#amazing work by the director. amazing music composition. amazing acting

[louvelylouis]

the cinematography of i told sunset about you is just insane. it's ethereal. i'll never shut up about it. and the music was just the right level of dramatic wherever it needed to be. the skyline orchestra version just makes me ascend into another dimension i swear. absolutely the best bl in terms of cinematography and music. it's simply poetic cinema mwah <3

[the-reality-revolution]

Conny Méndez - Seven Universal Principles

Here Conny Mendez the great Venezuelan metaphysicist teaches the 7 universal principles. I am so excited to share this amazing author who taught about the imagination, the universal mind and the teachings of Saint Germain. Conny Méndez was born in Caracas, Venezuela on April 11, 1898, the daughter of distinguished author and poet Don Eugenio Méndez y Mendoza and Doña Lastenia Guzmán de Méndez y Mendoza. She devoted many years of her life to the theatre, as producer, director and actress in productions benefiting the International Red Cross Society during the years when the Society was under the direction of Chairwoman Doña Margarita de Guinand.   Her Musical output consists of more that forty compositions, the best known of which are in a folkloric vein and are still available in international record stores. Her classical and romantic works cover a wide range, including an Oratorio in the sacred tradition. She is the author of numerous poems as well as composer of all lyrics for her music, and has performed at many international concerts featuring her own music.  In 1946, she founded the Christian Metaphysics Movement in Venezuela, and began to dedicate herself completely to this esoteric teaching, bringing her writings and lectures to the major cities of Central and South America.   "The Seven Principles are: Mentalism, Correspondence, Vibration, Polarity, Rhythm, Cause and Effect, and Regeneration. These Principles act as one. Perhaps the best way to understand this concept is to think of Principle as a seven-sided jar. Each side is distinct, yet each is joined to the others, and without any one of them the vessel would be incomplete—and it wouldn’t hold water. Complete, it is a vessel of infinite capacity." - Conny Mendez

[cashthecomposer]

favorite character/moment to write? and what’s your favorite and least favorite part of the process? :)

My ABSOLUTE FAVORITE character to write is Lord Byron. He's so fucking fun. Full of himself, dramatic AF, genuinely talented, and a complete asshole. He's just a piece of shit that I'm drawn to, much in the same way the women in his life (tbf the men too) were. I gave him a solo in the first act that is one of the best things I've ever written in my life and I want it sung at my funeral. He almost opens the show. He gets to rap. It's great.

Favorite part of the process is probably what everyone else hates, research. Piecing everything together is soooooo delightful and satisfying, nothing else compares. It's like taking a story you know, and fleshing it out so that it's real, then re-assessing the story from a more knowledgeable standpoint, and then repeating that process until you've fully satisfied your own curiosity, and pissed off all of the local librarians, and seen your internet bill for the month.

Second favorite part is the last note, where I realize, 'holy shit... it's done.' That feeling of completion is amazing. Just incredible. Such a high. I drank a whole bottle of sparkling grape juice and took my dog on a 5 mile walk when I finished the first draft of Diodati, such a fantastic feeling. I then called everyone I knew to tell them, and posted it on my Patreon, and then started recruiting for the cast and crew!

Least favorite part is honestly, everything that comes after I've finished writing! The WAITING. It's like a queue in the supermarket but a thousand times worse, because the other people working are not in my line of sight, and I'm just sitting there with blinders on, waiting for other people to tell me what to do. I'm not the director (thank fuck for that), so all of that stuff is out of my hands, and boy, is that hard to deal with some days.

Second least favorite part is the justifying of costs, lol. I have spent more on this musical in time, money, and energy than I think is reasonable. When I calculated 'compensation' for the time I spent on the show, at the rate I charge to teach violin lessons, including research, outlining, writing, and composition, it came to around $250,000. So, once I make that much off the show, I'll consider that full compensation for my efforts, and anything else would be actual profit... you can see why this industry sucks lmao.

That's why I've already started on my next project! If you saw my desk right now, you'd see how the 'process' is really not a process- it's more of a cacophony of bullshit and books. That would be a great title for a biography...

[straightforwardmoviereview]

TRUMBO

1 sentence description: A beautiful historic movie for those who both might suck at fiction, and question the government

Story: Amazing, based off of the real human being Dalton Trumbo, it captures the sense of being hated by a country you love. While the movie was poorly received for not holding up to the quality of Trumbo himself, I still believe it is well worth your time

Music: Fairly unremarkable, and nothing of note, Some would say that a good movie composition doesn't stand out, and others say I wasn't looking for it

Writing/Acting: I found the movie very well written, and the acting was off the charts, with even the children not acting like they have a massive slab of a camera pointed at them /srs . One note, Russian director at the end of the movie felt almost cartoonish in his portrayal, but that's just me.

Shooting: Held all the composition of a great movie, with scenes being far more memorable because of the creative shots used

Star Cast?: Bryan Cranston (Breaking bad guy), Helen Mirren (Villain in The Guardians of Ga'hool)

Ending: It leaves everything off in a good spot, Those who worked their way from the bottom are now receiving the praise they deserve, and those that had screwed them over, are recognized to have not been a cartoonish villain twirling their mustaches, but rather, accepted by the characters as people who are, or have been hurt, and, like everyone, simply doing what they thought was right

Rating: 7.9 + 1 (for recognizing how shitily America handled the cold war)

[lilaclunablossom]

The Texas Chain Saw Massacre Review

I saw 1974’s The Texas Chain Saw Massacre for my horror marathon, the day before Halloween.

I might’ve seen this movie as a kid, I don’t remember, but I was definitely always terrified by the idea of Leatherface. As everyone knows, he’s a killer who likes to use a chainsaw, and wears his victims’ skin. He’s inspired by the real-life serial killer Ed Gein, and while Gein didn’t use a chainsaw, and didn’t have the same speech issues, he did in fact like to wear human skin.

It’s directed by Tobe Hooper, who also directed Poltergeist, which was on the marathon list, but I wasn’t able to get to it. The shot composition is great, with some amazing stand-out shots, like the skeleton sculpture Leatherface makes.

The acting is good, maybe a bit goofy at times, but I feel like that added to the psychotic feeling, especially when certain characters are expanded later on. And WOW, I didn’t expect this movie to focus so much on characters other than Leatherface. Suffice to say, this movie was also twistier than I expected.

It’s pretty well-known by now that this is a vegetarian work, and now that I’ve finally seen it as an adult, it’s really obvious. Even without knowing beforehand, I probably would’ve figured it out. The main characters explicitly discuss how horribly animals are treated in slaughterhouses. Leatherface makes bone sculptures, places his victims on a hook like animal carcasses, and there’s pig sounds when he’s killing. Hell, even him wearing human skin is a parallel to wearing animal skin, hence the name “Leatherface” even though human skin isn’t called “leather.” In fact, now that I’m thinking about it, the only reason the main characters start roaming around the countryside is because one of their family members had their grave robbed… like how humans mess around with animal corpses.

The music was made by the director himself and Wayne Bell, and is apparently one of the earliest works of genuine dark ambient music. It uses no “actual” musical instruments, and is meant to sound like what an animal would hear in a slaughterhouse. I LOVE dark ambient, and this shit slaps. It’s SO moody and industrial, it’s wonderful.

So yeah, I’m not a vegetarian, but it’s extremely clever to make a slasher where the victims represent animals, and the symbolism in general is very well-done. Guillermo del Toro became vegetarian for 4 years after seeing this, and it’s easy to see why.

This movie is also famous for making daytime feel scary, and while there is a night-time section, this is true – most of the movie is pretty bright, but still feels scary. Lots of movies have done this since (Midsommar comes to mind), but it must’ve been impressive for the 70s.

Fun side note, I love the way Leatherface acts at the end. It comes across like he’s dancing, and it feels strangely cathartic. 4.5/5

I’m sorry animals, you just taste so good and my diet is too accustomed to you ;A;

[caseyboots]

7 Types of Art You Need to Know About

Art game is a universal form of expression that has been around since the dawn of humankind. From cave paintings, to sculptures, to music and literature, art has always been an important part of human culture and history. Today there are seven major forms of art: painting, sculpture, architecture, music, literature, theater and film. 

There are many different types of art. Each one has its own special features that make it different from the others. For example, brush strokes in a painting or the intricate details in a piece of architecture or musical composition. In this article we will explore how each type of art can be used to express different messages and emotions. We will also talk about the history behind each medium and how it has changed over time.

What you mean by arts

It encompasses a variety of mediums, including painting, sculpture, architecture, music, literature, theater and film. Art is used to convey messages and emotions through the use of color, texture, line and shape.

Art can make people feel powerful emotions and start conversations about social issues. Arts also have a purpose, like architecture which is the science of designing and constructing buildings. Art forms have changed over time and still influence our lives today.

What are considered arts

Art can be many different things. Some examples are paintings, sculptures, buildings, music, stories, and movies. People have been making art since ancient times. It is a way to express feelings and to tell interesting tales.

Painting is a form of visual expression that uses a combination of colors, textures and lines to create images on canvas. Sculpture is the art of creating three-dimensional figures out of materials such as stone, wood or metal. Architecture is the science of designing and constructing buildings. Music is a form of auditory expression that utilizes pitch, rhythm, dynamics and harmony to create unique compositions. Literature is the art of creating stories and poems through the written word. Theater is a physical form of storytelling in which actors, directors and playwrights come together to create performances. Film is a combination of visual storytelling, music, acting and editing that results in powerful stories that captivate audiences. 

Painting – Exploring Color, Texture and Line 

Painting has been used for a long time to make pretty pictures and to show different emotions. Different painters have used different methods over time to show feelings and tell stories. For example, warm colors like oranges and yellows might make you feel happy, while cooler colors like blues and greens could make you feel calm.

Rough textures tend to create more movement in a piece while smoother surfaces have a soothing effect. The use of lines can also be used to create tension and direct the eye in a composition.

Sculpture – Capturing Emotion in Three Dimensions 

The art of sculpture is the physical manifestation of an artist’s creative vision. Sculptors are artists who create three-dimensional works of art. They use wood, metal, stone, or other materials to create their sculptures. Sculptures often have intricate details that tell us more about the artist and their skill level. By carefully crafting shapes, lines, textures and other elements, sculptors can bring their creations to life in an amazing way.

Architecture – Crafting Structures with Purpose 

The practice of architecture is the art and science of designing and constructing buildings. Architects make buildings that look good and are useful. They use different materials and shapes to make houses and other buildings.

Music – Expressing Feelings Through Sound 

The art of music is an ancient form of expression that has been used for centuries to convey emotion and tell stories. Music can be used to evoke feelings ranging from joy and excitement to sorrow and despair. By incorporating various elements such as pitch, rhythm, dynamics and harmony musicians are able to create unique compositions that can captivate an audience. Music has also been used to accompany theatrical performances and films in order to enhance the emotions of the story being told on stage or screen. 

Literature – Telling Stories Through the Written Word 

The art of literature is often thought of as one of the oldest forms of storytelling. Authors use their words to craft vivid stories that can captivate readers, evoke emotions and impart important lessons. Literature can take many forms such as novels, short stories, poetry, plays and more. All of these mediums allow authors to craft compelling tales that can be experienced and enjoyed by readers of all ages. 

Theater – Performing Stories on the Stage

The art of theater is a physical form of storytelling in which actors, directors and playwrights come together to create performances that captivate audiences. By incorporating elements such as sets, costumes, props and dialogue, theater artists are able to bring stories to life in a powerful way. Theater has the power to evoke strong emotions while also prompting viewers to think more deeply about current issues and social themes.

Film – Capturing Stories Through Moving Images

The art of film is a combination of visual storytelling, music, acting and editing. By combining all of these elements together filmmakers are able to create powerful stories that captivate audiences. Films can be used to illustrate complex topics, evoke strong emotions or even simply provide an escape from reality. Films have the power to take viewers on a journey and explore issues in ways that other art forms cannot.

These seven major forms of art each have their own unique characteristics and techniques, making them distinct from one another. Through the use of color, texture, line and shape each form of art can convey different messages and emotions. By exploring how these forms of art have evolved over time we can gain a greater understanding of how they continue to shape our lives today.

[virtualgallerybyie]

Forefront Post 4 - The house (2022)

The house is a 2022 adult stop-motion animated film written by Enda Walsh. It was produced for Netflix by Nexus studios in London. The film was originally announced as a TV series, but later it became an anthology film. It is a black comedy anthology telling three different stories spanning different worlds and characters, all set inside the same house. This stop-motion animation trilogy from Netflix provides a strong message which is a cutting criticism of consumerism. The House uses metaphors and straightforward examples to subtly highlight both the causes of people's indulgence in consumerism and its primary drawbacks.

What I find innovative about the house is that this is an adult stop-motion black comedy anthology which is not very common. All of these elements have existed in the past in the animation industry, we have seen live-action black comedy anthology films and stop-motion black comedy horror films before but never an adult stop-motion black comedy anthology. This is the only film where I have found all of these elements in a single series and I think it works very well.

The film is set over three time periods with characters that are completely unrelated to one another, the connection between the three films is the location of the house itself. But there are so many other variations between the different stories that it's hard to tell that they take place within the same world. For a start, the first story features human characters, but the second and third chapters both feature anthropomorphic animal characters. I find it quite influential that despite having so many different elements in the stories there is a consistency in the tone. We usually see animated anthologies with styles that radically vary between its segments but this film isn't one of those anthology films. The tone of the film remains the same in all three segments, even if there are elements in each that reflect the director's style.

Each segment's art direction is so impressive that you can actually sense the influence the house has over the people who live there. The environment design in each part is incredibly detailed, all three parts are set in the same house but each of them has a different kind of gloomy feel in its environment design. The frightening aura and the threatening landscape might as well be seen as influences from renowned platformers like Little Nightmares and masterpieces like Kubrick's The Shining with the atmosphere suddenly swooping in like dead air then creeping back again manically. The characters' strange actions and behaviour, along with the second and third act's intriguing and mysterious anthropomorphic figures and the fact that the eponymous cruel house is just a regular house and not a literary invention, lead to an enticing and uplifting conclusion.

If we talk about the animation of the film, its extremely detailed and well executed. Stop motion animations have been widely used in horror dramas in the past, but this film is not a mainstream horror since every spooky element and eerie detail has a significant, hidden meaning. The cinematography of the film is amazing; practically every frame's composition was well considered and adds to the mood the filmmakers wanted to create.The viewer is drawn into a serious yet compelling drama by the creepy music, the loud silences in between scenes, and the dark lighting with a combination of comedy and adorable but mysterious characters. The strong voice work of the cast brings to life a deeper well of emotions that you’d expect from creepy dolls and anthropomorphic animals. 

How I can relate it to my own practice

This innovation has made me think about my own work. In the last academic year I have finished six short films and I have been thinking about how they may be connected to each other. I see there are some common threads connecting them together like most of my work was based on the idea of being away from home or moving to another country. Looking back at this anthology, perhaps in the future I can see how my work can be categorised together and how I can create something like this where the theme remains the same but the narrative changes having different environments and characters.

Hutton, R. (2022). Netflix’s The House’s Real Meaning Explained. [online] Available at: https://screenrant.com/house-netflix-consumerism-criticism-real-meaning-explained/.

‌the Guardian. (2022). The House review – beautiful animation that speaks to your darkest terrors. [online] Available at: https://www.theguardian.com/tv-and-radio/2022/jan/13/the-house-review-beautiful-animation-that-speaks-to-your-darkest-terrors.‌

Sinha, A. (2022). ‘The House’ Chapter One: Ending, Explained: The Creative Satisfaction Of An Artist! | DMT. [online] Available at: https://dmtalkies.com/the-house-chapter-one-ending-explained-2022-animated-film/.

Greene, S. and Greene, S. (2022). ‘The House’ Is an Unsettling Stop-Motion Anthology with Gorgeous Fairy Tale Precision. [online] IndieWire. Available at: https://www.indiewire.com/2022/01/the-house-netflix-animated-anthology-1234691864/

‌Perkins, C. (2022). The House (2022). [online] AFA: Animation For Adults : Animation News, Reviews, Articles, Podcasts and More. Available at: https://www.animationforadults.com/2022/01/the-house-2022.html

[smokeybrandreviews]

Smokey brand Movie Reviews: Super Green

The Green Knight s finally out and i can see it without having to wait a month and a half! I thank A24 for this rather quick turnaround because this thing has been on my radar fr what seems like forever! I’ve written about this before but A24 is my favorite studio releasing content. Neon is a close second and Netflix is making a real charge, but A24 releases classics. Some of my all-time favorite films are A24 products. Ex Machina, Hereditary, Under the Skin, The VVitch, Uncut Gems, Zola, Midsommar, Lady Bird, Eighth Grade, The Lighthouse, High Life, The Monster, Enemy, Climax, Room, The Killing of a Sacred Deer, The Disaster Artist, and Under the Silver Lake have all impressed in one for or another, all of them A24 offerings. This studio is f*cking amazing and i cannot sing it’s praises enough. They’ve been around for less than a decade, A24 was founded in August of 2012, and they’re brought this level of quality consistently. The Green Knight has all of the workings to slide right into my all-time list, just like Ex Machina and Hereditary did before it. Let’s see if i really love it as much as i think i will.

The Exceptional

The first thing that hits you is how f*cking gorgeous this film is. Seriously, i was immediately captivated by that opening scene with Gawain rushing for Mass. It definitely opens up as the film progresses and you are treated to one of the most visually striking films of the year. This movie could give Denis Villeneuve, Ari Aster, or Robert Eggers a run for their money. Seriously, you can frame several shots in a museum and no one would know the difference between that and the Van Gophs on display.

I r0aely mention this but it’s absolutely necessary that i do in this particular review because it was just that memorable. The sound design made this film. I’m not talking about music choice or score, but the actual sound effects for specific scenes. That sh*t was some of the tightest I've ever hear on a film and it really added to the overall experience. Just the way the Green Knight creaked and popped as he moved was more than enough to get this mention but there is so much  ore than just that. I hate that i had to see this at home because, f*ck, this thing would have sounded like god in a proper theater.

I mentioned that you can frame these shots in a museum before and a lot of that shine belongs to the cinematography. The shots chosen for this film are breathtaking. I imagine a lot of that has to do with location but even the scenes filmed in dank castles and murky bogs popped with that same, meticulous, shot composition and it really gave those scenes life. The were ties when my jaw dropped at the majesty of a scene. The one with the giants immediately comes to mind. Like, f*ck, was that beautiful to witness.

In that same breath, you have to know when to pull back. Editing is just as important to a film as anything else and The Green Knight is cut with a precision I've rarely seen. This thing has no fat whatsoever. It presents to you exactly what you need and little else. I love that. I love that this film has a story to tell and it tells it with extreme prejudice. These cuts were made with intent. That’s rare nowadays.

I also have to give a nod to the use of color and lighting. Again, it’s not something i ever really focus on but goddamn is it necessary for this review. Light plays a very important role in how this story was told. Certain scenes absolutely need it and others are perfectly accentuated by it. It takes a deft hand to juggle such a nuanced aspect of film and The Green Knight has done that the best this year. So far.

This film has a very real, very potent, atmosphere. It’s not tension, not like Uncut Gems of Good Times, but there is this unrelenting sense of dread that runs through this entire film. It’s measured and restrained but it’s always there. I appreciate that. For a film to illicit such emotion out of me is testament to the mastery of it’s visionary.

All of the praise I've given to the technical aspects of this film would be for naught if i didn’t recognize the director, David Lowery. This dude is fast climbing the list of my favorite directors. I actually listed  bunch above but, after seeing what he’s gone with this film, dude is really making a case for himself. He did the Pete’s Dragon remake which i hear as pretty good, and A Ghost Story but i haven’t seen either. Not really my cup of tea. But if they’re as good as The Green Knight, i might have to revisit that thought because, holy sh*t, this dude can direct the f*ck out of a film.

The writing is on point. I legit hesitated to put this on here because it is the weakest aspect of  everything else in this film but that is misleading. The writing is exceptional. There is no way this film could be as good as it is, if the script was dog sh*t. The material given to these performers had to the top tier in order for them to give the performances they did and and they definitely f*cking did that!

This whole cast really f*cking delivered. Sarita Choudhury as Mother and Sean Harris as the King were easily the best of the supporting cast but everyone else brought that same energy. Joel Edgerton, Kate Dickie, and  Barry Keoghan, all deliver powerful performances. Hell, this is the best I've ever seen Erin Kellyman act and i have to give a lot of credit to the overall quality of this cast delivered. That said, there are three individuals who put everyone else to shame and i say that knowing exactly how much praise i just heaped upon them all.

Alicia Vikander comes in and delivers on two roles, Essel and the Lady. This isn’t surprising at all because she always delivers. I’m never disappointed by her performances. Admittedly, i haven’t seen many but that’s because she is very particular about the characters she signs on to portray. That said, it’s weird the two performances she’s done that immediately jump out to me, are both with A24 films. Her Eva in Ex Machina, and that film in general, is what made me even take notice of both her and A24 as a studio. Here we are, seven years later, and she’s still blowing my mind. F*cking exceptional.

Ralph Ineson is almost unrecognizable in the Green Knight make-up but the second he opens his mouth, you immediately recognize that gravitas. There is a weight to this character and you f*cking feel it with every move Ineson makes. Dude isn’t in it much but the scenes he does appear in are absolutely stolen by this big, green, maestro of his craft.

More than anyone, this is Dev Patel’s film. This dude is a great actor but it’s rare someone gets a part where they can really bite into the content but that is not the case with this role. No, sir, this sh*t was tailor made for Patel and he definitely digs right the f*ck in. His Sir Gawain is just as good as his Jamal Malik from Slumdog, if not better. Seriously, this film would be nothing without Patel. As outstanding as every other aspect that i gushed about in this brilliant goddamn film, the very best is Dev Patel’s performance. Seriously, that sh*t, alone, is worth the watch.

The Verdict

The Green Knight is f*cking exceptional and exceeded all of my expectations. This year long wait was more than worth. It's the best film of the year so far, leap-frogging into my top twenty all-time and I've seen thousands of films. This thing is a masterpiece on all levels. Narrative, plot, lighting, performances, sound design, composition, editing, score; It's the closest thing to a technically perfect film I've seen in quite some time. If Dev Patel doesn't get an Oscar nod for this, there is no justice in the world because he f*cking carries this movie. Patel is easily the strongest force driving this incredibly compelling watch, but Alicia Vikander, Erin Kellyman, Sarita Choudhury, Ralph Ineson, Sean Harris, Kate Dickie, and Barry Keoghan all match that energy with f*cking gusto. I was absolutely mesmerized by the way these absolute masters in their craft, embodied and gave their respective characters life, particularly Vikander. She never disappoints.

The only issue I see that would hinder someone actually getting into this film is the fact that it's a little long in the tooth. You never really feel it, as long as you buy into the fact it's a character study and not a high concept fantasy film filled with dragons and sh*t. If you think Michael Bay and Zack Snyder are the pinnacle of cinematic excellence, pass on this. You won't make past the first tn minutes. Also, make better life choices. No, this is about Gawain and it never deviates from that core drive. Weird sh*t happens, sure, but it's nothing as fantastical as Smaug or a Balrog. Even so, this f*cking movie kept me glued to the edge of my seat. I loved every second of it and cannot sing it's praises enough. My only regret is that I didn't get to see it in a proper theater. This f*cker would have been a real experience to see on a proper cinema screen, especially that shot with the giants. The Green Knight is outstanding and deserves all of the praise it's gotten and so much more.

[ayuuria]

Yashahime Translation: Animedia January 2021 Issue

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.

I do apologize if some of the translations feel awkward. This one was slightly technical so I had to do some research on the side.

Animedia Education Lecture

You think you know but you surprisingly don’t

Working in Anime

— ­Editing Edition –

A corner where we delve into the work of anime production. This time, we ask Nii Kazuhiro of (share) IMAGICA Lab., who handles the editing for “Hanyō no Yashahime”, about editing!

The job of “editing” is vital not just in anime but also in live movies and tv dramas. People who like films may be able to vaguely imagine the burden of having the big role of organizing the scenes. However, exactly what sort of work do they do in anime production? This time, Mr. Nii Kazuhiro of (share) IMAGICA Lab., who oversees the editing of the action packed “Hanyō no Yashahime”, makes an appearance! We had him discuss editing and the special work process unique to “Hanyō no Yashahime”.

Tell us Nii-san! Let’s learn about “Editing”

Q: What kind of job is “Editing”?

It is a job that manages the flow of the whole film by connecting scenes or shots together. For example, how well a signature move in battle or sports is executed is dependent upon the tempo adjustment “editing”. Other things like scenes where shots are divided effectively by the placement of songs or music in an important work, will always have an editor’s hand (adjustment) involved. Even if the animation is created to flow exactly like the storyboard, a lot of times the timing of those scenes is fine-tuned with editing. Timing is just as important as properly moving images after all.

Q. During what phase of the anime production do you work?

Typically in anime, shots are edited at a phase where the color and sound have not yet been added and is completed as each phase in the production moves forward. Editing takes place before the audio work. Basically, it occurs twice: before voice recording and dubbing (translator’s note: Dubbing here does not mean voice over! Dubbing is the phase where they mix the voicing, sound effects, and music together to match the images). There are many works where color is added after dubbing has concluded, but in “Hanyō no Yashahime”, in order to allow for dubbing with the color, colored images are used as materials when editing. Since the images are colored, we can confirm the fine details with the director and production supervisor and then make adjustments.

Q. How does one become an “Editor”?

I entered a vocational school focused on film making and learned not just about editing but film making as a whole such as filming and lighting. There wasn’t any convenient editing software at the time, so I joined my current company that does film production thinking “Editing is something that can’t be self-taught so I want to learn on the job”. If you want to pursue editing, then you should watch as many different types of films as you can. You can’t notice things in production like direction and the camera angle of a shot if you don’t have interest in it, so I think it’s best to study it for the sake of knowledge.

Q. What abilities are needed for “Editing”?

Communication skills are an absolute must. Especially in animation which has a lot of detailed work itineraries and staff members creating it. To ensure that there are no mistakes, you must ask the director or production supervisor on anything you are unsure of. Of course, you can’t keep asking questions on every single shot so there are times where you will need to understand past productions and make decisions yourself. However, being able to muster up the courage and ask when necessary is important. You need communication skills for that purpose.

The “Hanyō no Yashahime” Production Site Packed with Fixations

— Please tell us the details on how you came to oversee the editing in “Hanyō no Yashahime”.

I had the opportunity to work with Director Satō (Teruo) on “Aikatsu Stars!” and he reached out to me. Since the story was connected to “Inuyasha”, which was broadcasted when I was a child, I felt a lot of pressure at first. While I was nervous when I heard the that main staff hadn’t changed much from “Inuyasha”, I felt “That’s all the more reason I have to work hard”.

— In regard to the editing work, did Director Satō make any demands?

I touched on this earlier in my response to “what phase we work” where I discussed how the director requested “Please have the images close to completion before the dubbing, where the music and voicing will be decided finalized, takes place. I would like to have editing done just before the dubbing as well.” This is what makes this so different from other works.

For example, in action scenes when the image is unfinished, it’s hard to understand the small movements or context. Hence, it’s difficult to take a “Maybe make the tempo like this” sort of editing approach. In typical animes, there are a lot of times where the final images solidify after the sound is completed. When that happens, there’s not much room to make edits for the most part.

However, in “Hanyō no Yashahime”, the images are mostly done before the dubbing so we can make adjustments with the director while matching the images with the voice actor’s lines. I thought it was a good idea. This is a trait unique to this work.

— Was there an aspect that you yourself focused on when editing this work?

While it’s a work with a lot of serious developments, what I focus on during those scenes is the “the interval between emotions”. In live film works, for thinking scenes, the actor’s “thinking act” is included so there’s an interval. However, in anime, the movement simply stops and there are no lines, so a lot of times you can’t measure the interval. Nevertheless, those serious scenes are important in “Hanyō no Yashahime” so I think it’s important to have “intervals” which is what I’m careful about. On the other hand, there are comical scenes, so I’m careful not to destroy the tempo. In anime, the tempo can change if it’s off by 6 frames*

*1 frame = 24 frames per second

The Feeling of Fun in Doing “Editing” Work

— In anime editing, does the work’s genre make a difference?

It does. Lately in action and sport (animes), materials included are not just from the storyboard but also from 3D CG as well, so we’re careful to make sure the connection between that and normal image (2D) scenes don’t feel out of place. When I first started, I couldn’t get the hang of it and was at a loss. The 3D CG portion is done by a different production team instead of the animation (drawing) team, so during my edits I couldn’t visualize the complete final form and fumbled as I worked.

In terms of idol anime, there’s “Aikatsu Stars!” that I worked with Director Satō on, but I was still a novice then… In work that’s geared towards children, I focused on making the tempo of the conversation scenes as steady as possible. If the tempo is too fast, it will end with everything being breezed through and a child will become unable to follow. I remember being careful of that.

— Are there times where you have to edit multiple episodes at the same time?

I mainly only work on one episode at a time. It’s just that periodically I have to confirm and make adjustments on a line-by-line basis in another episode at the same time.

— What part of “Editing” do you feel makes the jobs worthwhile?

In anime, images and CG shots that have been completed at each phase of the process are gathered individually as materials for editing. Updating those materials into one new episode and getting to see the finished product first is what “Editing” is. I think this is what makes the job of “Editing” fun the most. I get a sense of responsibility that I’m managing not only the shots but the entire work as a whole. Also, because I’ve seen the production process, I feel happy and simply moved like “That’s amazing” when all the phases are completed and the whole anime is finished. This is when I feel worthwhile as an editor. Also, I don’t think there’s much opportunity to take part in the production of the character movement and camera work in live filming, so I think this is what makes editing anime fun.

— After going through all the work, how do you feel when you watch the broadcasting of the finished version?

I end up watching it from different angles but when I watch it as a regular viewer, I become happy nonetheless. Of course, there are times where I personally think “I should’ve done this” at the little things. Now with social media, I know the viewers’ reactions in real time, so when there was a huge response to episode 1 with Inuyasha and the others, that put pressure on me going forward (laughs).

The Charm of “Hanyō no Yashahime” That You Personally Enjoy

— Of all the episodes that have been broadcasted thus far, which episode left the biggest impression on you?

Episode 3 where the three heroines (Towa, Setsuna, and Moroha) came together. I got to watch the (voice) recording for that episode and the battle scene was really cool. Also, I was able to properly draw the first conversation between the three so that left the biggest impression on me in that sense.

Then there’s episode 7. It’s the episode where you return to the scene of the three of them that at the very beginning of episode 1. The composition of back tracking up to episode 1 left an impression on me, so even as I was editing episode 7, I admired how it felt like the mystery was being revealed or rather feeling like “I see. This is where it connects”.

— By the way, who is your favorite character personally?

Moroha. She’s fundamentally an energetic character, her skills in action scenes are cool, and the way she seems to mimic the movements of her father, Inuyasha, is entertaining as well. While she behaves in a manner that makes you wonder if she had a tragic past, she’s a character whose emotions are easy to read so that’s why she’s my favorite.

— Including upcoming highlights, please give a message to our readers.

Going forward there will be more episodes regarding the three heroine’s past which I think is a highlight. As I was editing a future episode, I felt “We’re approaching the true nature of the story”. Please look forward to the cool action scenes and the episode where the three’s past will become clear.

[funigami-games]

A dream come true! The Prince's Heart is getting a Voice Over

When we started The Prince's Heart, we never thought we'd find so many wonderful persons willing to collaborate on our project.  Here we are now, a month later, with an entire crew of professional and aspiring Voice Actors willing to help us realize our Visual Novel!

Special thanks to our amazing Casting Director, Jacob Wilson, who directed the whole Voice Over process.

Let's meet the entire cast (in order of appearance in the game)!

Nick Chang as Edward (Protagonist)

I was born in Manhattan, but raised in Bryn Mawr, Pennsylvania, where I currently reside. I also proudly identify as a 2nd generation Asian American (half Hong Kong via my mother, half Taiwanese via my father) and a member of the LGBTQIA+ community (gay and demisexual). Since childhood, I have had a distinct love of music and performance. Having played violin from 4th to 12th grade and sung for even longer, I used music as a primary means to express myself growing up. As I progressed from high school to college, I discovered online voice acting, but it was not until my time in graduate school that I formally decided to become an actor. My interest initially stemmed from a desire to help out in localization projects, but over the time I have spent voice acting, I have come to not only develop a great appreciation of the craft of acting, but also further deepen my love of music and rekindle my love of performance. With my singing experience as a basis to my unique perspectives, I hope to bring sensitivity, curiosity, and innovation to every project I work on!

Jacob Wilson as Adam

I’m a voice actor, Casting and voice director based in Dallas Texas. I’ve been working in this field for almost four years Now. It’s a journey that has taken me literally around the world and I’m so thankful for all I’m able to do and have accomplished. Being a part of amazing projects like this one are what fuel me to pursue my passions. I realized I was bisexual when I was 18. It’s a group in the LGBT+ community that continues to get flak from seemingly all over. But my faith in it and myself has always been unshaken. Outside of VO I am a drag artist in the making under the name “Twilight Stunning”, who I’m going to show more properly in the coming months! I’m so thankful I’m in the position I am, and I can’t wait to see what we have in store for y’all!

Bradley Gareth as Michael (Main Character)

Bradley was raised in Western Pennsylvania, learning piano from age 5 and taking up local community theater at age 10. He pursued the performing arts throughout high school, consistently participating in high school musicals and chorus festivals during his tenure there. At the end of high school, he also took multiple classes in musical composition and began doing online voiceover work.

During his time in college, Bradley participated in numerous professional and amateur voiceover productions both online and at the University of Pittsburgh's student radio station, WPTS Radio. While at WPTS, Bradley also began writing advertisements and online content for websites.

Now out of school, Bradley continues to lend his voice to multiple productions, dabble in musical composition, and provide content writing for WrightlySo.com.

Jared Prize as David (Main Character)

Singing provides me with some of the greatest joy in life. Outside of that, I love voice acting, hiking, and hanging with friends. My day job involves working with computers, so I like to find a bit of an escape into the creative-realm during my free time. My sexuality has always been a struggle, but I find comfort in not putting a label on it (at least for now). Mostly, I am very excited to be a part of an ambition team of lovely people. Working within a project like this brings excitement during the process, and even more-so while waiting for the final piece! I hope you enjoy what's to come xo

Marisa Duran as Lady Marie

Hey there, I’m Marisa Duran. I’m an actress working and living in Dallas, Texas.

I caught the "theatre bug" at a young age. My parents will tell you that it started when I was two years-old, dancing around to the Barney theme song. I agree wholeheartedly.

I grew up in a suburb on the east side of Dallas and was fortunate to have the opportunity to explore a city known for its rich culture and artistic influence. My passion for theatre was fueled by the many musicals that toured through town and I quickly decided that I wanted to spend the rest of my life as a professional actor.

In 2016 I graduated Magna Cum Laude from Texas Christian University in Fort Worth, Texas with my Bachelor of Fine Arts in Theatre, emphasis in Acting. Since then, I’ve had the privilege of working with multiple professional theatre companies in the DFW area. I’ve also expanded my career into the worlds of film and voiceover, landing roles in short films, webseries, and commercials, and lending my voice to over a dozen anime titles at FUNimation.

Art has the power to heal, to change, and to empower. As an artist, I believe that my purpose on this earth is to tell stories, and through these stories I hope to make a positive impact and leave people better than I found them. I consider it an honor to be able to use my talents in such a profound way.

Whenever I’m not rehearsing or recording, you can usually find me at my day-time marketing job, playing video-games, or drinking coffee at a local coffeeshop.

Kiba Walker as Zachariah

Born Arthur Lee Walker III in Tacoma, Washington, Kiba Walker is an American actor, musician, director, writer, and performer based out of Dallas-Fort Worth, Texas.

Kiba trained under the likes of various industry professionals such as Shane Sparks, Donyelle Jones, Tony Oliver, Betty "Waters" Kennedy, Chuck Huber, Sonny Strait, Chris Rager, Justine Reyes, Lorette Spicer, Bill Quinby, Angie Irons, Dan Lorge, Holly Clark Lorge, Spencer Christian, and many others. With 16 years of collective industry knowledge, Kiba has performed with the likes of Alice Underground, The Stereo Killers, Frankly Fictitious, CRVSH, Grant Davis, Ashley Ann Farley, Steve "Warky" Nunez, BASH!, Ryland Lynch, Ross Lynch, Will Jay, and more.

Voice over came to Kiba in his later years, around the age of 18, when he found his love doing an ask blog for Tumblr. From there, he took the craft seriously and networked profusely with various actors and companies in the voice over realm. His first roles were as Boku Temagawa in "Love Games" and Mike Connelly in "Zoolaplex".

Since 2014, he's been cast in various other projects including MY HERO ACADEMIA, HORIMIYA, GENSHIN IMPACT, FRUITS BASKET, ONE PIECE, SAINT SEIYA (2019 Sentai Dub), BLACK CLOVER, BOFURI! I DON'T WANNA GET HURT SO I'LL MAX OUT MY DEFENSE, CAUTIOUS HERO: THE HERO IS OVERPOWERED BUT OVERLY CAUTIOUS, CASE FILE NO.221 KABUKICHO, CAMP BUDDY, FULL SERVICE, TO TRUST AN INCUBUS, TO LOVE RU, O MAIDENS IN YOUR SAVAGE SEASON, EARTHLOCK, POPUP DUNGEON, SOMETHING IN THE DARK, RADIANT, and many more!

He's also directed such titles as FULL SERVICE, IDUEL: BATTLE  FOR STARDOM, ISHIDA & ASAKURA, THE TITAN'S BRIDE, and CAMP BUDDY.

As a musician now, Kiba currently has one album out, titled "XO", that released in May 2016. He runs a music channel called "KibaKovers", adapting anime and video game openings into English for a broader audience, as well as regular Top 40 covers. He is also one of the champions of the hit Fort Worth Drag Competition, The 3, as Salem Moon!

Mike Young as Sir Tiphis

Hello, I’m Mike Young. A dynamic, versatile and different British VP voice actor with gravitas, who can turn on various shades of Bristol, and run the spectrum of silky smooth, to warm and friendly.

Under the brilliant tutelage of Tanya Rich, my road to a professional voice acting career begin in 2018, having produced a wide variety of stories and audiobooks.

I lend my talent to a range of different projects:

Hard sell and soft sell commercial and corporate scripts

IVR for telephone systems and mobile apps

Instructional e-learning courses

Promotional adverts and trailers

Public service announcements

Character narration for video games, film, audio dramas and books

…and more!

I love it all, I do it all! And if you like what you hear, contact me! I’ll be sure to make your project gurt lush.

[inheritorofmemories-archive]

Let’s talk about The Old Guard’s OST

And I don’t mean the songs because I don't have that many opinions on them and I'm sure other people can talk about that better than me, but the music that was written for the movie by Volker Bertelmann and Dustin O’Halloran.

Note: I'm only gonna talk about the instruments, themes and parallels, not really about scales or that kind of more technical details, for the sake of saving time.

Okay so here's an analysis by me, a music nerd that can't help but overthink everything they like. Featuring lots of appreciation for minimalist music and cool symbolism.

Why is the Old Guard’s soundtrack so good and so fitting?

The whole thing is under read more because it’s long

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First, the composers.

I don’t know Bertelmann, but I’ve listened to some of O’Halloran’s work (he did The Hate U Give ost). He also worked with Johann Johannsson in the past a big name in the composer and movie soundtrack world (he did Mother!, Prisoners, Arrival amongst other).

O’Halloran cites Arvo Pärt as a big influence in his music. It’s almost all thanks to him and his work that the ambient and minimalist music was born, he’s a huge name. Minimalist and ambient are (to oversimplify it) simple tune, with as little notes as possible, little melody repeated over and over, soft percussion, it embodies the idea that “the less the better”.

What I’m trying to get at is, ambient and minimalist are now very related to the film soundtrack world because by essence ambient is making feel things with less, and that suits the need to uplift images with music that’s not overpowering. (Go listen to Max Richter’s work, he’s one of the first minimalist that was employed in the movie industry, and the Waltz with Bashir ost is amazing.)

Which takes me to this: The Old Guard’s ost doesn’t read like an usual action movie, or super hero movie ost because they used ambient instead of big brass and powerful electric sounds like you’re used to. And that’s what makes it so good for this film. 

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So, let’s get to the actual ost. We’ll do it chronologically.

The ost has 24 tracks that amount to 46 min, for a 2 h movie that is in the norm. And the thing is, every instrument has a purpose, is assigned to someone or something and when you listen to it, you can understand that the composers tried to push along the director’s intention with the music.

The movie start with shells falling on the ground and Andy’s speech in complete silence, you’re thrown into the movie: it’s serious and it deals with the character’s emotional drive. Then, bam! “We were born alone” comes on and that solidify this idea.

The first track is The Old Guard, and it gives us a couple thing: the team’s music is composed of synthesizers, long notes held over some soft percussions. There’s piano in this track, and the piano=emotions, memory. But we figure that out later.

We find those elements again in the second track, Hotel. This time the synths are more present because Andy is watching the news and feeling bad about it. And the third one, A New Mission feature synth that are more agressive, since they’re on a mission, and what we assume are their peak coordination as a team. They’re as complementary as you can get for the South Sudan mission, that’s what this part show us.

One element that’s import to note: those three tracks all have choirs, faint in the first but in the third they peak, and you can actually hear them really well in the movie. Choirs are the marks of the Old Guard, of the team, and as soon as they dream of Nile, we won’t hear choirs anymore because the team isn’t complete, they need to find her.

This brings us to Nile. The end of Double Bubble and Nile tells us something else, Nile is the strings, and violon. When Andy leaves to get Nile, there’s string with her synth, because she’s her mission. We hear them when Nile speaks to the children in Afghanistan, and when she dies there’s strings and piano.

That’s when we understand that the piano is memory and emotions. There is piano mixed with heavier percussion for Quynh’s track The Iron Maiden, the memory and pain with a typical Old Guard’s instrument, and percussion are great to show the exhilaration of riding with Andy and the fear of being locked in the iron maiden.

In Booker’s track when he talks about his children in the cave, They Grow Old, we also have a piano, because he’s remembering and also feeling grief and sorrow.

And in What If We Don’t Live Forever? when Andy is sitting in the car after Celeste took care of her wound, we hear piano again, because she’s reflecting on Lykon’s death and her own mortality.  But, interesting details, strings join at the end of the track. Has Nile started to influence her character? Who knows, but I’m saying it.

And we have the piano again when Nile drive away when Andy and Booker go to Copley’s, because she’s thinking of her family and feeling guilty about the man she killed and feeling overwhelmed over her new immortal identity.

Also, when Joe and Nicky are taken and there’s only three of them left driving to the mine, we have almost no percussion and very soft synth, because the team isn’t complete, so why would the Old Guard's signature music be?

We do, very quickly, get their music when Nile look at Copley’s board and understand the role Andy and the Old Guard had in humanity, track Montenegro.

Nile get her own song moment with “Going Down Fighting" as she go save the team, and when she frees them, We Won’t Give Up mixes synth with her strings.

And to keep on with the awesome symbolism, in The Old Guard Attack (that moment before the explosion where they take down like 10 mercenaries together) over the sounds we get for them from the first three track there’s strings, Nile’s instrument. The team added her to their music, she’s accepted just like she accepted them with Montenegro when she came back for them.  That’s what we call very cool composition people.

And remember what I said about the choirs being gone? How for the entire movie, after they dream of Nile and Andy yeet herself jump from the train they’re nowhere to be heard? At the end for You Are Going To Help Us, they’re back. Because Nile has chosen her way,  she’s an Old Guard now, she’s part of the family so she gets to have the Old Guard music too.

Just listen to The Old Guard and You Are Going to Help Us, the first and last track. They are very similar in melody and structure, but in the second one you get more prominent strings. Again, Nile’s instrument. Is it subtle enough yet?

I’ve skipped some tracks because once you expose the idea it gets repetitive to mention it from all tracks it appears in, but you get the idea.

Seriously if you have time try to give it a listen, it’s actually really nice. Tho, fair warning, I’m the kind of person that listen to movies and games soundtracks for fun all the time and geek out about ambient music, so...

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And finally, to come back to what I said, and why this ost is so good, I need to talk about the whole atmosphere Gina Prince-Bythewood gave to the movie.

I talked a bit about it here (long post too, sorry), but the movie isn’t all big explosions and SFX and actions in your face. It’s gritty, dark, and incredibly realist. GPB said she used blood pocket for the Kill Floor scene (The Old Guard - How to Shoot a Shootout- Netflix, at about 3:30 she talks about it) because she needed the gore realism of blood spraying out of them. That’s why there’s no fancy light, neons and colors nor very symmetrical or intricate photography but washed out lights and very minimal outstanding feature and even coloring unless it’s to make a point (there’s a post about centering subject in the shot in The Old Guard going around, like Nile in the elevator at the end, very cool). It’s also why they used wide angle for the camera and the “shaky cam”, the camera that’s moving along the characters with lot of shakes because it’s on the cameraman’s shoulder (think documentaries and things like that, again, grounded and realistic film) and not smoothly like you would see in a Fincher movie for example.

It’s also why the most sober ost works so well. It’s not like John Wick with the guitars of Tyler Bates and Le Castle Vania electro, or the Avengers big brass and epic musics. Not, it’s soft, it’s barely noticeable and it only pushes for more emotions, it doesn’t artificially force any on you. The plot and actor’s acting do that for you.

That’s why I think the ost fit so well, no matter that some people think it’s boring or non existent. That’s the goal, to have a soundtrack that uplift without shadowing, something that's just as dark and neutral and gritty as the photography and themes of death, immortality, humanity, etc.

That being said, go listen to some ambient, it’s nice.

[nutty1005]

Xiao Zhan: Prepared, the Next Crossroads will be Clearer

Translator’s Note: This article comes from Harper’s Bazaar 2020 Feb Issue.

To Xiao Zhan, his encounters in the past few years are “Dreams come true” – or perhaps he can consider as “Lucky”, but what can only match it is his all-out effort and hard work. He believes that opportunity needs to come with luck and effort, he prepares himself so that the next crossroads will always be clearer. 

In the past 1 year, there are many things that Xiao Zhan could only describe as “surreal”.

“So nervous!” his doe-like eyes shining with light. “Miss Man created her own style in photography. There’s a familiarity looking at the layout when working with someone I know of since designer days, but the subject matter is actually me.” After saying this, he heaved a long sigh. Looking at a random point in front of him, he cannot help but smile – “It’s like a dream come true.”

“1 minute onstage equates to 10 years of effort offstage” 

During the recording of the recent variety show “Our Song”, Xiao Zhan had the same surreal experience. When singing with mentor singers such as Na Ying and Wakin Chau, he was slightly trance-like, because he grew up listening to these singers, being on the same stage with these God-tiered singers, he was naturally anxious and fearful, and he was on high alert every moment of the way.

“Singing with Na Ying on the first three episodes, I was so nervous that I can’t even, and more nervous during the rehearsals than the actual recording – worried that I would be off tune, my ears were working hard to pick up the harmonization.” He would not allow himself to make any mistake, worried that the mentors felt that he did not prepare himself seriously – singing perfectly is one thing, intentionally putting in effort is another.

Although the performances in the show were mostly old songs, he needed to put aside the deeply rooted impressions and re-learn the songs as well as the harmonizing sections. “I must make sure that I will not go off tune, as well as ensure that there are no conflicts when we harmonize… It is really very difficult.” His current schedule was being programmed down to the minutes, there was no time for proper practice, hence he used every scrap of available time to do so. After every new composition, he would listen to it repeatedly until he could memorize it, “I listened to the songs repeatedly using earphones while in the car, even if I’m asleep I’m still listening, somewhat like brainwashing style of learning.”

Xiao Zhan quietly observed every detail of his mentors – they not only chose songs that suited their vocal range, they would also decide based on the partner’s situation and the harmonizing effect; they would continuously communicate with the onsite music director and stage director during rehearsals, and make adjustments on their techniques on the spot. The flexibility in the mentors’ performances amazed him – a successful performance can only be based on the accumulation of stage experiences, and not rely on fluke.

He can still remember his nervousness when he first joined the talent show – his legs were heavy as lead, he almost could not move, and his hands were shaking nonstop. “The stage required self-confidence, but no matter whether there were fireworks onstage, or the performance could set the stage afire, the endless practices offstage must continue. When one has full confidence on what to do onstage, only then there will be a possibility to create a better stage sensation.

The mentors gave him a lot of tips on how to practice his vocals, including how to relax the vocal cords. “They have very professional experience, and what they have imparted to me are shortcuts that they have discovered and summarized.” Xiao Zhan was frequently caught pouting before his performances. “That is not ‘trying to act cute’, pouting and bloating the mouth to the maximum, and then suddenly relaxing, is one of the ways to quickly relax your mouth muscles, it is very helpful to reading lines or singing.”

If there were an important recording session or a stage performance, he would skip all meals after that day’s breakfast, in accordance to the principle 饱吹饿唱 (TN: A full stomach is good for playing wind instruments, an empty stomach is good for singing), “My condition is actually better when I am hungry, and hunger gives me more clarity.” Promoting his strengths and avoiding his weaknesses is another of his principle, “My vocals are more suited to ballads or fresh soothing songs, if it is a ballad, I have 70% confidence onstage, whereas some songs requires some explosive strength, which might not be suitable for me.”

The charm of the stage comes from the “moment”, he likes the fleeting sensation, no matter whether it is his own condition or the audiences’ reaction, these could not be replicated or repeated. “I will not watch my own performances repeatedly, whether it is good or not I know it in my heart, what is past I will let it past.”

“Hard work may not guarantee success, but if you don’t work hard, you definitely will not succeed”

Between singer and actor, Xiao Zhan does not feel that they are mutually exclusive. “Why must it be divided so clearly instead of having both at the same time? I remember that the idols we used to love in our youth were multi-talented, such as Chen Kun and Zhou Xun were commonly recognized as outstanding actors, but they could also sing nice songs like Half Moon Crescent 半月湾 and The Sea 看海. Why now it must be idol is idol, actor is actor, singer is singer? I don’t quite understand this, everyone is just doing what they are passionate about, isn’t it great if it’s done well?”

However, to be able to do everything “well”, it is not just dependent on talent or opportunity. There was once a trending topic on Weibo, exclaiming that even with Xiao Zhan’s qualities, he still considered his looks as “average”, his vocals as “natural”, and he felt that he was lucky to have had the opportunities, and to complement this luck, he could only reply on down-to-earth hard work.

His recent drama shoot “The Oath of Love” had finally come to an end. This was his first “real” contemporary drama, and felt nervous because he had already been accustomed to the shooting style, the wigs, the costumes and the lines of period drama, and now he had to perform as a modern person realistically and naturally. “After shooting a lot of period dramas, you will naturally come with a ‘style’, that is you can exaggerate a bit, emphasize on some parts of the lines or emotions.” He suddenly focused his attention and recited in the period drama style, “Master, shalt t beest liketh this the present day?” It definitely felt out of place in the makeup room piled with clothes. (TN: He said “Master, shall it be like this today?”, but to emphasize on the contrast, I used Shakespearean English.)

“No one will speak like this in our daily lives, I am working hard to remove this ‘style’, but it turns out to be quite difficult.” This type of natural flow is also quite different from being his real self. “When I am singing onstage, I am Xiao Zhan himself, the person who has lived for 20 plus years, but when I am acting, I have to become another person, and I will hesitate on many details – should I be holding the chopsticks like this? Is it suitable to take a sip of water after saying this line?”

When shooting “The Wolf”, he would write long essays on his acting thoughts after the end of the day’s shooting everyday. Although he did not maintain this troublesome step till now, he still maintained the habit to summarize his day. “At that time, it really felt like you are writing year end summaries everyday, multiple sections, and you still needed outlines. I will record down what I learnt today, what I did and didn’t do today, and what I want to accomplish next time round… very detailed.” Initially, this was based on the performance teacher’s requirements, but Xiao Zhan started to feel that these tiresome work were very helpful. “It is possible that some of the points will be forgotten by the end of the class, but if you record them down, if you don’t remember the details later on, by looking at them, you can recall the details.”

After learning from the performance teacher, he was able to truly understand that the expressiveness from both lines and body movement are just as powerful. “There was once during class, the teacher told me to read the lines with my eyes closed, and use different emotions to convey rage, happiness, sadness and unspeakable feelings. His final goal was to help me forget the baggage from lines, and to be unrestricted by technicalities.” The teacher tossed him the dictionary 新华字典, and said, “You will win if you finish reading this dictionary.”

Xiao Zhan believed that opportunity needs to come with luck and effort. When shooting “The Untamed”, he once felt that his condition the previous day was not good enough, and requested the director to reshoot the scene, but after the 4th or 5th take, the director said that the 1st take was still the best. “Human emotions are very mysterious – you would think that the more you give the better it becomes, but instead you could not repeat the initial most natural performance. The first take is always full of unknown, my partners and I do not know how much emotions we intend to inject into the scene; instead we stimulate each other, invoke the most real emotions; the latter takes already have the information from the previous takes, instead there are more predefined boundaries.”

Usually, before an important scene, the whole atmosphere of the scene would become very serious. “Sometimes I would think that I don’t want to think about other additional things, and put in all of my 100% effort in the scene, but instead be unable to perform. I still don’t have much acting experience, but I feel that you need to be relaxed performing, enjoy the performance, if you are on a tight rope, you won’t be able to act well.”

The director also told him that he needs to forgive himself, that art itself is something that is filled with the beauty of regrets. “If I can’t do better I would definitely feel depressed, but I always accept the existence of regret. There are limits to my abilities, but I will do my best, the existence of regrets is not an excuse, I still have to put in all of my efforts.”

Xiao Zhan understood this principle since his childhood days when he was learning how to draw. Some people are just better than any average person at drawing, and you just cannot surpass them. “The most important homework that everyone must do is to accept themselves, don’t have to feel depressed or hopeless when you see another person’s talents. The path everyone takes is different, we do not need to compare with others and feel hopeless, we just need to find what is suitable for us, and you also need to believe that hard work will compensate what you lack in talent. Yes, hard work may not guarantee success, but if you don’t work hard, you definitely will not succeed.”

“Commoner’s wish”

If the start of acting was just going with the flow, he now views it as the true goal to work towards, and something that he loves from the bottom of his heart. “The life of Xiao Zhan may not be able to experience all the wild and crazy things, now as a public character, I cannot let loose and live presumptuously,  vent my emotions as I like, but I can experience different lives in acting.”

It has only been just a month since the end of his previous drama shoot, but he already found himself restless and wanting to participate in the next piece of work. “It is this kind of desire, I just want to get into the next phase of life, I like the feeling of detachment from myself.”

However, he will always bid farewell to a role, and once again rejoin his life. In 2019, the name Xiao Zhan became one of the names that attracted the most attention. Although he rejects all kinds of characterization, and hoped that he can present his most natural and real self, he still received all kinds of projected imagery. The over-attention extended into his personal life and gave him some sense of insecurity, but he hoped that he could still have space to live as any common person – able to head out for a meal or watch a movie, keeping his common sense.

“Of course I will be more careful when it comes to conveying myself. I am actually very careful, now I represent not just Xiao Zhan as a person, but also my team, even if not for myself, there is no need to create any unnecessary trouble.” When he encounters any problems, he will usually digest it himself. “Frankly speaking, I also haven’t met much problems that I cannot resolve myself. But a lot of problems, what others can do is to give me some opinions, some direction, cheer you on, but they can’t really solve it for you. How to persist, how to overcome, it all depends on myself, because only I know what actually happened.”

He had not stopped flying this whole year, always hurrying, but he felt that, in principle, there were not much difference from his days as a designer. “Designers also had to always work overtime, now I could also relax on the weekends.” He had slight insomnia the night before the shoot, hence he dozed off during the make up, and only ate a few mouthfuls for breakfast and lunch – this is already his standard daily life. “This is just a phase, very difficult, but I have to tide over. And I don’t feel that this is something tough to do, I enjoy my work, and also enjoy the sense of security and fulfillment from a busy work schedule.”

He still has unlimited dreams, for example, having another hobby besides drawing, learning more about design, recently he is also thinking about learning a new instrument. “But sometimes what I want most is to go home or to the hotel and relax on the bed. What comes next, I’ll think about it when I get up.”

[winterune]

Pet - Thoughts and Musings

I am back with my seasonal anime musings/analysis/reviews/whatever. Because of various reasons, I have not written any of these posts since...I don’t know...last spring anime season? LOL I still have soooo many on my list from last year to watch gahhh. But I did caught up with Beastars and Araburu Kisetsu no Otome-domo yo - both of which were awesome, by the way. I wanted to write some things for them (especially Araburu, because I felt like there’s a lot of things I wanted to say), but...I don’t know. Life caught up?

Anyway, here’s Pet, with an average score of 6.57/10 on MAL. Quite a low one for my taste, as I rarely watch anything with a score below 7. However, this is one of those anime I decided to see not because of the MAL score or anyone else’s influence, but because I wanted to. Heck, when it was first announced, I was immediately excited, because 1) it’s directed by Omori Takahiro, who directed some of my all-time favorite anime, such as Natsume Yuujinchou, Durarara, Baccano, and Hotarubi no Mori e; 2) the screenplay is done by Sadayuki Murai, another favorite who has also worked alongside Omori-kantoku-san and was also the one behind Sidonia no Kishi’s series composition; and 3) the entire synopsis just sounds...soo good?? Not to mention that short PV-like thing they released way back when

OK, yes, I’m not fluent in Japanese, but the music and Hiroki’s voice acting really caught me.

However, time passed, and there was no word on the anime at all until it was announced that the anime was pushed back until the winter season of 2020. Now, I still had my initial hype, but I also had my doubts. It probably had production issues and so on. Things like that often don’t bring their best to the table and ends up becoming a disappointment. It showed on the first episode.

That episode was weird. I read what people thought about it on some forums and none gave me a positive image of the anime. But I thought, what the heck? There’s no harm on checking it. Though it wasn’t entirely bad, it was weird, and I had no idea what was happening. There was so much going on and the art felt a bit weird and the story seemed all over the place and I thought, ah, it shows.

My impression of it was: this show seems like it will have a good story, but not until some time later, so maybe I should wait for several more weeks and binge-watch it then. However, I came to learn that episode 2 was much better than its predecessor. It cleared up any kind of confusion and erased some doubts. It piqued my interest again. And now that I have finally caught up with the show, I am glad that I did not drop it. 

Because so far, Pet is amazing.

Since it’s been two weeks since I saw the first episode, it took a while to grasp the meaning of the terms and so on, but once I’ve got it, it was quite easy to get absorbed inside the show. There were a few time jumps and technical terms were thrown all over the place, and I needed to remind myself that is the director who made Baccano and Durarara. Durarara had a relatively continuous timeline, but the way it jumped POVs in those first few episodes were quite baffling and you only understood what was what much later on. Baccano was crazier imo, as I read that, unlike the light novels, Omori-san took the liberty to rearrange the story in the anime to make it so that there are several stories set in different timelines in one episode, and there are those terms and whatnot and though it makes a good mystery, it doesn’t make much sense, until that one episode where everything finally clicks into place.

I have a similar problem with Pet. I can see that the story so far is intriguing. We have these “crushers” and then “pets” and then loci in the minds containing memories, divided into “peaks” and “valleys”. And then there are “images”, which I think is some kind of protection armor? A form they take to get inside other people without letting themselves be consumed by the other’s memories and feelings. Aside from that, we have a “Company” with people who have the ability to get inside other people’s minds and alter memories. What’s worse is that we’re immediately dumped in the middle of the action with not much introduction, so all we can do is just sit tight and hang on, hoping for the best that everything will make sense in the end.

And then of course, we have our enigmatic characters.

First up, Hiroki, your shounen character in a serious drama. The longer I listen to him, the more annoyed I am haha. I don’t know. His voice kind of irritates me. Maybe because he’s this naive kid with a strong ability that doesn’t really understand what’s happening around him. And then there is that dependence toward Tsukasa, whom I will get to after this. Episode 3 makes me like him though. His heart is clearly in the right place, just that he’s in a bad environment, so he doesn’t know what to do. He is the character who will question the righteousness of their actions. I believe he hates his abilities, but using it has been ingrained into his body that sometimes, he’s unconsciously using it. Like when he almost got inside Katsuragi’s head, or when he showed the girl in episode 3 what her boyfriend was like (though it was partly his imagery of him, and he knew that and that’s why he was so conflicted when she came back). I can imagine what his childhood must have been like. Probably shunned. Probably lonely. Much like how Satoru had been before Hayashi “saved” him. And then Tsukasa came, who showed him how to protect himself and to utilize his powers. Tsukasa was his savior. That’s why in episode 2, though he was reluctant to kill, he also wanted to show Tsukasa that he could do it. They didn’t have to kill. He could save this man using his powers. he wanted to prove himself to Tsukasa. I am amazed that his heart has not been tainted, and I have high hopes for his character.

Next, we have Tsukasa. Even from the posters, this guy already looked fishy. In the first episode, there’s something off about him. He’s just too good. Too accommodating toward Hiroki. Hiroki wants something, then he’s going to give it. Hiroki says not to go with Satoru. All right, I won’t go with Satoru. Hiroki wants a shop. Here, this is for you, but I used the Company’s money, so I’m going to have to pay them back by doing jobs for them. Yeah I know you told me you don’t want to do any more of them, but I’ll be the one doing them, not you. You just need to sit tight and work on your little shop. You know that’s not what Hiroki meant. Still, I like him. So far, he’s a cool character, and I like him even more on his solo job in episode 3. But what I love the most is:

That smirk! Because yes, all this time, all we’ve seen are his facades. His facade when he is with Hiroki. His facade with Katsuragi. His facade when he does a job. And then we have this moment, this small moment, and much like how that small moment with the girl who buys guppies and her boyfriend builds up Hiroki’s character, this small moment between Katsuragi and Tsukasa, when Katsuragi tells him that his next job will be Hayashi and Tsukasa pauses for a moment before asking if Hayashi has been found, it speaks volume. Because then finally Tsukasa shows us his true self (or, at least, part of his true self). His tone changes. He scolds Katsuragi for being happy or pleased.

You seem strangely happy for someone who was outwitted for two whole years.

Tsukasa is clearly talking down to him. Katsuragi, who we thought was the boss. Katsuragi, who was the jerk who would kill people to get the job done quickly. He is surprised at the sudden change and becomes visibly nervous. He stiffens and keeps his eyes on the road. Tsukasa goes on to give orders to Katsuragi. Then Katsuragi nervously puts out his cigarette and says, somewhat formally, “Understood.” (though he’s just saying “hai” in Japanese, but it’s vastly different from the Katsuragi we know in the last two episodes). He obeys Tsukasa. 

I did wonder if Katsuragi was under Tsukasa’s control, but it didn’t seem like it. Heck, Tsukasa might actually be one of the Company’s higher-ups (or he might even be the Head of the Company, if I want to stretch it). And then we have that split-second smirk, that shows he is in complete control of the situation. It makes sense with how he refers to Hiroki as his “pet” in such an off-handed manner. It also makes sense with how he makes cold, calculating judgment. Of course he’s using the Company’s money to buy the shop. Of course he’s still doing odd jobs for the Company. He’s not the good guy he shows Hiroki he is.

Right now, I can actually see Tsukasa being the “big bad boss” of the series, if this series has any kind of villain. Or, well, I think he’d make a pretty good anti-hero. Just imagine a showdown between Tsukasa and Hiroki... So far, I am most intrigued with Tsukasa and I hope he will have a great arc.

[dennou-translations]

Chou Animedia Interview with Chihara Minori

“Amy”, the theme song of the film “Violet Evergarden Gaiden” sung by Chihara Minori, is a gem birthed from the world of theatrical animes.

About a year and a half after its TV broadcast, the new work, “Violet Evergarden: Eien to Jidou Shuki Ningyou”, started being screened on September 6, 2019. Following the TV series, Chihara Minori, who was in charge of the opening theme song “Amy”, released it as a single prior to the theatrical screening! An interview about the highlights of the song and the appeal of “Violet Evergarden” was published in Seiyuu Animedia’s October issue. Here in Chou! Animedia, we will deliver a long version of it, which includes the parts that could not make into the article.

Raw || Index

■ “I was able to feel a worthiness and sense of accomplishment that I had never felt before.”

——Please tell us your impressions regarding the TV anime series “Violet Evergarden”, in which you appear and were in charge of the theme songs.

It is a wonderful story where a girl named Violet Evergarden meets people of all sorts of circumstances through her ghostwriting job while looking for the meaning of the words “I love you”, which were left to her by someone important, and everyone grows up. The one I play, Erica Brown, is an introverted girl with no confidence in herself, but after meeting Violet, she was able to pursue her dreams and move on. (The ex-soldier) Violet supposedly shoulders a past with incalculable pain and suffering. But I believe it is exactly because of this that Violet has the power to move people’s hearts. I feel that this series has the power to take away all our negative emotions and that there is a lot of love in it.

——What kind of appeal do you feel from its Gaiden, the new film?

It is a story centered in Isabella York and Taylor Bartlett, who had a fateful meeting with each other when they were younger, and Violet carries out the important role of reconnecting these two, who ended up living separately. There are times when Isabella is overwhelmed by the decision she made in the past and suffers because of it, but once she meets Violet, her heart, which had been closed up, melts down and she changes little by little. Through this work, I thought that Isabella, Taylor, Violet herself and every single one of us can overcome hardships if they happen, exactly because we have people who can serve as support for our hearts, and we live every day while being helped out by others. This Gaiden is also a story full of a kindness that only “Violet Evergarden” has.

——What was your impression when it was decided that you would be in charge of the theme song of the Gaiden, following the TV series?

Honestly, I was uncertain if I could write lyrics superior to “Michishirube” (smiles bitterly). I have sung the theme songs of countless serial shows until now, so for the part of the series that I bear responsibility, the sense of anxiety as to whether or not I could surpass my previous work was already there with me. However, I was not just the singer but was also in charge of the lyrics this time, so I felt for real the difficulty of renewing a musical composition from a serial show, as well as how high this bar was.

——How was the theme song “Amy” created?

I talked to director Fujita (Haruka) and the staff, and it was unanimously decided that “since the scene where Violet dances in a ball in the middle of the film is very impressive, wouldn’t it be nice to make it a triple-time waltz”. (Composer) Kikuta (Daisuke)-san also told me that, as this work was going to be released in theaters, the song was made in a way that would link the contents of the film and the animation in a sonorous fashion. So, when I first listened to it, from the intro to the conclusion, including the arrangement, I thought that the composition was as if I were watching a dramatic movie and it made me emotional.

——When you were chosen to write the lyrics, how did you come up with the concept?

I had crammed all my feelings towards this work into “Michishirube”, the ending theme song of the TV series, so I thought about writing these lyrics in a way that they would be close to the story of the Gaiden. “Amy” is the precious magic word that connects Isabella and Taylor, the two who were separated in this story, for all eternity. So just like this, from the title “Amy” to each of the verses, the song nestles one hundred percent close to the series. Also, the first-person pronoun is “boku” in the first chorus, “watashi” in the second, and lastly, it is both “boku” and “watashi”, which are sides of each character. When people watch the film, I think they will definitely understand the reference, like, “Aah, so that’s what it was about”. Director Fujita has tons of love for the series and she made this together with me while having discussions about it, being satisfied with it in the end, so I really felt a worthiness and sense of accomplishment that I had never experienced before, which made me happy. This song composition definitely would not have been birthed if not for this series.

——Did you like actually singing it?

Including the part of pre-projects and voice training, things had progressed carefully, so by the time we did the recording, I was already getting along with the song very well (laughs). People were going to listen to it in the theaters, so I sang in a way that they would be able to hear the words clearly, that it would be delivered to their hearts as if I were narrating it. During the first meeting, director Fujita said several times, “I don’t want to deny choices that someone made with love”. So I had something like a sense of responsibility that I should make this song into a warm one with salvation to it. Anyhow, I sing it while wishing for Isabella and Taylor’s happiness. For me, going out into my home’s veranda and singing this song at the end of the day has turned into a routine (laughs). It goes without saying that people will reminisce to the story they saw in the theaters when listening to it, but if they listen to it before bed, they might be able to have a peaceful sleep.

——The MV also displays the dance in a way that comes close to the film.

Indeed, the film’s dance scene is very impressive, so I suggested that it might be wonderful if I also danced it in the MV. But it was my first time dancing waltz, so I practiced for two days before the filming. The instructor chose steps and moves that even an amateur like me could manage.

——The scene where you were lifted by the male dancer was also incredible (laughs). It was amazing (laughs)!

At the end of the day, it is difficult to continuously keep a beautiful posture… There is a correct position for the head, face, hips, rear and everything else, so I had muscular pains all over my body (laughs). But we were able to make an extremely marvelous MV thanks to that, so right now, I am thinking of learning a bit of ballroom dancing (laughs). Also, since the story has been finished, I want people to pay attention to the outcomes of those two as well, and we did our best in the acting, so I would be happy if people could notice the characters’ facial expressions too.

——The coupling song, “Plumeria”, is also a wonderful composition.

It is a slightly fashionable and uplifting EDM. Amongst the song compositions of “Chihara Minori” from until now, which have always given full-out and were mostly strong and cool, there had not been a song that I was able to sing so relaxed and naturally as just myself. The sense of tempo is also very refreshing and comfortable, so it became a “breaking new grounds” kind of song for me. According to the director, it seems this song has the image of “an adult woman who plays around and makes bets looking at the sunset in a resort by the sea” (laughs). That’s why I looked up tropical flowers in my phone and sang it after getting a tropical feeling. Also, about the bit in the lyrics that goes “the place where I am myself when I come back to it”, when I searched for where that could be in my case, turns out it was the live concert stage. In the end, when I come back to the live venue and hold a concert, I can think “I’ll do my best once again from tomorrow on”. To me, my fans are the plumerias inside my heart.

——The other one, “Mikashokuman no Utage nite”, is also a live concert song that will surely rile up people.

This one was made for people to enjoy the live, as the theme song of SUMMER CHAMPION 2019. Since it is a live concert festival, I had requested a melody that would be perfect for festivities, as well as an arrangement that included a traditional taste overseas fans would also enjoy, and I was happy that the composition turned out as something beyond my expectations! When I actually sang it at the concert, the duets were spot-on, the venue’s voltage exploded in an instant, and it truly came out as an amazing song (laughs). When I think about how I can nurture this composition more and more in live concerts from now on, I end up looking forward to it!

——By the way, did you like listening to these three songs one after another?

To tell the truth, I have not listened to them in sequence (laughs). The three songs here assembled are of varied natures, to the point they can give people the impression that “Is it really the same person singing them all?”, so I wonder how the people who actually listened to them in order felt. Including this aspect of it, I look forward to doing this on one hand, yet it makes me nervous on the other (laughs)… But I am happy that I was able to deliver a “new Chihara Minori” like this once again. Having reached the fifteenth anniversary of my debut last year, I am really feeling the joy of being able to make something new one more time.

——You also had a birthday live in November to celebrate your debut’s fifteenth anniversary, right?

Since it is a live concert for my fifteenth anniversary, I wanted the contents to be something that would firmly touch upon the history of “Chihara Minori”. However, I released a “the best” album and did a best hits live on my tenth anniversary, so I did a lot of planning in order not to do the same thing. It was held at a live house, so I had concluded it was going to be a very intense concert. I will be transferring to a new agency and turning a new leaf in April, so I was really happy and looking forward to spending the very day of my birth with my fans in a year that would be the beginning of trying my best while feeling like a rookie!

——Please leave a message to your fans.

Again, a new work packed with love has been finalized. I believe this one was born thanks to my meeting with “Violet Evergarden”. I would be most satisfied if you all could go to the theaters and enjoy “Amy” together with the story as you listen to it!

[elsarah]

Favorite clips of s5

Thank you so much @smblmn​ for tagging me, I love the idea! While the season as a whole was kinda underwhelming, it was full of amazing clips and I do have a lot of favorites. Here’s my top 10 and a few honorable mentions. I tend to have one favorite clip by episode, except for episode 8, which I REALLY didn't like. I didn't rank my picks, I'll just list them chronologically.

And since I didn't have the opportunity this season, I'm also making gifs to illustrate my picks :) I need the practice, as you can see.

Ep.1: Samedi 0:25 - Le choc

One of my favorite things this season has been the symbolism and the metaphors around sound and silence. In the first episode, there were 2 occurrences: Arthur seeing Noée for the first time underwater at the pool and him looking in the street as snow falls and slowly realizing he's gone deaf. I thought this was an amazing idea and that it gave disability more depth and beauty.

And that look at the camera in the last seconds… And the piano music… It was so chilling.

Ep. 2: Jeudi 20:59 - La nuit de

Globally, the scenes at the association were my favorites, even though I have a complicated relationship with them. Before shooting started in October, someone from the crew promised they would invite me on set during the filming of these scenes, but they ended up breaking their promise. I try to be as drama free as possible on the internet so I didn’t talk about it publicly but now that the season has ended I’m like “Why should I bottle this up, I’m not the the one who screwed up and I’m still hurt about it”.

The first time I watched that clip in January, I was heartbroken. Not just because of the missed opportunity but because I realised I never got to experience what Arthur did; there was no association for me, no one. But I still have a really soft spot for this scene because it's just gorgeous. The aesthetic is incredible and I totally understand what Arthur feels (minus the alcohol). Overall, as bittersweet as it is, it's probably one of my top 3 scenes this season (and it looks like it's one of David's too, this man has great taste). I can’t help but feel for the teenager I was and I wonder how I would have felt watching it then.

Ep.3: Vendredi 13:12 - Check de frérot

Arthur and Basile's friendship was one of the highlights of this season, heck Basile WAS the highlight of this season. Basile and Arthur never shy away from hugs and I'm living for it. I'm so looking forward to see more of Basile in season 6 (since I guess we'll see more of his relationship with Daphné). I loved seeing him be so well-intentioned, despite his usual clumsiness. Seeing Paul in a more serious register (for instance when Arthur lashed out at the boys in episode 6) was delightful.

Ep 4.: Lundi 19:02 - Les entendants

This one also belongs in my top 3. This is the representation I was looking for when I learned Skam France would tackle hearing loss and deafness. It doesn't come in the same package for everybody, and I love that they tried to show it through so many different characters. The situations described here are universal among deaf people.

On a more personal note, I loved that the extras were actual deaf people and sone of them well known. The lady interpreting is Jennifer Lesage-David, co-director at IVT, and she helped David and Niels a lot this season. And the girl speaking about her relationship with her dad is Lulu, she has a YouTube channel with her sister where they raise awareness about hearing loss. The instagram post that was published that day also featured a lot of people I more or less know.

Watching this clip was an experience in itself. I was attending a conference that night about deaf TV archives. The clip dropped 2 minutes before it started and I had to wait for it to end to finally watch. It was excruciating. Also, half the staff of IVT was there and I actually ended up watching the clip in front them. There were like "Wait? Jennifer was in Skam?".

Ep.4: Vendredi 20:43 - Ma vie a changé

While I'm still sceptical about Noée falling in love with Arthur so quickly (this sign song is unambiguous), I think this is one of the most beautiful scenes in the whole series. I don't care very much about this being romantically coded, I just choose to focus on the sign song, because I'm so happy they featured deaf visual arts.

My friend and I spent hours trying to decipher what the song could be about and our interpretation differed a lot from Winona's original text but we loved doing this. David was curious to see how my friend would understand it (especially the part where Noée signs a growing love which she cradles) and he was so happy when she understood it right.

For those interested, here’s what we interpreted (roughly translated into English):

Like two souls lost in the storm, Swayed by the tide, Never really seeing each other Until ours eyes meet. Something is growing inside me, something new, That sets my heart beating. You take off my mask and the truth in your eyes, Fills my heart. Look at me, I also see you.

Ep.6: Mercredi 18:31 - Un simple bout de métal

Also one of the scenes I was expecting the most this season, especially when it transpired that Noée was a bit radical. Her letter echoes my own fears and I thought it was really on point. Arthur admitting he needs her made my heart melt, he's so lucky to have met her. And Winona was amazing in that clip.

Ep.7: Vendredi 20:31 - Sourd dating

Just like for "Un simple bout de metal", I was also expecting that scene. I like that they made Noée and Camille voice their opinion like both faces of the same coin. It was a great way to address cochlear implants as they're a sensitive topic in the deaf community. I think this is one of the most shining example of the research work they did. They could have just stopped at Noée’s letter. But since they had deaf actors like Lucas, who is also implanted and has faced prejudices from radical Deaf people in the past, they had to show implants were not evil and that the situation was more complex than just “Doctors who want to act as gods”.

Learning Noée’s backstory was also interesting, although I didn’t expect her to be an "ex-implanted" deaf. She explains that she learned sign language at the association, which can't be more than 3-4 years ago (and if you look closely in ep 3, when Arthur checks the website, she says she joined the association at its beginning), but there's no way Noée would have that proficiency in sign language in just 4 years of practice. Winona's fluency in sign language is clearly that of someone who grew up with it. I loved being able to notice these subtleties.

Like all the clips at the association, it was a joy to watch because of the atmosphere and the sign language. The deaf extras were lovely. I actually got to meet a few of them last month and had an amazing time with them.

Ep.9: Vendredi 20:17 - Choisir pour toi

Coline. singing. Do I need to say more? I like that both Noée and Alexia had their shining moment and as clumsy as the story got, I appreciate that the writers didn't try to pin one girl against the other and make one superior. Noée had her sign song and Alexia her own composition. And both were breathtaking. What really gets me in this scene are the colors. I'm a sucker for aesthetics.

And of course, it was great to see Alexia stand her ground and break up with Arthur. I have nothing but respect for her and I'm team Alexia + happiness all the way.

Ep.10: Lundi 10:04 - La même vie que vous

When Melchior, Laura and the brochure subplot was introduced, I was a bit wary because their introduction scene was really, really awkward (it wasn't very well tied at first). By their second scene, at Arthur's place, I was sold. It was great to address accessibility and show that there's no point putting people with disabilities in the same bag, because there are hundreds of them and the needs are different. What doesn't change is our wish to live our life at the fullest, just like abled people. And this scene was precious. Seeing Arthur endorse this new part of him and support his peers was everything.

Ep.10: Vendredi 20:47 - Le meilleur des mondes

I'm still very emotional about this scene. Like… I don't know what to say, the music still sends shivers down my spine.

Honorable mentions :

Ep.1: Mardi 11:59 - 3, 2, 1,…

One of the only things Robin told me about the season when I met him at IVT was that the first clip would drop on New Year's Eve at 11:59 p.m.. That date became a beacon during fall and oh you wouldn't believe how much I waited for that clip to drop and how much I was looking forward to it. And it freaking delivered. The atmosphere, the tense music, that first shot on the loudspeaker, the confetti clogging it gradually… That teaser was a masterpiece.

Ep.2: Like… the whole episode actually. The alarm clock concept was genius.

Ep.4: Samedi 10:15 - Nouveau style

One of these gorgeous clips without dialogues that still say lots.

Ep.5: Samedi 10:03 - Maîtriser le langage

Oh my, this one was so relatable and a joy to watch. Camille explaining that sign language and mimes are different, Arthur being that dimwit asking about swear words and being told off for speaking… Kuddos to the deaf extras who had to pretend they didn't know any sign language, it was so funny (looking at you, Enzo).

Ep.6: Samedi 8:30 - Mythos

Seeing Arthur lashing out at his friends was cathartic. He roasted them so well, I wished I had his ability to speak so well when I'm angry. A+ work.

Ep.6: Dimanche 14:41 - Envie de rien

Alexia being the real MVP, as always.

Ep.7: Samedi 2:15 - Pool Party

It’s strange, because even though a lot of the story went down in this particular episode, it must be one of my favorites, like… tied with episode 2. It has probably a lot to do with the fact there were mostly deaf characters and that they had so much fun together. It’s something I can relate do, the sheer joy of signing the night away, which is something I didn’t get to experience until very recently.

As gorgeous as the underwater scene is, I'm not a fan of Noée and Arthur's almost kiss. I picked this scene because I love the moment of sheer joy that follows; everyone joining in the pool and having fun together. And of course the rise of Camika. I know it's a bit convoluted to have the two openly gay guys fall for each other first time they meet but… it just worked so well.

Ep.9: Mercredi 21:34 - Frère

This clip was about to make the top 10 cut when I remembered about another one and I had to remove it. Just Basile being lovely Basile.

Ep.9: Jeudi 17:30 - T'es pas tout seul

This clip was so important, bless the nurse and bless Jérôme. I wish Jérôme was my audiologist, to be honest.

Ep.10: Samedi 13:39 - Maman

Arthur's mom was so lovely and I'm so sorry she had to go through this shit with her trashcan of a husband. I liked her relationship with her son and her reassuring him he's not like his father was very soothing. I wasn’t the biggest fan of Arthur at the end of this season and I appreciate he’s well looked after after what he went through.

Ep.10: Jeudi 17:46 - Recommencer

Just like "Nouveau style" from ep 4, it's another one of these silent clips that has lots of meaning. Arthur putting back his glasses, slowly accepting his life won't be the same and that he has to move on. Except now things are clearer. Skam France love its symbolism and while sometimes it's very poorly done (like the love triangle emphasizing on Arthur's balancing between two worlds), more often than not it's very compelling.

Now I want to rewatch everything, so see you soon I guess :)

[stars-falling]

Trope mashup 9 + 53 Elriel. Please and thank you 😊

9.Dance AU

53.Mutal Pining

(I’ve decided to make Elain the dancer and Azriel the pianist as it matched the idea better, I hope that’s okay!) Also, sorry it’s so long. I got really carried away.

Elain is the rising star of the Velaris Arts Academy. She is a fantastic dancer who specialises in ballet and contemporary, but she does have lessons in other dance styles. Her sisters are also students. Feyre is an artist and Nesta is a director. During their first year, they met Rhys, Cassian and Azriel. Rhys is an actor, Cassian is a stage manager and Azriel is a musician. Elain and Azriel meet when they are paired for the school recital. Azriel accompanies Elain’s routine on the piano. They win and become great friends.

Surprise, surprise, they fall in love with each other but at first, they refuse to admit it to themselves. They continue to work closely and their feelings become stronger. Azriel refuses to act on his feelings as he believes that Elain, the epitome of perfection in his eyes, deserves someone better than a boy from a broken background. Elain doesn’t confess to Azriel as she is continually told by her mother that nothing is allowed to get in the way of her dance career.

Cue several almost moments:

First, Elain is dancing in a ballroom competition when her partner, Lucien, is late to rehearsal. Azriel offers to step in and amazes her with his skills. They end in a very close position, in which they almost kiss but are interrupted Lucien arriving.

Next, Elain stays late to rehearse and hears a piano being played. She follows the music to find Azriel playing in the middle of the auditorium (cliche, I know). She asks what piece he is playing and he reveals it’s an original composition. She asks him to teach her and they stay even later playing together. After they finish playing, both Az and Elain lean in but Elain’s phone rings, interrupting their moment.

Elain has a very important show that she invites all of their friends too. She gets them all VIP tickets. Azriel’s car breaks down as he is on his way, he doesn’t make it in time for the start. ELain looks for Az in the audience and is heartbroken when she sees he isn’t there. Meanwhile, Az leaves his car after he finds out the tow truck would take too long and runs to the theatre. Elain sees him during her final dance and he approaches afterwards with flowers and an apology. She kisses him in reply.

Send me two (2) tropes from this list + a ship and I’ll describe how I’d combine them in the same story.