Reportedly a fan of Ghost in the Shell and Blood: The Last Vampire, movie maker Quentin Tarantino personally asked Production I.G to produce the animation sequence included in his world-hit Kill Bill. An unsympathetic studio might have trimmed the extended anime sequence about O’Ren-Ishii’s troubled childhood, for example, although this is an intense treat depicting events almost too agonizing and heartbreaking to witness in live action.

Patlabor 2 is definitely a labor of love and carries a sort of Tom Clancy feel to this anime genre. Never before have I seen such an elaborate story of lies, revenge and politcal espianoge pulled of so well. It has a fairly complex and realistic plotline involving political standoffs and military coups. Three years after the events of Patlabor: Mobile Police, trouble once again rises in Tokyo. An angry soldier has returned from his failed UN mission with only one aim in mind- to teach the citizens of Japan a lesson. His campaign of terrorism throws the authorities into confusion, setting the government, the military, and the police at each others’ throats. With more philosphical undertones than the first, this one has to take the cake when it comes to delivering a message. It clearly shows how vulnerable we are, yet how we as a society have done many immoral things.

The show itself takes its visual style from old Shonen anime and manga from the 80′s, with high school gangs fighting for turf and respect. Everyone looks older and more mature than they really are, and there are more than a few instances that you’ll be reminded that all of the characters are supposedly 16 year-olds. It takes repeated potshots at the very pillars of time-honored anime stylings, such as using limited frames of animation for movement or very static backgrounds with an explosion-of-light-like effect to punctuate a character’s serious sounding line. After those pillars give, the mighty structure crumbles into rubble, leaving only dust and rocks. Most parody series would build it back up in it’s own whacked-out image, but Cromartie just pees all over the remains, laughing all the while. And you’ll be laughing right along with them, guaranteed.

I am such a big fan of samurai and this documentary was just enlightening and full of Japanese and western history. Miyamoto Musashi was a fabled warrior that lived in Japan at the beginning of the 17th Century. After making a name for himself at the battle of Sekigahara in 1600, he established himself as a master duellist, one that was never defeated. Musashi: The Dream of the Last Samurai is a chance to give the audience some factual history, in perhaps an old-school lesson form. In short, there is no story as such just cold hard fact and that’s not very exciting. Some films fail in such a strange way, that a new quality arises in them. It really is hard to pinpoint the negatives. Anyway, at best it’s just a little footnote on the great Samurai movies of the past.

Both Production I.G. and director Hiroyuki Okiura wanted to expand their horizons past adult-oriented animation, and wanted to do something more charming, and family friendly. Momo is the result of that. The subject of loss is difficult to convey on film, yet alone in an animated one and perhaps this isn’t just a good film, but maybe essential viewing to the nerdy adolescence? The only hinderance I can see is the extremely long running time. A Letter to Momo had reportedly taken the director Okiura seven years to produce. Momo ponders an unfinished letter left in her father’s drawer. It deals with heavy issues. She also has to deal with new living quarters after her mom decides to move them both back to her childhood home on the island. Animation is executed flawlessly as her adolescent awkwardness is honestly and masterfully portrayed by the animators.

Of course, xxxHOLiC is a popular series that follows Kimihiro Watanuki who is more than a normal high school student because he possess the ability to see spirits. One day, he wonders into a shop own by a mysterious Yuuko who grants people’s deepest wishes and desires. She can free him of his “ability”. However, she demands a price in return – he must work for her. This film is very different from a lot of anime films I watch on a regular basis. This can either be interpreted as good or bad. Nothing is what it seems, and little is explained along the way. It carries itself really mature as it has an overall darker, more gothic feel to it. What really makes this anime tick is its ability to draw in the audience and carry them through an unusual, almost frightening, spiral of events. The combination of comedy, horror, and mystery strike a perfect tone with me.

What starts out as a fairly conventional storyline gradually unravels, revealing a vastly more complex and intricate narrative tapestry. Its deliberate pacing may be misconstrued by some as being “slow”, but as the story progresses, all the puzzle pieces that are uncovered early on start to fall into place, and things that once seemed insignificant or nonsensical begin to make sense. To make a long story short, Blood+ is one of only a handful of shows that transcends the boundaries of its genre, and one of the best amines I have ever had the pleasure of experiencing. In fact, it practically single-handedly revived my passion for anime and spurred me on to seek many other great shows, which I probably would not have bothered to watch otherwise. And that is probably the greatest compliment one can pay to any medium of entertainment.

http://www.youtube.com/watch?v=9UReMBVenb8

Many days pass and in the midst of a police interview relay concerning suspicions behind interceptors, a forewarning is received from “The Laughing Man” of his next crime. The film really starts to pick up when the incorporeal hacker begins to move once again. There’s political drama, gun-fights, fist-fights, sexy cyborgs, and awesome music by Yoko Kanno as well. I like this one in particular because it has twists and turns that make it more interesting for anyone who stays glued to every detail of the story. For instance if you follow the trail of events you will then figure out early on that the scenarios make them a target of a false campaign of propaganda and violent retribution.

Taking the story of Little Red Riding Hood as the basis for this production, Jin-Roh manages to incorporates romance, violence, tragedy and loss, to weave an intricate tale about the loss of innocence. Normally I prefer anime films that are chock full of action, but there is something personal about Jin-Roh that I find appealing, and the film has held up well in repeat viewings over the years. Let it be known, however, that Jin-Roh: The Wolf Brigade is not a kids’ cartoon. The lengthy narration that starts ”Jin-Roh” has a lot to explain, because its alternative universe is quite detailed. While American studios continue to crank out silly animated feature films meant for five year olds… Japan offers the world this mind bending work of great philosophical, political, and artistic sophistication. All in all, Jin-Roh is a great anime movie that strains toward a grown-up emotional depth that most films starring grown-ups reject.

Much like the NGE series, the End of Evangelion (EoE) weaves a complex story where images and dialogue are closely related to the philosophy and symbolism. These themes are played out through the psychology of each characters’ own mind. It is essentially a microcosm of the entire series. The opening scenes before the “Air” title card of Ep. 25 of Shinji overlooking the ruins of the city, and then entering Asuka’s hospital room and, (I’ll leave it there) set the mood and atmosphere. Showing effectively and very disturbingly that this is NOT going to be an easy film. As the first half roars out of the gates at breakneck speed, we see the hostile takeover of Nerv by the Seele organization and each Nerv member’s desperate attempt to hold it at bay. This film is simply a divine marvel. Much like the series it has to be watched multiple times for one to uncover all of its hidden layers and meanings. But it doesn’t lose its ability to invoke emotions and thoughts even after several viewings. There are scenes of immense power and drama in the film – many that match the best of most films I’ve seen. But I think it’s the quiet moments that make this film so moving and memorable. However, taken as a film, and the conclusion to the NGE series, End of Evangelion is a staggering achievement and powerful last testament to what is, in my opinion, the greatest visual series of all time.

http://www.youtube.com/watch?v=wdPY_2bRdgk

Inseparable presents a bizarre blend of Eastern film making practice with western sensibilities in a Chinese action film starring none other than Kevin Spacey alongside Daneil Wu. Just to be clear this is very much a foreign film made with little to no interaction with the American film industry but is rather a Chinese Blockbuster that exists in a strange universe also inhabited by Gareth Evans Indonesian nasty The Raid. What is presented however is a title that at the very least serves as an interesting curio of what happens when you take an A list star and plonk him down into a foreign landscape.

Li (Daniel Wu) is having problems at home, when we first meet the young man we see him contemplating suicide until he is interrupted by the mysterious American that lives in his apartment block. After talking him out of his plight the enigmatic American known as Chuck (Kevin Spacey) begins to formulate a mysterious three phase plan to rid the world of its evils and set Li free from the drudgery of everyday living. Kevin Spacey’s mad as a sack of hammers performance of Chuck is equal parts western cliché and set chewing genius. Chuck is a crass fast talking loud mouth that is pitted in such an awkward way it feels closer to shallow stereotype than a layered character. Much of this criticism though may be levied by the films demented u-turn in tone and content as revelations about the two characters relationship is revealed in a narrative decision that will most likely divide audiences final impression of the title.

It’s an interesting prospect to consider an A-List star in a title such as this, frankly it would be an all to cynical thought to suggest that perhaps Mr Spacey’s involvement in the film stems from a contractual obligation or hounding by the Chinese government, but quite why he was cast into such a role is probably the film’s biggest secret. On the outset, the character of Chuck could of easily been played by a Chinese national. The fact that Chuck is an American is all together brushed aside apart from a few cursory mentions, and the somewhat jarring mix of Daniel Wu jumping between conversing with Chinese characters and Mr Spacey proved to be more distracting than I would of liked

http://www.youtube.com/watch?v=4zVGzmjWnKM

Ultimately Inseparable feels like a hodge-podge mix of previously explored ideas. At times the film feels closer to a poor man’s imitation of American hits such as Kick Ass or Fight Club. Suffice it to say Inseparable provides an enjoyable lark for its ninety or so minutes and at the very least a simple joy comes from watching Kevin Spacey’s hilariously tongue in cheek portrayal of an ostensibly offensive stereotype. It’s fair to say that your mileage will vary with a title such as this but for simple no frills entertainment, Inseparable provides a gentle distraction with this action filled culture clash treat

It would be impossible to quantify the influence Meredith Placko – AKA AnaAesthetic – has had in cosplay over the past decade. A journalist/producer by day, her cosplay work has been featured in the multiple print publications – including Cosmode, The New York Times, and Maxim – and on a countless number of websites. She has attended over 50 conventions as a cosplay guest and panel host; fans in Texas can look forward to seeing her at A-kon 23 in Dallas (I know our editor is!). Despite her name being synonymous with magnificent cosplay, Meredith has an extremely grounded attitude towards the hobby and she isn’t afraid to call it like she sees it. JapanCinema had the recent privilege to ask her a few questions about her experiences and thoughts on cosplay – the result is one of most honest and straight-forward interviews we have ever featured in the Cosplay Corner.

First off, tell us a little about yourself; how old you are, what you do for a living, where you are located, etc.

AnaAesthetic: Haven’t you been taught never to ask a lady her age? [laughs] I have no shame. I’m ancient; by cosplay standards, I might as well be dressing as old maid Sophie (Howl’s Moving Castle). I turned 31 in January. I moved to Atlanta in 2009 to work for one of the major news networks’ southeast bureaus. I’m part bureau coordinator, part booker, part producer – I do a little bit of it all! Everything from arranging guests and interviews to working in the field with the correspondents, to monitoring news in the southeast and alerting the big guys in New York of breaking or significant stories. My passion lies with reporting though, and I’m also a contributing writer for many notable blogs and news sites, and have recently branched out to feature writing. I’ve started shopping around some stories with a few big magazines, so who knows, you may see a pretty cool by-line with my name in it sometime soon! My dream though is to host a nerdy news talk show on television.

How long have you been cosplaying? Have you noticed any major changes in the cosplay community since you first started?

AnaAesthetic: I started cosplaying back in 1999, before an array of colored wigs from China and spandex was easily accessible. I love that cosplay is becoming more acceptable in the mass media; it’s had a huge impact on the hobby. Unfortunately, it has also come with its downfalls. More people are aware of cosplay and more people feel the need to criticize us as weirdos running around as some form of fetish, or simply basement dwellers.

Also, there has been a change in attitude among female cosplayers who feel this is a way to propel them to some sort of internet celebrity status. While it has worked for a handful of girls, I really am concerned about people not treating cosplay as a hobby and a way to geek out over a mutual interest. Of course, the more people act like cosplay will make them e-famous, and the more they throw themselves around the internet in sexy and revealing costumes, the more it will change the mainstream media’s perception of cosplay.

I’ve done a lot of damage control with my job, having to explain to some major news personalities what cosplay is and isn’t. I know I don’t want to be viewed as a degenerate or fetishist, or an attention monger – and I just hope the people who want more out of this hobby will see that as well. There are ways to get attention without showing off your boobs.

Cosplay has really spiked in popularity over the past few years and there are now more young coslayers than ever before! Do you feel the influx of new talent has made cosplay more competitive? Is there anything you do to step up your game and continue to WOW fans with your costumes?

AnaAesthetic: When has cosplay NOT been competitive? I’m only half kidding. Before, people just got upset if they didn’t win a wooden plaque and some random volume of an anime series released ten years ago. Now there seems to be two types of cosplayers: those that compete at conventions, and those that compete for attention online. And yes, the idea of being a “professional cosplayer” is growing, especially among the younger crowd.

Short of girls who sell risqué photos of themselves in cosplay, I really don’t view it as a viable business. Even then, people age. You can only sell your looks for so long. So to me, there isn’t anything to be competitive about. It doesn’t pay my bills, put food on my table, or allow me to buy more materials for said costumes. I think the girls (and guys) who have been fortunate enough to work as “booth babes” or pick up sponsorships from companies to be their mascot have found a great gig, but nothing to build a career on.

That being said, the skills a person gains in this hobby can be utilized to grow both personally and professionally. Growing up I was very shy and introverted, and extremely selfish. Because of cosplay I have learned how to meet other people, work with them, and have made some of the most lasting friendships I’ll ever have. It’s also helped me immensely with my work – in news, you need to have a backbone, take criticism, and even when in the field, go up to people who may want nothing to do with you – and get them to appear on camera. The good and bad aspects of this hobby have been essential to learning to navigate the nuances of my day job.

You recently competed in the World Cosplay Summit competition at Katsucon. Can you tell us a bit about WCS? What motivated you to enter the competition? Did you learn any big lessons from the experience?

AnaAesthetic: World Cosplay Summit is the end all of cosplay competitions in the United States. The winners become, for all intents and purposes, ambassadors of cosplay for their country. They get a trip to Japan and then compete in a world-wide cosplay contest alongside other countries. It sounds like an amazing experience and something I wanted to try! Having never really entered a masquerade before, I had no idea what to expect. My partner and I chose some of our dream costumes, but as I learned “big and elaborate” doesn’t equal “winning.” Performance had as much, if not more, to do with the winning group than the costumes!

I learned a lot about myself in the four months I worked on Queen Esther. Mainly, that I was capable of completing a complex and demanding costume. I also learned that no matter how tough things got, I had some great friends supporting and cheering me on! We didn’t win, but honestly, that’s okay. The team that won, Katie and Diana, really deserved it. I’m not just saying that, because they are my friends…. I guess because I was close to them throughout the process, I saw just how much they wanted to win. They put so much time, dedication and love into their costumes and skit and it really showed. I cried when I saw them perform, because it was just a beautiful display. I’m not trying to downplay any of the other contestants, because I know everyone put their all into it. Just something about their performance really won me over.

I can’t imagine how tough it was for the judges though. And the whole time, I thought as a judge does – but a construction judge! I really learned that if I’m going to enter again, that I’ll pick a solid performance over an elaborate costume. I’m still shocked I was able to dance in that thing. Still, next year I plan to go back, but with my best friend (we were supposed to enter, but school got the best of her. Luckily I found an amazing partner and made a great friendship out of a new cosplay friend during WCS). I really want the chance to represent the United States on the world cosplay scale.

You have also been invited to many conventions as a cosplay guest. Can you tell us a bit about what it’s like to experience conventions from that perspective?

AnaAesthetic: It has been a long time since I’ve gotten to be “just a fan” at a convention. Prior to my guest bookings, I covered them from a press angle. Being a guest though is a whole different privilege. It’s amazing that conventions have recognized how popular cosplay has become and have given several of us veterans a place to ply our trade and showcase up-and-coming talent. Being a guest at a convention isn’t just about a free trip though, I work my butt off for the shows. I’ll run anywhere from 3 to 5 panels (one year, at DragonCon, I clocked in at 12). In addition to hosting duties, cosplay judging, and anywhere else they feel I could be useful, it’s more work than I do in a typical day!

It’s great though to talk to people interested in the hobby, share your tips and tricks, and really reach out to the audience and make an impression on them. I got this email once, from a girl who had been to a panel of mine a year previously, and she thanked me for one of the things I said about how to treat other cosplayers and handle the “drama” that comes with the hobby. She had a falling out with some of her friends, and found they were posting about her on a certain anonymous website. She said she had remembered what I talked about, the consequences of getting caught up in internet drama, and took the higher road and didn’t retaliate. I was really proud hearing about that. You know, how often to you do have the chance to shape someone, and in a positive way like that? I have an inbox full of starred emails like that. Whenever I’m having a bad day, or doubt myself about something, I go back and read them, to remind me that we all have some worth in this world.

As your popularity increases and you become an ever-more recognizable figure in the community, do you ever worry that you’ll lose touch with the reasons that motivated you to begin cosplay in the first place?

AnaAesthetic: Been there and done that. Before anyone knew who I was, I had a HUGE ego. I don’t even know why. Looking back, I was awkward in my photos, and my costumes weren’t anything to write home about. And I was such a brat! I said the worse things about other cosplayers, people I had never even met. I was really just so lonely and jealous, that the only way I could feel better about myself was by putting down others.

I also hung around equally “quality” people and we just fed such misery and hatred off each other, it was a never ending cycle. I’m really glad I got away and moved past all of that. But the internet has a long memory, and things I did in my early 20′s still get brought up, nearly a decade later. It used to bother me that people wouldn’t give me the benefit of the doubt – that I had really changed. Then, I actually forgave myself for the things I did (and made what amends I could to the people that I hurt) and I moved on. Now, when someone brings up something from the past, I can either laugh about it or just tell them they’re the ones who need to move on.

You are also a ‘journalist/producer by day.’ How do your professional career and cosplay intersect and influence each other?

AnaAesthetic: For the longest time I did everything I could to separate “Meredith” from “Ana Aesthetic.” It’s how I ended up with that ridiculous stage name. I was afraid no one in the news industry would take me seriously if they found out I dressed up as a cartoon character on the weekends. Somewhere between working for a local station and my move to Network, I became more recognized in the cosplay community and it was harder to hide my personal identity. Also, never put it past a major company with a huge HR department and access to all the people tracking tools on the internet.

My second day on the job, I got a call from HR asking me about “Ana Aesthetic” and my website. She was shocked to learn that not only did I design my website at the time, that I also made all the costumes! She even told me about how her daughter had been to New York Anime Fest and was interested in cosplay as well. Then she told me to take down this one photo of me in a sweater… and not much else [laughs]. Since then, my coworkers have learned all about my hobby and it’s really amazing to me when people I respect and admire in the industry tell me how cool they think I am! Now if only they would get the hint that pop culture news is all the rave and do a geek-centric blog and hire me as the managing editor!

Can you talk a little bit about the relationship between the cosplayer and photographer? What sort of dynamic is essential to creating wonderful pictures? How do you usually select the photographers that you work with?

AnaAesthetic: It’s funny you ask this, because it’s become a big issue with me lately. After some recent interactions, I’ll have to tell you that trust is the biggest thing when working with photographers. You’re not going to know everyone you work with, but you have to be able to trust them. Trust that they will put the best foot forward and be as professional and talented as they present themselves to be; trust that you will be provided a safe environment to shoot in, and trust that you two will promote and have equal access to the images in the shoot. Also, in my case, since I do tend to build friendships with my photographers, you just have to trust they will look out for you.

I’ve gotten to a point where I don’t shoot with just anyone. I know that sentence comes off as a bit snobby, but I’ve been burned enough times by having photographers contact me and show me portfolios that aren’t accurate to the work I shoot with them, or worse, they just end up being creepy. I don’t have a lot of time in my day, and I make sure to work with people who have good references (if I’ve never worked with them before) or I can trust. I also enjoy working with “non-cosplay photographers” from time to time. They see things differently, and I enjoy doing editorials or fashion portraits in costume. I think it brings something fresh to this rising genre of cosplay photographs.

How do you feel about the increasing trend of ‘cosplay models’ – by which I mean cosplayers who use the hobby as a vehicle for self-promotion? Do you think being a ‘cosplayer’ is something that could realistically be turned into a full-time career?

AnaAesthetic: I just don’t get it. Yes, there are a few girls who appear to make a living at cosplay. But are they making a living off selling their (clothed) images or getting paid to attend cons, or do they have some other business such as selling accessories or some other product? I can’t answer that because I am not them. Yes, there are conventions that pay me an “appearance fee” to attend, in addition to my accommodation and travel. That usually covers what I would miss in a day of work if I chose to be a guest at a convention versus working, say, a Sunday on the net desk. I have several girlfriends who work for adult sites that center around comic and anime characters. That is the closest I’ve ever heard of anyone making a living off of cosplay (but really, it’s adult work and not cosplay that is bringing in the income). Lately, video game companies seem to be hiring cosplayers as spokesmodels, or sponsoring them to make costumes. I think that is great and it’s about time we got some recognition! But as someone who has worked as a freelancer, that sounds more like a one-time gig, not a full time career.

I just feel sad, more than anything, when girls ask me how they can be a “professional cosplayer.” I really never have a good answer for them. I’ve had people cite such and such cosplayer as an example, no one I know personally so I can’t say for certain, but in most experiences people seem to hype up any sort of livable income they make off of cosplay. Maybe I’m doing it wrong and should be getting paid to lounge around in costumes all day. If someone has the hookup for that, please! Pass it along.

Similarly, how do you feel about the ever-increasing amount of sexy cosplay photos on the internet?

AnaAesthetic: Before answering this I did an experiment. I posted a photo of me in Queen Esther. Clothed, top to bottom – my most elaborate costume to date. It got 41 likes by the end of the day. Then, I posted a picture of me in a buxom corset that I slapped together for an event one night – 101 likes in three hours. I can see why girls resort to the sexy costume / photo shoot when they want attention. It’s what the market demands. But again I ask, what are they doing with all this marketing? Sure, some people may have 50k fans online – but if they are not selling anything (even themselves, as in photos, etc) what is the purpose? If I wanted to be famous on the internet, I’d post pictures of my cats doing stupid things all the time. Which, I really should – my cats are awesome. I am all for people doing what they love, and honestly, most characters in this fandom are created for a male audience. They are going to be sexy. I just wish people wouldn’t cosplay ONLY sexy characters, or do sexy versions of characters, just for attention. Sexy is an attitude, how little clothing you wear can never detract from that.

Is there anything that you would like to see change in the cosplay or convention communities?

AnaAesthetic: I wish more conventions would understand what a big draw cosplay is. A few shows have caught on, but I’ve been to so many that treat cosplayers, especially at masquerades and competitions, as cattle. The cosplay contest is one of the biggest draws I’ve ever been to at a con – and I like to see the people participating given a nice place to relax during line up, access to water, and a staff that understands the needs of costumers. Katsucon (and WCS) and A-kon in Dallas are my two top selections for “best run cosplay contest.” Those people really know how to do it and other conventions could learn a lot from how they operate.

Also, areas for cosplayers to congregate and take photos. I’d hate if we had a cosplay pen system like they do in Japan, but sometimes it gets really obnoxious when cosplayers just stop in the middle of a hall way or aisle to get their photo taken. Have the courtesy to step aside and ask the person wanting the picture to join you in a less crowded area. And I can’t stress it enough – but just enjoy the hobby. I know what it’s like to get attention for the first time, to feel like a star. Just don’t let it consume you. As a cosplayer, you have a unique opportunity to attract the attention of mainstream media and regular Joes. Your bright, appealing outfits are not the source of ridicule anymore – people want to talk to you! So keep that in mind with how you conduct yourself online and at shows. Let people see us for the talented, artistic and creative minds that love this hobby and use cosplay to express ourselves. Everything else is just icing on the cake.

Do you ever feel a bit shy or awkward when you are shooting pictures of a costume in a public location? Do you have any advice on how to put this aside and focus on getting great pictures?

AnaAesthetic: The older I get, the more awkward I am about appearing in public in costume. My friends and I went to the second season premiere of Game of Thrones at the Atlanta Film Festival. In costume. It was really, really weird walking in downtown Atlanta, not during DragonCon, in essentially “ren faire” garb. Afterwards we went out for dinner, and the entire restaurant was very confused. The hostess though, being a huge GoT fan herself, immediately recognized us as our characters and gushed with us about the show. I guess she even told our waiter a few things (who had never heard of the show, and I’m not sure he even heard of HBO, he was pretty hipster). When he served us, specifically our Daenerys, he got down on his knee and called her khaleesi (which is the honorific title Daenerys goes by in the books). It was a riot! When it comes to taking pictures in a park, or other public venue, I just focus on the camera and my character. Most people are really nice about approaching me [who are] just plain curious. I’m a pretty aloof person, so when I’m in “the zone” I can tune out most distractions around me.

Finally, what is your 2012 convention schedule? Do you like it when fans come up and talk to you?

AnaAesthetic: My next big show is A-kon in Dallas, TX. I’m one of their cosplay guests and I’m really excited to attend! I actually was hired last year to manage their big Gothic Lolita fashion show, with Atelier Pierrot and Chantilly (two designers from Japan) and had such a blast at the con. It reminded me of DragonCon, but strictly for anime and video games. Then in July I’ll be heading to San Diego to attend Comic Con for my first time. Needless to say, that is going to be an experience. I’ll have a booth at A-kon where I’ll be debuting some new projects with my friends, and I’ve been asked to make some “appearances” at SDCC with some artist friends, who will be offering up some unique pieces based on my likeness. It’s probably best if people who want to come say hi check my website for my schedule and find me there. I always feel bad when people come up to me at a con, because I’m usually running from one panel to the next, or have an obligation and don’t have as much time to talk cosplay shop with people. I definitely don’t bite, but I’ve been called intimidating before! Don’t worry, the perpetual bitch look is just a handover from working in broadcast news for the past decade…

Enjoyed this interview? Want to see more? Follow her cookie crumb trail below:

http://anaaesthetic.com/
http://www.facebook.com/anaaesthetic/
http://anaaesthetic.deviantart.com/

The Elephant On The Bike is a coming-of-age drama about a man whose childhood has been overcast in painful memories due to his disability. Dong-gyu is a disabled man who lives on society’s fringe, unable to cope with the disapproval of those who stare at his damaged hand. As an 11-year-old boy, he was bullied because of his handicap and rode his bicycle alone. Aware of his struggle, his loving father often took him to the zoo to show him the elephants, which didn’t have any hands but could do anything. Dong-gyu is now a grown man, working in a zoo taking care of an elephant. He is introduced to his girlfriend’s parents but rejected. While his ego is hurt, Dong-gyu’s father gets into a car accident, which makes Dong-gyu realize that it was his father’s love that kept him strong in the face of reality. It’s a candid story about one man’s internal struggles as he makes the transition from adolescence to adulthood, carrying the psychological wound caused by his physical deformity, plus the impact of his disability on his family.

Despite the constant social and family conflicts that dampen his already disheartened soul, a glimmer of hope arises as he discovers the ultimate joy of life – loving someone and being loved. In his feature-length debut, Kwon conveys the message that not all physically challenged protagonists end up miraculously overcoming their hardships. A poignant tearjerker minus the superficial themes, The Elephant On The Bike offers realism throughout its heartwarming tale. Life has not been an easy ride for Dong Kyu (Yang Jin Woo) simply because he is missing one hand. Always the target of mockery by his schoolmates, Dong Kyu hated going to school. He couldn’t even ride his favorite blue bicycle, which his father made for him. His only consolation in life was going to the zoo with his father and watching the elephants. Now a grown-up, Dong Kyu works at a small zoo as a zookeeper taking care of elephants.

The Elephant on the Bike deals with evocative and highly emotional material, but first-time director Kwon Yong-kook handles it with precision. Everyday is a routine without major happenings until he meets his girlfriend’s parents and experiences another setback. Life’s cruelty not only takes his girlfriend away from him but also his father who dies from a car accident. Amidst the terrible tragedy, a new face enters his life – Ha Kyung (Kim Jung Hwa), a piano teacher whom he gradually falls in love with. But will this bring a happy ending for Dong Kyu? With these and a number of other recent new films showing a willingness to confront the circumstances of the individual within modern Korean society, the future of Korean cinema at least looks promising indeed.

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

To be quite honest, however, I had a hard time understanding why the title of this movie involved elephants. Then, later in the movie, it shows the little girl who befriended him as a child had drawn a book of an elephant on a bike and then at the end is a song dealing with the connected topics. He worked in a zoo around elephants as well. I found this to be slow, the guy was down all the time, the family was angry and sad, there was no good times or happy times. Neutral films usually have a hard time dealing with the emotions expressed and were basically as unfeeling as his hand was supposed to be until the end when the father dies. However, this is a somber film that is very well worth your time. Recommended.

Henrik Uldalen is a young artist whose speciality lies in unusual portraiture and figurative work engaging the viewer with intrigue, mystery and a fundamental dream-state overture. For me, it is always inspiring to see an artist who completely bends the realities of the world and takes note by being completely unaware of the restrictions of physical reality. As a self-taught artist I explored what his thoughts on formal education and the knowledge of art histories influence on a young artist. Read below for the full interview…

Self teaching in the form of the arts seems to be the trend nowadays. What is your view on formal education? Do you feel it hinders general creativity in an artist?

Henrik: For me it has little to do with trends when it comes to my education. I have tried to get in the art academy of Oslo, but didn’t succeed. I’m of course happy for that now, but for a while I was pretty angry about it. I am sure that a formal art education could be a great experience, and I’m positive that it will help you along the way towards being a successful artist. But on the other side, I don’t think you absolutely need it to be an artist.

From my point of view it’s actually the other way around when it comes to creativity. I think academies and formal art educations endorse creativity. I actually think they go way too far in that direction, neglecting the craftsmanship and technical aspects of art.

How do you work? Do you like to work early in the morning or late at night?

Henrik: I’m a morning guy. I need some structure in my life. I’m waking up early for morning coffee and radio in the studio, together with my colleague Morten Thyholt, and then a good 8-12 hours of work.

The subjects in your oil paintings all have their eyes closed. Is this to signify a dream-state overture?

Henrik:  That’s right. I do want the viewer to feel that a dreaming (or a metaphysic) state is depicted. In some of the later paintings I want the closed eyes to be a comment on the modern man, chasing status and riches blindly. Living a safe suburban life, ignorant to the rest of the world outside their little bubble.

Your work is being compared a lot to Jeremy Geddes. How do you react to such statements?

Henrik: First of all I love the work of Jeremy Geddes. Even though we work with the same mediums in a comparable universe, I think my paintings are far away from the brilliant work of Geddes. I am flattered by the comparison though.

Inspiration for you comes from academic artists of the late 19th century, where behind ordinary depictions one would glimpse something abstract from a painting. What kind of emotions are you trying to evoke out of someone that looks at your work?

Henrik: I’m mainly inspired by these 19th century artists because of the technic and craftsmanship. I want different things for different paintings. But some of the later paintings I’ve tried to evoke a feeling of dizziness to the viewer.

Were you interested in art history when you started learning to paint? What is it about this particular style and era that attracts you?

Henrik: Not exactly art history, more just drawing and painting, without knowing anything about the different eras. Later I’ve come to know the history behind, and learning how and why the style has changed over the centuries.

I have always been interested in drawing, and later painting. And of course I would look to the masters of the mediums for inspirations. I was always greatly encouraged to draw and paint, and have been considered quite good at it in my childhood, and therefor it has been the natural style for me to work with.

As modern art and its avant-garde gained more power, many skeptics had written off your style as conservative and non-innovative. How were you able to preserve and bring your style to the mainstream once again?

Henrik: I’m happy you think I do bring something new to the table. That is what I strive to do. For me it’s simply by trying to say something about the life I live today and things that I care about. But I don’t think you necessarily have to be so contemporary to make an impact on the viewer. Many avant-garde artists mean that there is only room for one type of art, something I think is wrong. We have to respect that artists wants to do different things with their art. Whether an artist is trying to provoke and change society, or give the society a break from the real life. Many of my favorite artists are painting pieces that could have been made in any era of the art history. They wont provoke a massive uproar in society, but do we want all art to do that?

I find your work unique, especially in the context of space. Is the interplay with space an essential ingredient for your figurative paintings?

Henrik: It very much is in many of my paintings, especially in the “Void” series. I love playing around with space, trying to make interesting compositions. I find it very challenging trying to do something dynamic with very few elements.

When does color come into the work? Do you often know this will be a “warm” painting from the start, for example? Or, is a foundation built, and then you play with the color?

Henrik: I know in advance what color scheme the painting will have. Sometimes I do change things up in the process, but I definitely know the overall temperature of the painting.

Do you have any favorite Asian films or Anime?

Henrik: I love the works of Hayao Miyazaki. In a way it reminds me of Moomintroll, a Finnish cartoon I grew up with. I like that they brings up serious issues as well as being great entertainment for both children and adults. I think it’s important for kids to see something else than bright colors and happy-go-lucky television.

This has been a big year for you; as you started releasing prints for sale. What can we expect so see from you throughout the duration of 2012? Any big surpises?

Henrik: No big surprises. I will continue to release some prints through the year. Not too many though. The next print will be released through Spoke Art, San Francisco.

Want to keep tabs on Henrik’s work and be informed when he drops new prints this year? Follow his cookie crumb trail below:

http://www.henrikaau.com/
http://henrikaau.tumblr.com/
http://www.facebook.com/henrikaau

Speed Angels is a film that wastes a lot of talent such as great actresses from Lust, Caution and an otherwise great director in Jingle Ma. Prior to watching the film I read a review that read, ‘This movie was so bad that by the end of it, I was literally hitting myself in the face’. Ouch. It peaked my curiousity however and I wanted to see just how bad this flick was. SPEED ANGLES tells the story of a group of free and passionate female racers who use their remarkable skills on the tracks to express their dreams, love and desires. If you can’t stomach the cringe-worthiness of my following review of this film, we’d advise you strongly not to venture any further, as it is just going to get worse. I don’t have complete praise for this movie however, in that towards the end of the film they got a little overboard with the editing and I was really let down by the final antagonist type drivers. Speed Angels seemed to have a harder time in the casa cristo race in the film where the other drivers were far more menacing.

That aside, as far as it being a movie and a work of art, I would give this movie high marks in both categories. For it being a movie, it was nice to see something so different as far as the approach to making it go. Also, having such an incredible cast makes it all the more intriguing. Bing (Rene Liu) and Mei (Cecilia Cheung) are best friends as well as teammates in the Speed Angels all-girl motor racing team. However, on the day of her wedding, Bing discovers that her Japanese fiancé, Asano (Kitamura Kazuki) has eloped with Mei. Xiaoyi has problems too: despite being super-talented, she gets performance anxiety when racing, begins crushing on Gaofeng and has ongoing daddy issues. Seems more of a bad romance then a high-octane race film, right? Even visual effects were really bad, looks very cheap, just a bunch of cuts stitched together; it’s like if TV show cuts, shots from home made music video, video game cuts and green screen footage shots were edited together by a drunk person.

I cannot remember the time when I was wishing for a movie to end and then for some strange reason when you thought that the dialogue would not “give” for more minutes of torture, the writers managed to add 20 minute “tranches” for at least three times in the movie. Knowing Jingle Ma, who’s credited as writer, director, and producer, he probably planned on shoehorning in another subplot before realizing that the film was already pushing two hours. I could go on, and I dare say that film courses in colleges should dissect this movie for educational purposes pertaining to how NOT to make an adaptation.

http://www.youtube.com/watch?v=sHMfZj0wAjM

Just as you add depth and complexity to the images, you add depth and complexity to the characters. It is not unprecedented to tell a story at different levels of complexity. Speed Angels had the chance to shine is with its female racers because China never makes a racing drama with female protagonists. I didn’t mind so much the over-use of the green screen if it weren’t so obvious. I mean, come on movie, I want to suspend my disbelief, but you have to help me! This was a blatant wakeup call for China, and I hope this isn’t what is to come for Chinese production in 2012. Good news is, it can only get better from here.

I just hate and feel embarassed that one of my favorite Anime shows is doing something stupid like this. Like a ninja deceptively presenting himself to enemies as a bumbler who doesn’t know ninjitsu, this show lulls us into a false sense of tranquility. The animation was good considering the chibi style of it, and the story lines are very cute. The real Naruto story is getting very serious, especially now with the war coming up, so knowing they spent time drawing your favorite characters in such a light-hearted manner seems like wasted effort to me. I also act negatively towards this anime series because it’s replacing Bleach. I absolutely adore Bleach, but I think it was the right time to put the anime series on hiatus. Bleach’s anime story line was getting so close to the manga’s, it would have taken a year’s worth of filler episodes to let the manga get further ahead, which I think wouldn’t have been very entertaining. One filler arc can be enjoyable, but too many will get stale very soon, and Bleach would have needed many considering how close the anime was to reaching the manga.

As hard as it is to believe, there does some seem to be some similarly-surprising commentary in the first half. The first story was all about Rock Lee’s rivalry with Neji. Of course as fans of the original Naruto series will know, they have had a long rivalry and Lee has always come up short in his efforts to beat the genius Neji. It might have been better if the characters were chibified for about half the time instead of always, as it takes away from the serious tone of the situations at hand. From here, the show’s comedy is really incredibly simple – lots of slapstick, a fair amount of childish toilet humor, and all real potential threats are thrown out the window. But this show has a lot of potential and when more episodes come out I am positive more people will come to enjoy it. But, as of now, at only five episodes in, I can’t recommend it.

That said, since the show has been steadily improving each week. Still, for the most part we can’t deny that this is a fun series that has a reasonably good ratio of comedy hits to misses in general, and for Naruto fans with a thirst for a giggle then you can’t go far wrong with watching the series. I do tend to be a bit more critical as this is one of the most popular series ever and the producers should take that into account when making a sub-par story. As the main series continues to get more and more serious, this definitely provides a cute outlet for the younger fans that could serve as an eventual gateway to the other series.

http://www.youtube.com/watch?v=6Li6ji4gUpw

Hopefully this trend can continue, and if it does, then it will certainly be a series I will recommend to someone who is looking for a good comedy. Although, it might be too early to tell, I hope it doesn’t go down the same route of the main series itself and run to hundreds of episodes while hammering its ideas into the ground. So, don’t say I didn’t warn you of the shows shortcomings. If you’re still interested…new episodes debut on VIZAnime and Hulu every Tuesday, two weeks after broadcast debut in Japan! Again, why make a show about mystical ninjas and then starring Rock Lee, the ninja who actually can’t use ninjutsu? The plus is that it gives a chance to focusing on stories with Rock Lee and others from the Hidden Leaf Village provides a chance for everyone to get some screen time.

Ever since I opened this website more than three years ago, I received a very big education in the names and licensing of foreign films to western shores. I learned that names aren’t always what they appear to be. First of all, it’s not a sequel to “Operation Condor.” It’s actually the other way around–”Operation Condor” was a sequel to THIS film. Echo Bridge Entertainment finally brings over, in my opinion, one of Jackie Chan‘s best films because it proves that Chan is a one-man moviemaking machine with this one. The basic set-up is that an evil cult who wants all five pieces of the armor of God know that only one person who is able to get the pieces, the “Asian Hawk”! They only have two pieces of the armor and to get Jackie to get the other three pieces, they kidnap his former girlfriend.

There are some incredible sequences at the start (an action packed chase) and at the end of the film (infiltrating the enemy base and a crazy escape plan). In between is some so/so comedy romance moments, the interplay between Jackie and Alan works really well at times producing some great comedy moments Alan’s unwillingness to fight and his clumsiness when he does so really add to Jackies clowning. However, this is not a movie about friendship. In fact, it is not really a movie about anything beyond Jackie Chan’s stunts. In fact, one of the stunts that he did, a stunt that wasn’t very difficult, and had already been done once successfully, almost killed him. Don’t expect anything like Legend of Drunken Master or Who Am I, but there is still a lot of great classic action that you won’t find in today’s Chan films. The trouble is that likable though its characters are, they aren’t believable or that compelling, and the films pace is off, meaning that there is somewhat less in the way of excitement than expected.

There were some very good landscape/skyline shots here, as well. The photography was well done, as the blu-ray copy I have is clean and clear, and the filmography was nicely done, giving you good, interesting angles and the like. There are many memorable scenes, the ones where Chan uses a huge log to fight off the monks, the huge food fight – where chan must face the monks in his typical, and breathtaking – one man vs the world fighting style…the 4 blaxploitation amazon women in skimpy leather outfits – which chan has to fight (see below video to watch). People watch Jackie Chan movies not for deep plot but for superhuman feats of agility. Am I right? This film proves to be satisfying in that manner.

http://www.youtube.com/watch?v=Sq0NTCpzgfM

The Armour of God is one of my favorite Jackie Chan movies, and I had the good fortune of actually getting to see it on blu-ray for the first time. For much of the time there’s more clumsy comedy and farce than action, but just as you’re almost ready to give up on it it throws in a half-hour finale with some of Chan’s most impressive stunt fighting, all performed at the height of his ability. Armour Of God is a good example of a Hong Kong action film. The 1980s was a great decade for Asian cinema. It’s a shame really that the U.S. doesn’t understand Jackie Chan films for what they are- Chan films are meant to be enjoyed, they are at times self mockery or fantastic to watch – and if Chan doesn’t do that – then I’m sure its hard to find anyone with the heart, commitment or desire for film-making that he shows so well on screen.

Margaret Cho is gearing up for one of her busiest year’s yet. On tap for 2012 is Cho’s return to Lifetime Television’s Drop Dead Diva, premiering June 3rd, a reprise on NBC’s Season Finale of 30 Rock (airing May 10 & 17, bringing back her hilarious gender-bending interpretation of North Korean leader Kim Jong Il), a hosting gig on her new show airing on the Food Network this fall, a brand new summer tour of intimate venues beginning August 11th in P-Town, Cape Cod and various other TV appearances. I had a chance to speak with Margaret as we talk about a variety of topics, insight, and her future. This is all on the heels of her brand-new stand up show bringing audiences her unflinching brand of comedy called ‘Mother’. Read below for the full interview…

You recently spoke out how you loved the old fashion feel of zines compared to the digital age of blogs and websites. With the new trend like Louis C.K. and Aziz Ansari releasing online editions of their stand-up for $5, do you feel this is a great new direction in selling stand-up? Or do you prefer the old-fashioned way of manufacturing DVD/CD’s in stores?

Margaret: I love both, however comedy can be brought to fans everywhere, the more ways – the better! What these guys have done is incredibly innovative, but I will always be a customer for DVDs and CDs. I just love to have them [and] I am a great collector!

What would you say are the most challenging and rewarding aspects of working on a show like Drop Dead Diva?

Margaret: It’s a lot of work making an hour long show – which is essentially making a movie in about a week! It’s long hours and hard going at times, but very exciting. I love acting and I love our show. We have an amazing cast led by the incredibly talented Brooke Elliott. We are a family [and] have been working together now for many years on this fantastic project. It’s such a great feeling to have such success with it because we love it!

Since you were actually the first person cast in the show, did you have any reservations about how the show would ultimately come together?

Margaret: I had confidence in our creator Josh Berman, and the strength of his vision really carried us through. I think the critical casting of Brooke as Jane was what made the show a hit, and brings viewers back every week. The writing also is a major factor in our success!

In terms of Cho Dependent, I did feel that it was a bit more unpredictable than your other more recent endeavors. I laughed and I cringed (in a good way!) since a lot of different sounds and lots of different guest artists came together. Were you definitely going for those reactions?

Margaret: Yes, I loved making the album. It’s the hardest I have ever worked as I had to learn how to sing, play and write songs – but I had the best teachers and the most amazing mentors. I was going for something different, but still in the realm of what I do – standup comedy. That is my work and my life and being a musician is another part of that!

http://www.youtube.com/watch?v=H54Hg2tAoWQ

Releasing films, music, performing stand-up, authoring books, and appearing on TV — do you have to be in a separate head spaces to achieve all five? Or does juggling different creative outlets come easy for you?

Margaret: I think it’s all the same really, it’s just about finding the time to do everything. I love it and I am happy to work and it fulfills me and makes me feel good. I don’t have any problems going from job to job, it’s more about figuring out when I can do it!

Is it easier for you to write material when you are depressed or angry or in a good state of mind?

Margaret: Hmmm, I guess I can write in any state of mind, because my work requires it. I think the best things can come from feeling really bad, and needing to find some way out of it. That is the way creativity can really lighten up your outlook and improve your life.

What are some of your favorite Gong Li films?

Margaret: I love everything! She is beautiful!!!!!!! [Favorites being] Raise the Red Lantern to Memoirs of a Geisha. She is a stunning woman and a marvelous actress.

You are returning to 30 Rock as Kim Jong Il. Obviously some real life drama has affected his character since your last portrayel. What kind of surprises can we expect from your performance?

Margaret: Well, I am alive and he is too – in the world of 30 Rock! It was a lot of fun, and the costuming this time was way more elaborate, so in a way, I got to let the makeup and wigs really transform me. I look exactly like him anyway [laughs]. I think the show is great and I was honored to return. I think that people will be surprised that it is me and also what Kim Jong Il gets up too!

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

It is funny, you always struck me as the type of woman that would despise reality TV. Yet, you have contributed to quite a bit of them. This fall you are set to host a show on the Food Network called Blind Dinner Party. Why did you want to mediate this multi-cultural experiment?

Margaret: I am very interested in reality T.V. I think what it does do is make the alternative universe of television mirror the actual universe in its diversity. You have to have people of color as well as people of different shapes and sizes and ages because that is what makes up the world. Reality T.V. is real. It’s real people. That’s the appeal for me. I look forward to the blind dinner party as it will show real people finding ways to be real together, and that is so interesting and exciting to me!

What is the biggest change in your outlook on life now that you are in your 40s versus your 30s?

Margaret: I think I worried about activity in my 30′s and in my 40′s I worry about gravity! It’s always something!

This summer you have a brand new stand up, entitled ‘Mother’. Why did you pick this name for your show and what kind of material can we expect to see?

Margaret: It’s about being a mother; maternal things! I am not a mother, and I have mixed feelings about the possibility. I haven’t become one, but I find that I am one anyway, as I mother many of those around me, especially other comics and musicians. It’s my personality, and so the show is all about that – finding that mother within. It’s the most sacred thing you can be and the most profane thing you can be.

http://www.youtube.com/watch?v=hkysAgxuY9c

Want to keep tabs on all of Margaret’s ventures? Follow her cookie crumb trail below:

http://www.margaretcho.com/
http://www.margaretcho.com/category/blog/
http://www.margaretcho.com/chodependent/
https://twitter.com/#!/margaretcho/
http://www.facebook.com/officialmargaretcho

Catch her Mother tour dates when they are released next month and catch the exclusive shows in:

August 2012 – 08/11/12 – 08/18/12 in Provincetown, MA at The Art House

Special thanks to photography Miss Missy for photography permission. Check out her portfolio here.

The title of this film is just a lie, I was severely disappointed with the lack of porn or even porn stars, but the violence did make up for it I guess. Toshiaki Toyoda’s debut feature is a brutal whimsy about underground Shibuya and its inhabitants: gangs, hustlers, skateboarders and a whole lot of leather jackets. Our hero is Arano, a tall, mysterious and downright rude ‘bad-ass’ type (you know the kind, I usually cross the road to avoid any confrontation with people like this). When we first meet him he’s doing his usual ‘bass-ass’ thing; knocking into people, pulling an angry face, carrying a big bag (it probably contains weapons because that’s all bad-asses own). He spots a Yakuza member saying something rather impolite, oh those bad-mannered Yakuza, when will they learn hey? Well, now actually. Arano stabs the Yakuza, steps over his squirming body and into the gang boss’ office while all the rest of the gang are stood gawping, asking, “Who the hell is this guy?”

So the Yakuza then kill Arano because that’s what would obviously happen next… Oh wait, it’s that other possible outcome, the Yakuza decide to take on Arano to run with the gang because he’s just so bad-ass (should have figured). Turns out the Boss is a little gloomy as one of his members’ (Kamijo) date club isn’t doing so well. Business is bad and Kamijo will do anything to bring in the yen and as Arano is obviously a nutter who hates the Yakuza, who could be a better choice to accompany him on a treacherous, money-making rage? This will obviously not turn out bad (where is my sarcasm font!?)

The story from here gets a little lost; something about a stash of drugs that they steal from some foreigners and then there’s the rival gang that wear ridiculous-coloured suits (so, typical Yakuza problems then). The focal point of the story is the uncomfortable relationship between Kamijo and Arano as the latter continues to foam at the mouth with manic rage and his internal struggle regarding his disgust of Yakuza. Aside from the crude bloodshed and random orgies, there are some instances of revelation and almost beauty as Arano betrays his beliefs. In one scene he is stood waiting hours in an alleyway for drugs, money or something else ‘gangsta’, Arano looks up into the dark and a shower of knives fall down on him. The blades turn into raindrops as they hit him and soak him, leaving him feeling cleansed.

http://www.youtube.com/watch?v=GmpwQ7OVGs0

Pornostar was an absolute joy to watch; over-the-top with ridiculous characters and plenty of violence, who doesn’t love that? Toyoda is very able to connect with his audience though he has made the violent-director rookie error: He believes he can be the next Tarantino (this may not be true, but I have decided that it is the only way to explain this movie). If you’re a bit of an oddball with a love for manga and violence then you should watch Pornostar. Don’t however then go and attempt to make your own movie because you will NOT be the next Tarantino. When will people learn?