2024年 10月 05日
Screening Plan
At first, Kiryukan thought of putting three screens in a widescreen size and rendering them together.
The left and right sub-screens are controlled by editing software.
But that's too mechanical.
What's more, the monitors and screens in the current mini screening spaces are fixed at a 16:9 size.
In the end, we think it's better to stick a white cloth or something next to the main screen and use two projectors.
One mini-projector appears and disappears on the screen during the first half of the three-hour screening time, using the cardboard light shield mentioned above.
It moves freely around the theater.
It could be a translucent white cloth. It's great that the appearance changes every time depending on the material of the cloth.
For the final fire scene, the cloth could be swaying in the wind.
The other projector could be an 8mm projector.
It would only be projected at the end. In that case, all you need to do is get someone to turn it on on the day.
If you project the flames from the 8mm film onto the wall, it looks like a real fire.
It would become a three-screen only at the end.
But that's too mechanical.
What's more, the monitors and screens in the current mini screening spaces are fixed at a 16:9 size.
In the end, we think it's better to stick a white cloth or something next to the main screen and use two projectors.
One mini-projector appears and disappears on the screen during the first half of the three-hour screening time, using the cardboard light shield mentioned above.
It moves freely around the theater.
It could be a translucent white cloth. It's great that the appearance changes every time depending on the material of the cloth.
For the final fire scene, the cloth could be swaying in the wind.
The other projector could be an 8mm projector.
It would only be projected at the end. In that case, all you need to do is get someone to turn it on on the day.
If you project the flames from the 8mm film onto the wall, it looks like a real fire.
It would become a three-screen only at the end.
Ideally, the left and right sub-screens should be slightly darker than the main screen in the center, so at MIDORI, the sub-images were projected onto paper sliding doors and sliding doors.
The moment when it became a three-screen at the end of the aforementioned "Napoleon" was amazing. But the previous few hours had been a little boring.
That's why in Zashikiro, sub-screens appear in the venue from the first half onwards and move around.
"Boredom is a sin" is a quote from Shuji Terayama .
That's why in Zashikiro, sub-screens appear in the venue from the first half onwards and move around.
"Boredom is a sin" is a quote from Shuji Terayama .
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by kiyubaru2020
| 2024-10-05 23:58
| 劇場思想 Theater thought
2024年 10月 05日
Fleeting Prosperity
Originally, we had planned to use an old pop song for this scene, like "Mon Paris" by "MIDORI." We had already recorded the accompaniment and vocals. We had already paid the royalties to JASRAC (the Japanese Society for Rights of Authors, Composers and Publishers) .
However, in recent years, JASRAC has suddenly begun demanding copyright fees from schools and filing SLAPP lawsuits.
However, in recent years, JASRAC has suddenly begun demanding copyright fees from schools and filing SLAPP lawsuits.
Furthermore, JASRAC claims that if a song that happens to be playing at a faint volume on the street is recorded in a film, it should investigate, apply for and pay royalties.
We have serious doubts about JASRAC's attitude.
Therefore, Kiryukan decided to replace the song we had planned to use with original music that is similar to the one we had planned to use.
The effort and expense of filing applications with JASRAC, preparing specifications, and making various calculations is a huge burden for independent creators.
We will never again use music managed by JASRAC.
We have serious doubts about JASRAC's attitude.
Therefore, Kiryukan decided to replace the song we had planned to use with original music that is similar to the one we had planned to use.
The effort and expense of filing applications with JASRAC, preparing specifications, and making various calculations is a huge burden for independent creators.
We will never again use music managed by JASRAC.
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by kiyubaru2020
| 2024-10-05 22:51
| 座敷牢 Zashikiro
2024年 10月 05日
History of Japanese Labor Unions 12
When Eisanro was first established, we had a long preparation period (early 1960s).
In some areas, we created ”地区会議(district conferences)". This was a regional meeting with people who expressed their intention to join if a union was established, or to cooperate in establishing a union.
Chairman T participated in Eisanro's district conferences (preparatory meetings) while also being a member of ”撮影者協会(the Cameramen's Association). In other words, he paid both association and union dues.
At Eisanro's district conferences, people from labor unions related to automobiles, taxis, and trucks cooperated with us as much as they could.
The district conferences were held once a month, and many people who already had a lot of union experience came and taught Eisanro's colleagues various things.
At that time, there was only one animation worker. Unfortunately, that person is not a union member now...
Mushi Production was secretly involved in the "Western District Conference."
In some areas, we created ”地区会議(district conferences)". This was a regional meeting with people who expressed their intention to join if a union was established, or to cooperate in establishing a union.
Chairman T participated in Eisanro's district conferences (preparatory meetings) while also being a member of ”撮影者協会(the Cameramen's Association). In other words, he paid both association and union dues.
At Eisanro's district conferences, people from labor unions related to automobiles, taxis, and trucks cooperated with us as much as they could.
The district conferences were held once a month, and many people who already had a lot of union experience came and taught Eisanro's colleagues various things.
At that time, there was only one animation worker. Unfortunately, that person is not a union member now...
Mushi Production was secretly involved in the "Western District Conference."
In this way, Eisanro has continued to exist, connecting with people from various workplaces and learning various things.
"Experience" is very important.
In Chairman T's film career (1947-), he only worked for a company for two years, and the rest of the time he was freelance.
So he had no experience of fighting on a workplace basis. Also, freelancers always have to worry about having to eat, and the struggle of having to look for work in order to do that can be difficult.
At a meeting of the Cinematographers Association, Mr. T raised the following point:
"The Cinematographers Association and the labor union we are going to create are completely separate organizations. Therefore, the Cinematographers Association can continue to exist as it is."
This was the thinking that everyone agreed on at the time.
In Chairman T's film career (1947-), he only worked for a company for two years, and the rest of the time he was freelance.
So he had no experience of fighting on a workplace basis. Also, freelancers always have to worry about having to eat, and the struggle of having to look for work in order to do that can be difficult.
At a meeting of the Cinematographers Association, Mr. T raised the following point:
"The Cinematographers Association and the labor union we are going to create are completely separate organizations. Therefore, the Cinematographers Association can continue to exist as it is."
This was the thinking that everyone agreed on at the time.
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by kiyubaru2020
| 2024-10-05 16:37
| 労働組合 Labor union
2024年 10月 05日
Interview (2006)
Harada, who is currently directing "BEM," was featured in the May 1, 2006 edition of the Mainichi Elementary School Newspaper.
Harada:
The producer decides the direction of the show. The director's job is to add flavor along those lines.
I'm present at every stage of the production to check and make sure the direction doesn't deviate.
For example, in the case of "BEM," I use old techniques in the images to bring out the good old days.
I use cels, which were indispensable in old anime, and I draw smoke (by hand, frame by frame) because it's hard to express it well in digital images. *1
Teamwork is important in anime production. Many different types of people work in the production, and the director brings them together.
Harada:
The producer decides the direction of the show. The director's job is to add flavor along those lines.
I'm present at every stage of the production to check and make sure the direction doesn't deviate.
For example, in the case of "BEM," I use old techniques in the images to bring out the good old days.
I use cels, which were indispensable in old anime, and I draw smoke (by hand, frame by frame) because it's hard to express it well in digital images. *1
Teamwork is important in anime production. Many different types of people work in the production, and the director brings them together.
I want to continue making anime that inspires people who watch it to want to make society a better place.
*1 There was only one scene that used cels. In the end, it was shot digitally, so it wasn't that noticeable. Harada added touches such as airbrushing to the digital data one by one in Photoshop to create the smoke and waves.
In the recording room. Harada is in the center.
About "Bem":Bem is a famous Japanese monster anime that was broadcast in 1968. The animation work was done in Korea, and the unique world view that is not Japanese scenery enhanced the horror taste.
An anime production company (a production company that does not own the copyright) recommended Harada to an advertising agency because of his directing skills in "Kirby"
The famous major advertising agency had acquired the copyright to Bem.
For several years, many anime companies had planned to remake Bem, but all of them were rejected by the advertising agencies.
Many anime directors respected the old Bem and planned a remake that was faithful to the original, but the advertising agencies wanted to create safe content that companies could make money from (Harada later heard this directly from the producer. In Japan, "content" refers to the legal definition of art imposed by the Japanese government (Liberal Democratic Party) since 2004. Since then, many large corporations have exploited the law to increase their profits).
From 2004, Harada was in charge of planning the remake and creating the pilot by himself for two years. However, all of them were rejected by the advertising agencies. (It was later discovered that the advertising agencies had not actually read Harada's huge proposal documents. Furthermore, the proposal documents and illustrations have now been destroyed.)
When it was decided to broadcast in 2006, the advertising agencies opposed Harada directing it.
Harada has always avoided telling people in the commercial anime industry that he was an independent creator. The commercial anime world was not interested in independent production. Also, he did not talk about commercial anime work in the independent production world. People in the independent production world were not interested in commercial anime work.
However, the people at the advertising agency had secretly looked up Harada's background on the Internet.
For several years, many anime companies had planned to remake Bem, but all of them were rejected by the advertising agencies.
Many anime directors respected the old Bem and planned a remake that was faithful to the original, but the advertising agencies wanted to create safe content that companies could make money from (Harada later heard this directly from the producer. In Japan, "content" refers to the legal definition of art imposed by the Japanese government (Liberal Democratic Party) since 2004. Since then, many large corporations have exploited the law to increase their profits).
From 2004, Harada was in charge of planning the remake and creating the pilot by himself for two years. However, all of them were rejected by the advertising agencies. (It was later discovered that the advertising agencies had not actually read Harada's huge proposal documents. Furthermore, the proposal documents and illustrations have now been destroyed.)
When it was decided to broadcast in 2006, the advertising agencies opposed Harada directing it.
Harada has always avoided telling people in the commercial anime industry that he was an independent creator. The commercial anime world was not interested in independent production. Also, he did not talk about commercial anime work in the independent production world. People in the independent production world were not interested in commercial anime work.
However, the people at the advertising agency had secretly looked up Harada's background on the Internet.
And without directly confirming this fact with Harada, they decided that Harada was a "dangerous person."(Harada was also called a "dangerous person" by some of his colleagues at university.)
The first episode of BEM, which Harada was in charge of, was so extreme that the sponsor, Marmiya (a food company), dropped out, and the advertising agency continued to broadcast the show at its own expense, but it was unable to find a sponsor after that, and the show ended after the 13th episode.
All 26 episodes were broadcast on cable TV.
When it was decided that Harada would be in charge of the final episode again, a person in charge at Sony Pictures (one of the companies that were members of the production committee) bowed his head on the desk in the lobby of the film developing lab and pleaded with Harada. "Please don't make anything dangerous. I have a wife and kids. I can't let the company fire me now."
The final episode was a resistance film that directly criticized human discrimination.
Humans judge people based on appearance alone and persecute those who have the elements of monsters.
However, the children appealed to the adults, "Please stop discriminating."
Finally, the children occupied the gas tank. Below them, the police, riot police, and TV news surrounded them.
All 26 episodes were broadcast on cable TV.
When it was decided that Harada would be in charge of the final episode again, a person in charge at Sony Pictures (one of the companies that were members of the production committee) bowed his head on the desk in the lobby of the film developing lab and pleaded with Harada. "Please don't make anything dangerous. I have a wife and kids. I can't let the company fire me now."
The final episode was a resistance film that directly criticized human discrimination.
Humans judge people based on appearance alone and persecute those who have the elements of monsters.
However, the children appealed to the adults, "Please stop discriminating."
Finally, the children occupied the gas tank. Below them, the police, riot police, and TV news surrounded them.
After that, an advertising agency planned to make "Bem" into a pachinko game.
Harada didn't want to be involved with commercial animation anymore, but sadly, he had no choice but to sell his labor to a corporation to make a living. Harada was in charge of animation direction for the pachinko game BEM.
After all these events, when a special program on BEM was broadcast on television later, Harada did not appear, but instead recommended cat-loving scenario writer T to the television station.
Although T did not mention Harada's name on the program, he recounted an episode in which Harada had distributed a newspaper article to the main staff as reference material, asking, "What is the state of the world today? Also, what is the environment surrounding children?"
Harada didn't want to be involved with commercial animation anymore, but sadly, he had no choice but to sell his labor to a corporation to make a living. Harada was in charge of animation direction for the pachinko game BEM.
After all these events, when a special program on BEM was broadcast on television later, Harada did not appear, but instead recommended cat-loving scenario writer T to the television station.
Although T did not mention Harada's name on the program, he recounted an episode in which Harada had distributed a newspaper article to the main staff as reference material, asking, "What is the state of the world today? Also, what is the environment surrounding children?"
Episode 1 of "BEM"
begins with a narration by Mizuho Suzuki , an anti-authority actor whom Harada admires, who says, "The Japanese government designated part of Japan as a government-designated city and carried out large-scale development, destroying the natural environment. Monsters from all over the world have gathered here." However, it is not just well-behaved scenes; scenes such as monsters jumping into people's mouths make it a grotesque horror film. Harada does not simply portray anti-authority and political scenes, but also does not skimp on violent and horror scenes. This style is similar to that of Kinji Fukasaku and Oliver Stone.
Final episode (episode 26)
Children occupy a gas tank and demand, "Stop discrimination!" The large group of adults who have gathered there shout, "They're in the way!" and "Deport these monsters from the country!" The mass media also only emphasizes the horror of illegal immigrants. This is a phenomenon that is accelerating in Japan today. Now, Japanese xenophobes are targeting the Kurds, in addition to the Chinese and Koreans they targeted in the past.
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by kiyubaru2020
| 2024-10-05 13:08
| Life and history
2024年 10月 05日
Interview (2013)
Harada appeared on the official DoCoMo mobile phone program due to his participation in the production of "Japanese Folk Tales." Since we do not own the copyright, we cannot introduce the footage, but we will post only the text here.
*Harada also talked about other traumatic childhood experiences (as described in this blog), but they were all cut.
Recorded in 2013. Streamed in February 2014.
-What made you start making animation?
Harada (hereafter referred to as H):
A long time ago, the American artist Windsor McCay made a black-and-white animation called Gertie the Dinosaur. I saw it on TV when I was in the second year of junior high school.
This animation didn't use cels, it was drawn frame by frame with pen on paper. The background art was also drawn frame by frame on the same paper.
That's why the backgrounds tremble.
I thought, "I can make something like this, even I can."
A friend of mine in junior high school knew a photo shop, and he lent me an 8mm camera and projector, and I started making animation.
I made about one film a year.
By the time I entered Tokyo Designer Academy, I had already made several.
-What advice would you give to young people who want to become anime directors?
H: First of all, get out into the world and gain a variety of experiences.
Rather than watching new films, I recommend watching old domestic and foreign films from around the 1960s and 1970s. Everything (important things in making a film) is condensed there.
That was the golden age of Japanese cinema, and excellent works were produced overseas as well. And individual experimental films too. First of all, you need to watch all the footage from that era.
And (for TV anime) teamwork is important.
So communication is important. I couldn't do that in the past.
And (directors) need to be strong.
If you receive criticism from others, you shouldn't get discouraged, but you need to think about the criticism and have the vitality to overcome it.
And the fundamental motivation for why you are doing this job. In other words, it's important to know that you are doing it because you have something to say.
I don't think viewers will find a work made mechanically by inertia interesting.
I think viewers want to see something that the creators made with all their effort and sweat, including the embarrassing parts of the creators, even if they made embarrassing mistakes.
I think a video work is a medium that naturally conveys (even those intangible parts) to the viewer.
Harada (hereafter referred to as H):
A long time ago, the American artist Windsor McCay made a black-and-white animation called Gertie the Dinosaur. I saw it on TV when I was in the second year of junior high school.
This animation didn't use cels, it was drawn frame by frame with pen on paper. The background art was also drawn frame by frame on the same paper.
That's why the backgrounds tremble.
I thought, "I can make something like this, even I can."
A friend of mine in junior high school knew a photo shop, and he lent me an 8mm camera and projector, and I started making animation.
I made about one film a year.
By the time I entered Tokyo Designer Academy, I had already made several.
-What advice would you give to young people who want to become anime directors?
H: First of all, get out into the world and gain a variety of experiences.
Rather than watching new films, I recommend watching old domestic and foreign films from around the 1960s and 1970s. Everything (important things in making a film) is condensed there.
That was the golden age of Japanese cinema, and excellent works were produced overseas as well. And individual experimental films too. First of all, you need to watch all the footage from that era.
And (for TV anime) teamwork is important.
So communication is important. I couldn't do that in the past.
And (directors) need to be strong.
If you receive criticism from others, you shouldn't get discouraged, but you need to think about the criticism and have the vitality to overcome it.
And the fundamental motivation for why you are doing this job. In other words, it's important to know that you are doing it because you have something to say.
I don't think viewers will find a work made mechanically by inertia interesting.
I think viewers want to see something that the creators made with all their effort and sweat, including the embarrassing parts of the creators, even if they made embarrassing mistakes.
I think a video work is a medium that naturally conveys (even those intangible parts) to the viewer.
*Harada also talked about other traumatic childhood experiences (as described in this blog), but they were all cut.
credit: Docomo
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by kiyubaru2020
| 2024-10-05 00:10
| Life and history
