To quote Wiki’s summary, Hal movie’s story takes place in a technologically advanced society in which robots can be programmed to behave like a complete human. A robot is asked to replace “Hal”, who died in an accident, to help Kurumi, Hal’s girlfriend move on in life. “Hal” struggles to understand the real Hal’s past, Kurumi’s affections towards Hal as well as the meaning of being alive. To me, this is one of the more memorable sci-fi movies of 2013. The film does not appear to be particularly emotional and easy to watch. But it has its touching moments. What I like about this movie is it paints a very realistic approach on robot rehab (even though it is not a commercially viable technology at this time).
I want to take note of the follow thing: First and foremost this is an anime with a beautiful art style; secondly, it is an hour long; and third, if this doesn’t make you cry it will make you feel a deep sense of sorrow. Somehow, despite being just an hour, this film quickly takes you from seeing a bunch of random faces to knowing their names, feeling like you know a good piece of their story, and though you know your ultimate wish of the whole situation being a dream is unlikely, it does exist within you. I mean, most movies can’t hardly get a romance like this right in 90+ minutes, and yet this OVA gets you engrossed in 60. Proving sometimes animation is better than reality.
Much of my rating is skewed towards the greatest magic which lies in its very successful twist. Because that twist made this movie stood out amongst many other movies touching on rehab topics out there. Still, considering the subject matter, the movie is far from perfect, at least in my opinion knowing that the director had been involved in many other high profile anime works in the past.
It’s an hour, easily accessible online, and legal, to view so there is really no reason to not see this unless you are vehemently against reading subtitles. For, though short, it perhaps has one of the most beautiful, and sad, love stories and what is better than watching something which makes you feel? Hence why I say it is a must see, whether you are an anime fan or not.
This engrossing documentary takes us inside Studio Ghibli, the renowned Japanese animation studio that created such classics asSpirited Away, Grave of the Fireflies, My Neighbor Totoro andPrincess Mononoke. Located in a Tokyo suburb, Studio Ghibli looks from the outside like a modest office building from. But behind its doors, some of the greatest creative talents in cinema work every day. These are the imaginations behind Spirited Away, Princess Mononoke, Grave of the Fireflies, My Neighbor Totoro, and Ponyo. Mami Sunada’s documentary, The Kingdom of Dreams and Madness, takes us inside the Studio, offering unprecedented access to the work of producer Toshio Suzuki and world-renowned filmmakers Hayao Miyazaki and Isao Takahata.
The documentary offers many personal views from the director, with plenty of photographs and archive footage, and also incredible shots of the strenuous process of making traditional hand-draw animation. At 72 years old, and facing a possible retirement, Miyazaki still manages to instill hope for more to come. The studio cat gets as much screen time as Takahata working down the road on The Tale of Princess Kagyua. The bulk of the footage covers Miyazaki finalizing As the Wind Rises working in his computer free headquarters, recording voice tracks and music and showing the finished film to his staff.The only person in a suit is the legal rep. Not an unblemished study, as this is likely to be the last film of both these major figures in animation, the record of their work has an extra, slightly melancholy feeling.
This visit to Studio Ghibli proves gratifying as it is to have the pleasure to watch the films produced there. The place even looks like a Miyazaki movie, with its natural imagery, ship-styled windows, all-knowing cat and rooftop billowing lawn. In the film, we see Miyazaki himself working on, what is sadly now known as, his last film. We see Ghibli as a studio where he personally storyboards the entire film from beginning to end, and where is dedicated and talented group of artists painstakingly draw each frame by hand, is cluttered, open and conspicuously lacking any new modern technologies. Meanwhile, in the south, Ghibli’s other maestro Takahata is struggling with his fifth and latest film, his first film in thirteen years. Their producer and co-founder Toshio Suzuki shuttles between the two, managing their distinct styles and approaches with the same amount of obvious love and a shrewd appreciation of the challenges he faces. Relationships among these three men lie at the heart and soul of Japan’s most creative and successful enterprise, and director Mami Sunada traces Ghibli’s evolution accordingly. Miyazaki himself is fascinating and irresistible, impish at one moment, the next moment melancholic – notably when contemplating the meanings of his film. His insistence on traditional decorum proves no impediment to spiky candour. He is a completely captivating genius.
In conclusion, “The Kingdom of Dreams and Madness” does probe as deep and tells as many hard truths as it should, but Mami Sunda’s look at Studio Ghibli’s two legendary founders offers a fascinating and surprisingly intimate and personal glimpse into their lives as well as the studio’s. There is nothing short of a giddy delight in watching the fine folks who founded Studio Ghibli living out their dreams in ways much larger than even they could ever have imagined. Sunada had the gumption to pop open Studio Ghibli’s hood and explore the mechanics, and ultimately created something warmly nostalgic, uplifting and modern at the same time.
I love a good martial arts film but too often they end up disappointing me. Often, the action is, to put it charitably, really lame–with punches and kicks that obviously do not connect and ridiculous sound effects that are laughable. And, in a few cases, I’ve seen films that feature some amazingly skilled fighting but the story is paper-thin. Fortunately, with “Once Upon a Time in Shanghai”, you have a film that manages to do both–with some of the best and most brutal fighting you’ll ever see as well as an interesting story.
The cars and some of the costumes really are not from the right period –and the picky history teacher in me noticed that! But, I do appreciate how the film has a historical context and is based somewhat on events of the day. Back in 1930, Shanghai was a pretty wild town–with gangs and drugs and the like which you see in the film. But what makes this interesting historically is that the Japanese are also in the movie and are clearly villains. In real life, Japan would soon begin a full scale invasion of China that would last over a decade. Most westerners have forgotten about this horrible period in Chinese history (many millions were killed) but the filmmakers haven’t nor have the Chinese. And, making them the villains clearly is something that would appeal to Chinese audiences–especially in the finale when Ma screams “Get the hell out of China!!”. While there is still a lot of animosity between the nations today despite efforts by both governments over the years to improve relations and we can only hope this continues.
As for the story, Ma (Philip Ng) arrives penniless in this big town and needs work. However, he and his fellow villagers didn’t realize that Shanghai was a really rough place–with rival gangs running the streets. Not surprisingly, soon the nice newcomers are caught up in the violence of the streets. The only local who seems decent is an odd character played by Sammo Hung (a frequent collaborator with Jackie Chan)–and Ma inexplicably falls for the man’s incredibly grouchy daughter. However, this romance doesn’t have much time to blossom because of all the violence between rival gangs. One of these thugs, Long Qi (Andy On), is amazingly tough–and his martial arts skills are insanely good. And soon he and Ma end up coming up against each other. Here is where the film gets really good. Instead of Long Qi killing Ma or vice-versa, the pair are so evenly matched that they actually become friends. But Ma is a good soul and manages to not only stay pure of heart but become almost like Long Qi’s brother. So everyone lives happily ever after, right?! Nah…this IS a martial arts film and soon the really bad bad-guys arrive–and the Japanese are not about to let some gangs or some country bumpkin like Ma stand in their way.
What’s next? Watch the film for yourself—you won’t be disappointed. As I mentioned above, the fight sequences are amazing…no,…they are BRILLIANT. Intense, fast, highly skilled and insane are all words that come to mind. Plus, while the heroes are a bit too super-human (they can manage to STILL hang on after 137934 stab wounds!!), the fight sequences themselves don’t appear too super-human! There are very, very few “Crouching Tiger, Hidden Dragon” sorts of wire-fu techniques in this film and I appreciate this. Yes, I know some of you readers love these–I still prefer the more realistic action sequences like you’ll see in films like this as well as the Street Fighter series (with Sonny Chiba), the Gina Carano films as well as “Ip Man”.
This week we feature Nobumichi Asai who is a Japanese digital artist and leader in projection mapping technology. What exactly is Project OMOTE? Well, projecting computer graphics onto buildings to make them digitally come alive isn’t new, but how about if your canvas is a living, moving, human face? OMOTE does just that, a combination of real-time face tracking and projection mapping that takes a model’s face and turns it into something far more mesmerizing, even as it moves around. Asai is staging a live demonstration of his technology in Tokyo on August 28, 2014. The event is free but space is limited. You need to sign up for the raffle to win a spot. In the meantime he answers a series of questions about the project. Read the Q&A below…
What is the purpose of the work?
I am always thinking how we can use high-technology to invent new entertainment. The theme of this work is our root of Japanese traditional mind. I wanted to express the mixture of Japanese sense of beauty, spirit of samurai, the environment of high-tech, and subdividing Otaku-culture. And when I have seen the face mapping from samsung before, I thought I could be able to make it more interesting. The reason that I chosen “face” as the screen was that I’ve been very interested in face as media. Faces are the most sensitive and powerful media. With a difference of lip colors or eye lines, faces completely changes. I’ve been very curious to see new type of expression when we can control the impression of faces.
What is “OMOTE”?
We use projection mapping to put CGI onto a real face. For real-time face tracking, we use the IR sensor, called Opti track. It is similar to kinect, but it can react to movement faster and more accurate. Opti track is the best when we need the accuracy of movement and details like face. The all programming was written in C++, and it reduced the latency very well. Paul, French member of our team, showed his exclusive skills on programming.
From where did you get the inspiration?
I am inspired of the artists that I watched in my childhood. Bjork or Steven Spielberg in particular.
Do you have any plans for the next work?
I want to make some work which can be received in general. I am believing that technology has a possibility to bring us to express universal beauty.
Now your work is getting popular through the world. How do you feel about that?
I am very happy and excited. I didn’t make this not only for commercial, but I wanted to pursuit the way of art. And now, I am very happy to share it.
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Season four introduces the notable comic characters Abraham Ford, Eugene Porter, Rosita Espinosa, Bob Stookey, and Lilly, as well as a modified version of the Chambler family from The Walking Dead: Rise of the Governor tie-in novel. The season continues the story of former sheriff’s deputy Rick Grimes, who relinquished his leadership in order to live a quiet life in contrast to his cold-hearted nature in the previous season. Rick and his fellow survivors struggle to maintain their idealistic lifestyle in the prison in the face of threats, including the proliferation of walkers near the prison gates, the outbreak of a contagious and deadly flu-like infection within the prison population, and the spectre of The Governor, whose whereabouts and status are unknown and, unbeknownst to the prison community, is planning his revenge upon meeting a new family and rallying a new army. The second half of the season mainly focuses on the individual groups that escaped from the prison after its downfall, and their efforts to survive as they follow a line of railroad tracks to a supposed safe zone named Terminus.
The first episode showed us some of the changes to the prison, introduced new characters. To many this can seem kind of slow, but it didn’t bother me any. When Rick was talking to the creepy lady in the forrest I do admit that it wasn’t the brightest part of the episode. But it showed us how some people are living this far into the ZA. When it got to the Big Spot scene, it really kept me on the edge. The scene involved walkers falling through the roof, a new character being stuck, and eventually the death of another different new character. Which surprisingly his death gave me a chill, maybe it was because we haven’t seen a good walker death scene in awhile, or maybe it was the combination of the chaos and how fast they killed him. Either way I found it pretty good. Then the death of Patrick alone increased my anticipation for the next episode and the desire to find out whats going on. This episode hit 16.1 million viewers, which I agree that quality always beats quanity. But the show is entertaining to alot of people. And if they can find joy in it, then why are people so harsh to bring it down? Its like no one has anything better to do than bash other TV shows. I know it is a review website, but “critics” need to give it an actual review instead of saying “the series is so overrated so Im gonnagive it lowest score” Seriously? Just cause something is popular and overated doesn’t make it terrible. There are plotholes, just like in every TV series and every Movie (some more than others). But if your gonna just watch the show to scan for plotholes instead of actually enjoy the show, then just don’t watch it in fact don’t watch any show because you will just ruin it for yourself.
The story just continues with the same characters who continue to live in the prison and fight zombies. It’s getting stale and the thrill of fighting the zombies isn’t there anymore because they are always hanging around the prison, it was better when they were suddenly “surprised” by them. Another thing which is disappointing is that they are so loyal to the characters now so they have added 30 new characters which we don’t know much about but they are either getting killed or sick so when they kill them off I don’t see why we would even care for a character we have been introduced to for 15 minutes. I don’t know what this show will pick up because I have just lost interest but will continue to be loyal in watching it, just because I have come this far in. There are so many better shows out there at this point so it’s disappointing. Maybe I’m done with the prison, maybe I’m not ready to accept Rick being a passive follower, and maybe there are just too many characters to follow. Yes, it’s all of those, but they all pale in comparison to the biggest problem I see: the virus. A show as viscerally, violently entertaining as this CANNOT resort to a virus as its menacing threat. It is just too boring… Many people complained about the farm in season 2, and its slower paced storytelling, but this is lurching along so slowly that they’ll need 10 episodes to move past with it….too long.
The Walking Dead has never been the best tv show, but it some truly spectacular episodes like Days gone by and Killer Within that show what the could be if it tried. I not am saying that the other episodes are really bad, in fact they are pretty good. The 1st episode of the 4th season while most people will hate on for not adding more to the plot, is more a glimpse at the daily lives of the groups, to know that when true conflict starts, why the hell they are so tense and what they consider to be their current “normal” lives. It was never about zombies, it is a character study of the best kind. The final episode, “A”, was an effective finale. It makes me hope for a big improvement in Season 5. The Walking Dead remains as one of those shows were every cent of production shows up on screen, but I’m not convinced the show will be able to survive on a long-term basis. The writers want us to think if the characters can come back from what they’ve done in the past. Perhaps the better question is whether or not the writers can come back and save a show that seems destined for mediocrity.
Sakura was a normal fourth-grader until she stumbled upon the book of Clow Cards in her father’s library. After accidentally setting the magical cards loose, it’s now up to Sakura to catch them all again before they wreak havoc on the entire world! Luckily, she has her best friend Tomoyo, and Kerberos, the guardian of the cards, to help her. But when the help is more interested in costumes and video games than in Clow Cards, what’s a young captor to do? And now Sakura has a rival, both in her chase for the Clow Cards and for the affections for her brother’s friend Yukito. Thanks to NIS, we now have the grand original! Sweet and compelling, this is the saga of a little girl who finds herself enmeshed in a magical world of cards! Magical cards which have escaped their bonds, and now flash about in many different guises, wreaking havoc. Young Sakura must re-capture the entire deck, using the powers of the cards she already has: with a little help from her magical sidekick, Kero-chan. His name is a bit of a joke; it’s really Keroberos, but Sakura calls him by an affectionate diminuative construction of it. The Americanized version,released as “Cardcaptors,” was heavily edited and even had dialogue re-written to make it more of a boy/girl show instead of primarily a “Magical Girl” series, even “dumbed it down” a bit in some ways. Appropriate for any age, the stories are easy to follow but tense and dramatic. Parents, you can enjoy watching them with the kids! In fact, I’d already been an anime fan when my kids got me into this! The stories and characters really drive this series, and put it several cuts above the average “monster of the week” anime in the Pokemon model.
Here is when we geta look see at Sakura’s life and how she first opened the Clow book. It reveals about how Sakura lives with her father and big brother. But Sakura’s mother passed away when Sakura was only three years old. Sakura is a cheerful 10-year-old girl. Her best friend is Tomoyo Daidouji. Tomoyo is the daughter of the owner of a big toy company. She the richest kid in their town. Sakura after school finds the Clow book in her dad’s basment. She has a little bit of magical powers because she was able to use the WINDY spell without knowing what she was doing and blew away all the rest of the Clow Cards. Keroberos the beast of the seal who guards the Clow Cards tells Sakura she must now capture these dangeros cards who each have a power or there own. Sakura was able to captur the FLY card. But this is only the beginning. Also, in Sakura’s world, people are not perfect or one-dimensional. Li Shaorun can be a brat (and eventually evolves to crushing on Sakura as the series progresses), but he’s that way because of his background. He’s been ingrained by his family to capture cards, and at first he sees Sakura as an amateur rival who he doesn’t need (he actually feels threatened by her presence in the beginning). Tomoyo, an amateur film freak, drags her videocamera everywhere to film Sakura’s captures, and has a few stints of her own. Even Kero, with his sharp mouth and love of video games, and Sakura’s older brother, a true pain in the butt (in an endearing and entirely lifelife way), makes the series all the more realistic and worthwhile. Unlike “Sailor Moon”, here there are no “throwaway” characters, even Sakura’s band of clueless schoolfriends. Nobody here is one-dimensional.
The first thing that you notice about Cardcaptor Sakura is that it is beautifully animated. There is not even ONE shot of a static character with a moving background on this first volume. Something is always moving, whether its Sakura’s hair or the wings on her staff. It gives a realistic feel to it that is missing from most anime. I also liked the soundtrack, which combines symphonic music with pop flourishes. As for the characters, once you get adjusted to their annoying little girl voices, they are quite funny. Sakura is quite admirable in that while showing some fear, when it comes to the business of trapping the Clow Cards, she shows exceeding bravery. Kero threatens to steal the show with his Osakan accent and gung-ho spirit which get most of the laughs. All of the male characters show a tendency towards castrati except for Sakura’s brother who shows a little more masculinity. What I don’t like about the show so far is its episodic nature. Perhaps maybe its because of my age (I’m approaching 30 years old), but the domestic themes (yes, Cardcaptor Sakura also has to wash laundry, have baths and cook dinner!) and the childish scenes, most involving embarrassment because of romantic feelings, provide little humor and I did groan a bit as there’s a little slapstick for Kero too.
If you’re a fan of the series, this purchase is a no-brainer and NIS slipcases now approaches a standard DVD height so it fits easier on your shelf. The extras are as included:
- Disc 3:
- Clean Opening 1 (1080p; 1:20)
- Clean Opening 1 Version 2 (1080p; 1:20)
- Clean Ending 1 (1080p; 1:11)
- Trailers for other NIS America releases
- Disc 6:
- Clean Opening 2 (1080p; 1:20)
- Clean Ending 2 (1080p; 1:11)
- Clean Ending for Episode 46 (1080p; 2:34)
- Disc 9:
- Clean Opening 3 (1080p; 1:20)
- Clean Ending 3 (1080p; 1:11)
- Clean Ending for Episode 70 (1080p; 1:45)
- Trailers for other NIS America releases
The animation is crisp and bright, and the voice actors do an excellent job all around. But above all, it’s next to impossible to watch this series and not feel good. The energy and upbeat personality of the series comes through everywhere, and is thoroughly infectious. Not the simple or even shallow show it may seem at first, Sakura can be enjoyed by anyone of any age, and all fans of anime
he girl has mauve hair, an indication of the hipness of this couple who first meet on a smoke break in a Hong Kong alleyway. He’s in advertising; she sells cosmetics. And his shirt is the same color, signaling an affinity this movie seeks to explore. A Hong Kong ordinance prohibited smoking in all indoor areas. Employees began gathering in gathering cliques they called “hot pot packs” to smoke outdoors, talk, and have fun. That’s the starting point. There’s much camaraderie and banter — liberally laced with profanity — among the “hot pot pack” that includes a man with round glasses, a girl with a knit cap, a Pakistani pizza man, a little uniformed hotel bellman — and the couple- to-be, Jimmy (Shawn Yue) and Cherie (Miriam Yeung Chin Wah). The movie begins with a dramatization of a shaggy dog story about a man locked in car trunk in a parking lot who turns out to be a ghost. There’s a lot of joking round, and things stay very light, becoming just a little romantic when Jimmy joins Cherie at a costume birthday party at a Karaoke bar — except Cherie turns out to have a boyfriend, KK (Jo Kuk).
Eventually he finds out about Jimmy (and we see how much fun he and Cherie are having together) and he gets jealous. Love in a Puff shows how romantic text messaging can be — and how it can give away secrets if spied on. And when Cherie decides to switch to Jimmy’s network so her SMS fees aren’t too high, Jimmy’s cohorts at work say she’s too aggressive. Jimmy has just had a breakup with a girlfriend at work, and Cherie is older. These are the givens that do nothing but fuel the mutual attraction. This movie excels in its constant interplay of lightness and seriousness, in the way the milieu and the social world is sketched in, and in the great chemistry between Yeung and Yue. Their dialogue is breezy and sometimes touching. Dialogue in group scenes is feisty and provocative by sometimes strict Hong Kong standards; Love in a Puff caused some controversy, which could add to its hip gloss for locals. Some of the whimsy recalls romantic moments in Wong Kar-wai, but it’s all more mundane, but enough to show that Wong’s tropes are far from unique and sometimes come from Hong Kong pop culture. If only Pang had taken more breaks from the sit-com charm and stepped back a bit, he might have created a bit more magic. There is a bit of that with a silhouette-and-full-moon sequence of Cherie at the 80-minute mark, when the story reaches its make-or-break get-serious point. At film’s end, the couple come to some kind of commitment, with Jimmy’s Land Rover stalled on an overpass, appropriately enough by making serious plans to both give up smoking, and focus on each other.
The apparent triviality of the subject matter, along with the modern urban couple’s difficulty with communication (despite multiple platforms) is offset by wit and keen observation of little details every step of the way. This light, cinematic, amusing movie is appealing and fresh — and has an assured polish, along with casual touches, like the little small-screen 16mm interviews that serve as occasional commentary. All in all, Love in a Puff is a delightful little piece of fluff, as casual as its lovers try to be. One online critic listed it as one of his top movies of 2010 and characterized it as “forgettable in an unforgettable way,” and that’s about right. Local commentaries say the film won’t work dubbed in Mandarin because its Cantonese profanities are untranslatable and had the audiences in stitches throughout. Subtleties apart, the English titles give a fair sense of this pungency. Some little SMS tricks emerge too: for instance, if you type “i n 55!W !” it looks like nonsense or code, but turn the phone upside down and it reads “I MISS U!” Of such details are Puff’s flavor and charm made.
After its initially rocky debut in Hong Kong due to its profanity and heavy nicotine use, Love in a Puff has breezed along the festival route, appearing in Seattle, Melbourne, Tokyo, Palm Springs, landing in April 2011 at the San Francisco International Film Festival, where it was screened for this review. The original Chinese title is Chi ming yu chun giu, which means simply Jimmy and Cherie. I was not previously familiar with the work of this prolific 2000′s Hong Kong director.
Hye Jin Chung is a New York based Korean illustrator. She was born in Singapore and has lived in several countries before settling down in New York. She received her MFA degree in the Illustration as Visual Essay program at the School of Visual Arts, New York in 2013! We sit and chat about how to deal with clients, education, films, food and more! Read below for the full Q&A…
Moving and living in various countries before settling down in New York; was that to find a place that suited you or were those decisions out of your control?
I lived in different countries because of my father’s business.
Would you say formal education in Korea is beneficial to your career? Is there a big difference in how people approach graphic design in Korea compared to the U.S.?
I studied graphic design in Korea and I’d been getting design and illustration jobs since my graduation. My interest toward illustration had grown more and more but i realized that the illustration market in Korea was small and also history of illustration was not that long compare to some other countries so I decided to study abroad to learn more about illustration and its field. And because the illustration history in America is longer and the market is bigger than Korea so it seems people in general appreciate illustration more. I would say that the basic ideas of graphic design I learned in Korea somehow help create images. For example, I learned how to make images strong and well to convey the idea with using simple graphics and that idea still works when I create illustrations.
New York must be a stressful place to be a creative. What was it like when you first arrived?
People are very competitive and everything moves quickly. But it’s the same as Korea so I had less hard time to fit myself into the life of new york. In a career wise it is stressful but also very motivated at the same time because there are so many talented people who dedicate themselves to their jobs.
Do you experience any bounding boxes of creativity when doing illustration work for major publications? Is it sometimes a restrictive environment?
Yes I do. For instance, some magazines prefer bright colors with cheerful images and newspapers don’t want to express races. These conditions don’t help create images freely but sometimes I can get unexpected results which I like from these restrictions.
I love the ‘My Job’ series where you can effective illustrate someones profession from the neck up. What is the creative process like coming up with themes for work such as this?
That series of illustrations were part of my thesis project. The theme of my thesis was obsession and i created four series of images about OCD. I had a various(some of them were ridiculous) ideas about obsession. These ideas moved to another new ideas and this process eventually led me think about people’s occupations like experts in their jobs. There are so many different jobs and i picked/created unique/weird jobs which would be good for creating images.
You’re also well versed in adapting multiple mediums. When you were approached to doodle on umbrellas, what was your initial reaction?
Those umbrellas are for editors who visited Converse office for Fall 2014 Press Preview, so I tried to make patterns that doesn’t look too common but also considered people’s preferences. And I had a few tools to use (a few brushes, sponges, and a Converse shoe sole), so tried to make various patterns or images in a limited materials.
What is your favorite kimbap recipe?
Tuna kimbap and cheese kimbap! Don’t forget to roll them with sesame leaves.
Favorite Asian films?
There are many. Some of Korean movies I like are Memories of Murder, The Host, Snowpiercer, Nameless Gangster: Rules of The Time, The Chaser, King and the Clown and the list goes on and on. Some Japanese movies I like are Between Calm and Passion, Bayside Shakedown, Josee, The Tiger And The Fish, Honokaa Boy, Love Letter, etc.
What steps have you taken as a creative to effective evolve you way of conveying the idea or story well, visually through your art? Is it frustrating when your work is misinterpreted?
First I spend time for getting references. And then I do really quick thumbnail sketches when ideas come up. If I spend a lot of time for doing sketches, then I usually get lost what I initially wanted to draw. My sketches are super loose but when I do sketches for my clients, I try to make them neat. And then I scan my sketches and paint colors on photoshop and if I think I pick the right colors then I start to make the colors and apply on paper. I also make textures (because I don’t like just using flat color) and start to do collage.
When I work for clients I usually explain my ideas. It is sometimes bit frustrating when clients pick the sketch I don’t like but eventually I follow their opinions. And it is interesting to know when people interpret my work in their own ways. I feel like sometimes they understand my work more that I do.
Lastly, any advice for any creatives out there?
Keep making images you like and keep doing your personal work.
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Personal Website: hyejinchung.com
Year 2084, humans are fighting a bloody war against an alien species known as “Daggra”, the war is coming to an end and it seems as if the human race will lose it. The human race however has managed to build a time machine, and in the dying seconds of the war they manage to send a girl, “Milly”, back in time. Her mission is to locate and kill the first alien to land on earth, hoping that this will prevent the future war. There is never any doubt where this movie has picked up its inspiration, movies like “The Terminator 1/2″, “Independence Day” and “The Matrix” are quite obvious in the movie, but that isn’t necesarrily a bad thing, all movies pick up inspiration from somewhere. The storyline isn’t very original, but still in a way original. Problem with it really is that it lacks some depth, and also the 82 years war feels a little unrealistic, however the storyline is driven enough, just nothing special, nothing that will make this movie stand out, even though I think it had a lot of potential. There are also moments of the movie where the story feels a little too weak, especially the very end I disliked, just the way it went, reminded me too much of E.T, and the sentimental point of view should have been kept out of this movie.
Now to draw out the positive sides of this movie. The action scenes are great, even though they are very inspired by The Matrix they are still very good and enjoyable. I never found myself getting boring, and I think the action scenes are definitely one of the things that makes this movie worth watching. Some people say that the effects here are worse than in Hollywood, to be quite honest, I don’t believe they are. I didn’t find them unconvincing at all, especially the scenes with the Cyborgs were well done, the bullet-time scenes were also good, but we’ve seen that a lot of times before after “The Matrix” was released. The movie ends with a small twist, a twist I personally felt didn’t belong to the movie at that point, the clues given were a bit weak, and I think it was just generally a weak attempt to create a shocking end, opening your eyes, which it didn’t for me, at least not when he woke up again. Had he died, then I would have been shocked and amazed.
Another problem with the movie is the lead characters. Anne Suzuki is cute, yeah, but she lacks depth and her performance never feels real. Her character felt kind of empty and that also damaged the chemistry with co-lead actor Takeshi Kaneshiro, who in the personal scenes neither was very good and convincing, but I must admit that he was fantastic in the action scenes, a 50/50 performance from him, although his character never were very believable. The star on the acting side is the guy playing the notorious bad guy, Goro Kishitani had a magnificent performance playing mr. Evil himself, Mizoguchi. This is a character I most definitely hated, and definitely one of the characters that brought life to the story. Takashi Yamazaki obviously had a good hand on things while directing the action scenes, and also the movie contains some good cinematography. Sadly Yamakazi didn’t manage to control the personal scenes of the movies as well as the action scenes, truly sad, because the movie could really have been at a higher level if the personal scenes had felt more convincing. The script also lacked some depth for each of the lead characters, the idea of the movie could actually have been a lot better.
An excellent movie, with a lot of Japanese clichés, like transforming robots, ninjas, and strange new technology. I swear, this must have been the best bullet time I’ve ever seen. It’s even better than The Matrix. No only do you see the bullets, but also the streamers of air coming off of them, and they can be moved if something passes through them. Also, it accurately shows bullets going though flesh, and many other cool things in bullet time. The ending was strong, and tied up many plot holes and paradoxes. The ending was very surprising, yet touching. Overall, excellent film, with unique storyline, cute aliens, realistic special effects, and believable action.