Mari Kojima was born in Shimane, Japan, but since then has spent time on and off living abroad. She graduated university with BFA in fashion design. Because of an unforeseen circumstance, she returned back to Japan in 2008, and soon after discovered photography as a means to express the inner turmoil and happiness that exists within her. Besides taking photos, she has worked as a fashion designer assistant, curator, FM radio DJ, project manager, event planner. She now works and lives in Tokyo. Read below for the full interview…

Many people know exactly what they want to do growing up as a child. You weren’t one of those people. After going from radio DJ, to project managing, event planning, and more, was there always a slight feeling of unfulfillment from those jobs?

Mari: Yes, there was always a slight feeling of unfulfillment since I don’t really stick to a specific field for long time. I think I’ve learnt many things and always found important similarities and connections through all the jobs that I’ve experienced. But, I’m not an expert of any of those jobs that I had at all, but I’m happy that I’ve always had a chance to try new things.

You had an unfortunate family happening that made you return home a few years ago. Would it be OK to ask what series of events made you turn a negative into a positive and discovered your love of photography?

Mari: It’s OK, I can answer that [smiles]. One of the main reasons that I decided to move back to Japan was because both of my parents got cancer and I didn’t want to live too far away from them in case something happened. Also, at that time I was living with my boyfriend in Brooklyn and engaged, but we ended up breaking up. I had quit my job to get ready for the marriage, but since it didn’t happen, I had no job and no reason to stick to living in New York. On top of that, so many bad things happened like big repercussions spreading out around me. I just wanted a new start, so I decided to move back and re-locate myself in Tokyo.

When I moved back to Japan, I met Patrick Tsai, who is a really talented photographer and he gave me this tiny point-and-shoot camera, Olympus Mju-II, and that was the beginning. I think those bad things that happened to me definitely affected me, but maybe in a good way. I was super depressed and sensitive when I started taking photos. When I found something stunning in scenery, that was a big hope, or maybe a envy or jealousy since I didn’t have that. Those little things that I found kept me moving on and I think what I captured turned into something oddly beautiful. That was the time I realized that I could connect my feeling and the visual together, and I started getting into photography.

Did all those past professions help you become a better photographer? Did the attention to detail being in the fashion industry help your photographic eye?

Mari: I actually don’t think they directly helped me to be a photographer. I guess my photographic eye is a mix of how I grew up and emotional experiences from my daily life, which is separated from work.

As for fashion design, I liked the process of making 2D into 3D by using a flat textile. I think Photography is more direct and has a totally different approach than fashion design. If I press the shutter button, what I see through the lens gets burnt onto film directly. Photography is really momentary to me, I don’t really construct my thoughts or ideas up onto it like I do [with] fashion design.

Living abroad and also being in the East, what cultural observations have you witnessed through your lens?

Mari: I think there are so many hidden cultural rules that we have to follow in Japan, but once I see people or things that “crossed the line” here, they sometimes look really sensual since I know that’s something that I have to avoid, but secretly I’m attracted to breaking it too. It’s always like a peep show here. I like this twisted feeling of Japan, it always feels like something hidden underneath. You have to really try to know what the truth is here. On the other hand, in the U.S., I felt things were more direct and dynamic.

Aside from photoshoots, you seem to enjoy documenting day-to-day life with your friends or impromptu shots you happen to come across. Is trying to capture life in its natural sense important to you as a photographer?

Mari: Yes, I can say that it is really important for me to document my day-to-day life. How I see things sometimes make me realize what kind of a person I am. I sometimes notice slightly odd things at a totally normal situation, and I just want to document them to see what I actually saw. I like looking through developed/printed photos to find out what I thought were ironic, beautiful, or sexual within the odd moments that I captured more clearly.

Author Douglas Coupland said he actually had to leave Japan because he developed a skin condition brought on by the intense sun waves. As a photographer in the Summer months do you find this to be a problem as well?

Mari: I actually don’t know much about the actual impact of the sun waves here in Japan, but I love “Life After God” by Coupland, which my best friend gave me as a gift.

Anyways, summer here has been really crazy these years here. When I was little, during summer break, playing outside all day long was the most exciting thing to do, but the past few years, it gets too hot in summer especially in Tokyo because of the heat island phenomenon. Kids don’t go outside to play during summer daytime since everyone is really worried about getting heatstroke since many people get it during summer. We have all sorts of funny items during summer though, a little portable electric fan, a frozen scarf ( http://www.shirokumanokimochi.jp/), etc.

2011 seemed to be a year of self discovery for you. What kind of experiences did you have this past summer and how has it shaped you as a person?

Mari: 2011 was really crazy, I think every experience that I had last year, it just made me realize that I’m not special or anything at all but I’m just a human. The earthquake happened in March, which was really unbelievably shocking. After the event, we faced untruthfulness of government and the most major electric companies here, were trying to hide all the horrible facts and effects over the damaged nuclear plants and radiation. I just couldn’t do anything and just felt really helpless. My brother-in-low’s parents had to leave the town that they lived in because of the high radiation and decided to temporary move to Tokyo. It’s been almost a year since the event but they are still living in Tokyo. We know it will take a long time to solve all those problems that occurred.

It might sound really mediocre but after the earthquake, I felt like I needed to shift my life and take it more seriously. If something happens, if I die, I would have regret over many things that I didn’t do, even little things…. I’d regret that I treated people bad, didn’t talk to my parents for a little while, wasn’t being honest, etc. At that time, I wasn’t really happy with my job, so I finally decided to quit. I guess that was my turning point and since then I started focusing on what I want to do more.

With that said, what do you want to tackle in 2012?

Mari: I’ve been wanting to do a solo exhibition since 2010, I hope it’ll happen this year. Also, I’d love to try fashion photoshoots. I’m going to start working on a new project involving people around me, I guess it’d be lots of fun.

Do you have any favorite Asian films or Anime?

Mari: I love anime, I also really love manga. Anime wise, I love Doraemon by Fujiko Fujio, which is totally classic since I grew up with it. Some of Fujiko’s old SF short comics are really dark and twisted, sometimes I find some similarities with the stories by F. William Brown. I guess Fujiko was actually influenced by him. If you like stories like Borges, I totally recommend reading comics by Daijiro Moroboshi. Harnagedon: Gebma Taisen is my favorite anime too. Yoshinori Kanada, who did the effects for Genma Taisen is such a talented animator.

As for the Asian films, I loved Infernal Affairs. I also love Stephen Chow’s early 90s films. Love on Delivery by Chow was really funny. I watched Tropical Fish by Yu-Hsun Chen when it got released a long long time ago, and I still remember that I loved Chen’s humor.

What type of equipment do you use?

Mari: Many point-and-shoot cameras, old Canon and Yashica SLRs, any cameras with a good quality lens!

Want to keep tabs on Mari’s photographic adventures? Follow her cookie crumb trail below:

http://www.marikojima.com/

http://www.bathyspherebooks.com/

The series follows a Japanese student who wakes up in America with no memory, he is immediately confronted by a masked girl who forces him to fight, he wins but does not kill her. She says that she is called Ein and from henceforth he is known as Zwei, she proceeds to train him as an assassin and he is eventually given missions along side her by a sinister character known as Scythe Master who works for a criminal organisation called Inferno. At first there targets are members of the local Mafia but it becomes clear just how far Inferno will go when Zwei is sent to kill the wife and child of a Mafia boss. Over the course of the series we learn that Inferno is full of internal rivalries that will lead to factional in fighting and pit Ein and Zwei against each other. Later in the series Zwei learns who he really is and ends up acting as big brother to Cal, a little girl who’s sister was killed in the crossfire.

This anime series covers 26 episodes and presents itself through three main arcs with some lapses of time occurring between the arcs. If you’re expecting some kind of fan service treat like with series Sekirei and Ikki Toussen than you will be disappointed, also on that note this series is pretty hardcore nothing to gory but definitely not for young kids. This first mission consists of the dynamic duo breaking into a drug lord’s mansion, which heavily references the final battle in Scarface. There’s even the globe above the fountain (“the world is yours”), albeit a hologram instead of a physical sculpture. Twists and turns in a world where the main character is on a quest of identity, self, love, strength, and just about a dozen other things. All the characters feel real and it was just a series that I really enjoyed.

The voice cast for both the English and Japanese actors/actresses did great in their character roles bringing out the emotional scenes very well. The ending, as anime sometimes does, isn’t FULLY a true ending which leaves it open for a possible continuation. I tend to refer to this anime as the modern setting of the anime Claymore. There is not connection between those two anime but I feel like the are on par quality wise but this series isn’t as mystical and is better off in the area of plot.

Now that I have explained what the plot is like, if you are still wondering if this anime series is for you, ultimately Phantom: Requiem for the Phantom is worth renting if you’re interested in the concept. There’s an astonishing amount of plot in Requiem; I’ve barely described half the story in the above synopsis, and I’m still leaving out a lot of details, most of them interchangeable things about how Inferno takes over the underworld by shooting everyone who doesn’t toe the line. While the animation is generally good there are a few occasions where things seem to slip resulting in characters looking very rough and over simplified. The series has a lot of potential but it seems to squander it in odd places, and the entire arc with Cal ending in a big explosion isn’t a surprise either, but it leads to one of the more confusing elements of Phantom, which is the final arc of it all. Ending flops aside, I would say this would be a worthy addition to your collection.

http://www.youtube.com/watch?v=nWsbax2sVeo

• Picture Dramas (HD; 1:17:33) recounts some of the same material as the series covers, as well as new stories featuring the characters, in minimally animated shorts. Most of these feature still panels that the camera pans across, with occasional added elements like blinking stars and the like. There are twelve of these shorts included in this section.
• Original Commercials (1080i; 4:08)
• Textless Opening Song – Karma (HD; 1:32)
• Textless Opening Song – Senritsu No Kodomotachi (HD; 1:32)
• Textless Closing Song – Jigoku No Mon (HD; 1:32)
• Textless Closing Song – Transparent (HD; 1:32)
• Trailers for other FUNimation Releases

NANA is a romantic drama penned by shoujo genius Yazawa Ai. And before all the dudes reading this completely disregard it, let me just say that my ex-boyfriend would sneak my Japanese copies of NANA into the bathroom and read them. If I asked him what he was doing, he would say he was reading JoJo’s Bizarre Adventure (LIES!). In other words, NANA is a story that everyone can get hooked on. The manga is essentially a chronicle – 21 volumes, over 70 chapters – and still unresolved; it was put on hiatus after Yazawa Ai fell ill in 2009. While it possesses all the characteristics of Japanese drama (never ending conflicts, petty rivalries, love triangles, fairly unrealistic scenarios), Yazawa has treated the characters and storyline as realistically as possible. While addressing complicated issues like sex (which is depicted in the manga!) and pregnancy, Yazawa captures the most heartbreaking aspects of interpersonal relationships. The original manga has been adapted into an anime series and two live action films.

At its core, NANA is a story about two very different girls with the same name. Oosaki Nana is a serious punk rocker and Komatsu Nana is a girly girl with a penchant for making horrendous romantic decisions. After coincidentally meeting on a train for Tokyo, the two girls end up renting an apartment together in the city. Komatsu Nana also befriends the members of Oosaki Nana’s band Black Stones and the rival rock group Trapnest. The two girls are essentially polar opposites; Komatsu has a fairly weak personality and just tags along with the people around her. She moved to Tokyo to be with her boyfriend, only to discover that he had been cheating on her. On the other hand, Oosaki is independent and strong-willed; her dream is to succeed as the lead singer of Black Stones and gave up on her relationship to pursue it. The first live action movie concentrates on Black Stones’ rise to fame and Oosaki Nana’s reunion with former lover Ren, now the guitarist for Trapnest. It also shows the beginning of Komatsu Nana’s relationship with Trapnest bassist Takumi.

The first live action movie generated a lot of buzz in Japan and was given the large budget necessary to do the story justice. A key component of the manga is music; it is about two bands after all. Unlike the unfortunate live action adaptation of Paradise Kiss (which ignored the fashion element of the story), the NANA film maintains this emphasis on music. Oosaki Nana is played by Nakashima Mika, a singer who rose to popularity with her jazz/R&B sound. In truth, this was a rather ingenious casting decision; while Nakashima as an artist has nothing in common with punk rock, she completely transforms into her character for the film. The film used the single ‘Glamorous Sky,’ sung by Nakashima and written by J-rock legend Hyde (L’Arc-en-Ciel) heavily in its promotion and also featured songs from singer Ito Yuna (who was cast as the lead singer of rival band Trapnest). More importantly, the film actually managed to visual reproduce Yazawa Ai’s unique character designs with their casting decisions and considerable effort was put into accurately styling the actors (another lesson that Paradise Kiss failed to learn). While Nakashima Mika could stand to eat a sandwich, her rail thin figure is strikingly similar to the manga. While she portrays Oosaki a bit gentler than the original character, her acting is solid. Matsuda Ryuuhei (Gohatto) also delivers a fine performance as Oosaki’s lover Ren. Miyazaki Aoi (Virgin Snow), an actress known for her pure image, was cast as the hapless Komatsu. Personally, I find Komatsu a bit irritating, but Miyazaki Aoi has the cute Japanese girl role down to a science.

http://www.youtube.com/watch?v=6RLfJoqLmH8

While the NANA Live Action movie gets the casting and the music right, it is hurt by the script. In truth, NANA is a very long story and would probably work best as a live action TV series. Obviously, it would be impossible to affordably produce a TV series with the same production value and actors…but the film seems rushed. The audience really doesn’t have much of an opportunity to relate to the characters and, without reading the manga, it’s impossible to care about what happens to them in the film. It’s fairly impossible for a movie to recover from a lackluster script and NANA ultimately ends up being a 113 minutes of beautiful people wearing cool clothes and making music. Of course, this can be very entertaining but I would definitely recommend the manga or TV series over the film.

Vera Chimera is a cosplayer who is looking to make a big splash in the community in 2012. Hailing from Australia, she has experience in cosplay, editorial, alternative and runway modelling. More importantly, she is passionate about cosplay and has a bright future ahead of her. Many people think cosplay is all about a pretty face, but she is looking to shatter those stereotypes, as we discuss various topics from general ethics, to cosplay expectations, community, and more! Read below for the full interview…

You’re obviously a very beautiful woman. Has you beauty caused any friction between your significant others and yourself with your choice of costumes or photoshoots?

Vera: Thank you very much, that’s very sweet! I tend to keep most of my costumes- whether they be ball-gowns or bikinis- to myself. It’s not that I’m hiding anything from anyone who may be concerned [eg. parents], because they inevitably see the end result. I just like to keep it all on the lowdown, and only show off my costumes when they’re done. Majority of the time there is no problem, which is always a good thing.

Your beauty, inside and out, is something you don’t shy away from. Pertaining to cosplay, what advice can you give to a woman who lacks self confidence to portray one of the sexier video game or anime characters?

Vera: In all honesty, I still look in the mirror and see a different reflection, which understandably isn’t a healthy thing to do. That’s something I’m fighting to change.

For years I’ve had an open battle with depression and an eating disorder after years of hell with bullying and self-abuse. If you knew me five years ago, I’d be a totally different person- both physically and emotionally. It’s only lately that I’ve decided to take a new stand, thanks to the help of all my loved ones, and a desire for change. And I can honestly say that I see the light on the horizon. I feel more confident with my anatomy, and inspired to make more beautiful and amazing costumes.

The best thing I could tell every single woman out there- not just cosplayers- is to be selfish for your own existence. Eat healthy. Exercise. Smile. Take risks. You’re alive, for goodness sake. Live! Tell yourself every single day that you’re beautiful, strong and unique, because that’s EXACTLY what you are. If you take care of yourself physically and mentally, the effort will show and you’ll look good in whatever costume you wanna wear. But having said that, I’ve even seen larger framed women look so stunning in their outfits, it makes me jealous! I’m proud of every cosplayer out there!

How healthy is the cosplay scene in Australia? Has it grown more into mainstream over the years or does it still have a long way to go before becoming socially acceptable?

Vera: Australia on it’s own is a pretty laid-back country, so when the cosplay scene hit, it was accepted pretty quickly. Often you’ll see trains crammed with people dressed up heading to conventions, and strangers of course stare and raise an eyebrow, but in general terms it’s a great country to cosplay in [just stay away from the western suburbs at night, haha]. It doesn’t have a huge scene in Australia as compared to Germany, America or Japan, but it’s very quickly getting there. The veterans are perfecting their skills and inspiring young talent to show off their costume skills, and with internationally famed competitions like WCS and Madman Comp coming into play, the cosplay scene is getting fierce!

Why did you wait so long into your life to explore your creative side? Were you always a creative person and just had a hard time finding an appropriate outlet?

Vera: I have always considered myself a creative individual, and to this day I use cosplay, art, modelling, or other crafts as a means of therapy. Ever since I was a little hobbit [I'm still hobbit height now!] I was drawing, designing and making bizarre things. But I find it pretty hard these days where I’d want to channel those skills. I’ve tried make-up artistry, fashion design, tattoo artistry, and even current affair journalism! Nothing seems to stimulate or satisfy me anymore, so 2012 is my time to find what I want to do. Fingers crossed!

2012 is the year you want to take the Cosplay world by storm. What goals and plans of action do you hope to achieve to accomplish this?

Vera: So far it’s all about cutting out my social life and locking myself up in the sewing room! I want to dedicate whatever spare time I have to pushing my skills further, collaborating with many talented people, and being more loving towards my costumes [I usually burn whatever costumes suck. Literally. True story!]. I was also recently given a very rare opportunity which will help expose more of my work to the world, but I can’t tell anyone- yet. In a week’s time, you’ll know! Keep an eye out!

What is the main difference between modelling and cosplaying? Do you have to be in a different state of mind when behind the camera in different photoshoots?

Vera: The difference between cosplay and modelling is that when you’re dressed as an anime character, you become that character. It’s almost like acting, in my opinion. You express yourself the exact way the character would, or else it wouldn’t look right. It’s limiting, when you think about it. With modelling, you don’t have those barriers. Whatever you’re wearing, you can throw whatever personality you want at the camera, and chances are it will work.

You do alot of your own make up as well. When trying to mimic a video game character or anime character, they don’t illustrate a base on the character. Can you take us through your creative process on how you approach this?

Vera: I’m a nutcase when it comes to perfecting the make-up for a cosplay! I do a ton of research on the character, and even take colour samples and practice weeks before the debut. If there’s little evidence of make-up, I study the character’s personality instead, and base my ideas off that. I don’t like to take it too far, however. Less is more, sometimes!

Vera: First thing I look for is the character’s personality, and see if I can reflect that in both acting and my physical appeal. I have a bit of an angry look, so I tend to find characters who are a bit badass or independent. Second thing is their physical build, which a lot of people can get wrong. If you really want to cosplay a character, make it to your body shape. But, even with that in mind, some cosplays I wanna do are out of the question [girls with big busts will understand!]. But the most important thing is my respect for the character. If I respect them, I tend to make a better costume.

Vera: I’m a bit of a picky character! Any anime or Asian films I watch either have to have a strong storyline, could possibly make me cry a river, or could leave me on the floor in stitches.

For anime, I am a huge Evangelion and Code Geass fan, along with Fullmetal Alchemist, Nana, Casshern Sins… and I grew up with Beyblade, Zoids, [and] Dragonball Z. Oh yeah, I’m a 90′s kid. For Asian cinema, I’m into Casshern, Appleseed, Spriggan, Shinobi, and a few others.

Lastly, your pictures and photoshoots are very serious and include lots of time, preparation, and preciseness. Do you think that Cosplay costumes, especially the revealing ones and ones that want to be serious about it, are suitable for teenagers?

Vera: I’ve only ever done one or two revealing outfits, but even then I don’t like to over-do the costumes or photoshoots. There’s been many questionable outfits I’ve seen that are more for the mature-aged, and should have viewer discretion. I always try to be careful, but having said that, I try to be an empowering example for women to not be embarrassed by their own anatomy. Of course it’s very easy to take it wrong, and it all depends how you represent yourself towards society. I’m very verbal on my opinions, and everyone I have met has respected that. I’m a modern feminist who wants women to love themselves and be happy with who and what they are, but to control it and make it your own form of expression. Some girls and boys sell themselves out to the mainstream desires of fan-boys/girls, but with cosplay you gotta be careful. It’s not just about dressing up- it’s about showing your respect to the original character design. You don’t want to tarnish the image [eg. nudes, porn, etc]. Be confident, but be safe.

Thank you so much for your time!

Vera: Thank you heaps! And to every cosplayer out there, I look forward to seeing your progress! Be ambitious!

On his wedding anniversary, Han Chul-Min drives into his apartment complex parking lot and sees a large crowd gathered by the entryway into the apartment. Chul-Min enters his apartment holding a bouquet of flowers for his wife when he sees police officers scattered about collecting evidence. Chul-Min walks into his bedroom and sees a large pool of blood on the bed. The blood is fresh enough that it is still dripping onto the floor. A police officer handcuffs Chul-Min and takes him to the police station. Jang Ho-Won, a broker for attorneys, brings the case of Han Chul-Min to attorney Kang Sung-Hee. He informs the attorney that the alleged murder victim’s body was never discovered, the police have yet to find any direct evidence connecting Chul-Min to the murder of his wife and his arrest is all based on circumstantial evidence. Kang Sun-Hee takes the case and applies in court for a jury trial. Is Han Chul-Min a cold-blooded killer or the victim of a cover-up?

Director Sohn Young-Sung’s The Client offers a gripping courtroom drama through its exercise of effective acting, but is it enough to save it from stumbling in its own execution? Those accustomed to such dramas know that one of the essential elements in producing an effective whodunit tale is the ability and strength of its cast—a key facet in a sub-genre that takes place primarily within the conversational chambers of a courtroom. Such dramas are almost entirely centered on individuals conversing, but it’s through conversing where a film can find itself balancing between being atrociously boring or absolutely engrossing to view. Luckily, The Client makes considerable headway towards the latter, wherein the likes of actors Ha Jung-Woo and Park Hee-Soon create the necessary intensity as defending attorney and prosecutor respectively. From the charged courtroom confrontations, to the investigatory work culminating up to such encounters, the film effectively weaves a narrative where the details of the case gradually unfold in a matter that will keep viewers guessing as well as surprise them—even it does seem like we’ve seen these premise all before.

And it’s this sense of familiarity where the film becomes somewhat obstructed, refocusing its attention outside of the realm of the courtroom. Where the intense framework offered through Young-Sung’s direction is highly realized within the courtroom proceedings, outside of it is where The Client easily falls into a cliché-riddled narrative as the film steadily wraps up. With a whodunit premise tightly displayed throughout the first half of the film—where Ha Jung-Woo and Park Hee-Soon’s characters are attempting to out maneuver one another within the court—once the film finally unveils the true killer and their motive, the narrative soon relies on simple tropes that are easily viewed within television dramas for resolve—a choice that was rather unnecessary considering the film’s strong first half. The legal proceedings are where The Client truly shines, so when the films awkwardly can’t decide to follow that path or become the Korean equivalent of a hackneyed CSI episode, one begins to wonder why such an approach was warranted. One can understand the needs of conventionality within a rather detailed-heavy drama such as this—it’s an approach mainly utilized to untangle and simplify a rather convoluted plot for some viewers—but here it just seems too easy, like Young-Sung just wanted to offer a quick conclusion towards the complex scenario he establishes earlier throughout the film.

http://www.youtube.com/watch?v=srqI_aubX7M

As such, The Client is one film that still works well because of its strong casting appeal and courtroom affairs. Director Sohn Young-Sung nicely handles these two elements, but if more attention were paid towards developing a unique twist on its tired premise, it would have fared much better. Having the film stay within the confinement of the court and not relying on conventional means to conclude its story would’ve made The Client one of the better Korean films dealing with the intricacies of an unsolved murder case, but sadly it decides to play it safe for the sake of resolving itself in an uncomplicated fashion. This undemanding lead up towards the film’s conclusion may appeal to some viewers, but ultimately it hinders the film rather than support it. Overall though, The Client still remains a very solid and intriguing courtroom drama—despite its noticeable flaws when it decides to exit that courtroom.

“You were born for vengeance…such a poor child.”

Toshiya Fujita’s film of revenge and expressionism has been heavily influential not only with modern jidai-geki films but with modern films in general. The hallucinatory structure of the tale is told in chapters, with flashbacks and lapses in time. Typically, this kind of presentation is purely cosmetic, but here it is strangely fitting.

Yuki is a deadly swordswoman whose life, it seems, was predestined for retribution. Her father and brother were murdered by a band of criminals (Banzo, Gishiro, Okono, and Tokuichi) before she was born and her mother (Sayo) imprisoned for murdering her abductor, Tokuichi. She devises a plan to have a son who can wreak vengeance on the remaining three criminals. Sayo is impregnated by one of the guards and gives birth to Yuki but dies shortly after. This is where the film begins and so the audience follows Yuki’s path of vengeance (accompanied by a trail of blood of course). From a child she is trained by the priest, Dokai, to be emotionless. She begins her journey on her twentieth birthday and renames herself Shurayuki. The film takes place during the Meji era when westernization was a young but feral beast. This tumultuous time period is significant to the story. Because of the governmental sanction, “men in white” were sent to enforce the conscription of individuals into the service of the emperor. People grew to fear these men in white and would pay criminals to murder them. Indeed, Shurayuki’s father (a schoolteacher) was innocently wearing white when he was murdered. “It could be said that Karma can stain the unborn,” Shurayuki tells a man she needs information from. In order to enact retribution, she must indulge the whims of her informants. For instance, to find Banzo, she kills a crime boss for Lord Matsuemon.

There is also another interesting character, a reported named Ryurei Ashio. He meets her for the first time by means of his curiosity and an unspecified feeling that there is something unusual about the mysterious woman in white. He questions her incessantly and later prints her story as a fictional adventure tale. This lures Okono from her hiding place later in the film. Ashio continues to play an integral part in the story, but even he is unable to flee the broad sweep of vengeance. And this is the central theme of the film: violence begets violence and vengeance only creates more victims. The side story of Ashio and Banzo’s daughter, Kobue, are prime examples of this. The ending of the film is wonderfully symbolic and subversive, taking place in a European-styled masquerade ball.

http://www.youtube.com/watch?v=-lIslRWbj8s

Fujita decides to remain neutral in his depiction of Shurayuki. While her motives are pure, her actions are little different than the criminals she’s killing. The way the story is told, episodic piece by episodic piece, incorporates a great layering technique that maintains the interest of the audience. The cinematography, art direction, editing and direction are flawless. Kanji as Shurayuki delivers an effortless performance, capturing the “child of the netherworld” perfectly. This is a film that paints in expansive, Grunewaldian strokes of emotional distortion, but majesty is often accompanied hand-in-hand with destruction. The film presents an interesting slant on the Karmic cycle, particularly on how women are continual victims of misfortune. Shurayuki herself cannot escape it and this is the tragic reality of those who seek vengeance.

Mike Shinoda is a musician best known as the rapper, principal songwriter, keyboardist, vocalist and rhythm guitarist of the rock band Linkin Park. Shinoda is also a solo rapper in his side-project, Fort Minor. What you may not know about him is he is providing the score to one of the best action films coming out of Asia in some time, The Raid (it even ranked #1 on our best films of 2011 list)! Helmed by Linkin Park frontman Mike Shinoda and film composer Joseph Trapanese, who linked up with Daft Punk to complete the music to “Tron: Legacy” last year, Shinoda is a third generation Japanese American, with a love of the arts and music. It was inevitable that he someday combine his love of the two and create an original, masterful score to a film. I had the chance to sit down and discuss the entire scoring process and what his favorite Asian films are! Read below for the full interview…

Was your mantra of ‘less is more’, zeroing in on a few things that you like best, applied while approaching the score for ‘The Raid’? What was the chicken & egg scenario and the process in terms of tracks for specific scenes?

Mike: At the start of a project like this, I try to zero-in on some ideas of what might work, and what might not.  Think of it as a painter’s palette: you choose what colors to use, and what to avoid.  It gives the piece a tone.  In this case, I think some of the standout sounds–the breakbeats and the heavy synths and samples–were an early decision that helped define the score’s direction.  And I decided to avoid guitars, which I thought made things feel brutish, if that makes sense.  The distorted electro sounds set up the right aesthetic.

The Raid is a good example of minimalism, as it has a straight-forward narrative. Is that what initially drew you to the project, as there’s this certain minimalist approach?

Mike: I like the story.  It’s not about a deep narrative, it’s about keeping things going so the action makes sense, and you feel like things have motivation.  When the folks from Sony first reached out to me, rather than saying, “We want a Linkin Park score,” they cited other things–my remixes, my Fort Minor project–which all were really fun songs to make–the remixes were things that I did in my spare time.  They were fun and easy to do.  So I thought, “if that’s the type of thing they want, maybe this will be fun and easy.“

http://www.youtube.com/watch?v=5SjAfIAeGZ4

This is the first movie you’ve ever scored in its entirety. Are you happy with the result?

Mike: It was as fun as I had hoped.  It was a fresh project, and the director (Gareth Evans) gave me a ton of creative space.  I’m grateful for that.  It made room for Joe (Trapanese) and I to make some bold decisions, like the dubstep stuff in one of the early SWAT team scenes, and the reoccurring keyboard arpeggio from “RAZORS.OUT.” which is the song at the end.

How was the creative process on this film different from your studio albums? Sometimes a movie score needs to take a backseat to the scenes that are on film. How were you able to accomplish this?

Mike: On a song, you are expressing your own emotions and telling your own story.  You’re making something which is the center of focus for that experience.  A score is mostly about supporting someone else’s story, and often about playing a supporting role.  I tend to naturally make things that are very up-front and attention grabbing with Linkin Park, so I have to switch gears for a score.

Many composers start putting music together before the movie is finished. How challenging was it to re-score a film that was already completed?

Mike: It was actually not a challenge–it probably made things easier.  Joe and I knew we could write to what was there, that the director wasn’t going to change the scene length under us.

A lot of the score reminded me a bit of ‘Session’ that appeared on ‘Meteora’. Did you pull any past musical sounds or techniques from your Linkin Park/Fort Minor productions to create the 50+ minutes of score?

Mike: I don’t usually set out to reference my own material, if it sounds like something else, it’s probably just because the same person is behind it!

Usually, action films such as Die Hard, XXX, or Rambo, aren’t particularly known for their score. Did you have any reservations having your first movie score being an action film?

Mike: That’s a great point.  I did have a few reservations about it.  But I think this film was asking for a score I could do pretty naturally, so I wouldn’t be spending a lot of time figuring out the right sound, and I could just do my thing and learn the workflow a little better.

What are some of your favorite Asian films?

Mike: I suppose if you want to go way back, I would say “Ran” or “Seven Samurai.”  But if you consider it “Asian,” I also love the original “Karate Kid,” [laughs]!

What is it about iconic composers such as Hans Zimmer and John Williams that inspire you?

Mike: I just like what I like.  I guess I like the boldness, and the many different themes that have become so iconic.  I realize, of course, that there are big teams of people helping to create that work, and I can also appreciate the sheer amount of manpower that goes into some of the music they create together.

Lastly, can we expect to see more scores from you in the future? Is this something that you would enjoy doing throughout the years, granted the right projects come along?

Mike: Absolutely.  I simply enjoy doing it, and I have every intention of stepping it up with each project.  The Raid called for certain types of sounds, and I feel capable of taking on a variety of different styles, many more than would fit in this film.  With The Raid behind me, I feel prepared to score something different next time–I would have a lot of fun taking on something more epic and emotionally complex with my next project.

The Raid will be in theaters Spring 2012
A new Linkin Park album is being prepared for release in Summer 2012 

Mike can be found at:

www.mikeshinoda.com or

 www.Twitter.com/m_shinoda

Mop Girl is a 2007 ten episode time traveling comedy series that’s an adaptation of a novel by Miaki Kato. The titular “mop girl” is the very clumsy but caring Momoko Hasegawa played by Keiko Kitagawa. When she was a little girl Momoko was almost ran over by a car only to be pushed out of the way at the last second by a woman who ended up being hit and killed. As an adult Momoko works as an event organizer but her clumsy ways have just lead to a demotion to her offices side department that provides funeral services. To be more specific her new job is to clean up the scenes where bodies are found at and prepare them for the funeral. Shotarou Otomo, played by Shoske Tanihara, is her jerk boss who is always calling her a fool and chasing foreign ladies. On her first day on the job while cleaning the scene of a bank robbing she realizes the person who died, who was also the robber, was an old favorite school teacher, saddened she bends down to pick something of his, when she does so she seemingly jumps back in time to earlier the very same day. Being an extremely helpful person she decides to use the opportunity to help everyone in the day she had encountered who needed it including unraveling why her teacher is robbing a bank and preventing her teacher from being killed in the nick of time. See what I did there? A bad time related pun, sorry I had to I will try not to do that again. Confused by her unexplained new power she vows to help others if it happens again.

I really liked Keiko Kitagawa’s performance and I really enjoyed her character throughout the show. She is hilarious and quirky. I really love the way she reacts and apologizes whenever she gets in an awkward situation. The look on her face when it dawns on her she is time traveling is priceless. There is the romantic subplot between Shotaro and Momoko that I thought was done really well and gave them both a little more depth. Each episode the two grow a little closer and share more and more sentimental moments. Normally I hate these types of characters because “will they won’t they” TV relationships are predictable. But these two are very genuine and completely unpredictable and I ended up really enjoying these quiet moments.

Unlike other series I have reviewed so far this one doesn’t have much in the way of an overarching plot as each episode tells a self contained original story of a day, well I guess two days in Momoko’s life. Besides the subplot where Momoko and Shotarou grow closer each episode follows the same basic path. The day begins with Momoko daydreaming there is some great banter between her and her friend Hina Okouchi played by Reina Asami, usually her clumsiness gets some on hurt on the way to work, at work her boss insults her, they begin the day’s work, she touches an object owned by the deceased in the episode she flashes back to earlier in the day and races against the clock to prevent the death. Each episode generally has a mystery to it as well as Momoko has to deduce how the person dies and the circumstances that lead to it, and with most good mysteries everything is not as it seems.

The time travel is done really well they keep continuity really well and have all the same events that happened earlier happen in the same way except Momoko reacts faster to come out ahead in the interaction or prevent impending accidents. In fact I think this chunk of each episode is my favorite part, it’s also the funniest part generally. The best way to rate a comedy based show I think is to ask a simple question, is it funny? For Mop Girl the answer is yes the comedy is great and has enough range to last the whole series without growing stale. The show obviously relies on some slapstick with Momoko’s clumsiness and some physical comedy with her sheer quirkiness in awkward situations; however there were many times I was surprised by how subtle the show could be. In the 4th episode near the beginning Momoko remarks how she looks down on women who have to rely on their bodies or sexuality in any given situation, and then later in the very same episode in order to get vital information she has to dress very sexy while going undercover at a bar and she has a reaction that’s priceless. This series is worth checking out its funny, dramatic, and has a good episodic format for those who don’t want to get involved with a show with an overarching plot.

http://www.youtube.com/watch?v=RJe9gBvrVR4

Episode breakdown:

1. Episode one tells the story of Momoko’s fall from her high job of planning events to becoming the Mop girl of a funeral and crime scene cleaning company. Momoko is revealed to have time traveling powers and uses this power to go back in time to prevent the death of her teacher and deduce the reason for his sudden death.
2. Has Momoko trying to take the day off to help her friend but instead she is present for the death of a famous model that is soon to be married. Momoko travels back in time after it seems the groom to be is wrongly accused of murder.
3. Begins with what seems to be two unrelated stories where in an old man has passed and a politicians assistant while on trail for embezzling millions of dollars is killed on live TV under fuzzy circumstances. Momoko has a lot to do this episode and while I liked it the end seemed rushed.
4. This is by far my favorite episode and it deals with what at first seems to be an open and shut case of unrequited love becoming murder. The ending was very well done. If you don’t watch any other episode watch this one.
5. When Momoko’s boss is accused of murdering their top competitor after the two exchanged some very mean words Momoko goes to the past to see for herself what took place and to try and clear his name if possible.
6. An up and coming actor and model is murdered by a knife wielding serial killer bizarrely this episode makes many (presumably unauthorized) uses of the pirates of the Caribbean theme.
7. The second best episode of the series a high school student is murdered and everyone is a suspect, I never saw the ending coming great twist.
8. The secret to the time powers are revealed and we learn much more about Shotarou Otomo’s past and how it links with Momoko’s life.
9. An utterly bizarre episode all around.
10. The final episode is pretty good not an ending though, to put it in perspective t makes the ending of The Sopranos where it cuts to black mid scene look conclusive.

Flying Swords of Dragon Gate is a 2011 wuxia film directed by Tsui Hark and starring Jet Li, but don’t get too excited, as Jet Li is practically absent during an entire half-hour period. The film is a remake of Dragon Gate Inn (1966) and fails to capitalise on its key asset (i.e. Jet Li). With that said, Flying Swords of Dragon Gate is definitely one of the best movie from China in terms of 3D special effects. This is actually the first China 3D movie with IMAX 3D recognition.

The bad guys are the eunuchs of the Imperial Court, who have created their own unaccountable secret police, armed with bizarre weapons and utterly ruthless in their quest for power and wealth. The good guys are led by a former general, stripped of his rank by the eunuchs, who set out to shield the innocent, right some wrongs and restore decency to the Imperial Court. And the ugly guys are a gang of cut-throat bandits who have caught scent of a hoard of hidden treasure. Their conflicts come to a head at Dragon Inn, a remote outpost in the desert at the very frontier of the kingdom. But nearby stands Dragon Gate, portal to a lost world under the sands and a vast sandstorm is bearing down on the region. The final battle to the death is fought out amid the traps and feints of a great lost city, and in the whirlwind which turns the desert into a maelstrom of choking sand. It is what you call a unique movie experience that brings in the world of Wuxia to the maximum effect.

Though lacking behind likes of “Avatar” in technical CG wizardry, the film more than compensated by an entertaining amalgation of kungfu action with 3D CGI, making room for character building and more engaging storyline. So the million dollar question…was this film a home run in 3-D? I believe so, and I think it actually added to the overall experience providing the audience is engaged. Rest assured, if you are looking for your monthly kick of Chinese action films, this will not disappoint because there is so much action packed into two hours that you will either come out of the theater happily dazed, or with a migraine that should clear within a few hours. The color grading is stupendous and the 3D treatment takes you through the realm of your aesthetic mind and is pure enjoyment to boot.

http://www.youtube.com/watch?v=fKqTXxqxekA

However, if there is one big flaw in the film, it is the lack of chemistry between Li and Zhou. Jet Li has been churning out a lot of films lately and I can’t help but to think he is just becoming tired. Or perhaps he just had too much competition on screen with Zhou Xun glowing as the deadly and nimble swordswoman, and Taiwanese actress Kwai Lun Mei stealing the show as the tribal leader of the treasure hunters. Either way, Tsui Hark continues to impress and this film is a deserving picture of how hard work, meticulous planning, perseverance and a clear vision can pay off. Shooting a Martial Arts feature flick on 3D is a colossal task. Gimmicks aside, I recognize this talent and I walked away entertained. Jet Li is hellbent on making 2012 his year, and with this film out the gate, there doesn’t seem to be any limp in his stride.