These straps were released during the Advanced Generation era. You could purchase them for a limited time in 2003 for 200 yen in gachapon machines in Japan. They’re pretty versatile as they can be attached to keychains, phones, handheld video game systems, or even just hung up on Christmas trees as shown in the display board.
Michael Fassbender: ‘we’re all capable of terrible things’
interview for “The Telegraph” by Robbie Collin (X)posted9/12/2015
Michael Fassbender has played sex addicts, slave owners and supervillains. Could Macbeth be his baddest role yet?
Even by the usual standards of the Isle of Skye in early February, it wasn’t the balmiest of mornings. Visibility was so poor that Marion Cotillard, one of the two stars of the new cinema adaptation of William Shakespeare’s Macbeth that was filming on the island, had strayed into a bog and disappeared from view. It had taken two crew members to fish her out while the mud sucked at her feet.
By midmorning, the temperature was still 10 degrees below freezing, and the hail was so furious that the director, Justin Kurzel, had to fasten industrial fans to the fronts of his cameras to blow it out of shot. After calling action, Kurzel and his crew watched scenes on a monitor under a flapping tarpaulin. But Michael Fassbender, who was playing Macbeth, had to stand there unshielded, his face turned towards the storm.
I meet Fassbender 15 months later, on a roof-terrace bar during the Cannes Film Festival, the day before Macbeth’s world premiere. It’s 29C outside, and the sun gleams over the bay like a polished plate. The 38-year-old actor is sitting with his shirt unbuttoned to the chest, and his teeth are bared in a wide, wolfish grin.
The terrace is preposterously out of whack with the on-set conditions Fassbender is describing, and we’re both laughing semi-guiltily at the contrast. He concedes that the weather during the Macbeth shoot was on occasion “restrictive”. But for Fassbender, restrictive is good.
“Innovation comes through restriction,” he says. “And while on a big film you’ve got all the options in the world open to you, on a small film even getting it made is a hard thing. I love how fast you have to work – that pressure of having to get it right in one take or not at all.”