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pricechecktranslations · 6 months

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アトリエオルロージュ Addendum

Atelier Horloge bonus content

-PV Text-

世界が変われば　神も変わる

If the world changes, then gods must too

唄の総数は　十二じゃない

There's more than just twelve songs in total

この工房も　あの映画館と同じなのさ

This workshop is just like that theater

私たちはもう　何者でもなくなった

We aren't anyone, anymore

[note: This section is difficult to read and there are some kanji I may have possibly made a mistake with]

バスズの壺：あらゆる病を治す。ペットのお風呂にも最適。

The Pot of Basuzu: Cures any manner of illness. Most suitable for giving your pet a bath, as well.

素敵なギフトベル：眠気を覚まし、72時間戦える音色を奏でる。

The Marvelous Gift Bell: Keeps you awake, and plays a tune that lets you fight for 72 hours.

ユキナズナの糸：望み通りの運命を紡ぐ。

Yukinazuna Thread: Spins the fate you wish for.

ハーメルのフルート：(SOLD OUT)

The Hamel Flute: (SOLD OUT)

デウスの歯車：あらゆる問題を都合よく解決する。

The Gear of Deus: Will conveniently resolve all manner of problems.

背徳の音叉：同性の心を惹きつける。異性には効果無。

Tuning Fork of Corruption: Attracts the hearts of the same sex. Has no effect on the opposite sex.

金メッキの鍵：全ての鍵は開かれ、永遠に施錠できなくなる。

Gold-Plated Key: Opens up all locks, and makes them unable to be locked ever again.

使者の合わせ鏡：(SOLD OUT)

Infinity Mirrors of the Messengers: (SOLD OUT)

鋼鉄の心臓：(SOLD OUT)

The Steel Heart: (SOLD OUT)

私は天使でも　悪魔でもない

I'm not an angel or a demon

結末を決めるのは　本人たちだ

You yourselves are the ones who will decide the outcome

いずれにせよ　そこに唄は生まれる

In any case, a song will be born there

それに伴奏を　合わせるだけだ

And I am just providing music to accompany it

追想のオルゴール：（非売品）

The Recollective Musicbox: (Not for sale)

十三番目のオルゴール：（未完成）

The Thirteenth Music Box: (Incomplete)

キッシュ・オルロージュ：主人・職人

Quiche Horloge: Owner/Craftsman

エル・オルロージュ：夫人・手伝い

Elle Horloge: Wife/Assistant

フロマージュ・ド・テート：店番・唄

Fromage de Tête: Salesperson/Song

#()mothy #()e.a.t.#her name is #her name #her name is literally 'head cheese'#love these new characters 'quiche' 'her' and 'head cheese'#/srs

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sarahalainn · 6 months

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NASA, ESA, M. Wong (University of California - Berkeley), G. Kober (NASA/Catholic University of America); CC BY 4.0

今日は日本人宇宙飛行記念日

クラシックで宇宙旅！🪐

今回1番チャレンジだったのは14分に纏めることでした

何度も何度も通しで作品を聞いて、物語を作って音楽を編集してみました

いつかは良かったらフルで聴いてみて欲しい！

生で聴けるチャンスがあれば理想🪐

今回初めて使ってみたDAW。意外と使いやすいかも？

1. 戦の火星

2. 美と平和の金星

3. 翼のメッセンジャー水星

4. 快楽の木星

5. 老たる土星

6. 魔術師の天王星

7. 神秘な海王星

「Peace of Mind〜土曜の朝のサラ・オレイン」

‪TOKYO FM/FM OSAKA (radiko)‬

‪ ●毎週土曜の朝8:30-8:55

Storytelling over Holst’s Planets!

So today is the anniversary of the first Japanese (civilian) who went up into space!

Honoured the occasion by playing Holst’s planets and story telling over it, Peter & the Wolf style.

Only big problem was fitting it into under 14 mins for the radio show. Listened to the work in its entirety several times before cutting & stitching in the most musical way possible.

But of course, nothing better than to hear it the way it was intended, so hopefully you’ll want to hear the whole work now!

First time using Reaper. Feels quite intuitive?

個人的には今日、映画「ムーミン谷とウィンターワンダーランド」の記念日！もう5年の月日が経ちました

この赤いリスの声優🐿️もやらせて頂きました^_^

ツリーのてっぺんに🌹というのがロマンがありますね

youtube

Personally, today marks the release of ‘Moomins and the Winter Wonderland’. 5 years flew by just like that!

I also did the voice acting for this red squirrel. Was an honour to wish the Moomins a Merry Christmas🎄

I love how they topped the tree with a rose🌹

#saradio #サラ・オレイン #sarah àlainn #sarah alainn #サラオレイン #holst #惑星 #planets #peace of mind 土曜の朝のサラ・オレイン #サラジオ #日本人宇宙飛行記念日 #Moomin #ムーミン #Moomins and the Winterwonderland #ムーミン谷とウィンターワンダーランド #bring the snow #Youtube #reaper #daw

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lemon-dokuro · 4 months

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Ikigusare - Oiwa-san Rock

The song, the lyrics (with an english translation by me) and some commentary are below.

youtube

Japanese, directly from the subtitles in the video:

映画お芝居やるのならお参りしないと祟られるお名前口にするのなら敬称つけぬと祟られる

そんな猛烈な呪いお江戸の時代から今この現代までずっと続いてるなんて

なんて凄まじい情念でしょうなんて素晴らしい怨念でしょうどうすれば貴方様のようになれるのかしら誰か私に毒を盛って

鏡の前髪をすくとズルリゴッソリ抜け落ちるご遺体釘付けされた戸板川に浮かび上がる

そんな恐ろしい場面ひどく陰惨な場面そんな時も貴方様お美しいのですね

なんて凄まじい情念でしょうなんて素晴らしい怨念でしょうどうすれば貴方様のようになれるのかしら誰か私に毒を盛って

なんて凄まじい情念でしょうなんて素晴らしい怨念でしょうどうすれば貴方様のようになれるのかしら誰か私に毒を盛って English:

Filming a movie, writing a play, Visit her grave, or you'll get cursed. Saying her name, Address her properly, or you'll get cursed.

Such a powerful malediction, dating back to the Edo times, They say it still goes strong to this day.

Such great passion, isn't it? Such wonderful hatred, isn't it? Ah, what must I do to become like you? Somebody, give me that poison!

In front of the mirror, you're combing your hair. It's so loose that it falls out completely. A corpse nailed to a board Rises to the river's surface.

What a horrific scene, what a scene of terrible despair. Even in such a moment, you are more beautiful than ever...

Such great passion, isn't it? Such wonderful hatred, isn't it? Ah, what must I do to become like you? Somebody, give me that poison!

Commentary (explaination + personal thoughts):

Obviously, this is referencing Yotsuya Kaidan, a classic japanese ghost story and kabuki play. I suggest reading or watching a retelling of the story to get the whole context. This is what you'll need to know to understand the lyrics... Basic: Oiwa is the main character of Yotsuya Kaidan. The story isn't very consistent between its different versions, but the gist is that her husband Iemon betrays her and her family in several ways, mainly by killing her father and then having an affair with a different woman. That woman later poisons Oiwa so that Iemon can marry her instead. When Oiwa dies, she becomes a vengeful spirit and torments Iemon. This is a very basic summary of her part in the story. Verse 1: There's a belief that when making an adaptation of Yotsuya Kaidan, be it a movie or a stage play, the cast, crew and other creators should visit Oiwa-san's grave and shrine and ask her to bless their production, lest her curse befall them. The part about adressing her properly isn't anything I recognise, but I imagine you'd have to be pretty polite when talking to a vengeful spirit who may curse you. Bridge 1: The story is set in the Joukyou era (~1684-1688) and loosely based on an incident that happened in the Genroku era (~1688-1704), which are eras in the Edo period (1603-1868). The play was written in 1825. Chorus: Oiwa was tricked into disfiguring herself with a poisonous facial cream. That's the poison being sung about. Because of it, her eyes started drooping and her hair partially fell out, among other things. Her disfigured face is particularly iconic, especially how Iemon kept seeing it everywhere after her death. Verse 2: Lines 1-2: In the play and in adaptations, there is usually a scene of Oiwa combing her hair in front of a mirror and it falling out from the poison. From what I know, the scene is a tragic and horrific play on a type of sexy fan-service scene in kabuki plays where a beautiful woman combs her long hair. Lines 3-4: When Oiwa eventually dies (either from the poison, from despair or from both), her body is nailed to a board and dumped into a river by her husband. Later, when he's trying to fish, he catches her, nailed to that board.

Anyway, I really like this song. It sounds gentle and romantic, even though it really isn't. I like the traditional japanese feel it has despite (to my knowledge) not having any straightforwardly traditional musical elements. Ikigusare is kind of hit-or-miss for me musically, but when it's a hit, that song quickly becomes one of my favourites. The lyrics are rather nice and well-written, though I can't help but feel like some of them are pretty generic. The visuals, though, are spectacular every time and I have nothing bad to say about them. The low-poly music videos add so much surrealism and mistique to the songs, a lot of which wouldn't be very remarkable in a different entourage. The girls' stilted dancing and position switching only adds to that surreal feeling. The girls themselves have amazing designs, very simple and striking. The one-two-three eyes pattern, their image colours being very basic and distinct (RGB, literally), their constantly changing themed outfits and the unique slightly grotesque twist on a common idol persona look that each girl has make them work very well as a unit, especially a horror-themed one. Overall, a rather interesting group/artist. I have at least four Ikigusare songs that I want to translate and post. I'll do it at some point in the near future if nobody beats me to it.

#own post #own translation #translation #music #ikigusare #ikigusare idols #yotsuya kaidan #japanese folklore #my first attempt at something like this #to my knowledge nobody has translated this yet #feedback is welcome

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play-movie0308 · 3 months

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公開直前ゲーム対決イベントレポート

この度、本作の公開を記念し、2月27日（火）にLFS池袋にてW主演の奥平大兼さん（郡司翔太役）と鈴鹿央士さん（田中達郎役）が登壇し、公開直前マスコミ様向けイベントを実施いたしました。また今回ゲーム好きでも名高いお笑い芸人霜降り明星のせいやさんが、高専生の青春を描いた作品にちなんで、学ラン姿でゲストとして登場し、主演2人と劇中に登場する“ロケットリーグ”で激しく熱い対戦を繰り広げました！

映画『PLAY! 〜勝つとか負けるとかは、どーでもよくて～』公開直前ゲーム対決イベント【日時】２月27日（火）【場所】　LFS池袋 (東京都豊島区東池袋１丁目４３−６ D-BOX 地下1階) 【登壇��】奥平大兼さん、鈴鹿央士さん、せいやさん(霜降り明星)　　

　　　　MC:平岩康佑さん

＝＝＝＝＝＝＝＝＝＝＝＝＝=====================

本作の公開を目前に控え、映画のロケ地にもなったeスポーツ施設LFS(ルフス)池袋での公開直前ゲーム対決イベントが開催となった。W主演を務めた、今をときめく若手俳優のフロントランナーである奥平大兼さんと鈴鹿央士さんは、青春映画にちなんでブルーの差し色を取り入れた衣装で登場。奥平さんは「映画の魅力を伝えながらゲームを楽しみたいと思います」鈴鹿さんは「大勢の方の前でゲームをするのは初めてで緊張していますが、楽しみたいと思います」とそれぞれ挨拶を述べた。本作で2人はそれぞれ高等専門学校2年生と3年生という役柄で、＜全国高校e スポーツ大会＞に出場する。この大会は劇中だけの設定ではなく、実際にも高校生を対象としたeスポーツの選手権が開催されており、つい先日2月12日に東京での決勝戦が終わったばかり。劇中で登場するゲームは実際の大会種目にもなっている＜ロケットリーグ＞。プレイヤーはジャンプや飛行ができる“バトルカー”を操作し、ボールをゴールにシュートし得点を競う、カーレースとサッカーが融合したゲームだ。これまでの＜ロケットリーグ＞経験をMCから問われた2人。「有名なゲームなので存在は知っていたのですが、この映画がきっかけで初めてプレイしました。これから(イベント内で)するのですが、操作が難しいゲームです」と奥平さん。隣で思わず「難しかった…」とこぼす鈴鹿さんも「僕も存在は知っていて動画も見たことがありましたが、実際にプレイするのは(この映画がきっかけで)初めてでした。普段からゲームはよくするのですが、練習してみて難しいなと。資料として見ていた飛んだりリフティングしたりという動きは出来ないだろうなと練習初日は思っていました」と話す。

そして今回、実際に＜ロケットリーグ＞をプレイするにあたり、是非2人に対決を挑みたいということで、ゲーム好きでも名高いお笑い芸人、霜降り明星のせいやさんがゲストとして登場。高専生の青春を描いた作品にちなんで、学生帽に学ラン姿で登場したせいやさんは「コンセプトはわかるんですけど、(衣装のチョイスが)古い！昭和！こんな学生帽のヤツeスポーツやらんでしょ！」と早速怒涛のツッコミを入れ会場を笑いに包み込んだ。「学生服でいらっしゃるとは聞いていたけれど、まさか、昔っぽい姿とは(笑)」「俺ら(作中での役柄は)学ランじゃなくてブレザーですし(笑)革のカバンを持っていそうな姿ですね」と鈴鹿さん・奥平さんからもそれぞれ昔ながら学生姿のせいやについてコメント。公開より一足先に映画を鑑賞したせいやさんは「eスポーツが遂に映画化されるという、確かに今の子は僕よりネイティブに入って来る題材なのかなと。僕は高校生の時に漫才大会で相方と出会ったのですが、それこそ僕らの世代でいうお笑いや音楽などのエンタメが今だとゲーム。それが映画化することによってもっとナチュラルに受け入れられていく。ほんで(主人公たちの)家庭環境が悪いのもリアルで、ゲームの中では誰でも平等にプレイできるというのがまさにスポーツやなと」と映画の感想を述べた。

日本初のeスポーツの劇映画化である本作は、臨場感溢れるゲームシーンも見どころのひとつ。撮影に関して、奥平さんは「撮影の仕方が特殊で、スタッフの皆さんもやったことないだろうから、みんなで試行錯誤しながらやっていました。最初と最後では撮影の仕方も違って、それが普段できない体験で新鮮でした」と話す。実は、ゲーム画面は後から差し込まれていたので、何もない画面で演技をすることもあったという。鈴鹿さんは「表情だけを撮る時は、画面にパラパラ漫画みたいに車とゴールだけ映し出されていて、監督が『ゴール！』と言ったらゴールの喜びの表情をするといったこともありました。撮影が進んでいくと、後半はスーパープレイ集の動画を見ながらリアクションしたり、今までにない撮影方法でしたね」と撮影秘話を明かした。また、実は本作のプロモーション稼働の合間にプライベートでゲームをする仲になった2人。「つい最近一緒にやったよね」とお互い笑顔を見せる。昨日プロモーション稼働で一緒だった際は、ロケットリーグの対決を控え「練習しておかないといけないかなと2人で話していたんですが、せいやさんもあまりロケットリーグは経験がないとのことで、結局やらなかったんです」と話す奥平さんにすかさず「これはチャンスですね。後でお見せしましょう」と意気込むせいやさん。普段からゲーム配信もするせいやさんだが、ロケットリーグは初プレイ。「リハで練習したけど、めちゃくちゃ難しい」と話す。「サッカー歴は長いですもんね？その感覚を…」とMCからの振りにも「いいえ。このゲームは僕のサッカー人生とは全く関係ないです！」ときっぱり告げ、再び会場の笑いを誘った。いよいよ、劇中にも登場したゲーム＜ロケットリーグ＞を実際にプレイしての対決へ。奥平さん&鈴鹿さんは劇中同様チームを組み、対するせいやさんは相方として”AIせいや”を召喚。空いている座席にはせいやさんのパネルが登場した。「亘の位置いただきますよ。2(映画の続編)に出してください！」とやる気満々のせいやさんに「オーディションですね」と奥平さん。そして”PLAY”チームVSせいやチームでの2対2の試合がスタート。開始早々、鈴鹿さんがゴールを決め、1点先取し会場からは大きな拍手が。だがすかさずせいやさんも「CAVEMAN(ゲーム内のAIのデフォルト名)いくぞ！」とファーストタッチでゴールを取り返し、同点に持ち込む。その後は鈴鹿さんが2ゴール目を決め、せいやさんが再びゴール、さらにAIがゴールを決め逆転の展開に。「AIがイベントで1人活躍すな！」と叫ぶせいやさんをしり目に、鈴鹿さんが2点連続ゴールを決め、劇中の役柄であるeスポーツ上位ランカー達郎さながらの素晴らしいプレイ！思わず奥平も「達郎さんだぁ」と声を漏らす。続いて奥平さんもゴールを決め、差を引き離す。しかしせいやさんも負けじとゴール。鈴鹿さんが再びゴールを決め、またせいやさんがゴール。両チーム大接戦を繰り広げ、5分間の試合は6対5で”PLAY”チームが劇中さながらの息の合ったコンビネーションで勝利した。

白熱の対決を終え、最多ゴールを決める大活躍を見せた鈴鹿さんは「めちゃめちゃ楽しかったです！大兼が必死に動いてくれたのでブーストを温存しながら戦えました」とコメント。「めちゃくちゃ良い試合でした。せいやさんがファーストタッチでゴール決める瞬間が2回もあって怖かったですが、すごく楽しかったです」と奥平さんも感想を述べ、せいやさんも「作中さながらのめちゃくちゃ良い試合でしたね！いまから(映画に)入れ込めないですか？熱い戦いでした！」と大興奮。ゲームに集中して「ついつい黙っちゃいますね。でも本当に良い試合が出来て良かったです」と笑顔を見せる奥平さんに、鈴鹿さんも「まだ興奮しています。やばいしか言ってなかった。でも、”勝つとか負けるとかは、どーでもよくて”本当に楽しかったです！」と映画のサブタイトルにかけたオチがついたところでゲーム対決は終了。　最後に、せいやさんが「本当にこういう映画が今後増えるんじゃないかと思います。先駆けですよね。eスポーツを題材にした青春映画なので、今の子供たちは勿論、コメント欄が出てきたりゲーム配信をしている僕らも共感できるあるあるが盛り込まれた”今の時代”を感じる映画です」、続いて鈴鹿さんは「僕が演じた達郎は、誰よりも勝つことにこだわって執着していた人だったのですが、仲間と出会って絆を深めるうちに、勝ち負け以外のその先に大切なものがあるということを感じる、良い青春映画ですし、先程せいやさんも仰ったように、青春映画の良いところが沢山詰まった中に、新しい感覚がふんだんに盛り込まれた映画だと思います。是非劇場でご覧いただけると嬉しいです」、そして奥平さんは「今この世の中に、そして映画をご覧いただける方々の周りにeスポーツがどれだけ浸透しているかわかりませんが、eスポーツの良さ、楽しさを知っていただく良いきっかけになる映画だと思います。いまの高校生ならではの感覚が描かれているおかげで物語がどんどん進んでいくし、いまの若い子たちは共感できる部分があると思いますし、大人の方々には若い世代の子たちがこうやって生きているんだと知っていただけるきっかけになると思います。色々な世代の方々に観ていただける映画です。是非大きなスクリーンで観ていただきたいなと思います」とそれぞれメッセージを述べ、イベントは締めくくられた。

#映画play #奥平大兼 #鈴鹿央士 #霜降り明星せいや

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real-life-senshi · 11 months

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Keiko had an interview posted on Yahoo!JP News! - June 24 7am JST due to her voice casting in Sailor Moon Cosmos Part 2! With the help of some translation tools and contextual edits, here's the full interview translated to English!

Kitagawa Keiko, the live-action Sailor Senshi team who she has continued to interact with for 20 years, is her "comrades-in-arms" and "the only place where [she] can open [her] heart."

Surprised by the [anime film voice acting] offer, consults frankly with all the live-action Sailor Senshi

Keiko Kitagawa has been announced as the voice actress for "Sailor Cosmos" in the film version of "Sailor Moon Cosmos," the final chapter of the "Pretty Guardian Sailor Moon" series. For Kitagawa, who has played the lead and heroine in many dramas and movies, the "Pretty Guardian Sailor Moon" series is also the starting point of her acting career, as she played the role of Sailor Mars/Hino Rei in the live-action version of "Pretty Guardian Sailor Moon" (2003-2004). We asked her to talk about her thoughts on returning to such a starting point after 20 years, the role she played, her interactions with the Sailor Senshi, and what she cherished on the 20th anniversary of her debut. (*This article contains some spoilers about "Sailor Cosmos. Please be warned.)

--Keiko Kitagawa-san, you are returning to "Pretty Guardian Sailor Moon" for the first time in 20 years, and when you were offered the opportunity to voice the character in the anime movie version of "Pretty Guardian Sailor Moon Cosmos," what were your thoughts? What were your thoughts when you were offered the opportunity to voice the character in the movie version of "Pretty Guardian Sailor Moon Cosmos"?

Kitagawa: In the year of the 20th anniversary of my debut, and 20 years after the live-action version, I was very happy to be asked to be involved again in a work that I had a connection with. However, when I received the offer, I was very surprised and for a moment I couldn't understand what it meant, so I had to think about it for a while. It is because I also appeared in the live-action version of "Pretty Guardian Sailor" that I have a strong feeling that "Sailor Moon" for us Sailor Senshi has to be Sawai (Miyuu)-san. The character Sailor Cosmos that I will be playing this time is the ultimate form of Sailor Moon in the distant future, so I was really questioning myself "Am I the right person to play the role?". So I contacted all of the live-action Sailor Senshi (Sawai Miyuu, Izumi Rika, Azama Mew, and Komatsu Ayaka) and asked, "What do you guys think I should do?" "Does it feel weird/off for me to take this role?" I openly and honestly shared my thoughts and consulted them on this, and everyone basically responded saying ""Pretty Guardian Sailor Moon" is very important to all of us, and would be very happy to see any one of our own live-action Sailor Senshi involved in the anime film. We definitely want you to take it!" Sawai-san said she is really looking forward to it, and with everyone's support, I decided to take on the challenge.

--What did you keep in mind when playing the role?

Kitagawa: Sailor Cosmos is a Sailor Moon from the distant future, and I think there were times when I berated myself, wondering if I had made the wrong choice taking on this role, and I had fought a very long and painful battle. This role is the culmination of all the Sailor Senshi who have fought so hard in past comics, animations, and musicals, including the live-action Sailor Senshi, so I was worried about what kind of voice I should use to make the audience feel this history. This time, I received guidance from Mitsuishi Kotono-san (Tsukino Usagi/Sailor Moon)'s voice acting as an example. I was able to go into the recording session thinking that I wanted to use a soft voice that would gently/warmly embrace everyone, rather than thinking too hard about "transcendent" or "far into the future".

--How did you feel when you saw the completed film?

Kitagawa: Aside from myself, it looks like a collection of eminent legendary voice casts, and I think it is a very exciting work for voice cast (seiyuu) lovers, and the animation technique is amazing and the visual is beautiful. Besides, the story also reminded me of the months that we, the live-action Sailor Senshi, spent together for 14 months.

One of the themes of this film is "I can do my best because of my friends." I have been able to continue this work for 20 years because all the other [live action] Sailor Senshi have been working hard in this (entertainment) world, in each of our own places. There have been times when things didn't go as planned, times when people around me thought things were going well but I wasn't convinced, etc., but even so, all five of us have remained in this industry without quitting. I have always been supported by the thought that since everyone else is giving their best in the entertainment industry, I should do my best as well.

--It's rare for people to stay in touch with their fellow debutantes for 20 years.

Kitagawa: We are all 35 to 37 years old now, and have spent more than half of our lives together, so we no longer feel like mere friends. During filming, we were rivals, and I didn't want to lose, wondering who would stand out, who would get the most main scenes, and so on. But I also felt that we were like comrades-in-arms who had devoted all our energy to the same goal of producing good work.

--What kind of relationship/dynamic do the five of you have?

Kitagawa: In our minds, Sailor Moon Sawai-san is in the center and the other four support her, and the feeling of "I'm going to support and protect this person" grew naturally during the 14 months of filming. The reason why I still call her "Sawai-san" (instead of her first name or nickname) is because of the imagery that we are all protecting and supporting Sawai-san and that she is the center of the team, and the relationship has not changed even today. We respect each other so much that there is almost nothing we don't know about each other, and I feel that this is the only place where I can be completely open and honest.

--No matter how busy you are, it is amazing that you remain always cherishing the work "Pretty Guardian Sailor Moon" and your relationship with the Sailor Senshi, isn't it?

Kitagawa: No, not at all. (OP clarification; Keiko is disagreeing in the sense she doesn't think this is exceptional.) For example, even if there are times when we don't see each other for 3 or 4 months, everyone is always there, very understanding, and getting along well as usual. They always call me at any gatherings. Everyone encounters good times and not-so-good times, and even if things seem to be going well, maybe the person doesn't feel the same or isn't up for a gathering. But we are still friends just as we were 20 years ago, and because we have each other, it's why I have been able to continue. The amazing thing is that everyone has remained friends with me all these years. Now that I have a child, they sometimes change the timing of our gatherings to lunch or come to my house because I can't go out much at night.

--Women, in particular, often reset their relationships every time they change stages of their lives. It seems that some things are even more so difficult for celebrities.

Kitagawa: That's true. Among my friends from elementary school, junior high school, high school, and university, I only have about one friend other than the Sailor Senshi who I keep in touch with regularly. With most people, we hardly get together anymore as our careers and marital status change and our interests and directions change. It's easy to pause and wonder "Who was it that was my best friend?" In that sense, the Senshi team is really special. They were really happy for me when I got married, everyone came to the wedding reception, and we all sang the song "Friend," which was only included in the (live-action) album.

--That was a truly wonderful event! What kind of existence does "Pretty Guardian Sailor Moon" mean for you, Kitagawa-san?

Kitagawa: It is my life itself. I've loved "Pretty Guardian Sailor Moon" since I was 3 or 4 years old, and I collected all the goods I could get my hands on. That my first audition was for "Pretty Guardian Sailor Moon," I didn't only find friendships with my fellow Senshi, but also the producers would invite me to work with them again, and it's always so fun to bump into any staff from that time at a different job again. For me, the most fortunate thing in my life was that I was able to make my debut with "Pretty Guardian Sailor Moon". It was the beginning of my career, and I don't think I would be where I am now if I hadn't debuted with "Pretty Guardian Sailor Moon".

--What are the strengths that you have developed in the 20 years since your debut?

Kitagawa: I think my strength is the fact that I never change. I think it is because I am not that skilled, but it is easier for me to be myself all the time, rather than switching from one persona to another because of work or because of someone else. What I have valued for the past 20 years is the desire to stay true to myself. (OP note: I think Keiko's response is alluding to how in Japanese culture, the ability to switch persona like a chameleon is heralded as a skill of success given their more hierarchical and conservative culture. Also, this is such a badass Hino Rei response???? Keiko I adore you.)

I debuted at the age of 17, and all the while there are people of the same age who have already had 10 years' worth of career experience as child actors, so no matter how smart I pretend to be or how much I pretend to know, I am still a newcomer, and I can't do what I can't do. When I don't know something, it's much better for me to admit and say that I don't know it, and if I don't try to make myself look self-important, and just be myself, I would earn the trust of others. I believe that you cannot be an actor if you are not a proper human being first, so I think that being true to myself and always staying the same is a weapon I have developed over the past 20 years.

(Reporting and writing by 田幸和歌子; Photographs by 小川遼)

The two-part theatrical version of "Sailor Moon Cosmos," "Part 1" is now in theaters, and "Part 2" will be released on June 30.

#pretty guardian sailor moon #sailor mars #hino rei #sailor cosmos #sailor moon cosmos #kitagawa keiko #pgsm #sailor moon cosmos part 2 #khmyh translates #pgsm cast #sawai miyuu #azama mew #izumi rika #komatsu ayaka #senshi reunion #pgsm 20th anniversary #khmyh's fansub & translations

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lupinnewseason · 23 days

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【映画「次元大介」】レンタル配信スタート！

映画「次元大介」のレンタル配信がスタートしました！

ご利用中のサービスにてぜひご覧ください。

■映画「次元大介」レンタル配信サイト iTSCOMオンデマンドカンテレドーガ Google Play J:COM STREAM TELASA ビデオマーケット Huluストア music.jp（動画コーナー） milplus（みるプラス） U-NEXT

▼5/8配信開始 iTunes

（2024年4月30日現在）

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kabutoraiger · 10 months

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-- By the way, if the character you play had a summer vacation, how do you think they would spend it?

Ikeda: I think Jeramie would be sleeping. He would say, "I thought I was taking a nap, but it's been a year." …… Maybe by the time he wakes up, it will be winter (laughs).

Kaku: I think Kaguragi is a festival man and is likely to hold a grand festival in Toufu.

Hirakawa: I think Rita will probably watch "Moffun and I" all at once.

Kaku: Indeed! It looks like they're going to review all the episodes so far.

Hirakawa: There are 4,000 episodes, so I doubt they will finish watching it during the summer vacation (laughs).

brb starting my petition for toei to release all 4000 episodes of moffun to issho

#king oh #sleepy jeramie...

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jajihealth · 2 years

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横浜流星「人に甘えるとはこういうことか」広瀬すず役作りについて語る | シネマカフェネット

4月13日（水）、広瀬すずさん、松坂桃李さんが出演する映画「流浪の月」の完成披露試写会が東京都内で行われた。モ・ミカコとイ・サンイル監督が舞台挨拶に出席した。松坂さんと田部さんがひざまくらを使って役作りをしていたという話に広瀬さんと横浜さんが盛り上がったところ、松坂さんと田部さんのペアは「ここにはひざまくらはなかったですよね。？」とても意味のあることです」と彼は続けた。『流浪の月』は、2020年本屋大賞を受賞したなぎらゆうの名作小説が原作の同名映画。雨の夜の公園で彼女が連れて行かれた叔母の家。 19歳の大学生・佐伯彩（松坂）は更紗を自分の部屋に誘い、2ヶ月間一緒に過ごすが、その後、彩は誘拐容疑で逮捕される。 15年後、被害者と加害者の汚名を着せられた2人は再会する。広瀬は「怒り」以来6年ぶりに李監督とタッグを組んだ。…

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#Google Play ムービーランキング #テレビ #ライフスタイル #劇場予約 #映画 #海外ドラマ #現在 #韓国式・花式

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putschki1969 · 1 year

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THE21 ONLINE Interview with Yuki Kajiura

Source: https://shuchi.php.co.jp/the21/detail/10259

To celebrate the release of the new FictionJunction album “PARADE”, this web interview with Yuki Kajiura was published.Thanks to a kind follower I was made aware that it contained a lovely bit of info about Kalafina so I thought I would translate the section in question. Here you go!

「映像ができてから」の作曲経験が転機に

これまでの仕事で一番の転機と言えば『空の境界』シリーズです。全10作にもなる映画の音楽を一人で作るなんて、そうある機会ではありません。

しかも、作曲の際に受け取る情報の量が、普段のそれとは段違いでした。TVアニメの多くは、事前に「怒り」「コミカル」などテーマ別に曲を複数作っておき、後から��れらを実際のシーンに合わせて配置します。

それが『空の境界』では、映像が出来上がった後に、シーン一つひとつに合わせて曲を作っていったんです。

シーンに合う音楽を、しっかりそのシーンを見ながら作ってい��、という経験を初めてすることができました。そうすると、やはり自分の作曲はまだ甘かったな、という部分も見えてくる。この作品には相当育ててもらったと感じています。

また、この作品では以前からずっとやってみたかった「歌モノ」にも本格的に挑戦することができました。エンディングテーマを歌うユニットとして結成した「Kalafina」の話です。

そこでは、3人の卓越した歌手が全員主役になる「重唱」の形式に、クラシックやニューエイジ、オペラにポップスと様々なジャンルの要素をミックスして......と、自分が長年憧れていた音楽の形を実現することができました。その後10年にわたって続いたKalafinaとの活動期間は、私にとって本当に「宝物」と言える時間です。

The experience of composing music "after being able to see the completed work'' was a turning point

The biggest turning point in my career so far has been working for the "Kara no Kyoukai" series. It's an incredibly rare occurrence for a single composer to get the opportunity to create music for 10 consecutive movies.

Additionally, I had so much more material and information to work with when composing for this series, it was different from anything I had previously done. With most TV anime productions, a majority of the music is created in advance according to certain overarching themes such as "anger" or "comical", and then later those pieces will be arranged to match the actual scenes.

For "Kara no Kyoukai", I got the chance to do the score for the individual scenes after the animation for the films had already been completed.

For the first time in my life, I was able to have the experience of making original music that perfectly reflected the story, the atmosphere and the character’s emotions after carefully watching each and every scene. Doing that actually made me aware that so far my compositions had been quite naive. I feel that I have learned a lot from working on "Kara no Kyokai”.

Also, this project provided an opportunity to seriously challenge a type of accompanied singing that heavily emphasised the singing over the instrumental part. It’s something I had wanted to try for a very long time. Of course, this is the story of "Kalafina", the unit which was formed to sing the ending themes.

I mixed elements of various genres such as classical, new age, opera and pop music to shape everything into a form of "polyphonic singing" in which all three outstanding vocalists would play the leading role. I was finally able to bring to life the type of music I had always longed for. The subsequent 10 years of being able to work together with Kalafina are truly treasured times for me.

#kalafina #yuki kajiura #kajiura yuki #media appearance #interview #my translation #my translations

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