Following the second episode of The Weakest Tamer Began a Journey to Pick Up Trash TV anime, the official ABC Animation YouTube channel released the creditless Op and Ed for the series featuring the opening theme "Hate no Nai Tabi" performed by Aina Suzuki and the ending theme "because" performed by Tei Hinomoto. You can watch both below. The Weakest Tamer Began a Journey to Pick Up Trash Op: "Hate no Nai Tabi" - Aina Suzuki The Weakest Tamer Began a Journey to Pick Up Trash Ed: "because" - Tei Hinomoto Related: The Weakest Tamer Began a Journey to Pick Up Trash English Dub Reveals Cast and Crew, Same-Day Release Based on the light novels by Honobonoru500 and Nama, The Weakest Tamer Began a Journey to Pick Up Trash is chief-directed by Shigeyasu Yamauchi ( A Town Where You Live ) and directed by Naoki Horiuchi at Studio Massket, with series composition...
- 1/21/2024
- by Humberto Saabedra
- Crunchyroll
Forsaken by the gods, family and the world itself, Ivy and her slime bestie will make a new home out in the wilds and on Crunchyroll when the English dub of The Weakest Tamer Began a Journey to Pick Up Trash commences tomorrow as a same-day release! Just as the central character duo bring out the best in each other, so do the following cast and crew members for Episode 1. The Weakest Tamer Began a Journey to Pick Up Trash English Dub Cast Ivy voiced by Reshel Mae (Lumi in Sweet Reincarnation ) Additional Voices by David Wald, Brandon Acosta and Cody Savole The Weakest Tamer Began a Journey to Pick Up Trash English Dub Crew Voice Director: Cris George Producer: Zach Bolton Adaptation: Jessia Sluys Mixer: Neal Malley Engineer: Jose Sandoval Related: Metallic Rouge English Dub Reveals Same-Day Release, Cast & Crew Key Visual Related: Crunchyroll Winter 2024 Dubs Include Solo Leveling,...
- 1/11/2024
- by Liam Dempsey
- Crunchyroll
'The Boy and the Beast' Dir. Mamoru Hosoda on Shared Fatherhood & Why His Films Deal with Two Worlds
Populated by fantastical creatures that stem from the inexhaustible imagination of one of the most important figures in Japanese animation today, the realms depicted in Mamoru Hosoda’s films might visually appear to be removed from our world by design; however, the profoundly wise artist makes use of their absorbing façade to insightfully address some of the most emotionally relevant human tribulations.
Constantly setting his tales of unconventional families and young people at a crossroads in two parallel worlds, Hosoda emphasize our longing for significance, connection and belonging by observing them from the vantage point of an alternate reality. For his latest epic animated saga, “The Boy and the Beast,” the seasoned director, who has worked in films based on classic anime series such as Dragon Ball, Digimon, and Sailor Moon, concentrates on fatherhood and the relationship between a boy and the multiple role models he encounters along the unstable road from angry childhood to young manhood.
Though he is often referred to as Hayao Miyazaki’s successor (an artist whom he does credit as one of the catalysts that sparked his love for animation), Hosoda’s works feature they very own mythologies, thematic concerns and stylistic particularities that differ from the signature magical characteristics associated with Ghibli. In Hosoda’s stories the concept of identity in relationship to parenthood is a striking force that drives the narrative. His characters yearn to find meaning in their origin or find an outside source that can provide a sense of community. Clearly, the clash between the real and the extraordinary transform his impressively intimate premises into mesmerizing animated visions, but their essence remains grounded on Hosoda’s compassionate and inspirational view of mankind.
His most recent marvel is a martial arts adventure ruled by its very own mythology, yet grounded on his usual universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, a kingdom inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters.
Mr. Hosoda opened up about his marked interest in identities composed of what’s on the surface and what lies beneath, the concept of shared fatherhood, and the films that inspired him to work in this medium.
"The Boy and the Beast" is nominated for the Best Animated Feature-Independent Annie Award and will be released theatrically in the spring by Funimation
Carlos Aguilar: One recurrent subject in your films is the battle between two worlds, our human world and some sort of alternate reality, why does this interest you in particular? The non-human worlds in your films, including that in “The Boy and the Beast,” teach us a lot about human emotions.
Mamoru Hosoda: The depiction of two worlds is directly connected to the idea of identity. For example, in "Wolf Children," the difference in the ways Yuki and Ame live constitutes two worlds, and the "country" and the "city" are also two different worlds. And I’m not saying that one of these two worlds is good, and one is bad, either. On the contrary, I think that they are both right. In the case of "Digimon," you have analog and digital; it's not that either one is greater than the other, it's that by having both halves, you get one single world.
Usually, people tend to see someone on the surface and think that that's who that person is. On the other hand, there are a lot of people who think that what is on the outside is a complete falsehood, and that their true self is what's on the inside; their public face is a fabrication, and what they really feel is actually who they are. However, I think both of those approaches are mistaken. I think the inner and outer aspects of the self together make one person. People who are open about their own faults, especially, often want to ferret out “inner feelings” beneath the surface and expose any falsehood, and they think that it's in their inner feelings that the truth lies. But I don't think that's the truth. I think that this one-or-the-other-is-right way of thinking is nonsense. I think that it takes both halves to make a single whole.
It is for that reason that I always have two different components in my movies. I also don't say which one of those two is better. People have two sides, and a person first becomes appealing when you discover both of those sides--and worlds work exactly the same way. Shibuya works the same way. I believe it's having both Shibuya and the Jutengai that makes the film’s setting an interesting one.
Another element that appears often in your films is the relationship between parents and children. Can you talk about why this topic is important to you as an artist?
Mamoru Hosoda: I fear that the image of the family that is necessary to live in these times, as well as the times to come, is in a very uncertain state. We are on the verge of losing the traditional idea of the family, especially in Japan, where the declining birth rate shows no signs of stopping. This is precisely why I think we should consider with a sense of urgency what the new image of “family” should be like, and not fall into the nostalgism that days gone by were just better.
In “The Boy and the Beast” Ren has a two father figures. His biological father and Kumatetsu, what do you think is the role of each of them in his life? Fatherhood appears to be very important in your film.
Mamoru Hosoda: In this movie, representing fathers, there is the "Kumatetsu and Kyuta" thread and the "biological father and Ren" thread. Outside of those, you also have "Hyakushubo & Tatara and Kyuta" thread, and the "Kaede and Ren" thread running through it as well. There is also the "Iozen and Ichirohiko" thread, the "Iozen and Jiromaru" thread, and so on. That might even go for Kaede and her father, as well. In any case, they are all fatherhood concepts, with different types of father-child relationships appearing, and each one of them is slightly different.
It's a seemingly simple story--and this also goes for the traditional model of friction and tension between father and child--but ours is not an age which has an ideal model for parent-child relationships, which we then go about trying to adhere to.
Rather, I was deliberately trying to express how possible it might be for unmarried men and adults not blessed with biological children to become "fathers of choice." In an old-fashioned, traditional world, this might not matter. But I think that it's probably going to become terribly relevant as time goes on. Anyone could end up like Tatara or Hyakushubo, in that they could be put in the role of Hyakushubo yelling at Kyuta, or Tatara holding him in tears. Maybe everyone will eventually get a role to play doing these things that parents do with children. By doing so, they might experience the fulfillment of being a parent. That’s why, with those things in mind, I wanted to present one possible form for the parent-child relationship to take in the years to come.
Also, the reason why I wanted to present a parent and child in this film, although in a pseudo-family, was in order to depict growth. I wanted to put them forward to show that process. For example, if you were to ask how much Kumatetsu discernibly grew during this movie, who can quantify that? Kyuta did not completely grow into a young man, either. I do think, however, that the relationship between Kumatetsu and Kyuta did change dramatically.
As to whether Kumatetsu is the ideal father, no, he might not be the ideal. That goes for Kyuta, too—I don’t map ideals onto the individual characters. But I did relay my ideals through the relationship fostered by the two of them. At first, they were on edge with each other, but in the end, the bond between them is strong enough to become tangible and visible. I portrayed it in an interpersonal relationship, as a type of yearning admiration.
Your films deal with teenagers or young people coming to terms with who they are, their purpose, and their origins. Why do you think you are so attracted to stories about people at this particular stage in their lives?
Mamoru Hosoda: I think of movies as depicting moments of change. Change is growth, and that change also possesses the same dynamism that movies do. The most shining example of the dynamism of that change is children. This is exactly why I empathize with and wish to support those who have that kind of independence and resolve, who carve out their own futures. It is the solidarity between those individuals that I portray in movies, and I’d like us all to share that solidarity and head into the future with them.
Do you think that working on films based on anime series like “Dragon Ball,” “Sailor Moon,” or “Digimon,” has influenced the type of stories you like to tell?
Mamoru Hosoda: I learned a lot of things from the history and context provided by the personal jumping-off point that Toei Doga (now Toei Animation) was for me. For example, I learned from Shigeyasu Yamauchi, director of many "Dragon Ball" movies, what movies and being a director consisted of, and he taught me uncompromising strength for the sake of the product.
Visually Jutengai, the alternative world in “The Boy and the Beast,” seems more mythological instead of futuristic like the world in “Summer Wars.” What was the visual inspiration or style you wanted to use in this particular film for both the world and the characters?
Mamoru Hosoda: I was influenced by the culture and history of Japan. When I thought about untangling our history anew from the westernization of Japan, these were the ideas that arose from it.
Tell me about designing the creatures in the beast world. Every single one of them blends human and animal qualities.
Mamoru Hosoda: It struck me that when we read picture books to children, we parents, and people as a whole, do not appear in them very much, and that they are more constructed to be a world of children and animals. That got me thinking that before children live in the world of their parents and other people, they must learn the principles, truths, and important things they need to live in the world of animals, so I created the characters with an animal motif.
Do you animate your films yourself? What do you think is special or unique about hand-drawn animation in comparison to films made entirely using CGI?
Mamoru Hosoda: I do not draw any of the pictures for my movies as an animator. The reason for that is that I am terribly lucky to have many staff members who I look up to, and who are overflowing with talent, that work with me on each project.
As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
What’s your favorite part about the process of creating a new film? Is it writing the story or bringing these worlds to life with through animation? Why?
Mamoru Hosoda: The process of producing a project is one long string of delight and anxiety, but I think the real thrill of animation would have to be drawing the pictures.
Tell me about creating Kumatetsu. He is a great character. He is at once funny, stubborn, but with a big heart underneath. Where did he come from?
Mamoru Hosoda: I wanted to ponder, "What is the significance of a father's existence to children?" Digging back through the events of the past, I found that there have been all sorts of people who had a greater effect on us than our own fathers. Perhaps an adult that we wanted to become like, or someone with such a strong presence that even now, they remain in our hearts—someone who might be referred to as a "father of choice." I think that sooner or later, everyone has someone like this. I, too, realize that there have been many people, both famous and unknown, who have been like that to me, and have had a greater influence on me growing up than my own father. The Kumatetsu-as-father-figure that we have here is not about him being someone who takes the place of a biological father. It’s more about there being multiple people out there in society who fill a fatherly role, and it is these people who come together to raise a child.
I imagine men of all different types gathering together to watch over a child. What's more, not all of them are necessarily going to be older adults. Like when you enter middle school, and you have classmates who are surprisingly well-versed in western music, or know a lot about railroads. There are fellow students who, despite being the same age, know a lot more about the world than you do, and are nice enough to teach you about this and that without you even having to ask them. In other words, though classmates, they also sufficiently fulfill a fatherly role.
So I think that for a child, there are many different patterns to what an essential father figure is. What becomes interesting when you think about it that way is that one may not be able to fulfill a fatherly role with one's own child, but on the other hand, and this goes for me as well, one might still be a "father of choice" to someone else out there in the world. Fatherhood is something that can be shared worldwide. Meaning that in terms of the substance of a father’s role, perhaps we are all pseudo-fathers. It is out of that idea that Kumatestsu came about.
Animation is a boundless medium. What attracted you to it in the first place? Why do you think it’s the best way for you to tell your stories?
Mamoru Hosoda: The impetus for me to get into the world of animated movies was seeing two movies in the summer of 1979. One of them was the Rintaro-directed "Galaxy Express 999," and the other was the Hayao Miyazaki-directed "Lupin the Third: The Castle of Cagliostro." I want to take themes that are shared throughout the world, express them through animation, and make movies from them. And with the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.
Why did you feel Ren had to have two names, Ren in the human world and Kyuta in the world of beasts?
Mamoru Hosoda: I thought it would be necessary in order to express the identity uncertainty and tension of wondering who he really was. I wrote the story with the hope that those children who were lost in their own lives would find some kind of answer in this movie, and be able to share in it as well.
Ren reminds me of one of your characters in “Wolf Children,” are there any conscious or unconscious relationships between the characters in your films?
Mamoru Hosoda: Kyuta's growth is a growth of the heart, where he deals successfully with the question of his identity, develops independence and resolve, and proactively carves out his own life for himself, so you could say that his character has that in common with the main characters of my other films.
After the success of “The Boy and the Beast” in Japan, are you working on a anew film? Or are there any ideas that you want to explore in your next project?
Mamoru Hosoda: I really am grateful to have so many people watch, and to be given the chance to create my next projects. I want to once again tackle the boundless possibilities of animated movies, and I hope to be able to create something that will leave both children and adults thinking that this world is a sparkling, brightly shining place.
"The Boy and the World" is nominated for the Best Animated Feature-Independent Annie Award and will be released theatrically in the spring by Funimation...
Constantly setting his tales of unconventional families and young people at a crossroads in two parallel worlds, Hosoda emphasize our longing for significance, connection and belonging by observing them from the vantage point of an alternate reality. For his latest epic animated saga, “The Boy and the Beast,” the seasoned director, who has worked in films based on classic anime series such as Dragon Ball, Digimon, and Sailor Moon, concentrates on fatherhood and the relationship between a boy and the multiple role models he encounters along the unstable road from angry childhood to young manhood.
Though he is often referred to as Hayao Miyazaki’s successor (an artist whom he does credit as one of the catalysts that sparked his love for animation), Hosoda’s works feature they very own mythologies, thematic concerns and stylistic particularities that differ from the signature magical characteristics associated with Ghibli. In Hosoda’s stories the concept of identity in relationship to parenthood is a striking force that drives the narrative. His characters yearn to find meaning in their origin or find an outside source that can provide a sense of community. Clearly, the clash between the real and the extraordinary transform his impressively intimate premises into mesmerizing animated visions, but their essence remains grounded on Hosoda’s compassionate and inspirational view of mankind.
His most recent marvel is a martial arts adventure ruled by its very own mythology, yet grounded on his usual universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, a kingdom inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters.
Mr. Hosoda opened up about his marked interest in identities composed of what’s on the surface and what lies beneath, the concept of shared fatherhood, and the films that inspired him to work in this medium.
"The Boy and the Beast" is nominated for the Best Animated Feature-Independent Annie Award and will be released theatrically in the spring by Funimation
Carlos Aguilar: One recurrent subject in your films is the battle between two worlds, our human world and some sort of alternate reality, why does this interest you in particular? The non-human worlds in your films, including that in “The Boy and the Beast,” teach us a lot about human emotions.
Mamoru Hosoda: The depiction of two worlds is directly connected to the idea of identity. For example, in "Wolf Children," the difference in the ways Yuki and Ame live constitutes two worlds, and the "country" and the "city" are also two different worlds. And I’m not saying that one of these two worlds is good, and one is bad, either. On the contrary, I think that they are both right. In the case of "Digimon," you have analog and digital; it's not that either one is greater than the other, it's that by having both halves, you get one single world.
Usually, people tend to see someone on the surface and think that that's who that person is. On the other hand, there are a lot of people who think that what is on the outside is a complete falsehood, and that their true self is what's on the inside; their public face is a fabrication, and what they really feel is actually who they are. However, I think both of those approaches are mistaken. I think the inner and outer aspects of the self together make one person. People who are open about their own faults, especially, often want to ferret out “inner feelings” beneath the surface and expose any falsehood, and they think that it's in their inner feelings that the truth lies. But I don't think that's the truth. I think that this one-or-the-other-is-right way of thinking is nonsense. I think that it takes both halves to make a single whole.
It is for that reason that I always have two different components in my movies. I also don't say which one of those two is better. People have two sides, and a person first becomes appealing when you discover both of those sides--and worlds work exactly the same way. Shibuya works the same way. I believe it's having both Shibuya and the Jutengai that makes the film’s setting an interesting one.
Another element that appears often in your films is the relationship between parents and children. Can you talk about why this topic is important to you as an artist?
Mamoru Hosoda: I fear that the image of the family that is necessary to live in these times, as well as the times to come, is in a very uncertain state. We are on the verge of losing the traditional idea of the family, especially in Japan, where the declining birth rate shows no signs of stopping. This is precisely why I think we should consider with a sense of urgency what the new image of “family” should be like, and not fall into the nostalgism that days gone by were just better.
In “The Boy and the Beast” Ren has a two father figures. His biological father and Kumatetsu, what do you think is the role of each of them in his life? Fatherhood appears to be very important in your film.
Mamoru Hosoda: In this movie, representing fathers, there is the "Kumatetsu and Kyuta" thread and the "biological father and Ren" thread. Outside of those, you also have "Hyakushubo & Tatara and Kyuta" thread, and the "Kaede and Ren" thread running through it as well. There is also the "Iozen and Ichirohiko" thread, the "Iozen and Jiromaru" thread, and so on. That might even go for Kaede and her father, as well. In any case, they are all fatherhood concepts, with different types of father-child relationships appearing, and each one of them is slightly different.
It's a seemingly simple story--and this also goes for the traditional model of friction and tension between father and child--but ours is not an age which has an ideal model for parent-child relationships, which we then go about trying to adhere to.
Rather, I was deliberately trying to express how possible it might be for unmarried men and adults not blessed with biological children to become "fathers of choice." In an old-fashioned, traditional world, this might not matter. But I think that it's probably going to become terribly relevant as time goes on. Anyone could end up like Tatara or Hyakushubo, in that they could be put in the role of Hyakushubo yelling at Kyuta, or Tatara holding him in tears. Maybe everyone will eventually get a role to play doing these things that parents do with children. By doing so, they might experience the fulfillment of being a parent. That’s why, with those things in mind, I wanted to present one possible form for the parent-child relationship to take in the years to come.
Also, the reason why I wanted to present a parent and child in this film, although in a pseudo-family, was in order to depict growth. I wanted to put them forward to show that process. For example, if you were to ask how much Kumatetsu discernibly grew during this movie, who can quantify that? Kyuta did not completely grow into a young man, either. I do think, however, that the relationship between Kumatetsu and Kyuta did change dramatically.
As to whether Kumatetsu is the ideal father, no, he might not be the ideal. That goes for Kyuta, too—I don’t map ideals onto the individual characters. But I did relay my ideals through the relationship fostered by the two of them. At first, they were on edge with each other, but in the end, the bond between them is strong enough to become tangible and visible. I portrayed it in an interpersonal relationship, as a type of yearning admiration.
Your films deal with teenagers or young people coming to terms with who they are, their purpose, and their origins. Why do you think you are so attracted to stories about people at this particular stage in their lives?
Mamoru Hosoda: I think of movies as depicting moments of change. Change is growth, and that change also possesses the same dynamism that movies do. The most shining example of the dynamism of that change is children. This is exactly why I empathize with and wish to support those who have that kind of independence and resolve, who carve out their own futures. It is the solidarity between those individuals that I portray in movies, and I’d like us all to share that solidarity and head into the future with them.
Do you think that working on films based on anime series like “Dragon Ball,” “Sailor Moon,” or “Digimon,” has influenced the type of stories you like to tell?
Mamoru Hosoda: I learned a lot of things from the history and context provided by the personal jumping-off point that Toei Doga (now Toei Animation) was for me. For example, I learned from Shigeyasu Yamauchi, director of many "Dragon Ball" movies, what movies and being a director consisted of, and he taught me uncompromising strength for the sake of the product.
Visually Jutengai, the alternative world in “The Boy and the Beast,” seems more mythological instead of futuristic like the world in “Summer Wars.” What was the visual inspiration or style you wanted to use in this particular film for both the world and the characters?
Mamoru Hosoda: I was influenced by the culture and history of Japan. When I thought about untangling our history anew from the westernization of Japan, these were the ideas that arose from it.
Tell me about designing the creatures in the beast world. Every single one of them blends human and animal qualities.
Mamoru Hosoda: It struck me that when we read picture books to children, we parents, and people as a whole, do not appear in them very much, and that they are more constructed to be a world of children and animals. That got me thinking that before children live in the world of their parents and other people, they must learn the principles, truths, and important things they need to live in the world of animals, so I created the characters with an animal motif.
Do you animate your films yourself? What do you think is special or unique about hand-drawn animation in comparison to films made entirely using CGI?
Mamoru Hosoda: I do not draw any of the pictures for my movies as an animator. The reason for that is that I am terribly lucky to have many staff members who I look up to, and who are overflowing with talent, that work with me on each project.
As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
What’s your favorite part about the process of creating a new film? Is it writing the story or bringing these worlds to life with through animation? Why?
Mamoru Hosoda: The process of producing a project is one long string of delight and anxiety, but I think the real thrill of animation would have to be drawing the pictures.
Tell me about creating Kumatetsu. He is a great character. He is at once funny, stubborn, but with a big heart underneath. Where did he come from?
Mamoru Hosoda: I wanted to ponder, "What is the significance of a father's existence to children?" Digging back through the events of the past, I found that there have been all sorts of people who had a greater effect on us than our own fathers. Perhaps an adult that we wanted to become like, or someone with such a strong presence that even now, they remain in our hearts—someone who might be referred to as a "father of choice." I think that sooner or later, everyone has someone like this. I, too, realize that there have been many people, both famous and unknown, who have been like that to me, and have had a greater influence on me growing up than my own father. The Kumatetsu-as-father-figure that we have here is not about him being someone who takes the place of a biological father. It’s more about there being multiple people out there in society who fill a fatherly role, and it is these people who come together to raise a child.
I imagine men of all different types gathering together to watch over a child. What's more, not all of them are necessarily going to be older adults. Like when you enter middle school, and you have classmates who are surprisingly well-versed in western music, or know a lot about railroads. There are fellow students who, despite being the same age, know a lot more about the world than you do, and are nice enough to teach you about this and that without you even having to ask them. In other words, though classmates, they also sufficiently fulfill a fatherly role.
So I think that for a child, there are many different patterns to what an essential father figure is. What becomes interesting when you think about it that way is that one may not be able to fulfill a fatherly role with one's own child, but on the other hand, and this goes for me as well, one might still be a "father of choice" to someone else out there in the world. Fatherhood is something that can be shared worldwide. Meaning that in terms of the substance of a father’s role, perhaps we are all pseudo-fathers. It is out of that idea that Kumatestsu came about.
Animation is a boundless medium. What attracted you to it in the first place? Why do you think it’s the best way for you to tell your stories?
Mamoru Hosoda: The impetus for me to get into the world of animated movies was seeing two movies in the summer of 1979. One of them was the Rintaro-directed "Galaxy Express 999," and the other was the Hayao Miyazaki-directed "Lupin the Third: The Castle of Cagliostro." I want to take themes that are shared throughout the world, express them through animation, and make movies from them. And with the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.
Why did you feel Ren had to have two names, Ren in the human world and Kyuta in the world of beasts?
Mamoru Hosoda: I thought it would be necessary in order to express the identity uncertainty and tension of wondering who he really was. I wrote the story with the hope that those children who were lost in their own lives would find some kind of answer in this movie, and be able to share in it as well.
Ren reminds me of one of your characters in “Wolf Children,” are there any conscious or unconscious relationships between the characters in your films?
Mamoru Hosoda: Kyuta's growth is a growth of the heart, where he deals successfully with the question of his identity, develops independence and resolve, and proactively carves out his own life for himself, so you could say that his character has that in common with the main characters of my other films.
After the success of “The Boy and the Beast” in Japan, are you working on a anew film? Or are there any ideas that you want to explore in your next project?
Mamoru Hosoda: I really am grateful to have so many people watch, and to be given the chance to create my next projects. I want to once again tackle the boundless possibilities of animated movies, and I hope to be able to create something that will leave both children and adults thinking that this world is a sparkling, brightly shining place.
"The Boy and the World" is nominated for the Best Animated Feature-Independent Annie Award and will be released theatrically in the spring by Funimation...
- 1/16/2016
- by Carlos Aguilar
- Sydney's Buzz
Casshern Sins Season 1, the post-apocalyptic sci-fi anime series from Tatsunoko Productions, is coming to Blu-ray on August 17 2010. This sci-fi series is directed by Shigeyasu Yamauchi (Blood+, Digimon, Dragon Ball Z) produced by Tatsunoko Productions (Speed Racer, Robotech, Gatchaman) and animated by Madhouse (Claymore, Hellsing Ultimate, Death Note, Gungrave). About Casshern Sins, Part 1 Casshern – a cybernetic assassin with no memory of his past – awakens in a corrosive wasteland where nothing survives for long. A plague known as the Ruin sweeps across this once-vibrant world, reducing everything in its path to rubble and scattering any chance for salvation. Robots and humans alike – or what little remains of them – seek vengeance against Casshern for the life he took and the role he played in their Ruin. A machine built to kill, Casshern murdered the last hope for this world, but now, lost in a future he does ...
- 8/6/2010
- by Buzzfocus Staff
- BuzzFocus.com
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