jumping, and swimming. We just want to see the best of the bunch compete. But the internet has given access to any schlup with a camera to post his filthy shitty movie for all to see, and be annoyed by. Seeing failed wannabe Olympians suck isn't the point of the Olympics, ya dig?

Santo: I do, but how can people get better if they don't mess up to begin with? Failing upwards is necessary to evolving into a better artist. REwind helps foster that, doesn't it?

Stoklasa: No.

Santo: Because it's too busy organizing the "crap" and patting people on the back?

Stoklasa: Yes. It’s not Rewind’s fault. People need to figure this shit out for themselves. People need to say "Gee, this sucks. This is inside jokes. Maybe we shouldn't release this.” Instead it's a race for numbers on how many movies you made. Random Foo has made 198 movies … a new one every second. That makes them the big tops at Rewind. It should be the opposite. Rewind should condemn such activity. Unless none of these people are actually serious about making it in the film industry. Then they can do what they want.

Santo: I think you're confusing Foo work with my work. I was the one who made too many movies too quickly, and I probably created this image you find so annoying about them...

Stoklasa: So be it. You see my point though.

Santo: Absolutely. Very clear.

Stoklasa: I think I'll just start making porno.

Santo: You don't seem to have a problem at all naming names when it comes to backing your points. Do you feel that sort of candor is frowned-upon at REwind?

Stoklasa: Yes. I will be hated. I am hated.

Santo: Does that bother you?

Stoklasa: I shouldn't be hated. This is my opinion. We all can't be people that sit there and congratulate each other and don't have the nerve to speak up. The people in Random Foo are nice people to talk to and so on, but I don't care for their stuff too much, though I did like Inquisition.

Santo: I still cannot believe you liked Inquisition. Jesus, Mike. You must truly hate the movies I make. Christ. Sometimes you frighten me, Commander.

Stoklasa: What?

Santo: It's times like this that I honestly feel like giving up.

Stoklasa: "Times like this?" When you talk to me?

Santo: No... when I think of all of the work I've done, much of it honest, real work that I tried hard to get right... then realize that something I think is shit outshines it in the eyes of people whose opinions I respect. I wonder what the fuck the point is. I wonder if I'm disillusioned. I don't think I have the drive or will to continue with this shit for much longer. I'm tired and sick. After Bent 3, I will consider folding if I see no momentum.

Stoklasa: No! Make a feature! With me and Rich in it! It’ll inject new life and energy into your stuff.

Santo: Gee, Mike. Thanks. That's a huge vote of confidence. J ... you suck on your own. You need me and the mediocre talents of my oddly likeable chubby best-friend to heighten your banal movies. Fuck. Blech.

Stoklasa: I need the banal serious slick stylings of Senor Santo to make my movies appear less like childish filth and more like quality material!

Santo: It gets old sometimes, doesn't it? Wanting to succeed at this? I'm only 28 and I feel like an old man.

Stoklasa: I'm 23 and I feel like an old man! Yes. It gets very old. Especially when you're broke.

Santo: I love the fact that a guy who I don't believe is all that great minus his editing skills is telling me what I need to do with my career. That's very interesting.

Stoklasa: Har...you wait and see sucker. I'm a wise man.

Santo: Heh. Indeed, Commander. There is some wiseness there.

Stoklasa: You're foundering in your own fabricated self worth.

Santo: Floundering, you mean?

Stoklasa: Founder is when a ship sinks. Flounder is when a person is drowning.

Santo: Ahhh...

Stoklasa: Founder - to fill and sink, to fall down or go lame; collapse. Flounder - struggle awkward, proceed with difficulty.

Santo: Mike, you need to have a vision, an idea, a notion, a plan to move ahead in this art. I have it. I'm good at it. I know I am. I believe in my abilities. If that's foundering, then I don't mind because it keeps me working. I do mind, however, when fucking parasites are calling themselves the real deal and others back them. I get ill. You know... I think I was happier when I was away from REwind. I think I better disappear again. I shouldn't be around again. It's making me feel bad.

Stoklasa: No!

Santo: It makes me sick, Mike. It really does. No kidding.

Stoklasa: You can't hide in a cave.

Santo: I can just concentrate on making my movies and living my life away from them.

Stoklasa: Me and Rich dream of the day when we will defeat the evil forces around us.

Santo: Make a good movie and it might happen.

Stoklasa: Never give up, never surrender. Unless you make porno.

Santo: What the shit?

#mike stoklasa #gmp pictures #RLM #RedLetterMedia

36 notes · View notes

ayuuria · 3 years

Text

Yashahime Translation: Livedoor News Interview

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The New Story That Continues the World of Inuyasha, Anime “Hanyō no Yashahime” Director x Producer Interview

With the Resolve to Reopen the Concluded “Inuyasha” World in Their Hearts. The Behind-the-Scenes Production of “Hanyō no Yashahime”

For 12 years from 1996-2008, “Inuyasha” (original creator: Takahashi Rumiko) which was serialized in “Weekly Shōnen Sunday” (Shogakukan) was a feudal fairy tale that depicted the heart of the battle between demons, humans, and half-demons for the Shikon Jewel.

Anime “Inuyasha” broadcasted from 2000-2004 followed “Inuyasha the Final Act” from 2009-2010, after the original work was concluded. It is a timeless masterpiece that is now loved around the world.

Continuing that world of “Inuyasha” is the new original anime, “Hanyō no Yashahime”, which began broadcast in October of 2020. Many Inuyasha fans were surprised at the shocking set up that the daughters of Sesshōmaru, a popular character in “Inuyasha”, would be the protagonists.

With everything from the production, background music, and cast performance having an Inuyasha flavor mixed in, being moved from seeing the new characters and the “Inuyasha” characters coming together on the TV screen, to the absolutely unclear mysterious developments, the hearts of fans around world have been grabbed once again.

Since broadcast began, despite having completed one cour (translator’s note: Cour = 3 months or 13 weeks/episodes), the full picture of the story still cannot be seen. We carried out an interview conversation with director Satō Teruo and producer Naka Toshikazu regarding the things of interest about the work up until now and ahead.

We Prepared a Device That Would Allow Inuyasha Fans to Enjoy (the show)

— One cour has passed since broadcast began. Are the responses reaching you?

Naka: The response is incredible. Especially on social media.

Satō: You’re right. I’m also on Twitter, so I get reactions from all over the world. I truly get a sense that it’s work that’s receiving a lot of attention.

When I look at comments on the official (Twitter) account, most of them are from overseas. Not only do I once again realize that “Inuyasha” boasts a worldwide popularity, I do my best while feeling the pressure of “Hanyō no Yashahime” being a work that inherits that world.

— Apparently the one who suggested the project was Suwa Michihiko of ytv Nextry, who was the producer for anime “Inuyasha” and “Detective Conan”. How did you two feel when you first heard about the project?

Naka: “We’re going to do a story that’s been neatly concluded once before again!? How!?” is what I felt at the beginning.

From the moment I first heard about it, I was still floating around what kind of story it would be. “I might make it a story about Sesshōmaru’s daughter.” was as far as I had gotten. I thought “If I’m not mistaken, if we make it like that, then there might be something to do”.

Satō: There were talks of “wanting to do it” for 2-3 years and Rumiko-sensei, Suwa-san, and the “Inuyasha” staff had mulled over the idea.

It’s just that not only was the story of “Inuyasha” itself was very neatly concluded, after “Since Then” (the special edition (chapter) depicting the after story) we had Rumiko-sensei tell us “There’s nothing left to do in “Inuyasha””.

There was a rather heavy responsibility in touching that and as an Inuyasha fan myself, it made me really think about “In order to create a new story out of a work that was neatly concluded, what sort of form does it need to take?”

I think Inuyasha fans would watch, so I felt that I wanted to release something that everyone would agree to as much as possible without breaking their (idea of) “Inuyasha”.

— In terms of the target audience for “Hanyō no Yashahime”, do you consider Inuyasha fans the main target? Or do you focus on the new audience that does not know “Inuyasha”?

Naka: For us, we want people to like the new characters so in that sense, we keep in mind the new people.

It’s just that a lot of time has passed since “Inuyasha” was broadcasted and I think among the people who watched “Inuyasha” back in the day are people who have become parents. I think watching it as two generations, parent and child (Mom and Dad who liked “Inuyasha” and the children who are touching it as a new work), is the most ideal.

Satō: The voice actresses who voice the three princesses (Towa, Setsuna, and Moroha), are from a generation that watched “Inuyasha” right when they were kids. They chit-chat while recording every week (laughs).

It would be great if the new target group could go back and watch “Inuyasha” because of “Hanyō no Yashahime” and think “There are demons that appeared in “Hanyō no Yashahime” too”. On the reverse side, I would like those who watched “Inuyasha” to enjoy “Hanyō no Yashahime” from the point of view of “It’s the demon from that time”.

For that reason, we inlayed different devices and components into the story.

Naka: We periodically put in devises that would make people who like Rumiko-sensei’s other works smile a little bit. Like the hoodlums who appeared in episode 2 or the monkey gag in episode 9.

— In other words, while still keeping in mind those who don’t know “Inuyasha”, you are of course creating a work that Inuyasha fans can enjoy as well.

Satō: Making sure we don’t destroy the image of “Inuyasha” characters is at the forefront of our minds, especially when we bring them out into the “Hanyō no Yashahime” world. This is so that people watching don’t think “That’s not the kind of character they were”.

Of course, when we bring them out, we always have Rumiko-sensei review the scenario. She’ll tell us “It should be fine if it’s like this” and apply that to the scenario which is how we’ve been doing it.

Naka: We’re careful so that when “Inuyasha” characters take the mound, they don’t eat into the spotlight of the new characters while also not losing their “status”.

— Among the fans, the way the broadcasting order of “Hanyō no Yashahime” to “Great Detective Conan” is similar to “Inuyasha” to “Conan” became a popular topic of conversation. Was that formation something Yomiuri TV-san was particular about?

Satō: The order is the same as when it was broadcasted during the golden hour of 19:00-20:00 (7-8pm on the 12-hour clock). We’re grateful that they’re nostalgic about it.

Naka: I don’t know if they were particular about it or not, but it was decided from the start that it would be broadcasted during that timeframe (before “Conan”). It’s possible that it just turned out that way, but from the production side, it felt “just like before” in the end.

Satō: It’s like (Yamaguchi) Kappei-san (role of Inuyasha and also Edogawa Conan/Phantom Theif Kid in “Great Detective Conan”) has 2 consecutive appearances (laughs).

Naka: Not only is the connection between the timeframe the same, but also when we heard that SixTONES would be doing the opening for the October cour, we thought the flow looked the same as “Inuyasha” since it would be a group from Jonny & Associates that would be singing (Editor’s note: In the past, V6 and Tackey & Tsubasa were in charge of the theme song for “Inuyasha”).

In the end, we’re also curious as to how the structure is the same as during “Inuyasha”.

A Character Cannot Come to Life Without Working Out the Fundamental Aspects

— Next, we will ask how story the of “Hanyō no Yashahime” was created. We just heard from Naka-san that “When I first heard about it “I might make it a story about Sesshōmaru’s daughter.” was how far I had gotten”, but were there any different ideas regarding the direction after that?

[Characters bios written following the question but I’m skipping it]

Naka: We proceeded with that intention as is.

It’s just that even if it’s a daughter, we couldn’t quite settle whether the daughter would be twins or an only child. We couldn’t decide until right on the line of “If we don’t decide what sort personality the character will have at this stage, we may have to relook things including the broadcast timing” (laughs).

Satō: We pretty much decided after directly talking to Rumiko-sensei.

— What did Rumiko-sensei tell you?

Naka: Regarding the character persona, she pointed out things such as “With only the setting, you don’t know why they speak that way” and “Why they dress like this doesn’t feel right to me”.

Especially with Towa, it took a long time for Rumiko-sensei to understand and agree to the part where “She dresses like a boy because she’s this kind of persona”. That’s where we struggled the most.

Satō: For Rumiko-sensei, apparently, she understood Setsuna and Moroha straight down like “So this is the kind of child she is”.

However, only with Towa did she say, “If you don’t clearly boil down and solidify how she will grow and what sort of foundation she’ll have, the story development will become blurred wouldn’t it”.

With that point, it was a lot of work deciding Towa’s character.

Naka: Not just the settings, but we had Sumisawa Katsuyuki-san (in charge of series composition for “Inuyasha” and now this work as well) vigorously write the scripts for episodes 1 and 2 and show Rumiko-sensei “With this story flow, Towa will respond like this” and “We’ll use this language”.

With that, we put things in order in a “But, we probably don’t need this kind of language after all, right?” kind of way.

— It was explained in the story that Towa dresses like a boy because “It’s easier to fight in”, but is that one of the settings that was solidified like that?

Naka: Yes. The result of coming up with different reasons and many ideas was that we ended up settling on a conversely simple reason.

Satō: Rumiko-sensei casually said “Isn’t “it’s easier to fight in” good enough?” (laughs). We were turning up a lot of different rationalizations. (translator’s note: Not confident on this sentence) For example, “As a girl, there was something she didn’t like”.

But it also became “I don’t think that’s true” …… It made us realize it was fine to have something simple and straightforward.

— So Rumiko-sensei was involved with the character persona starting from the foundation.

Satō: I learned a lot from speaking with Rumiko-sensei as I was creating the characters. Rumiko-sensei’s way of thinking is very logical and upfront. For example, “Because (she’s) this kind of child, (she) behaves like this” or “(She) Won’t say something like this”.

That’s why, people who view the work will see their foundation. In my head, I knew “If you don’t work out the fundamental aspects, the character won’t come to life” but I came to realize that once again.

In the anime, there were many people who put out ideas starting with Sumisawa-san, but I thought it must be a lot of work for Rumiko-sensei to create a manga while consulting with the editors.

We’re Mindful of the Composition that “Towa Sets the Story in Motion”

— With the characters solidified, did you receive any orders from Sumisawa-san as you planned the story?

Naka: With “Hanyō no Yashahime”, it started with Sumisawa-san first writing the scenario that would become the first manuscript.

In that regard, we discussed with him things such as “Keeping in mind of the development ahead, please pay attention to this part” or “Please put this device in”.

More precisely, there was a lot of discussion about Moroha’s position at the beginning. There was the fact that Moroha was the easiest character to move, but we wanted him to keep in mind as much as possible that she (Moroha) should show her concern for Towa and Setsuna in a way that ensures they’re at the forefront.

Satō: To the writer, Moroha is like a “Mini Inuyasha”. Hence there was a tendency to naturally center the story around her.

However, Sesshōmaru’s daughters, Towa and Setsuna, are the protagonists this time so we wanted (the writer) to keep that in mind.

Because Moroha is easy to understand with her character and Setsuna is a female version of Sesshōmaru, when their vectors become conspicuous, Towa appears overshadowed no matter what. “The protagonist getting overshadowed by those around them troupe.” is something that happens in original works.

That’s why we’re conscious of the composition of bringing Towa into the center and using her to move the story whenever possible. That’s the part we especially placed importance on when putting together the story.

— Next, please tell us the appeals of the three protagonists. Starting from Towa please.

Naka: Regarding Towa, she inherited Sesshōmaru’s silver hair, has a boyish outfit, and has an outward appearance that would make girls think she’s attractive.

However, her values are surprisingly modern, and she has a naiveness about her which Setsuna calls out within the story. I don’t think there have been many characters who have been balanced like this thus far.

Although, at the current phase, there’s a point that what the goal behind her actions is might still be a little weak.

Satō: Just as Naka-san said, Towa has a half-hearted kindness and naiveté; how that will change as she travels with Setsuna and Moroha. Please look forward to that growth as you watch the story.

I think there are people who get impatient seeing Towa’s current indecisiveness (laughs).

What will that kind of protagonist experience and how will her feelings change from that. It will make me happy if people think “Towa’s changed; she’s matured” at the end.

Naka: I think having lots of room for growth is what gives her that protagonist feel. Conversely, Setsuna is a relatively standard character. However, on the one hand, she does have a kind side.

Satō: She does show a little affection after all (laughs)

Earlier I said “a female version of Sesshōmaru” so I think her nonchalant kindness is the same as his. The vector of her character direction is easy to understand which is her appeal.

— It seems Setsuna coldly pushes Towa away, but also shows concern for her. Despite saying, “The curse of the Dream Butterfly doesn’t need to be broken”, she goes along with Towa’s search for the Dream Butterfly.

Satō: Just as the line “I can’t readily accept that” in episode 3 said, Setsuna cannot accept Towa as her sister.

However, I believe she understands Towa’s virtues as an individual. We would like everyone to pay attention to how Setsuna draws the line of “I can understand Towa’s good qualities, but I can’t acknowledge her as an older sister” and the point at which that line is crossed.

Will the day ever come where Setsuna will address Towa as “Towa nee-chan” ……

— It feels as though the distance between them is getting shorter, like when she almost went along with Towa’s high-five in episode 11.

Satō: Little by little. Within that, we would like for you to please look forward to how their feelings intersect when the time comes.

Naka: In that episode, it looks as though she gets along with Towa, but when Towa tried to lay her head on her lap, she didn’t allow it. I was watching with great interest like “So that’s where she draws the line” (laughs).

— Next, Moroha.

Naka: Moroha is pretty much just what you see (laughs)

Satō: She’s a hybrid of Inuyasha and Kagome. If her theatrical elocution is like Inuyasha’s, then her actions are understandable like Kagome’s.

In that sense, I think she’s a character that viewers can easily connect with. There’s also the fact that currently, all the gag lines are relatively being placed on Moroha (laughs).

Naka: In earlier episodes, her level of participation was high but lately she’s been in charge of punch lines (laughs). For example, when they didn’t take her to the battle in episode 10 or when she got caught up in Setsuna’s attack in episode 11.

Earlier, we discussed how “We were careful not center too much around Moroha” but it put us at a disadvantage as a result and I feel a little bad (laughs). However, Moroha will be taking charge in episode 16 next week (1/23/21) so please look forward to that.

Satō: Not only will Moroha play a very active role, but it is also an important episode that depicts the environment that she grew up in. Why she has to collect bounties and what kind of relationship she has with Jyūbee will be touched upon. If you watch that, I think you’ll come to understand her actions up until now like “So that’s why she was doing things like that”.

From a composition standpoint, episode 15 revealed Towa and Setsuna’s past, episode 16 will reveal Moroha’s backbone, and furthermore, the story of Setsuna’s childhood will come hereafter. If you watch that far, the full story of this will work will become clear for the most part.

The first cour was a period of planting seeds, but now going forward, the composition is set up so that the fruit of the tree will ripen and fall, so please continue to look forward to it.

The Casting of Miroku Was Entrusted to the Sound Director for “Inuyasha”

— Next, please tell us about the casting. On what points did you decide the cast group?

Satō: It was fundamentally decided through auditions. If we don’t progress the script to some extent, sound director Nagura Yasushi-san can’t determine the direction of the roles, so when the script amount had accumulated, we gathered up people who could picture the characters and carried out the auditions from there.

It was right about the time when the COVID crisis was escalating, so we worried if we could really start broadcasting in October.

Naka: The balance between the three was the deciding factor. After we narrowed it down from a number candidates, we took a “If this person did this character, then the balance would probably become like this” kind of view and decided from there.

Satō: There’s going to be a lot of dialogue between the three of them not matter what, so in order to avoid having similar voice tones and similar ways of speaking, we created the characters based on that assumption.

Towa’s thought process and actions are modern and Moroha acts on her emotions. Conversely, Setsuna is always calm and collected like Sesshōmaru and makes decisions after observing the entirety of the situation. Then she’ll look for the best solution and take action.

Because each of the characters has that kind of nature, we ordered Nagura-san to look for a balance that enables you to easily tell the three of them apart when they’re conversing.

– Did you not look at it from a standpoint that the voices should or should not sound similar to those of the parent generation like Sesshōmaru, Inuyasha, or Kagome?

Naka: That is a point that we were not at all concerned about. We proceeded with a viewpoint that the person should match the outward appearance, the actions within the story, and the nature of the character.

When balancing the three of them, balancing the twins seemed difficult, so from there we decided on Moroha first as her position takes a step back. We decided on Towa and Setsuna at the end after looking at the balance between them and considering Moroha for a second time.

— What were the key points in selecting the cast outside the three girls?

Naka: We left it up to Nagura-san. There were times when he asked for our review and opinions.

For example, there was an idea for Riku (CV: Fukuyama Jun) to have a more feminine voice. But when we spoke to director Satō, he said “A masculine image”, so we went with that direction.

— The Miroku that Yasumura Makoto-san, who replaced the late Tsujitani Kōji-san, played was a hot topic but did Nagura-san decide on that casting as well?

Satō: Regarding Yasumura-san, we asked Tsuruoka Yota, who was the sound director for “Inuyasha”, to decide. We thought that fit more under the category of “Inuyasha” rather than “Hanyō no Yashahime”.

Of course, I’m sure the viewers knew (the voice) was going to change, but we received a lot of feedback saying “It’s Miroku-sama!” and “It doesn’t feel out of place at all!” when episode 1 was broadcasted.

I was in Tsujitani-san’s care many times as a sound director prior to him playing Miroku. I was still a newbie producer back then but even when I met him after that at the “Inuyasha” set, he spoke to me like “Hello~”

I was producing while my heart was pounding hard. During testing, when I was panicking because I couldn’t match up the lip-syncing, he reached out to me like “We’ll do the syncing so it’s fine”. The figure of him reaching out to me so nicely is strong in my memory.

It was such a shame that he died so young. However, this time Yasumura-san, who was also his junior at the same agency, is working hard as his successor, and I think he was casted well.

Naka: Director Satō, you said “The air around Yasumura-san is completely different now compared to when I worked with him in other works”.

Satō: In episode 1, it seems he was really nervous having to record with the cast of “Inuyasha” who are high level seniors.

He was relaxed to some extent in episode 13 which was Miroku’s episode. He said to me “I’m sorry about before when I was extremely nervous” (laughs).

Creating Scenes in A Way That’s Distinct from the Popular (Methods)

— In order to make viewers feel that this is a work that inherits the world of “Inuyasha”, do you do any devising on the production side?

Satō: I would say scene creation. We don’t really get onboard with the popular trends. We split the cuts and show things the way they did in “Inuyasha” in order to smoothly give it that “Inuyasha” feel. I think it’s distinct from what’s popular nowadays.

This might be weird way of saying it, but it’s like we’re using an old-fashioned way of creating. By purposely doing things in a “Works from about 10 years ago felt like this” sort of way, it brings out that “Inuyasha” feel.

For other parts, Sumisawa-san directs the theatrical elocution and we have the same sound team from “Inuyasha” working, so no particular explanation is needed. In that aspect, they’re making it a lot easier for me (laughs).

For me, “Inuyasha” was the first work I did as a freelance producer. Not only was it a work that taught me the fundamentals of producing, but I also learned (how to make) storyboards from “Inuyasha”. In that sense, it’s a very memorable work.

— At the beginning, you said you “Put in devices that connect to “Inuyasha””, but between episode 9-12, demons that appeared in “Inuyasha” were continuously making appearances and it became a topic of discussion.

Naka: That section was the “devoured by Mōryōmaru” series. We had to speed through things in “Inuyasha the Final Act”, so I brought out those demons thinking “If we could just use the demons that we couldn’t properly show back then, even just a little”.

Satō: After fall for Meiōjū, we only had the scene of Mōryōmaru taking the armored shell (laughs)

Naka: We explain that “The demon that appeared this time is actually in “Inuyasha”” on the official Twitter account. It would be wonderful if there are people who take an interest in “Inuyasha” after watching “Hanyō no Yashahime”.

Satō: I think there’s also a wonderful world laid out in that work, so we would certainly love for you to watch “Inuyasha” while enjoying “Hanyō no Yashahime”.

Picking Out Noteworthy Episodes and Explaining Them!

— From here, we will have you look back on episodes that have already aired. We have picked out a number of impressionable episodes, so please tell us some secret (behind the) production stories, memorable recordings, and scenes that left a lasting impression on you.

Episode 1: Inuyasha Since Then

Satō: It was like a “class reunion” (laughs). Although, we couldn’t have everyone record together due to the COVID crisis.

We had everyone take turns recording but they were all was greeting each other like “Oh my god~!” as they passed by one another. Likewise, it was a teamwork that went without saying.

Jaken (played by Chō-san) was adlibbing a lot and that situation made me really think “This is “Inuyasha””.

The first episode was mainly “Inuyasha” basically, but at the very beginning and end, we had the story connect to episode 7 of “Hanyō no Yashahime”. In that sense, the episode was pretty much full “Inuyasha”.

Naka: While we had director Satō do the storyboard and production, I saw the storyboard and felt “Ah, it’s “Inuyasha”. It will be okay”. Like feeling relieved (laughs)

Satō: When 10 years goes by, the producers from back then aren’t around anymore. The people I worked with are now at the director level. Explaining something like the rules of “Inuyasha” from square one to the new people is a hassle, so I was like “I’ll do this myself” (laughs).

The surprising thing is, we had the same group of people from 20 year ago with chief animation director Hishinuma Yoshihito (in charge of character design in “Inuyasha”. In this work, he oversees animation character design) and the animators from back then. It felt as though “Ah, nothing’s changed”.

I remember working while saying “Back then, I never thought we would do something like this 20 years later”.

Episode 2: The Three Princesses

Satō: You could say this episode was episode 1 for “Hanyō no Yashahime”.

Due to the COVID crisis, we couldn’t have the three princesses record together and it made me realize how important it was for everyone to record together. Even though it’s a conversation, when you have one person record first and the other person responding while listening (the recording), it changes the mood and rhythm.

Nagura-san tried to match up schedules so that the three princesses could record together as much as possible, but in the end, we couldn’t record with everyone. In a sense, episode 2 was very memorable to me in that it left the impression of “So we’re going to have to record like this from now on”.

I think all the works that started airing in the fall were in the same situation, not just “Hanyō no Yashahime”. Since we were recording in chunks, it became necessary to pay even more attention than before to ensure that we didn’t forget to record anything.

I’m grateful to everyone involved that we somehow managed to air every week, despite these difficult times.

Naka: The first demon that appears in episode 2, is a point where we kept “Inuyasha” in mind as we pulled Mistress Three Eyes from Mistress Centipede.

I think it was an episode where we appealed that “We’re aware of the “Rumik World”” by putting in the hoodlums mentioned earlier and Towa’s gag face.

Even though the original “Inuyasha” leaned a little more to the serious side, I think Rumiko-sensei’s taste of allowing a little bit of leeway while not shaking off just that (aspect) is there.

This time as well, including the broadcast time, there were views from inside stating that they didn’t want to make (the episode) too serious. However, director Satō had already added that kind of relaxedness even before that was directly said. He splendidly created that balance that wasn’t too serious.

Episode 7: The Apple Meeting

Satō: Riku, who appears in episode 7, is a character we aimed to have revitalize the story by plopping in a new character just when the story was about to get stuck in a rut. Rumiko-sensei also uses this technique; for example, Kōga and Mugen no Byakuya in “Inuyasha”.

I spoke with Sumisawa-san at the beginning, expressing my desire to introduce a new character to revitalize the story before viewers could start thinking “We’re going to just keep watching this journey?” as they watch the three princesses progress on their journey. He’s a keyman who stirs up the story.

Plus, the three Yashahimes are girls, so there was also the idea of having a romantic component like with Inuyasha, Kagome, and Kikyō. Although he ended up having the feel of a pick-up artist as a result of trying to add that component in (laughs).

Naka: Episode 7 is an episode that connects to episode 1. We intended to put in the device of connecting episode 1 to another episode when we organized it, but after watching episode 7 I thought “It connected pretty well”.

I think it was nicely organized as it turned into a spoiler episode where you found out why Towa was there and what Setsuna and Moroha were doing while Yotsume was telling the old tale.

Satō: Going forward, Riku will gradually involve himself with Towa, and we wanted to show why that is over a number of episodes.

I think you’ll understand to some extent in episode 15, but he’s a character that you don’t know which side he swings to (friend or foe?), so he’s a character to look forward to in that sense.

Episode 13: The Delicious Feudal Monk

Satō: It was a parent child episode with Miroku and Hisui (CV: Urao Takehiro) that we added with the desire to develop Hisui. He is the son of Miroku and Sango (CV: Kuwashima Houko) and I think everyone was wondering what Miroku was currently doing, so we thought it would be nice to introduce what Miroku was up to here and depict the parent-child relationship.

Naka: It’s an episode where Hisui finally plays an active role. It was a feeling of sorry to have completely kept you waiting in the first cour. I am glad we were able to give him an active role to some extent. Moroha ended up going somewhere else though (laughs)

Finally, Setsuna stole the show at the end when her true power was released. I think it brings out Miroku and other “Inuyasha” characters in a good manner while still having highlights for “Hanyō no Yashahime”.

Episode 14: The Mastermind Who Burned the Forest

Satō: This is the episode where the truth behind the fire that attacked young Towa and Setsuna is revealed. It’s a real binding episode you could say, and I think it’s a story that could be put in a modern setting.

Also, from this story, the distance between Towa and Setsuna that we talked about earlier will somewhat destroy a line, I think. There’s Towa who shows her anger towards Homura, the one who tore them (the twins) apart, and Setsuna who has some thoughts from seeing that.

If you can feel that, I think how you view episode 15 will change.

Naka: I thought Towa’s comparison to a smartphone at the beginning was a little off as she doesn’t understand the concept of jealousy (laughs).

Also, something that I thought was strange after rewatching episode 14 was how the gardener and the cook were fine with working in such a dangerous place (laughs). I thought it was amazing even though they’re just regular humans.

Demons and humans unexpectedly coexist in this world. In a sense, you could say it’s very open-minded for a demon. Demons were depicted in all sorts of places in “Inuyasha” too, so it was an episode that made me realize once again that it’s this kind of world.

Episode 15: Lunar Eclipse, The Sorrowful Parting of Fate

Satō: Why did Towa and Setsuna have to grow up separated (from their parents) when they were young? This is the episode that answers that and depicts the continuation of the brief flashback in episode 8.

Why Sesshōmaru and Kirinmaru confronted Inuyasha and Kagome becomes clear. With this, I think you can start to understand Sesshōmaru’s actions.

Naka: This episode was a little different. To begin with, we thought that patrons would be happy to see Inuyasha and the others at the end of the first cour, so we organized it so that the past would be discussed at this timing.

It’s just that it felt completely independent from the main story and Riku just suddenly narrates it, so I’m sure viewers were surprised. Riku was in there as like the navigator.

The three Yashahimes don’t particularly know this, and this episode was purely for the viewers. It would be great if everyone looks forward to what’s to come while keeping this in mind.

— Thank you very much. Lastly, please give a message to our readers who are looking forward to what’s coming up ahead.

Naka: Cour 1 has just ended and we have entered cour 2, so from here on you will learn the things that you wanted to know. Please see for yourself how Towa, Setsuna, and Moroha will grow as you look forward to the mysteries being unraveled.

Satō: After episode 15, “what each character must do” will continuously become clear, and it will become a story that pursues that. On top of that, it would make me really happy if you could enjoy watching what will happen to the three (girls).

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

113 notes · View notes

lizacstuff · 3 years

Text

Sen Çal Kapımı episode 47 asks

Below the read more find asks and answers about episode 47, the fragman for 48 and other miscellaneous things.

(UNDER THE CUT)

Anonymous asked: Hi! I hope you are enjoying your vacation. I remember you mentioned you would be traveling. What were your thoughts on the epi? I think this was one episode where everything was happy! No big problems. The truth about Kemal being Serkan's dad could have been dramatic but Ayse and team wrote it like a romcom. I'm not really feeling the Deniz being the saviour of Artlife like they are portraying in the fragmans but I'll wait for the next epi to make a judgement.

Thank you. Once again, I though the whole episode was a really easy watch and I enjoyed every minute.

I really appreciate the tone this season, even something as series as Serkan’s parentage is played lightly, as you say very much rom com, and not full of heavy melodrama (as it would have been if explored during the 30s). This is exactly the tone and feel of this show that I want.

Serkan’s reaction was predictable, but it was also clear that he just needed time to adjust and settle down and he’ll come around. I like that.

I don’t have time this week to do full episode thoughts, but I enjoyed Serkan and Eda’s morning after conversation. Hilarious that he’d removed all the sharp objects from the room. Loved that after all of Eda’s fear-fueled reticence, once she decided to take the plunge with him, she was all in. Eda admitting that she’d been unbalanced and had been at fault for hiding Kiraz,--and acknowledging that Serkan had been fighting for them and now she wanted to as well-- was very nice. After running a bit hot and cold, Serkan deserved to hear that.

lolo-deli asked: Hard to believe we didn't get a reconciliation scene in 47... Nobody expected sex but we couldn't even get a hug or kiss when they made up? "I want to see that tattoo" was not the romantic reunion I was hoping for. Were you at all disappointed?

IMO, we did see the important part of the reconciliation, and that was the conversation. Sure, I think we should have seen Serkan and Eda kiss in the last episode. If I were in charge we would have, but I don’t think the story actually loses anything because it’s not a mystery what happened.

Clearly, he says the tattoo line and they jump each other, make their way to the bedroom, have sex, but don’t really communicate until the morning when she wakes up, and that’s where the show picks up and we get to see those first important moments.

If you’re looking for romance, then I would point to everything that led up to that tattoo line in 46. That entire episode (and the one before it) was their romantic reconciliation. Moments alone where he takes in her scent and whispers how much he’s missed her, waking up in bed together when they just automatically gravitate to one another, the moments of pretending to be married that were very comedic, but also very soft and romantic (What’s your greatest passion, what’s the first line you ever said to one another), the heartfelt conversation on the bench, the actual tattoo conversation at dinner. That’s the romantic reunion. Yes, if they had just reunited after years (like in episode 40) right before the tattoo line, I would have needed more romance, but we’ve had 7 episodes of them working their way back to one another. Everything was primed, all they needed was to light the match. IMO that line did the trick.

So, am I disappointed? No. I’m happy to go with the flow and enjoy every minute of what they do give us in these last few episodes. I choose not to get tied up in what I wish would happen vs what actually happens. I find I don’t enjoy any show when I put the onus on the show to conform to my wishes.

Some might be disappointed, that’s their choice, (and make no mistake, it is a choice) but that’s not how I’m approaching this second season which is serving up so much romance, comedy, and domestic family goodness. I suffered through the 30s so I could get to this, I’m not going to waste any of it being disappointed.

Anonymous asked: Idk why this proposal was the most emotional out of them all for me. Perhaps with the other ones I just KNEW the other shoe had to drop because they couldn't let them get happily married this early and this time I knew it was finally it. Or maybe it was the fact that knowing they're married means the show really is ending soon, but I was a blubbering mess lol. Sure there's drama ahead, but it's definitely not a plane crash and memory loss or a "fake" Selin pregnancy!

Yes! Thank goodness we don’t have any of that nonsense waiting for us. They are really going to be married.

I enjoyed this proposal very much, it was so sweet the way he planned everything out and had everyone helping, while Eda (and even sort of the audience) was in the dark about what was really going on there.

For me, as far as the words spoken, nothing really tops his speech to her in 27, but the great thing is that we get them all and this was special in it’s own right because he really surprised her and swept her off her feet this time around. I loved it!

Anonymous asked: So I am confused about Serkan’s ability to have kids- it’s not a problem now? If him being infertile was only temporary, why did he say it was impossible to have kids and it was a part of why he left Eda in the first place so she could have it somewhere else? They could’ve just waited a couple years to have kids then...? I know he also left her cause he was scared of dying but they really made his reaction seem like he’d NEVER be able to have kids

My assumption is that since they were able to have Kiraz, they know it’s possible, so even if it won’t be easy (and fertility is usually not a hard yes/ no line... mostly it’s a measure of how likely it is) they are choosing to believe they will be able to conceive again.

If you’re looking to change what his assumptions were when they first broke up and he thought he was unable to have kids (and that there was a 70% chance the cancer would come back) and deciding he should have made different decisions based on the fact that he was able to father Kiraz... to be blunt you’re looking at it the wrong way.

At that time, he thought he would never be able to have kids. Full stop. The fact that wasn’t necessarily true doesn’t change what he believed at the time.

Anonymous asked: serkan being the overly protective, worrying, affectionate baba is EXACTLY what i imagined, as i'm sure everyone else did. who else would worry about the pH balance of the soap at their daughter's preschool?! serkan thinking his angel can do no wrong.. of course it was all can's plan to hide them in the bathroom lmao. i hope, and with how this season is going i think we'll get it, we get to see this serkan in action when eda is pregnant too.. even if we just see a couple minutes of it!

YES! I loved overly protective Serkan. Thankfully, for Kiraz’s sake he has Eda (who might be a bit too far the other way) to balance him out. I agree that it was hilarious how he was trying to blame sweet Can. Even without seeing what happened, I’m pretty sure anyone else who had spent two minutes with those kids would figure out who the instigator was. When rabble rousing is going on, I think it’s fair to point to the offspring of Serkan Bolat and Eda Yildiz as the cause, lmao.

It would be great it we got to see glimpses of Serkan as an expectant father and also the father of a newborn. I would love that.

Anonymous asked: I see that the "Nitpick of the Week" as I'm calling it, this week is where Serkan proposed. Because Serkan Bolat would neeeeever propose in a "parking lot" .. am I the only one seeing that it's not even a parking lot, it's a road. Like if it is a parking lot where are the other cars then lol?! Putting aside that he's proposing outside their literal wedding venue, their entire story started in a parking lot. He told her he loved her for the first time on the side of a road. I'm not understanding.

You make great points! Their love story did start in a parking lot AND he was trying to pull off both a surprise proposal and a surprise wedding in one day’s notice. Since we’ve already seen a proposal on a plane, a proposal at a piano bar and a proposal at their place of work, I don’t really have the energy to join the discontented masses on twitter and nitpick the location of this proposal. He could have proposed in front of a landfill and I would have been delighted.

Anonymous asked: I'm sorry if you don't find it as funny, but people's reaction to this new fragman is so exaggerated like they're about to witness Indecent Proposal dizi-edition that I literally couldn't help but find it hilarious. Like no where is it ever implied that Deniz is offering Serkan SEX, but when Eda says "just do what you have to" somehow that's the first thing everyone thought of?! Not to mention we know this is Deniz's last ep.. the dramatic reactions really have me dying lmao.

OMG! I know. So this is a show that doesn’t show sex, Serkan didn’t sleep with the woman he thought was his girlfriend during amnesia, Serkan and Eda were both celibate for 5 years, but suddenly they’re gonna have newly-married Serkan go to the edge width Deniz?!?!?! Those people on twitter lost their damn minds.

On Saturday, I was on vacation and had just popped in to see if the new fragman was released, I was happy to nope right out of there when I saw the insanely melodramatic overreaction to the fragman.

It’s obvious that since the biggest issue between Eda and Serkan is Eda’s fear that Serkan will always prioritize work over her, as he did on their first wedding day, this story is to show that Serkan will 100% choose Eda over work and Art Life. Also I’m sure the episode will have the same tone as the rest of the season, which is light and comedic.

Anonymous asked: sometimes I go back to episode 28 and still can't believe they got that bathtub + shower scene in there with the rtuk guidelines. I've watched a couple more romcoms since starting SCK and have never seen anything close to that. I know they got fined afterwards but they were really like "screw it, we're going it for anyway" 😂

It’s interesting that the production company and network went for it there. But as you say they did get fined, so they didn’t get away with anything.

#Sen Çal Kapımı #Sen Cal Kapimi #edser #sckask #sck episode discussion #edser discussion #sck 2x47 #asklizac

12 notes · View notes