#for saru

[videotapemp3]

"I've had the time of my life… And I owe it all to you…"

Patrick Swayze and Jennifer Grey in Dirty Dancing (1987) + Eli Manning and Odell Beckham Jr in the NFL's Super Bowl LII commercial "Touchdown Celebrations to Come" (2018)

[ca-tsuka]

"Dan Da Dan" Opening : Colorscripts by Sophie Li (Instagram / Twitter).

[silvadour]

[eruptedinlight]

Saru: A Flat Ass Icon

[sarushka-01]

a thought. everyone agrees that sunday’s wings express his emotions more than he’d want to, just like tails of animals (or dragons… staring at dan heng il)

so imagine, sunday boarding the astral express, to see the universe in a new light, to have a fresh perspective on things, to try and change the way he views himself. he lets himself loose a little, his body less stiff as he lets his guard down around the crew (that is, including you). he doesn’t try to smile all the time, doesn’t try to control his body as much as he did in the past, his halo glowing more or less depending on his mood and his wings… twitching from time to time. as the head of the oak family, he had to be composed at all times and never let his facade slip. but now, as just another traveler wondering through the cosmos, he’s free of all the responsibilities. as he grew accustomed to this new life the astral express has offered him, you began to notice tiny changes in his behaviour. those were details, really, but you couldn’t help yourself but smile whenever you looked at him. he seemed more alive, now that he was out of his cage. his eyes look liked two shining suns, instead of cold gold, smile less forced, steps unsure, but more free. and your favourite part; his wings. they would always flutter when he laughed, and you prayed to akivili that he’d never learn about this, only so you could see that sight more often. sometimes, when talking to someone (especially you), that same thing would happen again. and you had to try your best not to crack a laugh, because how could he be so adorable without even realising that? it felt like you were staring at a very cute dog wagging its tail whenever you approached it. another detail you almost missed - his sweet tooth. whenever pom-pom said something about desserts, a spark would ignite in the halovian’s eyes, barely noticeable. every time he’d get a taste of that sweetness he so seemed to love, he’d look like a giddy child. the way he smiled, you just wanted to grab him and kiss his lips. how could someone be so cute and unaware of that charm?

[sashi-ya]

I hope you all can understand the true sweetness of this scene, to me it was pure love and intimacy. It has nothing to do with their age, nor is inappropriate at all. It really, really melted my heart. I'm an adult and I can tell you I hope every 17 y/o gets a tender love like this one, and I hope the ones watching this scene use this as an example of how gentle love and intimacy should be. It is important to see the contrast, love should be sweet, fun, all smiles and laughter like this scene, not like the one Momo experienced on the first episode. Wait for your Okarun, my ladies 🥺💖

[scribbleymewzaque]

This is how I described Dandadan to my brother

[reginaldqueribundus]

Star Trek TOS: what if the captain was a slut who got in fights all the time and did whatever the hell he wanted and it all sort of worked out anyway

TNG: what if the captain drank tea and gave speeches instead

DS9: what if the captain was a single father and religious figure trying to hold onto his morals in the face of an existential threat

Voyager: what if the captain was trying to get her unruly scout troop back home and also she had a GUN

Enterprise: what if the captain was a massive dweeb

Kelvin timeline: what if the first guy was actually a horny frat boy

Disco: what if the captain was a cryptofascist? no wait, what if he was just sooooooo handsome, like so mind-meltingly handsome that is just feels unfair? wait, what if he was a deer? no actually what if she did whatever the hell she wanted, but also felt emotions about it?

Picard: what if the captain was a secondary character driven into solitude by his PTSD, and then we suddenly replaced him with some dipshit from Chicago

Lower Decks: what if the captain was your well-meaning perfectionist mother

Prodigy: what if the captain was a purple teenager

SNW: what if the captain was your dad

[swampjawn]

What happens when you let a film nerd make an anime?

Fuuga Yamashiro (山代風我) joined Science Saru in 2017 as an Assistant Production Manager during production of "Night Is Short, Walk on Girl." He was essentially Studio Co-founder Masaaki Yuasa's secretary, but he worked his way up to assistant director on "Keep Your Hands off Eizouken" and finally got to direct his own first full Anime series, Dandadan.

Having worked so closely with one of the greatest living auteur directors, you might think he would share that overpowering individual creative influence, but as he has pointed out in interviews himself, it's much the opposite.

Instead of relying on his own creative voice, which he doesn't seem confident about in interviews, he literally collects techniques from his favorite movies, breaking them down into storyboards and adding them to his arsenal to re-contextualize later. And as you may be able to tell from watching Dandadan, his biggest influences aren't anime and manga, but live action film -- something he seems to have studied obsessively.

And when you compare the anime to the original manga (which itself is already filled with references to old movies and TV) subtle adaptation choices make the deft application of techniques borrowed from other storytellers very clear. Every choice is made for a reason and furthers the story being told in some way; nothing is there for no reason. like the simple, controlled camera pans and tilts that make the serpoian spaceship feel cold and sterile, or the crazywackysilly, un-predictable wide-angle camera movements that intrude on that cold sterile world when turbo granny shows up.

In one interview during the production of "Keep Your Hands off Eizouken" Yamashiro pulls out his notebook where he had collected all these techniques and gives an example:

"There's a technique called 'Dolly Zoom', which is a technique that changes the perspective of the background while keeping the size of the subject." […] "In 'Cult of Chucky,' which I saw recently, there is a scene in which a long passageway is filmed in telephoto, while a wheelchair moves forward. The character is 'getting closer, but the viewer feels farther away'. This is the kind of thing I collect." […] "I'd like to combine these things in various ways and do it in animation." (I took some liberties with this, the translation was pretty rough)

And sure enough, that exact same type of dolly zoom rears its head in Dandadan as Okarun sprints away from Turbo Granny and the mouth of the tunnel stretches impossibly into the distance.

It may seem counterintuitive to ascribe too much importance to the creative vision of one person who specifically talks about his own lack of strong creative vision, (and to be clear, he's far from the only person playing a major role) but I think it's precisely that encyclopedic knowledge of film techniques and that pragmatic, meticulous attitude that may have acted as a stabilizing force for Yuasa, and that also provides some needed structure to a ball of pure energy like Dandadan, while still preserving its essence and the eclectic influences that it wears on its sleeve.

Also, mad respect for using the seventh installment of the Child's Play franchise as your example of a dolly zoom instead of, like, Vertigo, Jaws, or Goodfellas.

This is just a sliver of what I talk about in this full video! A minuscule piece of the pie! Some tiny little crumbs for the peasants! So if you consider yourself worthy, go watch the whole video. I think it's good.

Uhh also reblog! I spent way too long on that intro animation, so I need it. Bad.

[loosescrewslefty]

The use of light and shadow in the first episode of Dandadan as a means to convey characters being vulnerable vs keeping others at arms length is delightful. When Momo first rejects Okarun after he tries to talk about his interest in aliens to her, he is standing next to a brightly lit window while Momo is walking into a shadowy stairwell.

When she goes back to pick up his magazine and tell him about her belief in the supernatural, Momo steps into the light herself.

Then fast forwarding to the kids investigating the hospital vs the tunnel, and Momo is brightly lit while telling Okarun about her past and why she believes in ghosts despite never seeing one.

Meanwhile in the tunnel, Okarun is surrounded by darkness, and even the light from his flashlight disappears when Momo asks him to tell her why he feels so strongly about the existence of aliens and he tries to avoid answering.

Then when Momo is abducted, the alien ship is lit in painfully bright florescent that is a stark contrast to the softer lighting we see in the scenes above. Despite the Serpo's pretense of friendliness, they forced Momo into an uncomfortable position, exposing her against her will and attempting to use her for their own purposes, with no concern about her wants. She is literally being put under a spotlight she cannot escape from, on display and unable to run no matter how much she wants to.

Okarun comes in and smashes the lights fighting the Serpos, giving some small reprieve from the harsh glare. And then when he's pinned and can no longer fight, he comes clean about why he has been so desperate to meet aliens and how much Momo has already come to mean to him, and when he does the shadows that shrouded him moments earlier disappear.

Then, finally, when Momo unlocks her powers, she LITERALLY becomes enlightened, emitting a turquoise glow. By embracing a part of herself that she long ago turned away from out of fear that she didn't fit in because of it, Momo found the power to stop the beings that wanted to hurt them.

[videotapemp3]

the crack cancer challenge ft. eli manning, saquon barkley, and sterling shepard (2019)

[demifiendrsa]

Dandadan TV anime OP

[calam1typann3]

Various Crew Drawings for Scott Pilgrim Takes Off and god they all RULEEEE!1!1!!

Art By (Respectively):

• Animation Director: Nick McKergow

• Artist: Sota Kambayashi

• Animation Director: Kotomi Ota

• Lead Designer: Takuko Takahata

• Storyboard/Director: Kenji Maeba

• Storyboarder: Mari Motohashi

• Character Designer/Chief Animation Director: Masanobu Ishiyama

• Character Designer: Shuhei Handa

• Director: Abel Gongora

[ruiniel]

they make me ill

source: Kura no Ryuukeichi dj

[lizzie-jones]

Doug Jones and Tara Rosling on the set of 'star trek discovery season 5'

[startrekuniverse]

Star Trek Discovery

So many memories.