John UM
A work that exudes a feminine scent.
For the first time, Yoshida knew that Liz and Jade Bird (hereafter referred to as “Blue Bird”) planned that this film is very suitable for Yamada. Yamada also wants to challenge a meticulous and in-depth depiction of two women’s works.In Yoshida’s opinion, “Blow it! The Euphonium is a work that takes into account the perspectives of many characters, and meticulously depicts the works of the community activities to pursue the target process, while “Blue Bird” is a work that deeply digs into the psychological aspects of the role. So although the two are the same series of works, the places they pursue are completely different
Because the story of 霙 and Ximei is only a branch in the original, it is a challenge for Yoshida to make the story of the two separate as a theatrical version. As a branch of “Blue Bird”, the story is not big, but it is a work that exudes the fragrance of women
Just like touching a thin glass.
In the relationship between Xi and Ximei, Yamada is immersed in the inviolable atmosphere of Ximei and Yu. Yamada said that he is holding a kind of, like a soft touch of a thin glass, does not let the glass break the touch to shape the world of the two
About the landing point of the story of Ximei and Yi, Yamada and Yoshida are based on the lines of Ximei’s “story is still happy end” and the emotions contained in Ximei. Because Yamada personally hopes that Ximei and Yan can stand together, but does not think that they can decide their own ideas and future life path at will, so Yamada added a “story or happy end” for Ximei
Yoshida thinks that “Blue Bird” is a work that expresses the essence of Yamada. Looking for an instant that cannot be replaced, and pursuing an instant that exists only at this moment, this is the extreme manifestation of Yamato’s supervision of the ideal state. As long as people are still alive, their lives will always move forward, so there is always a moment, thoughts, or other related things that cannot be replaced here. This part has always been valued by Yamada’s animation. Yamada said that this is the result that can be discovered and achieved with Yoshida
There used to be a drama adapted from “The Disqualification of the World”. One of them wrote that “the work of the playwrights is to find small gems in the dark,” that is, from the great suffering of life. Yoshida has always wanted to create such works with hope and beauty. The “Blue Bird” happens to extract the delicate and fast-breaking mind of a girl in a certain period, that is, a piece that draws out from many feathers and makes a delicate description of the feather
The world in the bird cage.
In the production process of the script, Yamada and Yoshida did not encounter too much trouble. Yamada was very happy to hear Yoshida telling her girl’s view at the script meeting. Yoshida said to Yamada at the script meeting that “it is as if he is scratching his eyes on the glass.” In the bright, beautiful, fragile glass, the claws are scratched, and Yoshida’s brain has a vivid picture. Yamada further explained that he hopes to extract a purely beautiful sound in the harsh sound, which will make the sound more beautiful
Yoshida also mentioned that this work is still a work that can bring different feelings to different audiences of different ages, genders, experiences and so on. Because the works have gathered a variety of ideas from Yamada, it can even be said that there are too many ideas, so that I feel a little confused. Yamada wants to listen to his audience after listening to the movie
“Blue Bird” limits the stage of the work to the school. It was only at the end that I went from school to the outside world. Therefore, both Yoshida and Yamada believe that since they return to the outside world until the final outcome, it is a good choice to shape the world of the work into a bird box before the end, although this decision will make it difficult for animation
Because Yamaha is restricted to the school, Yamada cannot rely on scene changes and stage changes, so Yamada occasionally feels uneasy. The school is equal to the bird cage, and this bird cage is sacred and inviolable in the eyes of Yamada, so in the composition, Yamada pays special attention to creating a serious and fair atmosphere for the picture
Happy End is the magic of the movie.
When painting the mirror, Yamada said that he has been “talking” to Yoshida in the script. Yoshida bluntly said that the script also has the meaning of Yamada love letter
This time, the creation of Yamada has many troubles. Although he and Ximei have been talking, there are many places where the two understand the misplacement. Clear dialogue is not established, but it can be established on the surface. In this case, whenever Yamada goes to experience the emotions of the characters, he will always feel bitter. It is the first time since Yamada did animation that he tasted the bitterness of so many characters
In addition to tasting the character’s sadness, Yamada pays special attention to the drawing of the mirror, not to shape the story from the perspective of adults. Yoshida has the same view of Yamada at this point, and Yoshida does not want to let the adults see the film and produce the impression that I have had such a youth. Yoshida believes that once this kind of sentiment is generated, the theme of the work will become thin, so the end of the story does not solve the problem according to the intention of Ximei, and it becomes a wish for the future happiness of the two..
In order to get a good ending, Yamada wants to make the moment when the eyes of the two people are staggered and the mind overlaps at the end of “Blue Bird”. However, if you deliberately choose a simple, understandable, and clichéd way, Yamada will feel too deliberate, so he still hopes to find a peaceful ending with no lie to end the film. The oxtail solves the problem of Yamada only by adding a pin at the end of the music at the end of the story. The world of the story is affirmed by only one syllable, and Yamada feels unwilling to lose to the oxtail
Speaking of Happy End, Yoshihara remembered that before attending the awards ceremony of the film festival, he heard a certain award-winning supervisor said that Happy End is the magic of the movie and the guarantee for the survival of the film. The war in the real world is endless, and things that make people feel sad are still going on. Then at least to show a happy future in the movie, then even if the moment can not be changed, perhaps the future can be changed, so Hollywood invented Happy End
Yamada listened to Yoshida’s retelling, and remembered the three ways of recording the sound of the name of Nakagawa Yamada, the story of the riverside troubles, and the end of the music when the coffee shop owner put the record.In the end, Yamada chose the music to fade and fade out. The name of the warehouse first praised Yamada’s choice and then explained it further, because the fade out represents the end of the story. Jade love also describes the story that is still over, so it is correct to use fade out
All aspects of the slender work.
Yoshida first saw the newcomer, and was surprised that the person was so slim. Not only is the person set to be slender, but even the story is connected by one fragile moment, so Yoshida knows that if the seiyuu’s acting is not slim. Then the whole work is not convincing
Yamada explained that the changes made by people are the result of the deepening of the world of Liz and Jade Birds, and naturally. Because any mistakes made it will cause the whole work to collapse, so the saffs are very careful about the story of the two girls this time. The performance of “Liz and Jade Bird” Ogawa said that the original painting can not only be responsible for the part of his painting, but also the mirror and script of the work
Referring to the fairy tales in the movie, Yamada intends to interact with the fairy tales of the drama and the stories of 霙 and Ximei. However, with the work of the split mirror, Yamada found it difficult to connect the two stories and arrange the two worlds in the story. Yoshida also believes that how to arrange the position of the drama in the movie is the most difficult place. Because if you don’t do it well enough, it will make the work lose the sense of rhythm, and it will make people feel a sense of violation
In order to allow the drama to be properly placed in an easy-to-understand place, Yamada considers various methods. It can be said that for the “Blue Bird” Yamada can be described as a broken heart, so that every day on the way to work is a sluggish expression, and often lead to sit over
Love and love are different.
As for dubbing, Yoshida thinks that the beginning is very important. If the beginning can make the tight and high-pitched voice intertwined with Ximei innocent and some cruel voices, then the story will continue smoothly. Yamada is also at the beginning, showing the audience the relationship between Xi and Ximei, and the idea that “Every sentence of Ximei is passing this is the last time.” The reason why I think this way is that in the blink of an eye, every day with Ximei is the last day
Yoshida explained that because the relationship between Xi and Ximei is love, love is instantaneous and cannot continue as much as love. Yamada also believes that the relationship between 霙 and Ximei is not so much “love” as it is “love.” “Love” is that even if the two will be separated, there will still be a great possibility of returning from good, so “love” will make each other feel at ease, while love is not like this. “Blue Bird” is to show the difference between love and love
Yamada’s works before “Blue Bird”, love is unpaid, there is no need to specifically confirm the mind and can connect people to people, the difference between “Shaping of Sound” and “Blue Bird” Here. What has been described in “Blue Bird” is that it is in the crisis of broken relationship, and exchanges with Ximei for unintentional engagement. For this continuous depiction of unequal communication, there will be a slight sense of horror
霙 I have never been rewarded, and Yoshida feels sad. Yamada didn’t expect Yoshida to look at this thing like this, but even if it was so bitter, Yamada still wanted to depict the two people who had a mutual understanding of the relationship, and thought that there is no need to find the future answers of the two at the moment
Since there is no need to draw conclusions at the moment, Yoshida asks Yamada about what kind of relationship Ximei and Yu will become after ten years. Yamada sincerely hopes that the relationship between the two will change from love to love after ten years. Yoshida also holds the same expectations as Yamada, especially if Ximei cannot break through the current state
Yamada believes that in the future of the two, Ximei and Hey will usher in the day of flying and flying, because they have too many fascinations that they have not yet discovered, and these are not discovered by themselves. There should also be treasures that will allow the relationship between the two to last a lifetime
It is a very risky choice to not give an answer at the end of the movie, but this is the result of Yamada’s character from the two characters. It is better to say that Ximei, who has a strong sense of self-consciousness, and the ambiguity of a firm mind, can find the answer in a short period to be false. Of course, the end of the story is “Happy Story is good”
Finally, Yamada and Yoshida talked about each other in their own eyes. Yamada said that he likes Yoshida’s script. Yamada’s script is written in the Ming Dynasty. It is clean, refreshing, gorgeous, and slender and calm. Yamada likes the temperature in the Yoshida script. Since the first cooperation, Yamada has always been interested in Yoshida. Yoshida as a scriptwriter can participate in a variety of works, but Yamada can only work with Yoshida as a supervisor, and he understands the feeling of being always watching the beauty of Him. Yoshida believes that Yamada will break the fixed impression of female supervision and said that he can look at Yamada who breaks the fixed impression and is very happy
I heard that Yoshida’s praise Yamada is also very happy, but Yamada also said that no matter what kind of works, I hope that when I am making animations, I will always go with my work with a soft, sincere mood
Yoshida heard Yamada say this, and he is looking forward to making a work that is completely opposite to the Jade Bird. Yamada also hopes to try more types of works and learn more experiences and insights along with the works. This kind of experience makes Yamada both happy and moving, and I want to continue to challenge various works in the future
References
- “リズと青い鸟》パンフレット