![]() In fact, the scenes from the co-protagonists’ perspectives were assigned to different coloring teams (with the blind Tomona having an abstract watercolor style). ![]() Meanwhile, the animation team at Science Saru keenly divided the sequences and audaciously embraced a range of styles and moods in collaboration with Yuasa (including line drawings, oil paintings, watercolors, and psychedelic modes). So when I recorded with them, I tried to make it so that Inu-Oh or Tomona were mostly based off of them.” And they have to perform, and I think that contributed to amplifying their performances. They try to take work that won’t change them. “Also, the two of them as performers are really true to themselves and really free. “So even during the recording sessions, they would give opinions to each other on improving their character building,” he said. And one of the many reasons that he selected the two leads was because they were childhood friends. Not surprisingly, it was the close friendship between the co-protagonists that most excited the director. ![]() This was something that I always used to think about, and how in modern times we watch Noh performances or Kabuki, I was wondering what it was like for the people back in the Muromachi era and how they felt when they watched these kinds of performances.” “But I really think the most important aspect was about a pop star of the time. And the biwa priests and the stories that they told about dead soldiers through song and performance. To tell a fictionalized story of what was imagined was also interesting. And the fact that this story is about an old performer who actually existed. “So I thought that would be an interesting challenge. It’s a lot to unpack from “Inu-Oh,” which was adapted from Hideo Furukawa’s novel, “The Tale of the Heike: The Inu-Oh Chapters.” “What interested me about the story was, one thing, that I had never done a period piece,” Yuasa told IndieWire through a translator. ‘Star Wars: Visions’: Volume 2 Expands Beyond Anime ![]() It’s a phantasmagorical, stream of consciousness extravaganza (with substantial historical and supernatural backstory), serving as a bridge between the past and present, compelling us to embrace our identities and rediscover our humanity. But the way Yuasa assaults us with dazzling imagery and musical performance, he comes off as the Baz Luhrmann of anime. The film’s an anime rock opera set in 14th century feudal Japan about the friendship between two cursed musical performers, who serve as historical versions of modern-day stars with theatrical fearlessness: the real-life, enigmatic Inu-Oh (Avu-chan from fashion punk Queen Bee), a Noh dancer who dramatizes the Heike’s slaughter at sea in the Battle of Dan-no-ura, and Tomona (Mirai Moriyama), a blind biwa player who chronicles the story in song. He takes everything he’s explored in “Lu Over the Wall,” “Mind Game,” “Ride Your Wave,” and “The Night Is Short, Walk on Girl,” and explodes it in “ Inu-Oh.” It’s the culmination of his wildly imaginative and deeply compassionate work about honoring marginalized people. “Inu-Oh” (screening theatrically from GKids) represents Masaaki Yuasa’s summary statement about animation, music, history, and rebellion.
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