interviews with directors

(Note: This is the part 2 of the interview. To read part 1, click here.)

Stephen Anderson began his career at Disney as a storyboard artist on Tarzan. He then served as Head of Story on The Emperor’s New Groove and Brother Bear, before making the leap to director on Meet the Robinsons.

So how did Stephen first hook up with Disney, and how many Meet the Robinsons-related anecdotes can I squeeze from his brain? Let’s find out in the second part of our EXCLUSIVE three-part interview…


Part 2: Working at Disney


The Disney Elite: You started your career at Disney as a storyboard artist on Tarzan. How did that come about?


Stephen Anderson: I got to Disney through a colleague at Hyperion. I became friends with Kevin Lima, who came to Hyperion to direct a feature adaptation of Thumbalina. His co-director was Chris Buck, who had been my animation teacher at CalArts. I helped out on that film as much I could because I loved the idea and I loved working with those two. Eventually the project got shelved and those guys left. Kevin went to Disney and directed A Goofy Movie and after that, Disney wanted him to direct Tarzan. He chose Chris Buck as his co-director and so, because of those connections, I was able to become a part of their story team on Tarzan. We’ve all heard that cliche about how so much of success is who you know? This was a perfect example of that.





The Disney Elite: After working in Story on Tarzan, The Emperor’s New Groove and Brother Bear, you made the leap to director on Meet the Robinsons. Would you explain how you made that huge transition?


Stephen Anderson: First off, the only thing I wanted to do more than be an animator was to be a director. In fact, directing (and screenwriting/filmmaking in general) really took over the older I got. As a teenager, I started seeing more diverse kinds of movies, learning about filmmakers, reading about how movies are made, about screenplay structure, about what a director is, and I grew to love the idea of moviemaking. It was really the films of Steven Spielberg that changed my path and made me want to be a director. First off, the level of emotion and audience reaction that I saw and felt when I watched his films was something I wanted to be able to give to an audience someday. Loving his films then made me want to learn more about him so through reading articles and interviews and watching ‘making of’ specials, I decided that that’s what I wanted to do. So this was always the goal beyond the goal.


After Tarzan, I became interested in pursuing the Head of Story role and was fortunate to be asked to fill that role on Groove and on Brother Bear. I had asked, before Brother Bear, if I could be considered for a directing position in the future so we were already having that conversation. Since I’d been performing leadership roles, they were open to the idea. I helped develop a project for the studio on the side, during the last year of Brother Bear, with the thought that if it continued, I’d be the director. It did NOT continue. I finished Brother Bear, moved back to California (because we had to relocate to Orlando for that project), and was then handed a script for A Day with Wilbur Robinson





The Disney Elite:Meet the Robinsons was one of Disney’s early entries into CG animated features. While Pixar had already released such brilliant films as Toy Story, Toy Story 2 and The Incredibles, over at Disney there was just Dinosaur and Chicken Little. Was Meet the Robinsons always intended as a CG film, and were you at all nervous and/or hesitant about making it one?



Stephen Anderson: Boy, the memory is getting hazy but, as far as I can remember, MtR was always intended to be a CG feature. Yes, in fact I remember that while I was still on Brother Bear, the announcement was made that the studio was transitioning out of hand drawn. I was slightly anxious about doing CG just because it was something new I had to learn on top of already trying to learn how to be a good director. But to me, the creative stuff is always the biggest challenge and the thing that occupies my mind most of the time. Disney has the best people in the world so I’m always confident that the movie will look good, sound good, etc. And I was lucky to have such great artistic and technical leadership surrounding me. I trusted them to help me out if I was confused or uncertain about the technology. They all gave me a boot camp in computer animation at the beginning so I felt like I had a pretty good foundation starting out and I felt safe asking about anything I didn’t know.





The Disney Elite: Meet the Robinsons was the first of Disney’s CG films that made me think, “Now THIS is the perfect pairing of film and format!” The slick, shiny surfaces of the CG at that time really served to complement the futuristic, retro/moderne look of your film. Not only that, but while Pixar was aiming more and more for a photorealistic approach to their animation, your cartoon was, well, CARTOONY! And not just the backgrounds and characters, but also the animation itself. For a relatively early CG film, you got some gorgeously goofy character animation in there! If you wouldn’t mind, would you make a list of the films – animated or otherwise – that you used as inspiration for Meet the Robinsons?


Stephen Anderson: Well story-wise, we looked at the movie You Can’t Take It With You. It’s also about an eccentric family with quirky personalities and passions. Bill Joyce, the author/illustrator of the book that MtR is based on, told me that You Can’t Take It With You was a huge influence on him when he was creating the Robinson family. With our art director, Robh Ruppel, we talked a lot about The Wizard of Oz and how that movie goes from a sepia palette to a Technicolor palette and that influenced the look of the distant past (when we see Lewis’ mother giving him up it’s sepia) and the future (bright, bold and Technicolor). With the animators, we looked at scenes of Jim Carrey as inspiration for both Wilbur and Bowler Hat Guy. Also a lot of Looney Tunes. We used to say that Lewis is a Disney character and Wilbur and the Robinsons are Warner Looney Tunes characters. Lewis moves in more of a solid, natural, Disney-type of animation and the Robinsons are zippier and invade your personal space more like Looney Tunes characters. Those are some of the main influences I can think of.





The Disney Elite: Another wonderfully cartoony element of the film is your choice of voice-actors. The voice-work often reminds me more of 1960s Hanna-Barbera cartoons than anything Disney was doing at the time. I mean, there are some really unexpected picks in there (Batman’s Adam West, Roseanne’s Laurie Metcalf, There’s Something About Mary’s Harland Williams), all of whom do an AMAZING job. Oh, and then there’s YOU – voicing not one, not two, but THREE characters, including the mustache-twirling Bowler Hat Guy! Care to share the story behind that bit of kismet casting?


Stephen Anderson: Thank you for saying that about our voice actor choices. I’ve always been such a fan of those classic voice actors and I liked approaching our casting that way. We thought it best to not go with big names, but just solid character performers. To me, actors who have experience in theater, sketch comedy and improv are really best for animation because they know how to create strong and clear characters.


As far as my involvement goes, it’s pretty simple. I’m sure you know about the work-in-progress reels that we create, where we take our story boards and cut them to temp vocals, music and sound fx. Well, I did the temp voices for those characters and, after several screenings with my voice in there, folks just got used to it and eventually I became the voice of those characters. It was the same with other members of the team. Frankie the Frog, Uncle Gaston and Lewis’ coach, Lefty the butler, the t-rex that BHG unleashes - those were all voiced by members of the story crew.





The Disney Elite: Meet the Robinsons is one of those rare movies that makes me tear up every time I watch it. This is all the more rare seeing as how for most of the film, it’s funny, funny, FUNNY. It seems to me like this kind of emotional punch can only be created when a writer/director is willing to put their own emotions and experiences into their work. Was this true for you? And if so, would you mind sharing a bit of your personal story that effected the story being told in Meet the Robinsons?


Stephen Anderson: The adoption part of the story was not in Bill Joyce’s original book. That was something that two development executives and a writer had built in to the first draft of the script, long before I’d come on to the project. When the studio handed me that script, I couldn’t believe what I was reading. While my story differs from Lewis’, I still totally identified with his quest to know who his mother is and to find out why she gave him up. And the studio had no idea that I was adopted so it was a complete coincidence. Because I understood Lewis so well, I was able to bring out that emotional side much more. It was there in the original draft, but I felt we could strengthen it.


The theme of 'Keep Moving Forward’ evolved out of early discussions about adoption and my personal feelings about it. My parents were very open with me about it and told me I was adopted at a very early age. They used to tell me that when I became 18, I could access my records and find out who my birth parents were and that they would support me in that. So for many years, I looked towards that age as a big milestone and I was determined to find out where I came from. Then one day, I realized my 18th birthday had come and gone and I’d totally forgotten about starting this search. I’d gotten distracted by life, CalArts, starting a career, getting married, etc. And I was so lucky to have been adopted by such a loving family. What would finding my birth parents change? Nothing really. In fact, I’ve heard stories about people having very negative experiences reconnecting with birth parents and that sometimes it makes things worse for them. So the important thing was to not focus on the past but on the positive present and the promising future. And that helped us all realize that that’s exactly what Lewis is going through too.


The Disney Elite. Wow. I’m damned near speechless. That right there made my day, my week, my YEAR. That was incredibly moving and inspiring, Stephen. Thanks so much for sharing that.





Thursday: In Part 3 of our interview, Stephen Anderson tells us about his life at Disney post-Meet the Robinsons. There’s his work as director on Winnie the Pooh, his place in Disney’s famed ‘Story Trust’…oh, and his upcoming, TOP SECRET animated feature film project! He’ll also offer some GREAT advice for folks hoping to make art their life. If this sounds like YOU, make sure to come back and check it out. I hope you’ll join us!


All art via Stephen Anderson’s Instagram

NOTE: This interview would not have been possible without the kindness and assistance of tumblr user Morgan – a.k.a. that-guy-in-the-bowler-hat. Morgan runs the internet’s PREMIER Meet the Robinsons archive and fansite. If you are a fan of MtR, you MUST check out his tumblr a.s.a.p.!

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Jennifer Yuh Nelson (“Kung Fu Panda 2 & 3”) takes viewers inside her creative process in an exploration of where ideas come from

It’s time for another Hiveswap development team interview!

Hey there, Hiveswap and Homestuck fans! Ash here once again, and as promised, it’s time for another interview with the talented folks on Hiveswap’s development team! And don’t worry – if you missed the first interview, with our environment art director Rah, you can find it right here!

Who’s in the hot seat today? Why, it’s Adrienne, our lead animator! She can tell you far more about her work on the project than I ever could, so without further ado, I’m going to hand things off to her – after reminding you all to take good, long looks at the wonderful examples of her work peppered throughout this interview. Take it away, Adrienne!

Introduce yourself to the fans! What is your specific role on the Hiveswap team?

Hiya! My name’s Adrienne and I’m the lead animator for Hiveswap. I work together with Angela, the animation director, on roughs, cleanup, background and cutscene animation – anything that moves!

When and how did you get your start on the Hiveswap project?

I was hired full-time in January 2016, but I started doing some sprite conceptualization in late 2015 in tandem with [S]:Collide work (I animated sprites for the main big bads and did thumbnails for some of the sequences).

Tell us a little bit about your career background! How did you get your start in animation? Do you have any advice for others looking to enter this field?

Homestuck is basically my career background, ahaha.

I drew a lot of fan art for Homestuck after I finished catching up in late 2012. I got some attention from my work and I was asked to do comic pages for Paradox Space. Then I did work for the Homestuck calendar. Then I just became more involved in the comic after that by doing thumbnails, sprite animation, comic pages, snapchats… and now I’m working on the game… it’s been a wild ride from fan to full-time fan.

But as for how I got started in animation, a lot of it was influenced by anime and then DeviantArt while I was growing up. I grew up with Naruto and loved Norio Matsumoto’s work in it (he did the key animation for the best episodes!). And on DeviantArt, I liked following OCTs (Original Character Tournaments) and was particularly inspired by Unknown-Person’s work.

My general advice would be to value learning and exploration, and have less expectations of what life should hand you – it makes a lot of circumstances feel like a pleasant surprise and a good opportunity to learn something new. That’s how I felt when I stumbled into this field anyway, haha.

We’re making a video game, so of course the question must be asked: what’s your favorite game of all time, and what games are you playing currently (if any)?

Agh, what a difficult question. My most-played genre is colorful multiplayer shooters like Team Fortress 2, Overwatch, and Splatoon.

I finished Nier: Automata recently and now I’m working through Persona 5. But when I’m not working through that game, I play Breath of the Wild (most of my time is spent riding my horse around Hyrule – it’s very calming).

Are there any games that you currently use or have used as inspiration for your own animation work here on Hiveswap, or just in general?

I generally use Homestuck flash animations as an inspiration for Hiveswap sprite animations.

When I’m working on cutscenes, I look to Professor Layton stuff. I love how they integrated cutscenes with gameplay in that series.

As an animator, you must have some favorite cartoons and/or anime – tell us about them!

My recent favorite is Mob Psycho 100. The raw and rough quality of the animation for that one is my jam and the main cast is really inspiring. Avatar: The Last Airbender is still my top favorite for its epic storytelling and world-building. Naruto always has a special place in my heart since it’s one of the earliest things that inspired me to study animation.

Other big influential works for me were Princess Mononoke and How to Train Your Dragon.

What’s your workstation like? Do you like to listen to any particular kinds of music while you work? If so, tell us about it!

Here’s a picture of my workstation! If you squint at the bottom screen closely, you can see me taking the picture. But anyway… yeah. I am a little embarrassed for people to know how saturated my workstation is with inspirational quotes (there are papers of handwritten motivation on the walls behind me), but that’s just how I deal when the anxiety gets a little rough.

When I want to focus (usually for rough animation and concept art), I pull up an electronic or classical playlist on YouTube (and recently Spotify) or have no music playing at all. But for everything else (cleanup, in-betweens, etc.), I dig into different genres once in awhile but Imagine Dragons and Americana/folk stuff are my go-to. Acoustics sound really nice in these speakers.

Favorite Homestuck character?

Egh, this is impossible… I’m gonna say it’s between Rose, Jade, Roxy, Kanaya, Terezi, and Vriska… um…

Favorite Homestuck ship?

Rose/Kanaya has never once failed me! c: (I think John/Terezi is really funny too.)

Favorite Homestuck flash?

Urgh… I don’t know, there’s so many that I love. In terms of like… cool and creative setup, [S] Cascade probably? [S] GAME OVER is cool too, because everyone died and the stakes just got so much higher. Oh! I just remembered [S] Make her pay as well!

This question is impossible.

(In the above animation timeline, the first frame is held for 4/24 of a second, the second frame for 2/24 of a second, the third for 2/24, and so on.)

Do you have a personal message you’d like to relay to all the Homestuck and Hiveswap fans out there?

Thank you for all your support, and for your patience in making it through the Giga/Mega/Omegapauses intact!

Where can people find more of your work? Link us to your own little corner(s) of the Internet!

If you want to see more of my stuff, my Tumblr is the place to be!

Thank you, Adrienne! Well, folks, I hope you’ve enjoyed this second Hiveswap development team interview – and don’t worry, there are still plenty more to come!

Now that we’ve gotten things rolling, from here on out we’ll be bringing you a new interview every Wednesday, so be sure to check back every week for a new behind-the-scenes look at the development of Hiveswap and the talented people behind it!

See you next time!

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string of fate au!
what if everyone can actually see strings of fate BUT each person can see only one kind. mura can only see the orange string, which means irreplaceable friend (or the sort) while miyu can see the infamous RED string, which means romantic soulmate! at first miyu was very reluctant to meet his soulmate (he can see the string getting closer when mura comes to seidou) but then he actually saw mura walking about and bcm worried when mura *obviously* got lost and ended up watching the latter until he decided to help (bcs hes actually v protective).

[this is a scheduled post]

Yuri on Ice interview translation - PASH! 2017/05 (p24-25)

I am pleased to bring you the very first interview with director Sayo Yamamoto!!! You don’t know how much I’ve been waiting for this… This one is pretty general because of course she has never been interviewed before so they are asking her the basics, but it’s very interesting to finally hear things from her perspective too, since she’s the one who started it all. More interviews with her will be appearing in other magazines in the near future, I’m looking forward to those ones too.

Also, I believe a bright future is to be expected for Yuri on Ice, since she seems to have lots of plans…!! (I was shivering typing out the translation, lol)

Translation is under the cut.

***If you wish to share this translation please do it by reblogging or posting a link to it***

***Re-translating into other languages is ok but please mention that this post is the source***


Interview (first appearance in media!)
The world of “Yuri on Ice” that director Yamamoto wanted to create
With 8 notebooks full of notes in one hand, director Sayo Yamamoto has answered our interview for the first time. We have asked her how this new animation that no one had ever seen before was born.

Keep reading

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News: Animage June 2017 Issue


Original Release Date: May 10th, 2017
Retail Price: 980 Yen


The cover of Animage Magazine’s June 2017 features Levi, as drawn by SnK season 2 Animation Director Chiba Takaaki (Who is also responsible for the post-episode illustration for the “Historia” episode)!

The contents of the magazine will include conversational interviews between Chief Director Araki Tetsuro x Director Koizuka Masashi, as well as seiyuu Kaji Yuuki (Eren) and Inoue Marina (Armin)!


Update (May 10th, 2017): Added preview of the Levi poster (Textless visual of the cover) that comes with the issue!

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VIDEO: How Patty Jenkins Cast Her Army Of Amazon Women - CONAN on TBS

anglophiledalek  asked:

Dear Neil, this is not so much a question as a thank you. I just watched "Terry Pratchett - Back in Black" on BBC 2. Towards the end, there was a part of an interview with you in which you cried. This broke, or rather unlocked, something in me and made me break down and cry for a long time. Some of my tears were related to the subject, some to everything else going on in my life. I hadn't cried in a long time. It was very helpful and a relief. It might sound weird, but thanks for your tears <3

It was strange, and unexpected, breaking down in an interview in an empty Chinese restaurant early one morning: I think it was because the night before it had been Terry’s public memorial, and now it was private, and I was talking about my friend, not about the public persona. At the end of the interview, Charlie, the director/interviewer said “I’ve never said this before to someone I’m interviewing, but would you like a hug?” and I said I would.

“Well, at least that bit won’t be on TV,” I thought. “It would be too embarrassing if it was.”

But it seems to have let other people cry too, for Terry and for what they needed to cry about, and for that I’m grateful. So you are very welcome.

“Little Witch Academia” Director Wants to Do Another Season, Spinoff

Because of Netflix’s annoying policy of holding onto series so it can release them in bulk, you can’t see it yet, but Trigger’s Little Witch Academia series is airing at this very moment.

The series, which began January 9, is set to air for two seasons and run 25 episodes. But even that’s not enough, according to an interview with director Yoh Yoshinari.

According to excerpts from the interview, Yoshinari says he has so much stuff he wants to do it won’t fit into 25 episodes. He added that it’s hard enough just to fit Akko’s story into 25, and with the current limit, the team doesn’t have enough time to delve deeper into what’s going on with Diana and Amanda.

Finally, Yoshinari mentioned he’d like to do a spinoff series centered around Shiny Chariot, the witch who inspired Akko, and the Night Fall books that appear in the series.

If the Little Witch Academia series succeeds financially, Yoshinari may just get his wish.

Thought of the day (while reading a “gender marketing” translation with painfully outdated views): I am really, really sick of us only talking about “gender” when women are involved.

A surprising number of important realizations could be made if we develop the habit of talking about gender dynamics even – perhaps especially – in the context of all-male or mostly-male groups.

How does it affect productivity, public image, collaboration, negotiating, client acquisition, etc. to have any group of people involved be entirely men? What effects does this drastic gender imbalance cause in its environment?

LET’S TALK ABOUT GENDER AND MEN, PEOPLE. Gender is not an exclusively female domain.


Me, interviewing the director of basically any film ever: “So let’s talk about the extreme gender imbalance in the casting of this film. What was the thinking behind that? Was there a particular statement you were trying to make, a satirical observation on the politics of society, perhaps? That kind of came out of left field, when we watched the film and all the parts but one were men. Can you tell us a little about the background of that?”


Director: “Um… I didn’t actually consciously think that much abou–”

Me, interrupting: “Come now, don’t be modest! That was a fascinating artistic decision! The drastic disparity between the number of men and the number of women in the film makes it clear to even the most casual viewer that gender is a central theme in this story. Can we delve into that a little bit further?”

Director: “…”


This would be a fun tack to take in regard to race, too.

“I noticed something very interesting about your film, which is that every single one of the leading roles is played by a white actor. Clearly there’s some conceptual message you want to communicate with this creative choice. Could you talk about that?”

Director: *sweats nervously*

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In a conversation with director Wes Anderson Terry asked why he often has his characters look at the camera/audience head-on. Here’s what he says:

“I have my own way of blocking things and framing things that’s built into me. I compare it to handwriting. I don’t fully understand it — why my handwriting is like this — but in a way there’s some sort of tonal thing with the kind of stories I do. They tend to have some fable element and I think my visual predilections are somehow related to trying to make that tone and make my own writing work with performers.”

Photos of The Royal Tenenbaums, The Life Aquatic, The Darjeeling Limited, and The Grand Budapest Hotel

inquisitr.com
‘Zootopia 2’ Movie Sequel: Nick Wilde, Judy Hopps ‘Romance’ Confirmed In 2017? Golden Globes Interview With Directors Byron Howard And Rich Moore [Video]
A Zootopia 2 interview and the 2017 Golden Globes has Byron Howard and Rich Moore discussing Nick Wilde and Judy Hopps… and romance.
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VIDEO: WONDER WOMAN - Gal Gadot, Chris Pine, Patty Jenkins - ABC NEWS

Inside Lana Del Rey’s Lust For Life: A Chat With the New Video’s Director
  • Pitchfork: What was the concept for this video?
  • Clark Jackson: We wanted to play with the idea of old 16mm instructional videos mixed in with the fifties and sixties era sci-fi shows. We loved the idea of playing with magic, something slightly noir which is very her, something a little playful which is also very her. And of course, we did it because of the reveal of the album title which she’s really excited about. We also wanted to tie in this idea that Lana was talking about the power of positive vibrations and the idea that positive thoughts can make a difference...that's why she wanted to send little hearts out to the world. We also wanted to put in a whole bunch of hidden tie-ins to the rest of her album. In the end, there are not very many items represented there, but each of them means something—each thing was placed on purpose. We want people to ask, “Why a ladder? Why the seven planets?” As songs and the rest of the album are released, they will become more clear.
  • Pitchfork: Last month, Lana tweeted about a nationwide occult effort trying to remove President Trump from office through witchcraft. How does the occult factor into this video?
  • Clark Jackson: That’s actually kind of funny, we never talked directly about witchcraft or the occult, we were more having fun with the idea of the zany world of old TV shows and noir etc. Maybe that idea of positive vibrations, and the idea of if we can put positive out into the world that maybe we can make a positive difference ties in there somewhere, but truthfully I don’t know.
  • Pitchfork: The video features a bunch of symbols. Most people recognized the Weeknd's XO logo, but what you can tell me about the other symbols?
  • Clark Jackson: I can’t tell you what all the images were for. Each was important and I think in time, each will be revealed.
  • Pitchfork: How did the monolog come together? Any particular inspirations there?
  • Clark Jackson: You will have to ask Lana directly about where the monolog came from. She pulled up to a meeting with me and it was something that she had recorded on her cell phone. She said “let’s do something like this,” but it was so perfect that we didn’t edit a word of it and used it as is.
  • Pitchfork: Vevo lists Benny Blanco, Emile Haynie, and Rick Nowels as co-producers, with you, on this video. What did they contribute?
  • Clark Jackson: Vevo does that—they don’t always differentiate between the video producer and the producers of the record, the music, etc. I am just happy to be in their fine company, some of the finest music minds in the industry.
  • Pitchfork: Any standout memories of working with Lana on this?
  • Clark Jackson: Lana is amazing to work with. She has a real vision but lets you get in her head and see if you can add to it. It is the best case scenario. She knows what she needs but wants you to add your own spark to it, too. There is this sense when I work with her that she gives everything of herself, and that comes out in just how powerful her music is.
  • Pitchfork: There are a lot of visual effects here: the ghostly Lana, the flickering stars over Los Angeles, the Statue of Liberty’s torch being snuffed out. What was the most challenging part about directing this?
  • Clark Jackson: The hardest part of this whole video was the Hollywood sign. We wanted a night shot of the Hollywood sign as it looked, all lit up in the 1950s. Of course, the sign is not lit up anymore. So I and a few friends built the sign and the mountain out of papier-mâché, foam, chicken wire, and old school Hollywood-style model-making in my garage. The neighbors thought I had lost my mind when they saw me knee deep in papier-mâché. Blink and you will miss it, but all of that from the tower to the sign to the bushes and trees were all made by hand. Probably would have been so much easier to have someone build it in 3D, but it was so much fun playing in mud, glue, and paint for three days.
  • Pitchfork: What was your involvement on the “Love” video? Anything you can please tell us about the visual aesthetic there?
  • Clark Jackson: I produced the “Love” video. Rich Lee is this amazing director, so anytime I can work or play with him, I jump in. As a producer, my job is to try to come up in real space all of the amazing ideas that the director has in their head. We had a couple of main shoot days, then we ran all over Southern California for several days to shoot all the cool otherworldly landscapes.
  • Pitchfork: What can we expect, visually or sonically, from Lust for Life?
  • Clark Jackson: Just like on the clues in the video, I’ve been sworn to secrecy, but I think I can safely say that the first single is going to be rather Hollywood-centric. It ties in for sure.
Yuri on Ice BD booklet translation (with Jun Shishido & Yuusuke Tannawa interview) - Volume 4

The full translation of the booklet of vol.4 is finally done… Actually, one of the reasons it took me so long is that I spent most of the time I was home from Thursday to Sunday watching Fuji TV’s live coverage of the World Championships, lol. And I’m glad I did because it was really exciting. It does make a difference to watch it live without knowing the results… I will work on the audio commentary and choreography part in the next few days, and hopefully on other stuff too.

The booklet has 3 parts:
1) Character introduction for Phichit, Chris and Guang-Hong.
2) “Topics”, in other words random curiosities. 
3) Interview with chief director Jun Shishido and screen designer Yuusuke Tannawa. Most of you will probably have no idea who they are (and their titles are by no means a good explanation of what their actual role was), but I really recommend reading this interview because it gives more insight on the creation process of YOI and maybe it helps understand how hard it is to animate figure skating. The parts in round brackets are exactly like they are in the original text, it’s not something I added.

***If you wish to share this translation please do it by reblogging or posting a link to it***

***Re-translating into other languages is ok but please mention that this post is the source***


He’s going to leave a mark in Thai’s skating history with his blades!

Phichit Chulanont
voiced by Kenshou Ono

Profile
Date of birth: April 30th, 20 years old
Height: 165 cm
Blood type: B
Thai

Introduction
A new hope for Thailand, that didn’t have any skaters who got remarkable results. His popularity is quickly growing also thanks to his spontaneous and pleasant skating style that mirrors his friendly personality. This season he is skating both his short program and free to songs from the movie “The King and the Skater”, which is something he had always dreamed of doing. He is the first Thai skater to have succeeded in a quadruple jump and he also obtained his first Grand Prix victory. He is continuing to rewrite Thai’s figure skating history.
He used to train under Celestino in Detroit, but from this season he has moved his base back to Thailand. He loves hamsters and has a lot of them. Posts about them can be seen on his SNS.

The lethal weapon made of sex appeal that shines on the ice.

Christophe Giacometti
voiced by Hiroki Yasumoto

Profile
Date of birth: February 14th, 25 years old
Height: 183 cm
Blood type: undisclosed
Swiss

Introduction
10 years since he moved to the senior class, he is one of the world’s best skaters fighting for the top. Beside his quadruple Lutz and his characteristic sexy moves, he is also praised for his unique and precise spins. As a veteran, he never breaks down too much, but he is a slow starter and tends to not perform at his best in the Grand Prix series, which is held in the first half of the season. Last year he came in 2nd in both the Grand Prix Final and the World Championships. With his long-time rival Nikiforov missing this season, he is one of the candidates to snatch the king’s throne.
He is a popular skater who captures the hearts of women all over the world with his passionate and alluring performances that ooze the sex appeal of a grown-up man. He has a cat.

To become, one day, China’s hero.

Guang-Hong Ji
voiced by Yuutarou Honjou

Profile
Date of birth: January 7th, 17 years old
Height: 160 cm
Blood type: O
Chinese

Introduction
A growing 17-years-old who moved to the senior class this season. In the Grand Prix’s America tournament he placed 3rd, achieving the amazing feat of standing on the podium on his debut performance. The success rate of his quadruple jumps, which he started training for this season, is also high, and as China’s new ace he is expected to grow further in the second half of the season.
He has a shy personality, but at the same time he also uploads many selfies on the SNS. It seems that he also bought a lot of clothes during his training camp in Canada. Together with his friend Chulanont from Thailand and Japan’s Minami, he is called by fans “one of Asia’s 3 cutest skaters”.

YURI!!!’s TOPIC

TOPIC 1: Grand Prix Series
It consists in a total of 7 tournaments: 6 tournaments held in different countries every year from the end of October to the end of November, and the final that sees the 6 skaters who got the highest scores in the other tournaments as its participants. The 6 tournaments are always held in the same countries (the order may vary), but the location of the final changes every year, and this season it’s Barcelona in Spain. The participants are chosen based on their results in tournaments regulated by ISU (International Skating Union), their world ranking, recommendations by the host country etc.; however, each skater can only participate in a maximum of 2 tournaments. In addition, only up to 3 skaters from the same country can participate in the same category of the same tournament. The period when the skaters’ allocation is announced is somewhat of a festival among skating fans.

*It’s night in Japan when the skaters’ allocation is announced
*The first 6 tournaments are held in 6 countries over the span of 6 weeks
*In every tournament skaters receive points depending on their placement (15 points for the 1st place, 13 points for the 2nd place and so on), and the final ranking decides who will participate in the final

TOPIC 2: Quadruple Jump
(*at the moment of the Russia tournament)
One of the techniques that decide the game in male figure skating is quadruple jumps. Since the number and type of jumps greatly influences the score, recently it’s common for skaters to include multiple quadruple jumps in their programs. However, according to the rules the same jump can only be repeated a limited number of times, therefore skaters try new types of jumps and train hard to be able to have more quadruple jumps to put in their programs. Currently, 5 types of jumps except for the Axel have been successfully landed in official competitions. The one with the highest score is the Lutz, which top skaters such as Victor, Giacometti and JJ are using in their programs. The quadruple toeloop, which has the lowest score, is successfully used by young skaters such as Kenjirou Minami, Guang-Hong and Phichit too. Yuuri can jump the toeloop and Salchow and is currently training to master Victor’s trademark flip. After the Lutz, the flip is the jump with the highest score.

*Yurio in his junior years getting scolded for jumping a quadruple that was not planned
*Seung-gil is the first who successfully landed a quadruple loop
*Emil is a jumper that has 4 quadruples in his free
*JJ jumps an amazing quadruple Lutz in the second half of his program
*Victor uses as his weapons 4 types of quadruples, except for the Axel and loop (in the EX he landed a loop too)

TOPIC 3: Support Item (cheering goods)
It often happens to spot flags and banners used as cheering goods in figure skating venues. After a performance flower bouquets and plushes are also thrown into the rink. Banners do not only feature the skater’s name and flag; sometimes they have a message or a portrait of the skater with which people try to show their support, and in some cases they are even made using photographs. Yuuri is often thrown plushes of food. The bouquets and plushes are picked up by children who are learning skating, usually called “flower girls” and “flower boys”.

*JJ’s cheering group, called JJ girls.
*Yurio’s hardcore fans are called Yuri angels.
*Flags are basic items. Some fans bring different types.
*Present snacks from fans for Yuuri who is on a diet?
*After popular athletes skate the flower girls and boys have a hard time picking up everything
*Sometimes skaters will actually put on the items that are thrown into the rink

TOPIC 4: Kiss & Cry
The kiss & cry is where skaters wait for their score after a performance. The name comes from the fact that it’s a place where athletes can experience both happy and sad feelings. Normally the skater and their coach will sit there, but in some cases there might be people from a country’s federation or the choreographer too. In many venues there will be a microphone, therefore skaters can also send messages to their family and fans. If you listen to the broadcast closely you might be able to hear the athlete and coach reviewing the performance or other conversations.

*Sometimes the coach might strike a pose too
*It’s also a place where athletes vow to make up for a defeat
*”Please support me!” addressed to the viewers
*The JJ style gesture in the kiss & cry is a recurrence
*Michele’s sister Sara can be seen in the kiss & cry too

Chief director / Screen designer
Jun Shishido & Yuusuke Tannawa interview

I want to make the gag scenes dynamic. (Shishido)
The opening of episode 11 was possible thanks to the viewers’ response. (Tannawa)

Shishido: I’m the chief director, but in fact I did a lot of things. Director Yamamoto was too busy, so she mainly did sound and editing, and then since it’s an original story she focused on the story composition…
Tannawa: Shishido-san was like the site supervisor. We would ask things related to the story itself to director Yamamoto, but the one who actually took action and gave directions was Shishido-san. Though in the credits I appear as “screen designer”, the anime’s screen design was created by the director of photography, and my job in this series mainly consisted in creating the footage for PVs, OP etc. and checking the final product before delivery. I started working on the PV at the beginning of 2016. I asked director Yamamoto what kind of layout she had in mind, and decided how to set the visuals of the series. Regarding the contents of the episodes I also discussed with Shishido-san about various topics – for example, “this processing can be done with camerawork, this expression can be recreated with CG” – and shared this information with the involved work groups.

-Trial and error to create the huge amount of skating scenes.-

T: In figure skating athletes perform while continuously moving around, therefore it was extremely difficult to understand where an athlete was and in what direction he was skating in each frame. In the 1st episode we created a CG model of the skater based on the real choreography footage and had it skate in a rink created with 3DCG, then we followed it with tridimensional camerawork and used that footage as a base for the animation. It was a very elaborate process. However, we realized that it was impossible to continue using this method with the production schedule of a TV series, therefore we switched to a different method where we would create camerawork on a general background map. Also, after episode 5, for certain characters we preceded the creation of the key animation with 3DCG. The final animation is all done by hand, but by having a base to use as a reference it was possible to calculate the available time frame and create the animations accordingly, thus shortening the working time.
S: Even if you suddently ask the 3D staff to create figure skating animation, of course they have almost no knowledge of the jumps and techniques. They create the animation based on the reference footage, but they cannot express complex details such as how athletes balance their feet the moment they jump, so for that I and (figure skating animators) Abiko-san and Tatenaka-san adjusted the animation. Among the people working on the series, the only ones who had technical knowledge about figure skating were the 3 of us and director Yamamoto. And it’s not something that you can just explain verbally, so we took on all those jobs ourselves. We checked… everything, probably. Actually, until episode 4 the skating scenes were all created by Abiko-san and Tatenaka-san, so I didn’t need to check them, but from episode 5 the amount of skating scenes became so huge that we asked Tannawa-san and the others whether we could get help from the CG team… I completely trusted Tannawa-san, because I knew that if we explained what to do he would understand what was needed.
T: I basically asked what they couldn’t do, and we did all we could to make up for that and reduce their workload. We would never have finished the series otherwise. That’s why for this anime no one ever said “isn’t that your job?”. For every episode, everyone just fought toward completion.
S: Everyone took responsibility for their job and worked with extreme care, like no one was going to double-check what they did afterwards. We thought, “if we don’t do our best, this series will not make it to the broadcast, therefore we must all be responsible and work hard”…

-A scene you especially paid attention to.-

S: All the storyboards for the skating scenes were drawn by the director, but I drew them for quite a lot of daily life scenes. I especially like the scene where Yurio gives a pirozhki to Yuuri (in episode 9). I was particularly careful to make Yurio look cute. I wanted to show that, even though normally he is rude (to Yuuri), he actually rather trusts him and they do get along. I also like gag scenes, so I had fun with scenes such as the hug competition at the end of episode 9. Gag scenes do not need to be drawn as neatly as serious scenes, therefore I decided to animate them in a very comical and dynamic way.
T: I paid a lot of attention to the opening. The way we changed it in episode 11 to reflect the current story development is something I myself suggested to the director. Actually, only the opening of episode 1 was still incomplete when it was broadcasted. From episode 2 onwards it was always the same footage, but the viewers wrote a lot of comments about it (and were wondering whether it was changing every time). Since everyone was watching it every time without skipping it, we decided to really change it in the end.
S: My favorite character is Georgi Popovich! He’s a man who can talk about love seriously. He actually makes a few appearances since the 1st episode. When we were working on episode 1 we only had Kubo-sensei’s character plans and the storyboard saying “a character named Popovich is standing here”. We made him stand out a little because we understood that he would show up in the story later on. And what a character he was, when he was introduced in episode 6!
T: He was so striking that I was actually shocked! I like Popovich too. Also, among the programs, I like Yuuri’s FS “Yuri on ICE”. It’s the first song I listened to working for this series, and at that time I used it for the PV without knowing that it was going to be Yuuri’s FS. In the PV Yuuri is skating in Hasetsu with his slender appearance from episode 3 onwards, and (the character designer) Hiramatsu-san commented “it’s a wonderful video, but now we have to make him fat”. I remember thinking “what is he saying??” (LOL).

-The power of the support that reached the studio.-

S: When we were creating the anime we were so busy with the work at hand that we didn’t really realize how much of a response the series was having. However, we received lots of presents, food, goods and letters of support from fans.
T: Even items based on the contents of the series, like (retort-packed) borscht. That made us feel that fans were really supporting us because they liked the series, and it boosted our morale. Knowing that there were so many people watching and cheering on us motivated us to our best even it meant working overnight without sleeping.
S: The charm of this series is the love of the original creators, director Yamamoto and Kubo-sensei, that you can feel from it. It’s just so strong.
T: It also feels like you are touring various countries to follow Yuuri and the others and watch their matches. You can watch it with the eyes of a spectator and think “I didn’t know a lot about this athlete, but now I see how he skates”. I think that another element that allows viewers to really get into the world of the series is how not only the matches but also the skaters’ practice scenes and the back yard are drawn with lots of details. Everything is detailed, even the different shape of each skater’s blades. The director herself is full of very sincere love for figure skating, and that was transmitted to both the staff and the viewers.
S: The animation studio had a very nice atmosphere. It’s the first time that I’m working with Tannawa-san, but when I saw his work I realized right away that he was someone I could trust. Trust and unity are something you find in the staff of many series, but for this one it was especially strong.


On a side note, Kubo & Yamamoto went to see the Worlds in Helsinki and are now in St.Petersburg. I am confident it’s tourism but with a spoonful of location hunting… (What a timing, though. I hope none of you or your acquaintances were personally affected by what happened the other day in the subway)

3

“I hope there will be an Arab wave of cinema. There’s a lot happening in our countries, and it’s important to show a different image than what you see on the television or in the news.”

We’re still spotlighting Tribeca selections helmed by women directors every day of Women’s History Month. Throughout the month of March, you’ve seen films by acclaimed talents like Bette Gordon, Nicole Holofcener, Mira Nair, Sarah Polley, and Kelly Reichardt.

Leyla Bouzid is a filmmaker who absolutely deserves to join their ranks. In her 2016 festival selection As I Open My Eyes, Bouzid follows a Tunisian teen who shirks her studies and disobeys her mother to take the mic as rock goddess in a local band. This is a tuneful and incisive gem about a young artist at the cusp of a personal and political revolution that should be sought out and relished by all.

Tunisian Filmmaker Leyla Bouzid Talks Her Musically Charged Drama As I Open My Eyes

(Source: tribecafilm.com)

doomkittypumpkin  asked:

OK ok but hold on lemme point out something super relevant with Welcome to the Madness: an interview with the director basically revealed Yurio choreographed it the night before he was set to do it cause yeah idk he did that. So what does that mean??? It means he would've had no time for a costume to be made, TL;DR THAT WHOLE OUTFIT IS JUST PART OF HIS REGULAR WARDROBE GOD BLESS MY GLAM ROCK SON.

the worst part abt this is I could see yuri and otabek trying to plan all this shit out @ like 1 am. they realize yuri still needs a costume, and before otabek can offer a late night clothing run, yuri casually brings his sparkly blazer & giant golden cross that he happened to have with him (bc those are the kinds of comfy clothes you bring to international skating competitions). i promise you that, for a fleeting moment, otabek reconsidered they’re entire friendship.