the most beautiful scene of all

The Ballad of Donna and Cam - The rapprochement. An Analysis.

It’s hard to pick favorite scenes, but this one is high up there with all the other wonderful moments between Donna and Cam. What I find most interesting is the framing and blocking in this entire episode and specifically in this scene. The distance and rapprochement is manifested within the frame using varying techniques. It’s beautifully done and I want to take a closer look at it. 

The first moment we finally see them sharing the same frame, the full shot exposes a visible distance between them. This is the beginning of the rapprochement sequence which is about to follow. It’s like a tentative dance that will eventually bring them closer together, sitting next to each other.

But it is not only the visible distance which underlines their strained and distant relationship. It is the lighting, the movement between the shadows and the light. Donna is the one we can hardly make out. She is merely a presence. While Cam in her bright yellow shirt sitting in the moonlight demands our focus. Despite the darkness and the distance displayed within these first shots and moments, there’s also the romantic and playful lighting of the string of lights in the foreground framing them both. These lights forge a sort of gate or gantry which could be interpreted as a symbolic threshold. It’s that distance within the gate which they have to overcome and it also serves as a distancing device for the viewer since the direct view of them is constricted. The framing, the lighting, everything leaves the viewer equally in the dark and at a distance. This allows for the viewer to play close attention to the dialog and gives the characters an intimate and private space. 

The string of lights also function as these little beams of hope and they give the scene a certain gentleness and sweetness. There’s hope for these two. Very tentatively Donna moves to the front of the frame and leans against the gate. Visually she’s Cam’s foil in every sense just like in real life. Even in this scene they complement each other. Step after step, beat by beat they talk and open up to each other. Then Donna makes her way towards Cam. It’s interesting that Cam is the one who’s in the fixed position, not moving and not closing the gap. She remains still, waiting for Donna to relax and to find the courage to close the gap. And finally after the first few steps, we see Donna’s beautiful face in a shoulder close-up.

They are both not hiding in the shadows anymore and as their conversation deepens, their distance slowly fades away. At this moment, the distance is reduced mainly for the viewer who gets to see both characters’ emotional responses during the conversation thanks to the shoulder close-up. But while the viewer is brought closer, there still remains a physical distance between the characters.

Cam opens up about Joe and not wanting kids and Donna tells her it’s ok to not want kids. Without even realizing it, they ease back into a place of comfort and trust, a place they once shared, a place which never really disappeared. It was just put on hold, but their intimacy and their understanding of one another was always there. Following these last beats, the show then cuts to another full shot which leads to Donna taking that final step towards Cam to close the distance. 

This screenshot above is one of my favorites since it is full of promise and hope. Cam throughout these last moments right before Donna sits down next to her, exudes such longing for her to sit next to her, it’s written all over her face and her entire body. The way she moves her hand to the free spot next to her. The way she looks down almost nervously to that same spot. She communicates silently and with just minimal gestures and tries to show Donna that it’s ok to come closer. And then it happens. Donna closes the distance and sits down next to her and we see them both in close-ups in one frame.

The beauty of these close-ups lies in the shift of deep focus. When Donna starts with, ‘I miss him’, she’s in focus and Cam remains blurred in the background. As soon as Cam answers, ‘So, do I’, she comes into focus. It’s an effective way to avoid cutting between their responses and keeping them in one frame for the entire dialog. After keeping them apart for the entire episode, this is their moment. Avoiding any cuts allows the scene to breathe. It’s almost like a soft dance between the two. 

The dance continues when Donna says, ‘I miss you too’, and while she and everyone waits for Cam to answer, the focus shifts ever so cautiously to Cam and her saying, ‘I’m here.’ At that exact moment we see Donna close her eyes taking in those words she’d been longing to hear for so many years now. It’s a beautiful tender and quiet moment which allows, despite the close-ups, for a lot of privacy since we only see the characters’ outlines in dim lighting. This is their moment and as much as those two cannot look at each other yet and thus a certain distance remains, they acknowledge their grief over the broken friendship, their grief over Gordon and they manage to find each other again in their shared moments of silence.

Eventually, they find true comfort in their deep understanding of one another. They share a laugh. Amidst all the grief and the heaviness, they share an honest and heartfelt laugh which lets them connect and gives them a moment of comfort. They can just be. Even if it’s just for a moment. This, right there, is when the healing begins.

The Most Beautiful Man In The World, Who Lives In My Building And Only Ever Sees Me When I Look Disgusting

The Most Beautiful Man In The World lives in my building. i don’t know his name. we met on a bus, when i smiled WAY too brightly at him for strangers because, honest to god, my whole heart lit up in a way that made me think, “oh, i must know that guy!!” no. i didn’t. he’s just The Most Beautiful Man In The World.

what does The Most Beautiful Man In The World look like? i will tell you:

  • like the way the sun spills over water at dusk
  • like the way food smells when you’re hungry
  • like the sound angels make when they’re doing folk covers of pop songs on their heavenly harps
  • and also kind of like the guy who played Chad in “high school musical,” if the guy who played Chad in “high school musical” was the most beautiful man in the world.

i tell you this not only to brag that i live in the same apartment complex as The Most Beautiful Man In The World but also because i want to know WHY, if there even IS A GOD, every single time i run into The Most Beautiful Man In The World i look like a LITERAL DUMPSTER TROLL that has just CRAWLED OUT OF ITS GARBAGE HOUSE in search of FREE WIFI AND A SLURPEE. i want to know why i can never just BE COOL with The Most Beautiful Man In The World when we ride the elevator together, which is!!!! kind of often!!!!!

DID YOU GUYS KNOW that sometimes i look nice?? sometimes i actually look like a FUNCTIONING ADULT!!! sometimes i would go so far as to say i am an ATTRACTIVE INDIVIDUAL!!!!! 

you know who DOESN’T know any of that???

THE MOST BEAUTIFUL MAN IN THE WORLD, WHO LIVES IN MY BUILDING!!!

here’s a quick rundown of the last few times i ran into The Most Beautiful Man In The World:

  • i was wearing a maxi dress i had very cleverly biked home in, without a helmet* (*don’t try that at home, kids), in the VERY HOT AFTERNOON SUN, so i was a GROSS SWEAT MONSTER but without any OBVIOUS INDICATOR that there was a normal reason for it, and i couldn’t stand to look at him so i just glared at my phone while he probably wondered, alarmed, whether i was fleeing the scene of a crime
  • i was wearing a white shirt that i had not SECONDS before spilled salsa ALL OVER in a big red stain right down the front like a KINDERGARTNER
  • i was carrying two armfuls of ENORMOUS bags of popcorn with a three musketeers bar literally in my mouth and he overheard me say through my stuffed candy cheeks to my doorman, “oh, no, i’m not having a party, this is literally all for me”
  • i dropped my backpack while opening my mail and said to it, defeatedly, “why? why did you do that when i explicitly told you not to? do you like being on the floor?” 
  • i fell into and then off of the elevator

why??? why does this happen??? what vengeful god has orchestrated it so the ONLY TIMES i ever run into The Most Beautiful Man In The World are when i could easily be mistaken for a child’s doll that has been put through the wash by accident, or a dollar bill that has been stained by years of being in people’s sweaty palms, or a mop with eyes???

whatever. everything costs money and everyone you love disappoints you. Mop Eyes out.

*pounds fist on table* ok i need to talk about the god-tier klance moments in s3e03 “the hunted” because damn there’s a couple scenes that are so powerful and important and i just….holy shit. buckle up, y’all.

this episode is fucking great for a lot of reasons, but one of my favorite parts of it is how much it shows the development of keith & lance’s relationship: especially 1) how good lance has become at grounding keith & helping him control his reckless impulses, and 2) how keith feels like he can be open and honest with lance about his fears/insecurities––which is a big fucking deal because we’ve almost never seen him do this. 

the first scene that really struck me is this part where keith is leading the team after lotor and it’s just….a big mess. he’s not thinking about keeping the team together. allura’s falling behind and he’s not paying any attention. he’s not considering that this might be a trap. all he can think about is diving in headfirst without considering the consequences.

and then this happens:

uhhhh….oh my god??

look, we know how keith gets. we know how hot-headed and stubborn he can be. i mean listen, we’re talking about this kid who literally tried to fight zarkon by himself.

and yet…..even in the middle of this intense chase, lance gets through to him. he brings keith down from that battle-rage and makes him see reason. and he does it in a way that’s straightforward and brutally honest (“you’re endangering the team and you can’t do this”) which i think is exactly why it works. that’s the kind of direction keith needs, and tbh out of everyone on the team it makes the most sense that it comes from lance.

i’m just

me: hey can i get a fucking uhhhhh lance being keith’s impulse control
dreamworks: *gives me this*
me: *kicking down the door* HOLY FUCK MOM

and look i was already sobbing over this one small part but then we get THIS….THIS SCENE….

oh boy oh wow where do i stART?!

god damn this scene is beautiful––visually, thematically, it’s just …. so powerful and significant.

first of all i need to freak out a little over the way the scene is set up and how wonderful the symbolism is. 

it starts with keith literally in the shadows, and then slowly emerging and drifting up towards lance with their lions facing each other. lance & red are above keith & black which is really interesting.

as we all know, keith is the leader right now. and yet, both literally and figuratively, he’s not positioning himself higher than lance––in fact, he’s doing the very opposite. and his lion doesn’t have her head lowered in shame either; the lions are directly looking each other in the eyes (which i feel like is pretty damn rare??) and that’s very meaningful. everything about the visual setup of the scene just screams openness, honesty, vulnerability. 

(side note: also wow @ that red and blue background, amiright)

and then we have everything that keith says. and boy….there’s so much to unpack here:

- he admits it was his fault and he led everyone into a trap
- he also admits that everyone warned him (lance warned him) and he wasn’t listening
- and because of that he put everyone else in danger

and man i gotta give huge props to steven yeun here because his voice acting in this scene….jeez it broke my heart. keith says all this so quietly, his voice is literally shaking. shit, he sounds close to tears. this is possibly the closest we’ve ever seen keith to totally breaking down and it’s just…..it hurts so much and it’s so important.

it really hits you in this moment that keith is a kid. he’s a teenager!! he didn’t want to lead the team & he doesn’t know how to do it. he can’t do it by himself. he doesn’t say any of that explicitly here but it’s 100% clear that that’s exactly what he’s saying.

and he says this to lance of all people. lance, his supposed “rival”! you would think lance would be the last person he’d want to turn to for reassurance or to blatantly admit “wow i fucked up real bad.” and yet….here we are. it’s moments like these that really prove that under the surface, these two don’t hate each other in the least. they like each other. they respect each other. they rely on each other!! (*whispers* space ranger partners….) 

and lance’s response only proves my point even more. he could easily have said “i told you so” or otherwise berated keith for his mistake. but he doesn’t! his answer is:

- yes, you messed up.
- but we’re going to fix it. we. i can’t stress that enough! he doesn’t say “you messed up and now you have to do something about it.” he doesn’t say “you messed up and now i’m going to take over and do something about it.” he’s essentially saying “yeah you made a mistake but that’s in the past….and now we’re going to take care of it together.” 

and that’s?? so great?? because keith more or less admitted that he was feeling this huge burden weigh down on him, and lance––in his own subtle way––lifted that weight off keith’s shoulders. he’s reassuring keith that he’s not alone in this. *wipes tears from my eyes*

and if all that wasn’t enough, keith immediately saying “you’re right” makes it all the more significant. he’s openly admitting once again that he fucked up, but he’s also agreeing with lance’s statement that they can still turn things around and fix his mistake as a team. which is…..wow. 

tl;dr - everything about this pair of scenes just proves how keith & lance work so well together and need each other. it shows how important it is for them to be open and honest with each other, and demonstrates how they both have that capability. 

and i’m gonna scream about it for a hundred years. 

2

All Yuuri could do was nod because the words on his tongue had fled along with any coherent thought.

That’s when Victor smiled, it was real and happy and bright and the butterflies in Yuuri’s ribcage were rejoicing at the sight.

My favorite scene from @captain-erwinmerica‘s latest chapter of Money Shot.

I love how Yuri constantly describes Victor as a beautiful God, yet what gets him the most is when he sees him genuinely happy and sweet.

Extra: 

This man has no right to be this hot and cute at the same time.

The moment in Wonder Woman with the glasses had me cracking up for more than one reason. First of all, because Steve is like, “She’s still too distracting. Here,” and has Diana put on the glasses and then Etta goes, “Ah right, the specs. Put them on and suddenly she’s no longer the most beautiful woman you’ve ever seen.” Then Diana looks in the mirror and seems to like the glasses. So the scene is funny in and of itself but it’s also a slight dig at Superman and Supergirl and their ridiculous glasses disguises hahaha.

4

It may have looked like a scene out of a dream, but, for one day last year, a town in Central America was covered in 8 million flower petals. While the rain of petals over Costa Rica was all part of a shoot for a Sony advertising campaign, the beautiful display stood out in its own right for the explosion of color.

The idea was to cover the area near the Irazú Volcano — located in central Costa Rica — with a flower petal for every pixel in Sony’s 4K Ultra HD TV. With the help of local residents, the team collected the most vibrant and colorful flower petals they could find in the region. In all, it took them more than two weeks to pick the 3.5 tons of petals used to flood the streets with color, according to behind-the-scenes coverage posted by Sony UK. (Source)

10

[as requested] the full scene of Betty & Jughead’s declaration of love. *happy sigh~* 

just wanted to appreciate the tenderness and beauty of this entire scene… first he only takes off his jacket….but when he hears that she’s still not giving up on his dad despite everything….he decides to take off his hat while staring at her back….leaving him at his most vulnerable…knowing that it’s the right time and that he’s ready to bare it all and confess his true feelings for her….which he did so casually at first to gauge her reaction…and then when she turned around….he repeats that “I love you” with such tenderness and sincerity… not even blinking nor breaking off his eye contact…but with a hint of anticipation and fear for her response as she approaches him…..and hearing her say “I love you”… he gives that soft heartbreaking smile like he couldn’t believe that she actually loves him back…..cos probably all his life he’s been so disappointed and dejected by the people that he loves that he’s accepted that he won’t receive back the love that he’s been yearning for…. :’( until now…..in which he has finally found a reciprocal love with Betty Cooper. His equal. His happiness. His soulmate. <3

2

Jessica Henwick photographed by Stas Komarovski for Interview Magazine (Feb. 2017)

Nearly all of the rebel fighter [Jessika Pava’s] scenes were filmed on a pivoting platform while Henwick communicated via walkie-talkie. “Most people couldn’t take more than ten minutes, and I was like, ‘Keep going!’“ she recalls. “Most of my lines were improvised; I just made them up.”

10

EPISODE 94

percy reassures vex beneath the sun tree

You’ve found yourself at the base of the Sun Tree. As you look up at it, at this point the clouds that kind of gathered yesterday have all subsided and you have the most beautiful clear blue sky ahead of you, the morning sun’s coming down. The tree is beautiful as you watch it slowly blossom now as the months have passed. You start seeing green in the boughs, the occasional pod that might eventually flower as the season allows it. It’s serene. And as occasionally a breeze blows through, you hear the various branches hit, and some of the leaves shake, and… it’s a beautiful sight.

Why am I so taken by the Jonerys hand grab?

I mean, generally speaking, holding hands is barely something to get this excited over right? (or as my friend so eloquently put it, “It’s freaking Game of Thrones and you’re excited about people holding hands???”). To which, my answer is:


I’m not just excited about them holding hands (although I’m crazily obsessed with it, and have watched that scene a couple million times already). It’s the fact that Jon ‘You-know-nothing’ Snow, clueless Jon, naive Jon who despite being told this:

Still didn’t make the first move. Who’s always had that ‘I’m adorable but I don’t know it’ aura around him. Who’s always been so reserved and so..just so unsure about himself nearly always. 

The thing which made me go crazy about the Jonerys hand holding was Jon making the move y’all!! 

Jon!!!, our Jon!!, reaching out!!, grabbing her hand!!!, not letting go!!! 

I can watch this forever and still not get tired, because this shows Jon Snow reaching out for something that matters to him, Jon Snow holding on and not letting go because he wanted this. He wanted someone for the first time in forever and he went for it and he didn’t want to let go!

And this, this, is why the Jonerys handhold will always be the most romantic thing I’ve ever seen on GoT, because we have a vulnerable hesitant Dany, and a ‘dammit all, I’m going for this’ Jon, and that was the most beautiful scene I had seen in a really long time!

i saw wonder woman and i’m going to talk about nothing else for the next three months

spoilers

  • steve explains that a couple is holding hands bc they’re “together” and diana tries to hold his hand 
  • diana’s delighted exclamation when she sees a baby
  • upon tasting ice cream: “it’s wonderful. you should be very proud”
  • the amazons have twelve volumes on sex and concluded that men are unnecessary for pleasure
  • diana not understanding why steve is making a Thing of not sleeping next to her and steve explains you’re supposed to be married to sleep together
  • every second of etta candy and her fisticuffs
  • diana to charlie: “but who would sing for us?”
  • “you mean you were lying?”
  • “do i not look like a man”
  • diana’s scream when she realizes what steve did
  • S T E V E
  • A N T I O P E
  • little diana!! so cute
  • THE WOMEN
  • SO MANY WOMEN
  • FIT BADASS STRONG WOMEN WHO AREN’T SEXUALIZED
  • diana isn’t sexualized at all, not even by steve. not of that Male Lead Makes Subtle Creepy Comments Or Pretends Not To Look While She Changes
  • steve and his squad
  • “what’s a secretary?”
  • “really you put glasses on her as if she’s still not the most beautiful woman in the world”
  • diana not understanding why everyone thinks her outfit is inappropriate
  • diana busting into a private war meeting and demanding answers and truth
  • remus lupin
  • tbh the only really cheesy part was ares’ fight scene BUT it wasn’t terrible
  • diana is the embodiment of kindness and love while being brave and badass and a fighter
  • she literally tries to save everyone she walks by
  • “i’ll save today, you save the world”
  • DIANA IS NOT SEXUALIZED
  • steve explaining that the rest of the world is not as inherently good as diana and the amazons
  • steve is delighted at the lighted water
Dean Thinks You’re Hot

Title: Dean Thinks You’re Hot

Pairing: Jensen x Reader

Word Count: 2,122

Anon Request: you think you could write one where the reader feels insecure about her stretch marks/size and Jensen is her best friend and tries to help her feel better?

Warnings: Negative Thoughts, Low Self-Esteem, Fluff, Implied Smut

A/N: Feedback is always appreciated, friends! xoxox

x

Your name: submit What is this?


    Pacing back and forth around your trailer almost drove you dizzy. Back and forth. Back and forth; as if that was going to simultaneously solve all of your problems. It wasn’t. Not even close.

    You had just gotten the memo that your intimate scene with Jensen was moved to today, not that you weren’t sweating buckets the second you got the script, but the fact that the scene was moved to today instead of five days from now had you ripping your hair from your head. You were going to be very exposed to him, and no matter how long the two of you had been friends, this was something you weren’t comfortable with on so many levels.

Keep reading

2

“A sister they had, Galadriel, most beautiful of all the house of Finwë; her hair was lit with gold as though it had caught in a mesh the radiance of Laurelin.” 
                                                                    ― J.R.R. Tolkien, The Silmarillion

DUNKIRK (2017)
  • I just saw Dunkirk in 70mm and IMAX and
  • It was the single most amazing cinematic experience of my life
  • As you may have heard, there was very little dialogue throughout the movie which can make a film feel slow or even boring at times, but I was completely captivated
  • But never did I feel that the screen was bogged down with too many lengthy series of quick cuts
  • The angles used in the air were incredible and I’m sure not easily chosen
  • The use of silence in the film was fantastic and their timing impeccable; it was loud and quiet at the same time
  • HANS ZIMMER
  • His score was just too good, as usual (especially the bit where they’re trying to reach the boat in time)
  • Lee Smith is an editorial god
  • Christopher Nolan and the two mentioned above are literally the dream team
  • Can’t believe he wrote that cause, like, it’s easy to imagine something but to write it down in a concise way that doesn’t involve two characters just talking is really difficult let alone in a warzone
  • I commend their use of mostly practical effects and real props
  • There’s a point where it’s night and there’s a bunch of people in a lifeboat with flashlights (or maybe it was fire in the background, I can’t remember) while a guy shivers on the deck of a ship and it reminded me of Titanic
  • Real stories are eerily impressionable, at least in my mind
  • The depiction of what I would call the main characters was very well done
  • Taking fictional characters with a fictional story and having them seamlessly blend into the story of the movie, the story of the Battle of Dunkirk… Well done
  • It’s easy to believe that, despite being created, it may have been someone’s real story, something experienced by a real soldier on that beach
  • The events of the film are harrowing
  • So much emotion delivered in just 147min
  • Tom Hardy’s plane
  • His sacrifice and the way the men cheered for him
  • How they made us think that his landing gear wasn’t going to come out, but it did with the most beautiful colours (great colour scheme all around) of the sun lending its light for his landing down on the beach
  • How his plane became engulfed in flames, burning ablaze on the beach before he stepped into the Germans’ arms
  • It was the first time we see his face
  • But never once do we see the enemy’s face
  • It’s not about the enemy, it was never about winning anything
  • It was about survival and making it home to fight another day and in that itself is a victory
  • This story belongs to the British and although I myself am not a Brit, I have always been fascinated by this particular event in the war
  • (Sidenote: Go watch Atonement or YouTube it’s glorious 5-minute long single shot on the beach at Dunkirk)
  • My mind was basically blown when I discovered this one thing
  • Throughout the film, there’s this theme of “home” and getting there
  • Several civilian fishing boats travel across the channel in hopes of delivering soldiers back to England and like I mentioned, I saw the movie in 70mm
  • ((THANK YOU JESUS for allowing Christopher Nolan and Hoyte van Hoyte to bless us with these beautiful images))
  • At least, most of it was in 70mm
  • I immediately noticed that from time to time it would switch from full screen  70mm to widescreen 35mm. I assumed they were using a different camera for these shots/scenes, but I couldn’t figure out why
  • Then, in the car after the movie it hit me: All of the widescreen shots were of England, of home. You see, the civilian ships coming to rescue them were referred to and represented home so all the shots on the little boat were in done in 35mm as well as the ones at the end of the movie on the train and such
  • The reading of the newspaper was a nice touch made beautiful in a perfect movie
  • THAT ENDING
  • The boys on the train
  • The boy on the boat…
  • I could go on—but instead—
  • just do yourself a favour and go see it for yourself
most underrated parts of Beauty and the Beast 2017

•  Maurice cuz he is just the best dad in the world and imagine his pain when he had to leave his wife for saving his baby daughter! 

•  Audra McDonald’s amazing parts 

•  How in the midst of all this sorrow Can so much hope and love endure? 

•  Maestro Cadenza loosing some of his teeth in the battle (appearing with all of them in the finale haha)

•  Forever can spare a minute

Beast’s look when Belle leaves to save her father. Gave me the fucking chills 

• The Prince’s laugh in the openning scene (I mean it’s Dan fucking Stevens and he’s gorgeous)

 •  Belle’s kiss on Beast’s forehead SHE KISSED HIM come on

•  When the master lost his mother, and his cruel father took that sweet, innocent lad and twisted him up to be just like him, we did nothing.

Yuri on Ice interview translation - CREA 2017/03 (p34-35)

Second part of the YOI interviews featured on CREA. As for the one with Kubo, more than “interviews” they are like “mini articles” that incorporate what the interviewed people said. The interviews are with Kenji Miyamoto (choreographer), Eiji Abiko & Junpei Tatenaka (figure skating animators), Yuuko Sagiri (original costume designer), Keisuke Tominaga (music producer).

Random note: thanks to this magazine I was finally able to know that Sagiri’s name is “Yuuko”. When I translated her interview on Pash I did lots of research but wasn’t able to find out the pronunciation so I used Yuiko because that was what came out searching for the name alone, but now it’s confirmed that it’s Yuuko so as soon as I have time I’ll edit that interview to fix it. I swear all magazines should be obliged to provide the pronunciation of names, because sometimes it’s really hard to find out how the kanji are pronounced when it’s not famous people with Wikipedia pages and such…

By the way, the issue of Pash coming out today (Feb. 10th) has an article I was really looking forward to (the second part of Kubo’s detailed commentary on each episode), so I’ll probably spend the night translating it when I get home from work. Also because I want to post it before the YOI all night event on Saturday (I’m going to the live viewing).

***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***


The reality as expressed by 5 people who created “Yuri on Ice”

Reality #2: Choreography x Kenji Miyamoto
“The footage taken with the camcorder was the key to create realistic and powerful anime scenes”

Profile: From Hyogo prefecture. After retiring from competitive ice dance in 2006 he started working as a choreographer and commentator. With director Sayo Yamamoto’s “ENDLESS NIGHT” for the first time he was involved in creating figure skating choreographies for an anime.

The choreographies for all characters’ programs were created by choreographer Kenji Miyamoto. He created them integrating the music with the information he received from director Yamamoto and Kubo regarding the characters and their programs. What was different than usual is that the songs for the FS were 4 minutes long instead of 4:30 minutes.
“In the anime characters need less strokes to speed up, so it’s possible to use less ‘transitions’, the movements connecting different techniques. I cut down on those and made the programs more compact.”
Miyamoto was filmed with 4 fixed cameras and 2 portable camcorders as he danced all the programs, then the footage was edited into a multiframe video based on which the animated figure skating scenes were created.
“I believe that the footage taken with the portable camcorder, that filmed me up close, is what made it possible to create realistic and powerful tournament scenes.”
After watching the finished anime, Miyamoto commented that the characters’ monologues during their performances are realistic.
“When you are performing lots of things are whirling around inside your head. In my case it wasn’t words but still pictures, like photographs. I was happy that they expressed the athletes’ feelings.”


Reality #3: Animation x Junpei Tatenaka & Eiji Abiko
“The performances look realistic thanks to Miyamoto-sensei’s choreographies”

Profile: Animators working for the anime production company MAPPA. Specialized in sports and action scenes. They both created animation for director Sayo Yamamoto’s “ENDLESS NIGHT”.

Animation of the figure skating scenes was created by action specialists Junpei Tatenaka and Eiji Abiko. “It’s the first time that we digitally create 2D pictures after deciding the camerawork. It was very difficult because we had to figure out how to do everything”.
Tatenaka, who was already a fan of figure skating, says: “For the moments I believed to be the ‘highlights’ of a performance I would add 1-2 extra stills. This way, I was able to draw out a little what in the live footage only lasted an instant.” They actually made jumps much higher than they are in real life.
“While being aware that real skaters wouldn’t jump that high, I still wanted the scenes to be striking, therefore I was always looking for a good balance between realism and what could be allowed in animation.” (Abiko)
They both agree that Miyamoto’s choreography footage was the most important factor that allowed them to create realistic performance scenes.
“When there was a key point in the music, Miyamoto-sensei would pose with all of his body creating a beautiful line, from his fingertips to the tips of his toes. It was very easy to draw.” (Tatenaka)


Reality #4: Costumes x Yuuko Sagiri
“I think the only difference is that there were no budget restrictions (LOL)”

Profile: Ballroom dancing costume designer working for the ballet & dance supplies maker Chacott. She has designed figure skating costumes for athletes such as Nobunari Oda and Akiko Suzuki.

Yuuko Sagiri, designer of the athletes’ costumes, created the designs giving importance to functionality that would improve a skater’s performance and to elements that would make the character’s personality stand out, just like she does for real costumes. She chose materials, cuttings and decorations that would actually be employed in costumes used for real performances.
“Normally I objectively watch an athlete’s past performances to understand their level and what kind of movements they are skilled at, and this is then reflected in the design. This time I based the design on the characters’ setting materials, the information I received from the director and the choreography footage by Miyamoto-sensei. I think the only difference is that there were no budget restrictions (LOL).”
Regarding Yuuri’s costume, she mentions that she wanted to reflect the fact that he is psychologically weak and gains weight easily.
“I added shining decorations on his chest so that his face would look bright even when he is tense. The cuts on the waist are to make him look slim.”
Actually, she also designed a costume for Yurio’s exhibition. Sagiri said that she created the design thinking of what “Yurio would really want to wear”. We’d definitely like to see him skate with that costume!


Reality #5: Music x Keisuke Tominaga
“I added melody to the beautiful lyrics that is ‘Yuri on Ice’”

Profile: From Kanagawa prefecture. Music producer. He founded PIANO INC. in 2012 and is the current representative director. His main works include the Pocari Sweat 2016 commercial “Kimi no Yume wa, Boku no Yume.”, the TV anime “Zankyou no Terror”, etc.

When creating the music for this show, music producer Keisuke Tominaga constantly asked himself whether it was music you could dance to.
“I would move my hands, feet, my whole body, sometimes even checking the rhythm like a conductor or a dancer. Figure skating has many elements that resemble ballet, so to express the elegant movements of the body I used many tunes in triple time like waltz and bolero.”
Most of the classical and orchestra tracks were created by Taku Matsushiba, while the vocal tracks and modern band songs by Tarou Umebayashi. They worked on the music as a team, always communicating with each other.
“The world created by Kubo-san and director Yamamoto was like realistic and beautiful ‘lyrics’, and I feel that our role was to create a ‘melody’ for those lyrics. In fact, when I joined together Yuuri’s FS song “Yuri on ICE” and Victor’s recorded voice for the first time, the lines sounded just like the words of a song, and I can’t describe how moved I was. I believe that this strong, deep expression that you would not be able to obtain with music alone is what realistically affects the viewers.”


Bonus in case you haven’t seen it already: Sagiri’s design for Yurio’s exhibition program.