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nightcorekingdom-blog · 6 years

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1st Made in Abyss Compilation Anime Film Screens in U.S. Theaters on March 20, 25

Sentai Filmworks and Kadokawa Pictures announced on Tuesday that Made in Abyss: Journey's Dawn (Made in Abyss: Tabidachi no Yoake), the first Made in Abyss compilation anime film, will screen in theaters in the United States on March 20 and 25. The screening on March 20 will feature Japanese audio with English subtitles, and the screening on March 25 will have the English dub.

The screenings will be a partnership with Fathom Events, and tickets are available for purchase now. The screenings will include "behind-the-scenes footage, Japanese created spots and a reflection on how MADE IN ABYSS mirrors fairytales."

Sentai Filmworks announced last on January 22 that the film will have its U.S. premiere at Regal Cinema (L.A. LIVE) in Los Angeles on March 15. The company will host a red-carpet event at the premiere with guests such as director Masayuki Kojima, composer Kevin Penkin, music producer Hiromitsu Iijima, and producer Shinpei Yamashita.

Sentai Filmworks describes the film's story:

The enigmatic Abyss is an unforgiving and deadly place. Despite the dangers, it still captures the imagination of explorers such as Riko who wishes to follow in her mother's footsteps and trains hard to become a Cave Raider. One day, she receives news that her mother died in the Abyss, yet a mysterious note tells Riko that her mother may still be alive. Vowing to uncover the truth about her mother's fate, Riko embarks on a journey with a humanoid robot boy name Reg. Together, they will discover if they have what it takes to survive where so many others have perished.

Sentai Filmworks will screen both compilation films in theaters in the United States in 2019.

The first film opened in Japan on January 4, followed by the second film, Made in Abyss: Hōrō Suru Tasogare (Wandering Twilight), on January 18. The second film debuted at #1 in the mini-theater rankings at the box office in Japan.

The first film revealed a new work for the franchise titled Gekijōban Made in Abyss: Fukaki Tamashii no Reimei (Made in Abyss the Movie: Dawn of the Deep Soul). The second compilation film includes a brand-new scene featuring the new character Prushka (voiced by Inori Minase). The scene ties into Gekijōban Made in Abyss: Fukaki Tamashii no Reimei.

An event for the franchise had revealed in November 2017 that a sequel project was in the works.

The 13-episode television anime series based on Akihito Tsukushi's Made in Abyss manga premiered in Japan in July 2017. Sentai Filmworks licensed the series and released it on Blu-ray Disc on October 23. The English-subtitled version of the show streamed in the United States on Amazon's Anime Strike service, and HIDIVE streamed the series outside of the United States. The dub is also streaming on HIDIVE.

Seven Seas Entertainment is releasing the manga in English.

Source: Press release

https://www.animenewsnetwork.com/news/2019-01-29/1st-made-in-abyss-compilation-anime-film-screens-in-u.s-theaters-on-march-20-25/.142728

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recentanimenews · 6 years

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First Made in Abyss Anime Film Makes U.S. Debut on March 15

Last month, Sentai Filmworks announced plans to release both Made in Abyss compilation films in the U.S. sometime in 2019. Now the timing for the first has been narrowed down, with Made in Abyss: Journey's Dawn officially set to premiere at Regal Cinema (L.A. LIVE) in downtown LA on March 15.

The event will get the red-carpet treatment, and special guests include director Masayuki Kojima, composer Kevin Penkin, music producer Hiromitsu Iijima, and producer Shimpei Yamashita.

The Made in Abyss movies retell the story of the first anime season with newly added scenes. A wide release will follow, but it's still listed on the website as "coming soon."

The enigmatic Abyss is an unforgiving and deadly place. Despite the dangers, it still captures the imagination of explorers such as Riko who wishes to follow in her mother’s footsteps and trains hard to become a Cave Raider. One day, she receives news that her mother died in the Abyss, yet a mysterious note tells Riko that her mother may still be alive. Vowing to uncover the truth about her mother’s fate, Riko embarks on a journey with a humanoid robot boy name Reg. Together, they will discover if they have what it takes to survive where so many others have perished.

First Film in Two-Part MADE IN ABYSS Series to Debut Spring 2019 for Special Engagement. https://t.co/CvQqi1zHag pic.twitter.com/qeoGRgFZdJ

— Sentai Filmworks (@SentaiFilmworks) January 22, 2019

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Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his webcomic, BIG DUMB FIGHTING IDIOTS at subhumanzoids. Follow him on Twitter @Moldilox.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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8bitdigi · 2 years

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The Rising of the Shield Hero Producers are Coming to Crunchyroll Expo 2022

It has been announced that Kosuke Arai and Hiromitsu Iijima, producers of The Rising of the Shield Hero, will be at Crunchyroll Expo 2022.

Do you want to learn about the creative team behind The Rising of the Shield Hero? If so then you’re in luck as the producers of the hit series will be at Crunchyroll Expo 2022. It has been announced that Kosuke Arai and Hiromitsu Iijima, producers of The Rising of the Shield Hero, will be at Crunchyroll Expo 2022. Kosuke Arai is the animation producer for Kadokawa and is best known for his…

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#Crunchyroll #Crunchyroll Expo #The Rising of the Shield Hero

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natsthinkitythinkthinkthonk · 6 years

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ANN Interview: Made in Abyss Composer Kevin Penkin

This is all originally from an Anime News Network interview.

Interview: Made in Abyss Composer Kevin Penkin

Interview Info: October 7th, 2014 By Callum May for Anime News Network

As a person who is aspiring to become a score composer (kind of an unrealistic dream that I can’t seem to let go), I found this really, really interesting. I left a lot of stuff in because I feel like there’s so much to unpack, and most of the information is interesting to me.

I did edit a few things out (mostly not music related), and I put in some square brackets for the sake of explanation and context.

It appears that all of your anime soundtrack work has been with Kinema Citrus. How did you come to work with them?

I met Kinema Citrus when we were attached to the same project called "Under the Dog"[...] Since then, we've enjoyed a wonderful relationship on other projects such as Norn9 and most recently, Made in Abyss.

Do you expect to be working on anime outside of Kinema Citrus in the future?

That would be lovely. It's not entirely up to me, but that would be lovely. I'm very grateful to get any work in anime, as I'm very, very passionate about this industry. If I do get the opportunity to work on another project from any company, I would consider it to be a great privilege.

What was your first reaction to Made in Abyss when you were approached with the project? How much of it did you get to read?

I was given the first 4 books as source material to read and was immediately taken by the world that Tsukushi Akihito had created. The early stages of production were just me going through the books and finding interesting scenes or artwork to write music to.

Who did you have the most contact with on the Made in Abyss staff? What sort of questions did you ask?

I have a music director named Hiromitsu Iijima, who I would talk to on a daily basis. Every couple of weeks after a large chunk of the soundtrack had been written, we'd set up a meeting with Kojima-san [Director, Storyboard, and Episode Director] and Ogasawara-san [Animation Producer who works with Kinema Citrus] to discuss the current state of the soundtrack. We'd discuss if there were any points of concern or if anything needed to be changed. We essentially repeated that process until we were ready to record, mix, and finalize the music.

What sort of instructions and materials were you given in regards to making tracks for Made in Abyss?

In addition to all the manga books, I got a lot of background and concept art that I could reference. Trying to match the visual colour palette and the musical "colour" palette was really important to me. For example, looking at how the foregrounds and backgrounds were so juxtaposed gave me ideas such as writing for a small ensemble of instruments, but recorded in a large space. This was meant to act as a metaphor for Riko and Reg exploring in this humongous, expansive cave system.

Could you elaborate on the idea of developing a musical "colour" palette? How do colours and music correlate?

It might be best for me to give some examples. Starting more broadly with Reg, he's a character made up of both organic and mechanical body parts. So combining organic and mechanical sound sources when writing for Reg felt perfectly natural.

Talking more specifically about colour correlation, there is a lot of information in colour that allows us to perceive essential things such as relationships and distances between objects. The sound has this as well. Depending on how you combine the essential components of sound (pitch, timbre, harmony, loudness, etc.) and controlling how they either complement or clash against each other is going to result in a specific listening experience.

“Depths of the Abyss” is another example of the musical key slowly “ascending” over time to act as a sonic metaphor for the Abyss rising up to surround and engulf our main characters. There's the flip side to this as well. The title track “Made in Abyss” features descending string passages to represent Riko and Reg's descent into the world of the Abyss. I've personally found that thinking about these sorts of concepts can be very helpful when trying to establish the palette of sounds (colours) that you think will complement and/or enhance what's being displayed on-screen.

How much did you know about how your music would be used? Did you know that Underground River would be used to introduce the world in a montage just six minutes into the first episode?

Syncing music to anime is a slightly different process than what I've experienced [...] In the limited amount of anime that I've done, I've typically been instructed to create music away from the picture, which is then matched to the desired scene(s) at a later stage of production. This might contribute to why a lot of anime music can feel like a music video at times. From what I've experienced and from what I can research, I've seen directors take large chunks of time out of an episode to let the music take over so that the audience can “breathe". Underground River is a good example of this. [In episode one] you're introduced to characters, their motivations, world building, monsters and action all in a very short amount of time. Taking a minute or two to let the viewer digest all this can be very effective, and music can help with that.

You're also known for your work on Necrobarista and Kieru, two Australian indie games. What draws you to working on Aussie games, even after making your debut internationally?

[Being an Aussie], there's a lot of pride in how interesting and unique Australian indie games are. I've always had a connection to games and Australia. So even though I'm currently living in the UK, the fact that I'm still able to work on games with friends who are living back home is something really special.

It's not common to see an Australian in the credits for anime. Do you think musicians from outside of Japan are becoming more common?

I [...] grew up watching Dragon Ball Z on TV. There are actually two scores composed for that series depending on [whether you are watching dub or sub]. So I actually grew up listening to Bruce Faulconer's music for DBZ, not Shunsuke Kikuchi's original score.

[In regards to other foreign anime score composers] There are also other examples such as Blood+ with Marc Mancina, Gabriele Roberto with Zetman in 2012, and Evan Call has done quite a few things as well [like Violet Evergarden]. So I think while it may be becoming more frequent to see musicians from outside of Japan being attached to anime projects.

How would you say composing for games differs to composing for an anime series like Made in Abyss?

Speaking for myself, composing for games, anime, or whatever typically starts the same. I feel that if you're able to nail the concept and/or tone of the project, that's a big part of the process already completed. Then it's just up to the individual needs of the project. Games are typically approached from an interactive point of view. If it's film or TV, you need to know if you're writing to picture or if you can write with no time contractions like I described before. You sort of go from there really.

How would you describe that concept/tone of Made in Abyss?

Made in Abyss offered the perfect opportunity to get really specific with instrumentation. We had analog synthesizers, field recordings, vocal samples, and much more that were heavily manipulated to create distinct electro-acoustic textures. Deciding where to record was also a really important discussion, and we ended up recording at a studio in Vienna.

[It was] a huge, state of the art recording facility just outside central Vienna. I asked for a custom chamber orchestra comprised of three violins, three violas, two celli, one double bass, two flutes, two clarinets, one bassoon, two french horns, one trumpet, one trombone, and one tuba. Totaling 19 musicians. Each musician had their own “solo" part, meaning that there was up to 19 different “lines” being played at the same time during a piece of music.

The concept behind such a setup was to represent the small company of characters exploring the Abyss. Everyone's in this massive underground cave system, so I felt having a small group of soloists in a space designed to fit over 130 musicians was the perfect sonic metaphor for this. It just so happened that we were also working with some insanely good musicians and an unbelievable technical team as well.

If you were given the chance to collaborate on a soundtrack with one composer working in anime today, who would it be?

That's an interesting question. To be honest, I think I'd rather be an understudy of someone really experienced, rather than write side by side with them. If I could be a fly on the wall while Cornelius was writing Ghost in the Shell Arise, or Yoko Kanno while she was writing Terror in Resonance, that would be so, so informative. That said, Flying Lotus just got announced as the Blade Runner 2022 composer so I'd do anything to get in on that, even though it comes out in a few days (laughs).

Made in Abyss is one of the most highly regarded anime of the year. What do you think about the reaction to it?

I can't tell you how happy I am about the reaction to Made in Abyss. Writing the soundtrack was tough. The music is experimental in nature, and it required a lot of time and effort from many, many people. Everyone came together to make this work, and I'm over the moon with how it turned out.

#made in abyss #anime composer #anime news network #anime interview #score composer #score composer interview #ann interview

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irmaladouce-composer · 4 years

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Hiromitsu “JIMA” Iijima

IRMA LA DOUCE Co-Founder,

Amnimation, Movie, Drama, Commercial Music Producer and Director.

ANIMATION : “MADE IN ABYSS“ / “THE RINSING OF SHILED HERO“ / EDEN (NETFLIX) / Drama :

Twitter : https://twitter.com/rumble99

Facebook : https://www.facebook.com/hiromitsu.iijima

飯島弘光 // 音楽制作会社。 IRMA LA DOUCE / IRMA recordsレーベルディレクター。その他音楽プロダクションとしてCM、劇伴、BGMなど。アニメ : メイドインアビス、ポケモン「放課後のブレス」、スターウォーズビジョンズ、EDEN 、盾の勇者の成り上がりドラマ : ディアシスター、ラブホの上野さん、高嶺と花、歌舞伎町凛花 CM : Uniqlo

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kuciradio · 5 years

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MADE IN ABYSS: Journey's Dawn (Red Carpet Premiere Review) 3/16/19

If you’ve kept up at all with anime in the past 2 years, you’ve likely heard of Made in Abyss. It premiered in 2017 from Kinema Citrus, an animation studio spawned from former members of studios Production I.G. and Bones, and saw critical acclaim immediately. It drew high praise for the story’s sense of adventure, balanced pacing, and outstanding soundtrack from Australian native Kevin Penkin. This resulted in awards from streaming service Crunchyroll for Best Anime of 2017 and Best Score, not to mention countless positive words from the anime community at large.

Fast forward to 2019 and though we don’t have a sequel yet, we DO have some good news in the form of two compilation films: Journey’s Dawn and Wandering Twilight. The former, which adapts the first 8 or so episodes of the anime, recently premiered at a red carpet event at the Los Angeles Regal LA Live Theater, and yours truly was lucky enough to attend the high-profile event. Director Masayuki Kojima, producer Shimpei Yamashita, music producer Hiromitsu Iijima, and composer Kevin Penkin all held a brief Q&A after the screening to give some insight into the film’s development: a rare treat for the sold out crowd.

As for the movie itself,I feel that this compilation is generally a good adaptation with some (understandable) stumbling points. The beginning of the film has slight pacing issues, and throws terms, phrases, and character names around in a way that may make it difficult for newcomers to the series to fully grasp. In time this is sorted out, as more exposure and exposition clears up what the whistles signify, what the Layers are, and other such points of confusion. There are a few moments when the animation quality degrades a bit on the big screen, but beyond that, creator Akihito Tsukushi’s artistic style translates as well as can be. The soundtrack by Kevin Penkin works just as effectively as it does in the anime, and hearing those gorgeous compositions on movie theater mega speakers only strengthens their emotional impact. And of course the story of Riko and Reg’s one-way journey down the Abyss is as captivating as it ever has been.

My biggest qualm with the film is that, by nature of being an anime compilation film, it is exceedingly difficult to construct a three act movie. In particular, the climax of the film happens well before the credits roll, meaning all the events afterwards have significantly less tension or impact.

That said, all in all, I of course loved my time spent in the Abyss. However, I can’t see this film as being a strong standalone. The following film, Wandering Twilight, was released only two weeks after Journey’s Dawn premiered in Japan. This shows how closely entwined the two parts of the anime are, and watching that second movie will certainly add plenty of levity to the story. For now, I can give a hearty recommendation for watching MADE IN ABYSS: Journey’s Dawn, but expect to be craving more shortly afterwards.

- Chris Torrey (Marmar Tha Midboss)

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