All language subtitles for Night.CruiNESE.WEBRip.x264-VXT

This is Cazablanke.

A frontier planet owned by the
United Galaxy Space Force.

Population: about a million.

More than 90% of the residents are
Earthian-hybrids:

mainly soldiers and their families.

Everyone else must struggle to keep
the soldiers' world alive.

What a weakling!

And your clothes... You look like shit.

I wear what feels good.

Since I'm not a soldier like you,
I don't need to judge by appearances.

I'd die before becoming UGSF beefcake.

You can tell I'm a soldier?

It's your stink. You officers all
smell like the same detergent.

You dog!

Stop the talk!

What're we waitin' for?

When the coin hits, we begin.

He's not bad! But can he take this?

What'd he just hit me with?
Some kinda sound strike?

What? It doesn't work on him?

Let's see if he likes this.

- Wait!
- Wait!

What's your problem?

What's your problem?

Wait...

Your eyes...

They don't see. Who gives a shit?

So that's why...

I lobbed a visual hallucination at you
using my Telepathy.

Now it makes sense. I felt something
like a headache.

You wanna use your Sense for real?

For real?

For the United Galaxy Space Force.

Spare me the military crap.

Just hear me out...

Major Connor here.

Sorry for interrupting, Sir.

No problem. But this will be audio only.

This is Captain Tatiyana Aguiari,
Delta Regiment.

This is urgent information.

What is it? Spit it out.

It's the Ghost, Sir.

It broke into our server
in Blue Cityside.

Our secret data is at risk
of being leaked.

The Ghost did?

The Ghost has penetrated and destroyed
all our security barriers.

What are you waiting for?

Send in a platoon.
Have them prevent any leak.

My men are refusing.
They're afraid of the Ghost.

If they can't see the enemy,
they're sitting ducks.

A bunch of cowards...

Do you have a plan, then?

No, Sir. I'm afraid not.

The men are no use. There's no intel.

If the UGSF can't get in there,
find someone who can.

I'll take responsibility.

Get out there and find someone.

Aye, Sir.

I thought you might be able
to feel the Ghost.

Here.

Drink this.

Yeah, thank you.

It's a good offer, right?

The Ghost would be a fun target for you.

Okay...

It sounds pretty interesting. I'm in.

On one condition... You come too.

I use my Sense to capture it.
Then you read it with your Telepathy.

Don't you need Auto-Drive?

Why bother when I've got you here?

Have it your way.
I'm Telepathing you the route.

Please do.

I hate relying on the 'puters
for everything.

Lesk Otokham, First Lieutenant.

This is Captain Tatiyana.

I'm on my way to the site. He's with me.

Edih, how do you do?

I'm Captain Tatiyana.
Thanks for helping.

My pleasure. Good to meet ya.

You have a hot voice.

That sultry voice...

leads you right into the arms
of a handsome boy.

Lesk, I know you Telepathed something
to Edih just now.

Fess up to it.

No, Ma'am. I just conveyed the truth.

Earthian-hybrids need more than words

to understand anything more
complex than two genders.

Are you fibbing?

Fine, then...

Don't trust First Lieutenant Otokham
too much, Edih.

He's prone to misusing his ability.

Got it.

I'll keep my guard up.

By the way, Lesk, how much did you
tell him about the Ghost?

Everything I could possibly know.

Really? Telepathy sure is convenient.

We're just arriving at Blue Cityside.

Copy that. Please be careful, guys.

If you feel danger, you can abandon
the mission.

Edih, keep an eye on Lesk.

Aye, Sir.

You sound like a soldier...

It's fun to pretend.

What do you Sense?

Nothin'.

Nothing here, too.

Clear.

It's in here.

Where?

Read my image as I close in.

Okay.

Someone's here.

The sensations are fusing...

You woke up?

I dunno what happened.

I was following you via camera,
but the image cut out.

I need a report from you now.

I'm not feeling my buddy here,
or the Ghost.

Something's there.

Do you have a favorite movie?

I like Touch.

It was the first movie
I saw in a movie theater.

Maybe that's why I remember it.

My blindness is acquired.

I was sighted until my mid-twenties.

I loved movies, so I watched a lot.

I gave up watching them
as I couldn't see anything.

But now, some movies have audio
descriptions for the visually impaired.

So I started watching again.

I watched a lot of movies as a kid
but not much anymore.

One film I remember from back then

is Harry Potter and the Sorcerer's Stone,
which I really loved.

When I'm feeling down,

I watch one called Snakes and Earrings.

It brightens me up, I guess.

There are many movies I love,
but one I always come back to.

That's Rainbow Kids by Kihachi Okamoto.

I've watched it so many times.

I've forgotten what
visual perception is.

So I don't have any memories
of seeing.

The Karate Kid comes to mind.
And, let's see...

It's old, but Wheels on Meals.

And, Top Gun too.

Their heroes are all real men.
That's why I like them.

I watch...

action movies.

Like Wheels on Meals or The Karate Kid.

It's not like I know exactly
how they move.

They're from way back

when my mother would watch with me.

She didn't give me all the details.

But she would explain the story,
like who was winning.

That's how I enjoyed movies.

Hideyuki Kato
System Engineer/Musician

Hideyuki Kato
System Engineer/Musician
The next stop is Ogikubo.
Doors on the right will open.

- Oops, I'm sorry.
- Excuse me.

- Oh, I'm sorry.
- Excuse me.

This is it.

The wall tells me that.

- So this wall is a sign?
- Yeah.

Please touch the screen to confirm
you're of legal drinking age.

- Touch the center, please.
- The center?

More in the center, please.

Here?

Sorry. Let me help.

Yes, this is it.

- Ah, okay.
- Thank you.

Hey, I'm here.

I'm right here.

Jeez.

It's scary here.

Yeah, the drivers are reckless.

I'm here.

Fabrication/Repair/Tuning
for Guitar and Bass

Here you go.

- This is the neck?
- Yup.

Thanks. Here's your receipt.

Kato was born blind.

And now he's making a movie.

Well, I dunno.

I mean, why not?

I communicate very normally with him.

He's my bud.

- Is he?
- Yeah.

I don't think about his blindness.
Except when he stands up to go.

- Right?
- Yeah.

I even asked if he'd seen
Shin Godzilla.

This is the screenplay.

I want to show that they meet as rivals
and recognize each other's ability.

There's respect.

And then they decide to team up.

- The two characters?
- Yeah.

The protagonist doesn't see...
Well, not with his eyes.

That's why he can sense the existence
of the Ghost, instead.

What is the Ghost, then?

It's immaterial.

The protagonist's buddy is
so-called "able-bodied"?

That's right.

Then what does he offer?

He's a telepathist.

What's that mean?

Within a three-meter range, telepathists
can mind-read or mind-speak with anyone.

Their abilities are augmented
if they can touch their target.

Was that the definition?

Yes, it was.

It sure went over me.

I don't have that ability,
you could say.

I've read your screenplay.

It's fine as an SF story.
Hirotoshi Kobayashi
Writer

Hirotoshi Kobayashi
Writer

Hirotoshi Kobayashi
Writer
The planet, in your treatment,

The planet, in your treatment,

it's an Earth-like one developed
for the Space Force.

it's an Earth-like one developed
for the Space Force.
Kato uses a braille notetaker to record
Kobayashi's comments.

Kato uses a braille notetaker to record
Kobayashi's comments.

Kato uses a braille notetaker to record
Kobayashi's comments.
Yes.

We need to decide

whether to convey that through
on-screen text or narration.

There's no scene that demands
computer graphics.

Punch holes in black paper
and backlight it,

and you'll get what looks like stars.

Sometimes that's all you need
to suggest the universe.

Put some tennis balls in front
of the camera,

and you have planets.

Just hang them from the ceiling
with thread and film them,

and you've realized your world.

What I'm really wondering about

is whether I can show him moving
in a slightly superhuman way.

Maybe he can stay in the air
longer than a regular human.

Can I do that in a live-action movie?

- You want that action?
- Yes.

But not cheap-looking.

Well, I'm not sure what a cheap one
would look like.

Oh, yes, of course.

I haven't figured out how to represent
the Ghost in the very last scene.

Okay.

I know it's too vague to say
it should be something mysterious.

I created him, but I'm stuck.

Does the Ghost have a shape?

Not in my imagination.

- It doesn't?
- Right.

Showing an absence is very hard.

I get that!

To people with visual perception,

I can say shoot like this
to get the look you want.

But the challenge in this film lies

in helping a person without sight
find the images to tell a story.

To actually do this...

Makoto Sasaki
Night Cruising Director

Kato's friend Sasaki documents the process
as he assists in Kato's production.

Just Cause Productions, Inc.

Just Cause Productions, Inc.
Hello.

Just Cause Productions, Inc.

I am planning to direct a film
as a non-sighted person.

And I'd very much like
to get your support.

And I'd very much like
to get your support.
Miyuki Tanaka
Night Cruising Producer

One goal for me is to show how far

a non-sighted person can go
in making a movie.

When we watch movies made
by sighted directors,

non-sighted people encounter things
that aren't exactly walls or barriers,

but that still need some kind
of explanation.

So that's one hurdle to overcome.

But, when sighted people see
a non-sighted person's film...

When people who understand a movie
through its visual images

see one made by a non-sighted person...

I wanna know how they'll react.

Please don't take offense,

but part of me feels like
I'm picking a fight.

I just have to try this.

If people with eyesight tried this,
they'd just show night.

But to me, there's no dark and no light.

That's the point.

You feel dark because you know light,
and vice versa.

This must be Tokyo Skytree.

I can understand shapes if things are
made in sizes I can handle.

Without this model, I'd never know
that it's triangular with a round bit.

I never knew what R2-D2 was shaped like.

But I could after I got this
when I visited Anaheim.

As you know from my screenplay,

I made the protagonist blind.

He's my stand-in, in a way.

I can say that I'm using
his point of view

to show how I usually capture a space.

But, many people have given me advice.

So I know I need to consider framing.

And when the scene changes,

I need an establishing shot
before jumping inside the building.

I realize I need to follow the usual
grammar of cinema.

Ken Ohara
Director, Just Cause Productions

Ken Ohara
Director, Just Cause Productions
Given what you've just said,

Ken Ohara
Director, Just Cause Productions

Ken Ohara
Director, Just Cause Productions
I think we can use sound to create
a common worldview.

I think we can use sound to create
a common worldview.

When we're working on a film,
especially on action scenes,

we often rely on sound to communicate.

If I ask my client what rhythm
they want,

they might reply by saying it should be
like Japanese drumming.

So instead of this...

This...

That's how we work.

Sound can be a fine tool.

Clients use onomatopoeia a lot.

"It flies like this..."

"clashes like that..."

"The car passes like so..."

"And explodes like this..."

That's how they talk.

And I just borrow their rhythm.

I get visuals ready for them
by the next time we meet.

Oh, okay.

So if you give us sounds,

we'll make great visuals.

I speak into this mike, right?

Yep.

Okay.

That was too loud.

Fuckin' loud...

How fast should I read?

Just read it.

Whatever you say.

Can I have a cue?

Now.

"This is Cazablanke."

"A frontier planet owned by the
United Galaxy Space Force."

You'll add sound effects later, right?

I need to add in the sound effects,
like the sound of the wind.

I see, I see.

"I'd die before becoming UGSF beefcake."

He's trying to be cool.

Ah, okay.

You're speaking too fast.
A little slower...

If I speak slower, I'll forget.

Fine, I'll try.

- Let's do it.
- Alright.

"I'd die before becoming..."

I messed up.

"If the UGSF can't..."

Shit!

"If the UGSF can't get in there,
find someone who can."

What a mess! You see?

Hold on.

- What's that?
- It starts in the middle.

I don't get it.

Nothing here,
but it starts from here.

What's that mean?

No letters here, only blanks.

It starts here...

It just says "and."
Then goes to the next section.

So I can't read.

I have to fix this.

So I can read. Good, it's done.

- "Wait!"
- "Wait!"

That sounds great.

- Does it?
- Sure.

Okay, that's all for now.

That's it.

You've got what you need.

I have all the elements.

So you'll add sound effects, then share
your ideas that way?

We can call it a "sound storyboard."

You didn't want to do it.

I wanted to rely on sound
only as my last resort.

To resist the stereotype?

People always connect you to sound.

That's right.

People presume that's where
I should start.

People don't get why
you want to do this.

They're asking what the point is.

It's something that I want to try...

That won't convince them.

They think a blind person should do
something else, just not a movie.

Like what?

Like a radio drama...

That just shows how much
they don't understand.

I'm tired of making radio dramas.

People probably doubt I can even edit.

"How can you make a movie
if you can't see the image?"

People ask cruel questions.

That's the challenge.

By any means possible, right?

We try anything to
get over the barriers.

That's what we say, right?

They always ask for the vision
inside my head.

Especially people in film and video
talk like that.

That's where they bring
the conversation.

My goal in the first place

was just to make a movie.

After talking with a lot of people,

I've realized that's not good enough.

So, as someone born without sight,
maybe I can share my vision.

I'm not sure "vision" is the right word.

I can turn the images I have in my head
into a movie.

That might work.

National Museum of Nature and Science

I'm congenitally blind.

Kazuhiro Sakaue
Physical Anthropologist

Kazuhiro Sakaue
Physical Anthropologist
To me, a face is a face.
There's just one kind.

To me, a face is a face.
There's just one kind.

Some faces must be aesthetically good.

People can call someone handsome
or someone pretty.

If I were to explore faces carefully,
I could discover the difference.

But since I'm writing a screenplay
for this movie, I need to specify

what kind of face each of
my characters has.

I just wrote that my characters are
"so-called beautiful."

To help me concretely imagine the faces
I need for my film,

I'm hoping you'll share some
of your knowledge.

That's the front part.

That's the top of the eye socket.

Trace your fingers down.

This is the root of the nose.

Followed by the nose itself.

And then the teeth.

- You see?
- Yes.

Further down is the lower jawbone.

The part from the glabella
to the nose makes

a very clear and unique impression
on others.

The glabella to the nose?

It's the central structure of a face.

With a quick glance here, you
can almost recognize a person.

It's nearly enough to identify them.

This one here is slimmer in width.

Yes, quite narrow. It's a woman from
the samurai class.

Here's a merchant-class woman.

Now, the reconstructed faces...

This is the reconstructed face
of a merchant.

And the reconstructed face
of a samurai woman.

The jaws are totally...

Yes, you noticed.

- Different.
- Yes.

What's interesting about beauty is that

we, scientists, can understand
differences in shape.

But we make no value judgments
about beauty itself.

Yet, when you see woodblock prints
or pictures of Edo era beauties,

nearly all of them are like this.

it's a question of preference.

That's true.

When you read, you can project

your own preference onto a character.

But, movies are different.

How the audience connects with a face

affects how they identify
with the story.

Human faces have simple structures.

Functionally, there's almost
no difference.

But for culture and sexual reproduction,

that difference is huge.

It's a contradiction, in a way.

As a member of the Anti-Lookism Club,

I'd like you to expose
the unfairness of it all.

Yes! Thank you!

A-Lab Co., Ltd.
Sensitivity Engineering Laboratory

Tadashi Shimaya
Android Engineer

Tadashi Shimaya
Android Engineer
The settings are wrong.

Her face goes up when I say "down."

And vice versa.

She opened it.

Now, her tongue.

When she shakes her head like this,

she looks like she's smiling.

People project onto her
what's missing.

I see...

Watch her hair...

- It moves with her face.
- With a slight delay.

That makes her look even more real.

I smile or make some other face
unconsciously.

It's hard to make myself do that.

And it's hard to show that to others.

When I smile, I'm like this.

Smiles might not be this weird.

Kato, imitate her.

Like this?

You look great.

I must look weird.

Oh, okay...

It's hard.

That's good.

Japan Women's University

Hello.

Come on in.

- Thank you.
- Hello.

Welcome.

Ken Sagawa
Color Research Scientist

Ken Sagawa
Color Research Scientist
I was surprised to hear you're going
to make a movie.

Ken Sagawa
Color Research Scientist

Ken Sagawa
Color Research Scientist
It's a challenge, but yes.

It's a challenge, but yes.

I need to be specific about the colors
we'll be using.

What my characters wear,
the kind of sky,

or even some chair nearby.

I have to give exact instructions.

If I can find a good way
to express color,

I know it will come in handy.

Then I could suggest the colors
for my film and how to use them.

Color is an electromagnetic wave,
you know?

I've heard that.

In short, color is an electric wave.

The human eye can grasp
only certain parts of that wave,

only a narrow bandwidth.

That's how it works.

Differences in spectral components
create colors.

There are three central differences.

Difference in hue, in brightness,
and in saturation.

We can express colors
in three dimensions.

Right in front of you...

Please touch carefully.
Can you feel the many panels?

Yes.

There are ten of them.

Each panel represents a type of color.

It's light here...

- And dark there.
- The bottom is dark.

As you move away from the center...

- The color gets deeper.
- Deeper, I see.

This is red.

And next, orange.

This is yellow.

This is yellow-green.

Green.

And red. It goes back like this.

Yes.

As you feel, it's a ring.

The most important part...

This is called a hue circle.

When we put colors in order,
they become a ring.

So this is what we call the color solid.

I bet you haven't gone bowling.

- Yes, I have.
- You have?

A bowling ball is always dark.

It's down with the other dark colors.

Okay.

Darker colors represent heaviness.

The dark color suggests a strength and
heaviness that will send the pins flying.

Since the pins fly...

they are light and hence white.

You can memorize the order
of these ten colors.

On these tags, I punched holes that
you can feel.

By making one hole big,
or by punching holes,

I'm communicating color to you.
That's why there are holes.

Yes, I feel it.

That's like braille.

So this is orange,
because there is a hole here.

By identifying the location of the hole,
you'll now know it's orange.

Okay, so this is...

the next color, gray.

It's between black and white.

I get the meaning.

If this were on some clothing,
you'd know its color.

Add in colors' emotional
associations,

and you can plan a color scheme.

Before, color was just a concept for me.

Oh, really?

- But now it all fits.
- Yes, like this.

The fact it's all in a circle like this.

- Yes, like this.
- Okay.

Did this help you understand?

Yes, very much.

If this was all, it would take some time
as it's too 3D.

But the tags helped.

They really did.

You know color now?

Now, I can use color to express myself.

That's wonderful. Please do.

We don't know, however, how color
carries value.

That's a question of the mind.

Perceptions are immaterial.

So there's no way to be certain
Tanaka-san and I see the same color.

I still haven't written the transitions.

Luminous Productions Co., Ltd.

Luminous Productions Co., Ltd.
He loves to take on an opponent.

Luminous Productions Co., Ltd.

Luminous Productions Co., Ltd.
That's why he streetfights.

That's why he streetfights.

The story is really organized
around Edih and Lesk.

The story is really organized
around Edih and Lesk.
Name: Edih Angale

The story is really organized
around Edih and Lesk.

The story is really organized
around Edih and Lesk.
Name: Lesk Otokham

Name: Lesk Otokham

Name: Lesk Otokham
Yes.

One is without eyesight,
while the other is a telepath.

One is without eyesight,
while the other is a telepath.
Yuusaku Nakaaki
Lead Concept Artist

Yuusaku Nakaaki
Lead Concept Artist

Yuusaku Nakaaki
Lead Concept Artist
Both of them are lacking something.

Both of them are lacking something.

The telepath has an advantage.

But his limit is that he's a telepath
with sight? Did I get that right?

Well, sort of...

A limit... Okay...

It's hard.

So he's trying to use Lesk
and Lesk's ability.

He thinks he can help Lesk,

and he thinks Lesk's ability
will be useful to him.

and he thinks Lesk's ability
will be useful to him.
Scene 5A: In the Car

Scene 5A: In the Car

Scene 5A: In the Car
This is developed in the driving scene.

The point is not about
lacking something.

His strength comes from the fact
he is not sighted.

The story is clear about this.

But if you don't know what the Ghost is,

you might miss the point.

Yuuki Matsuzawa
Lead Concept Artist

Yuuki Matsuzawa
Lead Concept Artist
This is a worldview.

Yuuki Matsuzawa
Lead Concept Artist

Yuuki Matsuzawa
Lead Concept Artist
We create character designs
to match this world

We create character designs
to match this world

early in the concept phase.

So this is our concept art.

In the concept phase we showed you,
rather than a single design

we want to develop art that flows
from the plot.

we want to develop art that flows
from the plot.
Scene 2: Office Building Rooftop (Night)

Scene 2: Office Building Rooftop (Night)

Scene 2: Office Building Rooftop (Night)
We'll work on the concept art.

We'll work on the concept art.

CASIO COMPUTER CO., LTD.

The designs are printed using
a Casio 2.5D printer

so that Kato can check them.

I'm taking them out now.
Please wait a sec.

They are mounted on boards.

- This is when they're at the seawall?
- That's right.

- This is his extended arm?
- Yes.

What's this?

A bag containing water bottles.

- It's just there?
- Yes.

Edih is here, and this is Lesk.

Lesk is extending his arm
to give Edih some water.

Okay.

You once described asking for water.

When someone gives you water,
your only choice is to trust them.

Since you don't know if it's really
water or not.

We thought a scene like that would
work well with your story.

Yeah, okay.

Here, you get a sense that something
is approaching.

Maybe the smoke of light
reflected off buildings.

Maybe the smoke of light
reflected off buildings.
Kenji Niki
Concept Artist

Kenji Niki
Concept Artist

Kenji Niki
Concept Artist
Or maybe we see steam from their sweat.

Or maybe we see steam from their sweat.

The light catches it
as it's curling upwards.

Something that's visible
through negation.

The inside is pitch black and empty.

Well, I'm overwhelmed.

I don't know what to say.

I appreciate how deeply
everyone has thought about it.

Tell me why you want to appear
in this movie.

Tell me why you want to appear
in this movie.
Audition Script: Tatiyana

I'm really intrigued by the project.

A film made by someone blind...

I wanna see what happens.

Okay.

I'm visually impaired.
I'm blind and don't see at all.

What do you think about the fact
that I'm directing a movie?

For me, a person is a person,
a human is a human.

So I don't see any problem.

I wonder what kind of movie it could be.

I guess I'm just interested in the idea.

- I dunno...
- No opinion?

- Should I have one?
- It's fine.

Then, I don't.

I want you to communicate
something to me.

Act it out. But I want you to do so
by touching me.

Is that okay?

Thanks for that.

Don't look at the cup with your eyes
but pick it up

and drink from it.

Please make those motions.

Thank you.

- May I touch your head?
- Of course.

What do you think?

- I'm struggling.
- You are.

His hairstyle matches my image
of Tatiyana.

Really?

Basically, this is
a science fiction film.

Yes.

You might think Cazablanke is a
very different world from Earth.

But that's not my goal.

The characters look like Earthlings.

The characters look like Earthlings.
Eri Takayama
Stylist

Rie Tomomori
Hair/Makeup

Rie Tomomori
Hair/Makeup
Let's talk about hairstyles,
starting with Edih.

Let's talk about hairstyles,
starting with Edih.

He's got long hair.

I'm going to be adamant about the color.
Silver hair, silver-colored.

He should look like me,
down to my bangs.

Yeah, okay.

Just like me, including the bangs.

Do you want the color to
look artificial?

His hair hasn't turned gray with age.

But it's not like he dyed
his hair, either.

That's just how his race looks.

What does silver mean to you, Kato?

Here we go, again.

Silver isn't the color people imagine
when they think of SF.

So there's something...

That's the point. I'm not making
a typical SF story.

Black is out.

And I wanted to avoid typical colors
like blonde or brown.

If you need a reason, it's because
he needs to have a different air.

Edih is wearing a sweatsuit.
You want it to be red, right?

Is it red?

It's more like...

Was that because red looks good
on you, Kato-san?

- I'm not set on it.
- Really?

I'll keep red as one option.

We can have options.

- I'm not insistent on it.
- Good.

Going to the sweatsuit
and his costume...

Edih can't be bothered.

In this story, he's not sure if it looks
good on himself or not.

So it might be good for him
to look a bit odd.

Okay.

Toshimitsu Kokido
Actor (Edih)

Toshimitsu Kokido
Actor (Edih)
I'm now a lot stronger.

Toshimitsu Kokido
Actor (Edih)

Toshimitsu Kokido
Actor (Edih)
Are the sandals too macho?

Are the sandals too macho?

Yes, the sandals...

The sweatsuit's cool.

- May I touch your face?
- Sure.

Should he fight in sandals?

More like deck shoes would work.
That's my sense.

I have deck shoes.

That kind of feel.

I agree the sandals are good,

but shoes fit better.

- He looks sharp.
- He sure does.

Actually, it works.

Tanaka-san will show you.

On this touch-palette, colors are arranged
in a circle so Kato can feel them.

On this touch-palette, colors are arranged
in a circle so Kato can feel them.
So both his hair and his clothes
are in this color area.

On this touch-palette, colors are arranged
in a circle so Kato can feel them.

When the color of his hair is
closer to white,

his sweatsuit is around here
and has a bit red in it.

Some bling will make it look good.
Akira Toyoda
Actor (Tatiyana)

Akira Toyoda
Actor (Tatiyana)

You prefer...

I prefer the previous design.

- Roughly, it's in this area.
- Between blue and green.

The previous one was over here.

This, okay.

Between yellow-green and green.
So more like...

Closer to yellow?

Takayama-san, the jacket, please.

You'll try it on?

- See?
- Right, it's small.

I prefer the shape of this cut.

Alno LeGale
Actor (Lesk)

Great. So cool. Okay, that's it.

It's what you imagined?

Yes, it is.

When I came from Shibuya Station today,

I walked halfway with my eyes shut.

To get a feel.

You mustn't.

I made a point of being careful.

So I was fine.

A step on the right.

A gentle slope from here.

They're adults.

What?!

Three people have four heads.

And there are two more stuffed animals.

Here's the leg. I get it.

Okay.

He stands facing this side?

Please stand inside the circle.

- Okay.
- Great.

Three, two, one. Pose.

Three, two, one. Pose.

Thank you.

Wow!

Who's this guy?

Who the hell is he?

My torso is quite thick, I see.

This hairstyle...

This is Edih.

With his ears hidden,
and his hair like this.

Yeah, this is it...

It's good.

Production can now begin.

Four teams are ready to help Kato visualize
his "inner vision" in six scenes.

Each team uses a different technique.

Scene 1: Frontier Planet Cazablanke
Space Modeling

I mainly sculpt,

but I also work in video,
drawing, and photography.

This is my sculpture.

It's a person.

- It's a person with...
- But also...

- What?
- I've attached things.

Is it plaster?

It's called gesso, but yeah,
it's like plaster.

It's called gesso, but yeah,
it's like plaster.
Teppei Kaneuji
Sculptor

Teppei Kaneuji
Sculptor

These sculptures remind me of Kinkeshi
erasers. Did you have them as a kid?

- They influenced me a lot.
- I guessed.

We're about the same age.

Kato, what about you?

I loved collecting them.

- You loved touching them?
- Yeah.

Who was your favorite in Kinnikuman?

I liked the feel of the square characters
like Watchman.

Watchman is a geeky character.

- I liked Sunshine, too.
- Sunshine is square.

Who was yours?

Let's see.

The Ninja or Wolfman.

You liked cool ones.

They were great.

I'd like to ask for your help
with Scene 1.

I'm wondering how to begin the scene.

I'd like to show this planet as one
among many others.

How about using balls and spheres?

You could put them all in motion
and then film.

Or bounce them.

These are excellent ideas.

But I first want to know what it
will look like.

Of course.

Let's hang the stuff from the ceiling.
If we do that first, I can check them.

Yes, you can decide the layout.

I imagined the sky would be a dome.

Like a transparent dome.

This may look weird, but I imagined
something like this.

Say this is a cloud. It would rest
on the sky like this.

So it won't fall.

Yes, you think it could rest there.

Think of this as a fixed star.

Think of this as a fixed star.
This mat with special paper is called
a Raised Writer.

This mat with special paper is called
a Raised Writer.

By pressing firmly, whatever you write
appears in relief.

By pressing firmly, whatever you write
appears in relief.
Slowly, these ones began to drift away.

Slowly, these ones began to drift away.

There's no regularity.

If this is the fixed star, the planets
move around like this.

If I shoot like this,

and here is the fixed star,

then a long shot would get them all?

So the star is not a tiny point.

You want something big and round
and visible on the screen.

You want something big and round
and visible on the screen.
Tetsuya Shiota
Cinematographer

Tetsuya Shiota
Cinematographer

Tetsuya Shiota
Cinematographer
That's what I was thinking.

Tetsuya Shiota
Cinematographer

The audience needs to understand
the relations first.

I'm fine with whatever else.

Alright.

One shot just like this, though!

I got it.

- Who is this?
- It's a doodle.

But whose face?

Whose? A face is just a face.
It's nobody's.

- It's not anyone's.
- Right.

It's yours, then.

Then give him some glasses.

Sujin Elementary School, Kyoto

How big across is the room?

About five to six meters.

Instead of filming in pitch black,

it's better to show that our universe is
a darkened classroom.

What color is this?

It's hard to explain.

This ball would hurt.

Huh? A basketball?

You're thinking of hitting me?

I'm seeing what they feel like, now.

I'll ask about the colors later.

You're choosing by touch.

By touch and shape.

On what basis?

- Basis?
- Yeah.

No basis.

- Just some feeling?
- Yeah.

On what basis did you choose
your favorite color?

Choose my favorite color?

You're putting me in your shoes.

In my shoes.

How do you choose a planet?

I haven't gotten there yet.

You haven't?

I need to know their colors and patterns
to do that.

I have a globe light here
inside a plastic bag.

I can paint it red, wrap it
in a color gel, or something.

We can hang it from up here,
or put it on a stand like that one.

It's not subtle, though.

I see.

Instead of one line,
let's make them random.

Let's move them as we hang them.

So you want them off center,
not so orderly.

- Look...
- This is totally cool.

- Like this?
- Amazing. I'll attach it.

It's a star?

No, a spaceship.

The one that flies.

This is pretty good.

- Which was this?
- Red.

The other is green.

So I use the tape to connect
the bulbs to the batteries.

That's it.

That sounds interesting.

So like this, inside here...

- Use red and yellow.
- Sure.

Made just as the Director ordered.

I like this.

When this part sticks out,
they say the face

is good-looking.

With eyebrows.

It's a chiseled face.

I'm trying.

Is it good?

It looks like me!

Like you!

Uh-oh.

So this is the target.

And beyond that,

you have the face.

Yes, okay.

There's a red star to your left.

- The red one in plastic.
- Now, I get it.

It's not too obvious.

It looks fine.

- The UFO is here.
- Okay.

- The sun is here.
- Okay.

Please touch the camera.

How can I explain this?

If you move the camera...

- It stays here.
- Yes, it does.

- It's amazing.
- It's motor-controlled.

Lights, camera, action.

Lights, camera, action.

It's a good shot.

For the second shot, can we add
the UFO around here?

It gradually becomes visible.

Cazablanke!

Could you snap your finger under it?

- Okay, here.
- Ah, there. I see.

Lights, camera, action.

Ouch!

Can you feel all the stars
here in front of you?

From this spot, I do.
I checked their positions earlier.

Start here, and then shift your weight
while extending your arm.

- Are you ready?
- Yes.

Lights, camera, action.

This looks great:
Cazablanke in soft focus.

It's blurry.

The face is in focus.

It was a long day,
but I want to thank you all.

- Thank you.
- Thank you.

The different things we were thinking
ended up merging together

through the camera.

Honestly, how was he?

I really feel like he sees something.

His images are very vivid.

We could only imagine what they are,

but that was the fun part.

I think it should move in
on a single planet.

Then on a single terrain.
That would be good.

Can we start?

Ready, go.

Stop.

31 seconds 26.

31 seconds.

Stop.

I want to start from that
sweeping long shot.

This is the shot you took.

Was it the first one?
Or maybe another.

Let's play it from the beginning.

That's not it.

That one!

This is how the camera moved.
The face was here.

- And the camera here.
- Okay.

It's shooting over the planet.

So if this were the star,

Cazablanke would be here
and the sun around here.

So the camera turned like this.

And this part was shot.

Do we have a shot of some
regular planets too?

- How about in the B-roll?
- The B-roll.

Don't give me the whole shot.
I just need the cut.

Right here.

- The film is science fiction.
- I see.

I wonder what's the best way to do this.

I'll show you the video
so you can get a sense.

Right, that sounds good.

Or, I can explain it.

A video works better.

Could you consider what tone works?

What about sound?

Am I supposed to speak
in a hard or light tone?

- A bit heavy.
- Heavy, okay.

Narrator Hiroya Ishimaru is a voice actor
best known for dubbing Jackie Chan.

Narrator Hiroya Ishimaru is a voice actor
best known for dubbing Jackie Chan.
"This is Cazablanke."

Narrator Hiroya Ishimaru is a voice actor
best known for dubbing Jackie Chan.

Narrator Hiroya Ishimaru is a voice actor
best known for dubbing Jackie Chan.
"A frontier planet owned by the
United Galaxy Space Force."

Should I soften it a bit?

- That would be good.
- Yes.

"This is Cazablanke."

"A frontier planet..."

Okay.

That was perfect.

Thank you for having me.

Thank you!

How was talking with your hero?

Well...

It was like talking with Jackie.

Start!

Let us begin the program.

Let us begin the program.
To promote this film between shoots,
they appear on a web TV show.

To promote this film between shoots,
they appear on a web TV show.

To promote this film between shoots,
they appear on a web TV show.
Invisible World with Kotobuki Shiriagari:
Introducing Night Cruising.

I'm the director of the movie
inside the documentary.

And my name is Hideyuki Kato.

And my name is Hideyuki Kato.
Kotobuki Shiriagari
Manga Artist

Kotobuki Shiriagari
Manga Artist

Kotobuki Shiriagari
Manga Artist
And I'm Kotobuki Shiriagari.
I write manga.

Kotobuki Shiriagari
Manga Artist

Kotobuki Shiriagari
Manga Artist
I'm here because their project
is so fascinating.

I'm here because their project
is so fascinating.

So, Kato-san is playing as Ryu.

Against opponent Adon...

He sure looks mean.

"He sure looks mean"...?!

So, the characters are selected.

One fireball punch after another.

Lightning speed!

Kato-san is on the left.

Shiriagari-san, the right.

I squeezed one in.

Game over!

What a knock-out.

I was hopeless!

Kato-san should've had
a better opponent.

You mostly relied on sound?

Not mostly. Totally.

Totally! Wow...

Scenes 2 and 4: Edih and Lesk Meet
on a Rooftop for Their Streetfight.

Previz/Action

Lesk & Edih

They use Previz to create Scenes 2 and 4

although it's normally used
for pre-production CG.

Using Kato's sound storyboard,
the team shares his imagination.

Using Kato's sound storyboard,
the team shares his imagination.
They're walking.

Using Kato's sound storyboard,
the team shares his imagination.

Using Kato's sound storyboard,
the team shares his imagination.
What're we waitin' for?
When the coin hits, we begin.

What're we waitin' for?
When the coin hits, we begin.

He tosses the coin,

it hits,

and he jumps.

It really shows the world you envision.

Like at the coin-toss, the background
sound disappears.

It's all so detailed and well-made.

It really helps me understand
what you're trying to create.

Scenes 2 and 4: On a Rooftop

Scenes 2 and 4: On a Rooftop
Thank you.

Scenes 2 and 4: On a Rooftop

I don't want the audience to get
the whole picture at once.

Where the characters are?

I want to show the rooftop
from his point of view.

I want to show the rooftop
from his point of view.
Edih

I want to show the rooftop
from his point of view.

Lesk

Lesk
The audience sees what Edih does.

The audience sees what Edih does.

- They see what he's feeling...
- Right.

- They see what he's feeling...
- Right.
Takuya Shibata
Producer, Just Cause Productions

Takuya Shibata
Producer, Just Cause Productions

Takuya Shibata
Producer, Just Cause Productions
So we can't see the whole thing.

Takuya Shibata
Producer, Just Cause Productions

Takuya Shibata
Producer, Just Cause Productions
Let me explain why.

Let me explain why.

That's me exactly when I'm getting
my bearings.

This is me, and this is how I feel then.

- Touch and it exists.
- Yes, that's it.

I imagine myself leaning on the fence.

After the coin clinks, the world becomes
normal and colorful.

But before someone intervenes
in his world,

only what Edih feels can exist.

Any shot must follow this rule, I guess.

I think it would be very hard to realize
this world in 3D.

Are you thinking of everything black?

- No, I'm not.
- Okay, not black.

But when we try to imagine it...

We really get stuck.

Kato, how about creating the first
scene with these blocks?

This will do.

That's all I need.

You described Edih:

"His style is his own."

"His moves are unlike any
existing martial art."

You may have ideas that differ from
the martial arts we normally do.

They don't have to be concrete.

Could you show us

how you imagine punching or kicking?

I want to incorporate your actions
into the fight scenes in the movie.

I don't know what difference there'd be.

What I imagine could be what
you imagine.

Or it could be different.

You have many dots on your body.

Your shoulder... I meant the other.

Here is a sensor on the shoulder,
and here too.

There are sensors everywhere.

- You have one here too.
- Even here.

- These sensors are shown here.
- Okay.

The location is shown on the TV screen.

- The location?
- Yes, we can see it.

To better reflect Kato's imagination
in the film's fight scenes,

they record data of his movement.

they record data of his movement.
- Would you show us your punch?
- Sure.

they record data of his movement.

Like this.

And this.

Like this.

And this one too.

We can incorporate your moves.

When you used to fight
with sighted people,

you'd blind them and beat them
to a pulp.

- What's that?!
- Kato's glory days.

Show us how you'd beat them to a pulp.

Well, I just needed to punch.
And then...

Then...

- Punch first.
- No kicking?

A kick would be like this,
like kicking a ball.

That's correct, yes.

And you know, a sole kick.

That's not what I thought kicking was.

But once, I got kicked really hard
with the sole of a shoe.

So I made it my move too.

Have you ever heard of martial arts
made by the non-seeing?

I've heard of them.

How about including them
in your action scenes?

Yeah, maybe.

Someone grabs here, and you say,
"You, son of a bitch!"

Grab their arm, put it under yours,
and pull.

First, your left arm.
Can you punch?

Do a hook punch like this.
Try that first.

Then, I'll stop it like this.

I stopped it.

Using my other hand,

I push your punch aside.

- Oh, yes.
- Then...

Let's switch, so you can try.

Then this?

And if you add a rhythm like this,

it'll sound like Jackie Chan.

Gimme a punch.

Repeat it loudly.

So next is dodging the punch.

Your head goes under the arm.

Like this, your body dodges
the punch.

You didn't know Jackie moves this way?

I didn't...

I had no idea he was turning
the attacks aside.

I just thought he was just dodging.

But I could hear some slapping sounds
that must've come from this move.

Yeah, exactly.

Let's start recording.

It's ready. And rolling.

Ready, action.

So we're looking at the capture.

The camera can see from a low-angle
under the floor.

Using this angle, we trick the audience.
The kick can look very high.

So action movies have lots
of low-angles.

His leg looks high.

Kato-san, your kick looks super-high.

Action!

Pose.

Okay, T- pose, please.

I'd like you to understand
what we can do with Previz.

I'll do my best to make it easy
for you to understand.

Normally, we use Previz to estimate
how much it might cost

to use CG in a movie.

Now we're using Previz
for the final.

It's a pre-production tool,
but we are using it

to create your action scenes.

I think it's hard to understand
without seeing.

So I brought some things
that help explain.

I'll show you the difference between
these models.

- Okay.
- Do you feel it?

This one is fairly real.

It's a hairy and rough man.

He's wearing only a bandolier.

So he's pretty wild.

So this is the shape that Chewbacca has.

And this one too.

This one. Here it is.

It's a soft PVC figurine.

Okay.

It's the same character as before,
but this one is soft vinyl.

The other one is a very real statue.

Here's the bag.

And the bandolier.

He doesn't feel hairy.

Color-wise, both of them are the same,
what we call brown.

The shapes are similar,
but the details are very different.

Yes.

The first one you touched had hair.

The hair was hard but packed in.

This one uses cords to suggest hair.

Oh, I see!

To make real scenes in a movie,

we use things like the first model.

Previz can be compared to the second
Chewbacca you touch,

the more basic figurine.

But, unless people know it's Chewbacca,

it's useless.

Even though Previz is simplified,
it must be immediately recognizable.

So, this is so different from
the first one.

But everyone knows it's Chewbacca.

This is...

a printed CG illustration by Just Cause.

And this one is a picture,
created with the Raised Writer.

It's just a face?

Yes, a face and shoulders.

- Is this a jaw?
- Yeah.

Does it match your sense of Lesk?

So his bangs are...

- like this.
- Yeah.

Side-parted hair?

A side-part, really?

There's too much forehead?

Yes, it's too exposed.

This one is very...

His hair is combed over.
And here is open.

I don't like that.

I'll redo it so it's closer
to your imagination.

- Thank you.
- Yes.

This is a really long shot,
so it might be hard to convey.

All the buildings on the screen
are as small as your finger.

From your point of view,

the camera is looking at
a city nightscape.

When you play with a figure,
you make your favorite pose.

By spreading its legs, stretching
its body, or turning its neck.

Maybe you play like this.

The exact same thing is
happening in CG now.

With a figure, you do one motion,
one frame at a time.

It depends on the project, but now

we're making it possible to shoot
24 frames/second for each second of motion.

A one-minute take is
24 frames times 60 seconds.

You need many keystrokes to get
the characters moving.

Yes.

First, about the air battle:

Edih attacks, but he doesn't hit Lesk.

Lesk dodges.

In response, Edih jumps up
higher than Lesk.

If you follow the line of action
beyond the two characters,

around here, there's a huge moon.

The moon is probably
bigger than you imagine.

So for this frame,

it's this big.

The moon is a bit further. Yes.

So the size will show up
within the frame.

It's much bigger than the moon
we see from the earth.

And if the frame moves to a low-angle,

the huge moon will appear
in the shot.

This one attacks.

For example, Edih is here.

And if he wants to trample Edih,
he'll bend back

and raise his leg.

Then it can try stamping on Edih.

That's how the motion works.

So, we show it from above.

When he stamps, we shoot
from below.

Right, from this position.

Plus, we use a low-angle.

But the frame is too big.

Maybe we need a smaller frame.

It's very cool.

- Did the frame help?
- It did.

Using the frame was great.

Well, can I have the tissue box?

What I imagined for the storyboard

was just like this.

Ah, okay.

But, now I know.

Because, to show the night view
with him, we need to shoot from here.

Oh, thank you.

So we need to shoot like this.

I wouldn't have known this.

You really need to understand
how to shoot things.

If not, you just can't do it.

Some of it exceeds my expectations,
and the rest is as I imagined.

Well, how can I say this...

It's all much more than I expected,
so I'm very happy.

Sometimes, I think I'd be driving,
had I eyesight.

But I'm not sure.

Even if I could drive,

I'm not sure I'd want to.

Kato tries his hand at driving
for the visually impaired.

It comes like this, and this is No. 2.

And then No. 3.

Using a clock to describe positions, the
instructor guides him with numbers.

Using a clock to describe positions, the
instructor guides him with numbers.
Move the steering wheel to 8.

Using a clock to describe positions, the
instructor guides him with numbers.

Using a clock to describe positions, the
instructor guides him with numbers.
Yes, stay there.

Using a clock to describe positions, the
instructor guides him with numbers.

Using a clock to describe positions, the
instructor guides him with numbers.
To 9.

Using a clock to describe positions, the
instructor guides him with numbers.

Using a clock to describe positions, the
instructor guides him with numbers.
Good.

To 12.

To 1, yes.

Go round and cut in here.

Okay, stay there.

Steering wheel at 6.

To 7.

Step hard on the accelerator.

Good.

Now, the brake!

That's the seat.
And steering wheel.

Please take a seat.
I can help with the belt.

So, take a seat.

Okay. I'll close the door.

Scene 3: At the UGSF Operations Room,
Tatiyana Receives Major Connor's Order.

Scene 5: On a Desert Highway,
Edih and Lesk Travel by Car.

Live-action/Visual Effects

It's sort of like this.

Scene 3: Tatiyana at United Galaxy
Space Force HQ

Scene 3: Tatiyana at United Galaxy
Space Force HQ
This could be a narrow door.

Scene 3: Tatiyana at United Galaxy
Space Force HQ

Scene 3: Tatiyana at United Galaxy
Space Force HQ
Either on the right or left.

Yoshinori Ban
Visual Effects

Yoshinori Ban
Visual Effects
- Like a soundproof door.
- Okay.

Yoshinori Ban
Visual Effects

We'll shoot from here.

Your finger is the camera position?

That's right.

Where are you shooting from?

- Like this?
- From the black Lego?

How would I know?

Sorry, that's right.

- He's holding the camera.
- Okay.

So the camera focuses on Tatiyana.

Like this, right?

Yeah, okay.

- It's the silhouette.
- It's the head.

Here's the shoulder.

The square thing is a backrest.

I can feel it.

Scene 5: Edih and Lesk Travel by Car.

Higher than the roof,
so this height?

The camera position?

- Is this the front?
- Yes.

One person overlaps the other like this.

There's a slight overlap.

Here.

The camera shoots the scene
from the front.

If so, the light is...

Let's use this one as light.

I'm holding the light up here.

So the light is slanting.

Yes, so this side...

this side of the car is in the light.

- Here's shadowy.
- Yes, dark.

The side nearer to the camera
has the shadow.

That's correct.

By casting light on a character,

we can express their feelings.

That's hard.

Yes, I guess so.

Director, good morning.

Good morning, thanks for today.

- Behind you, there's a blue screen.
- Okay.

That's the blue screen.

- Oh, this?
- Yes...

It must be ten meters tall?

Less than ten.

- No, five meters.
- Five?

It's five to six meters.

The big lights are coming
down on the car.

Okay.

It's amazing.

This is the camera.

- Here's the monitor.
- The monitor, okay.

- The body is here.
- Right here?

Huh? This?

- Oh, this is the lens.
- That's correct.

This is the body.

It's huge! Okay.

It's like a small stereo.

It's pretty big, isn't it?

Kazuya Hayashi
Digital Imaging Technician

Kazuya Hayashi
Digital Imaging Technician
When you composite,

Kazuya Hayashi
Digital Imaging Technician

Kazuya Hayashi
Digital Imaging Technician
if there are people, targets,
or motifs in front,

if there are people, targets,
or motifs in front,

we need to cut them out precisely.

The backdrop is always blank.

We teach the machine that
the backdrop is transparent.

To do that, we use blue or green cloths.

And, we instruct the machine
to make this blue screen transparent.

Yeah, okay.

The same thing with the green.
We can make the green transparent.

We use the computer to do this.

Is it like canceling the color?

That's right. We create what we call
the alpha channel.

With the alpha channel, we can key out
the background to create a composite.

I told Kato-san how I've been trying

to wean myself off
my visual perceptions.

I was really lucky to have met him.

I'm not sure how he will
direct me today.

But communicating with him
through his filmmaking

has been incredible for me.

It goes to this point?

- Yeah, it's narrower than the face...
- That's good.

- Okay, thank you.
- Thank you.

How is it?

- It feels good.
- Is it? That's great.

He's your avatar.

These bangs bring me close to you.

They do.

Don't trust First Lieutenant Otokham
too much, Edih.

I Telepathed everything
I could possibly know.

Really?

This rhythm...

- Okay.
- Yeah.

- Can I go up front?
- Front?

- Is this side okay?
- Yeah, go ahead.

There's a mirror.

Keep going.

There's the camera right behind you.

You have one meter, actually.

- Is it okay?
- Yes.

Are you sitting relaxed?

Well, I'm as nervous as
when I actually drive.

- Edih is enjoying it.
- Okay.

I'll close the door.

Touch him like this.

When I say my line?

Yes, touch him as you say
"Don't you need Auto-Drive?"

Okay.

"Don't you need Auto-Drive?"

"Why bother when I've got you here?"

If you stretch out your arm
to the right...

- There's the camera.
- Ah, okay.

And the car's here. Okay.

Now, let's try it.

Okay, Shot 2.

- It's rolling.
- Okay, Shot 3.

Take it away.

Lights, camera, action.

"Lesk Otokham, First Lieutenant."

"This is Captain Tatiyana."

5A Shot 6. Take it away.

Lights, camera, action.

The idea is,

it's more like Lesk is driving.

Okay.

So follow things with your eyes
as if you were driving.

That'll look good.

Okay.

Then, Track 2. Take it away.

Lights, camera, action.

We're shooting in 6K.

You can see the whole door.

Well, almost all of the door.

The right door, yes.

We can use a close-up of Lesk's face.

Okay.

Later, we can make a close-up?

- Yes.
- Okay, then, it's fine.

...Telepathing you the route.

Please do.

I hate relying on...

- The gun is shown on the screen.
- Okay.

Fess up.

Basically, it's the side-shot
of Edih driving.

Lesk leans toward Edih.

- Like this?
- Yeah.

He's leaning over while saying his line.

Oh, good. Thank you.

Director Kato, it's done.

Edih is next to you now.

- Other side.
- Here.

Thank you for such hard work.

If we shoot from the front,
you can see his face.

That scene is later.

You see...

With the face, they'd realize

only the voice is female.

- Got it, so no face.
- Right.

Shot 5.

Take it away.

Lights, camera, action.

- Kato.
- Yes?

Tatiyana's right eye is
a bit hidden by the brim.

The left eye can be hidden.

I thought you didn't want that.

Otherwise, he'll look like
a manga character.

So I tried showing his eye.

- All right.
- That's why.

This will be audio only.

"This is Captain Tatiyana Aguiari,
Delta Regiment."

I want a pause at a certain spot.

Your tempo is too fast.
Go more slowly.

- You mean, on the whole?
- Yes.

After his line, you should
pause a little.

Then, say "No, Sir,"
with a sad face.

It's rolling.

Okay, Shot 3.

Lights, camera, action.

We've completed today's work
for the film.

Thank you!

- Thank you.
- Say something, Director.

This has been a learning experience.
Thank you for your patience.

And thank you for your hard work.

- Thank you.
- Thank you.

Ban-san used his storyboards

to explain options of
how I can shoot what.

Thanks to that, I was able to create
the structure.

Without him, I would have been lost.

It was so much fun!

Can you add an octave...

Can you add an octave...
Kato also writes songs for the movie.

Kato also writes songs for the movie.

Kato also writes songs for the movie.
and turn down the volume of
the lower ones?

and turn down the volume of
the lower ones?

Itoken
Musical Arrangement

Itoken
Musical Arrangement
- How about some fluctuation?
- Fluctuation.

- How about some fluctuation?
- Fluctuation.

- Like the chorus?
- Yeah.

This is weird?

Exactly.

I guess the upper is
the harmonic minor...

I don't think it's weird.

- That's just what it is.
- Okay.

Leave it as is.

It's a battle scene, so go wild.

It was awesome.

Why did you choose the drums
for the battle scene?

Why? 'Cuz it matches the scene.

WINK2 Shibuya Center Studio

Nobuhiko Shimbashi
Sound Design

Kato shares his ideas
for the sound effects.

Kato shares his ideas
for the sound effects.
I matched the timing
with the voice positions.

I matched the timing
with the voice positions.

It's the sound of Scene 2,
the battle scene.

It doesn't have the voice yet,
but I made the sound like this.

It sounds so real.

- Like when he jumps from the fence.
- It's my favorite.

It sounds cool.

Let me ask you something.

Of course, don't hesitate.

I wanted sound of the door closing.

Ah, that one.

I wonder where to put it.
We don't have to show it.

- But...
- We can't leave it open.

- The door's automatic.
- Yeah.

This one, right?

I want the rustle of clothing.

The swish.

We can use sound to tell them apart.

Can we give the feeling they're
walking side by side?

Scene 6: In the Hallway/Server Room,
Edih and Lesk Confront the Ghost.

3DCG/AI

So we'll get something 180°

onto a flat surface, right?

Scene 6: In the Server Room
of an Old Building

Scene 6: In the Server Room
of an Old Building
This one...

Scene 6: In the Server Room
of an Old Building

feels the Ghost with the four senses
other than sight.

feels the Ghost with the four senses
other than sight.
Edih

Edih

Edih
And the other guy uses telepathy
to read what Edih is sensing.

And the other guy uses telepathy
to read what Edih is sensing.

Okay.

- He can't confirm with his eyes.
- Yeah.

Lesk

Lesk
And the Ghost is here.

Lesk

This looks like the Ghost.

What?

- It has an eye.
- Okay.

Shota Yamauchi
Visual Artist

Shota Yamauchi
Visual Artist
What's the most important thing
in Scene 6?

What's the most important thing
in Scene 6?

We need a common understanding.

We want to show that they trust each
other and rely on each other's ability.

So, their conversation...

their position should show that
one is reading the other.

These would be the important points.

Actually, the thing between them
is also the Ghost.

What is the Ghost in your mind?

What is it...

What does it feel like?

Story-wise...

it's this.

It's something like a medium?

- Not a medium...
- In between?

It could be a wall between them...

or some gap in their imagination.

Crow Studio

I'll do a test first.

Ready.

It's going.

Something like this.

To create 3D models of the actors
from the live-action scenes,

they are filmed in 3D.

For the scene the Ghost appears,

let's decide how to show it.

It's my idea...

but in this movie of six scenes,
here we should rein in

or conclude the story.

How we show the ghost in the movie

could be the answer for you.

In one scene of the movie,

Tomohiro Hasegawa
Development Manager, Luminous Productions

Tomohiro Hasegawa
Development Manager, Luminous Productions
the character perceives space even if
he doesn't see it with his eyes.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.
We can express that visually.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.
Okay.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.

They think Artificial Intelligence suggests
a way to visualize what Kato perceives.
The way I sense things may be
similar to AI.

For instance, when I estimate
a room's size,

For instance, when I estimate
a room's size,
Yoichiro Miyake
Lead AI Researcher, Luminous Productions

Yoichiro Miyake
Lead AI Researcher, Luminous Productions

Yoichiro Miyake
Lead AI Researcher, Luminous Productions
I listen to my own and other voices,
to people's footsteps, and to echoes.

I listen to my own and other voices,
to people's footsteps, and to echoes.

I can guess how large the room,
how high the ceiling,

or if it's square or round.

It's not precise, but I can get
a rough perception.

It's like Big Data in AI.

I must operate in the same way.

I analyze little by little
and gain more and more.

Game AI constructs a world with
itself at the center.

If it's a room, it collects
fragmentary data.

It perceives the room
from its point of view.

Otherwise, it won't work.

It's like inflating balloons.

For example, if I inflate a balloon
from where I am,

it would reach the ground
or ceiling eventually.

So I know the area I can move in.

If I fill the room with balloons,
they represent my potential movement.

This, too, is data.

That's it!

That's probably what I do.

Sound especially, since it's circular.

That's probably how I do it.

- There's a similarity.
- There is.

AI and I have similar modes
of spatial perception.

We have something in common.

This room must be a server room,
or a room of computers.

Each machine makes the sound of its
moving parts, like its fans.

Things emit sound.

Things emit sound.
Computer fan sounds

That means I perceive a space

through the sounds it's making.

I guess AI processes such information
by ordering it one by one.

Well...

The speaker marks are where I put
the sound source.
They’ve made a simulation of the server
room using an existing game platform.

They’ve made a simulation of the server
room using an existing game platform.

They’ve made a simulation of the server
room using an existing game platform.
The blue sphere is where
you can hear sound.

The blue sphere is where
you can hear sound.

You first hear it faintly.

As you get closer to the white,
the sound gets louder.

- There are sticks here.
- Okay.

Press down, and the character moves
back and forth, left and right.

Press down, and the character moves
back and forth, left and right.
Only the character and the sound
sources are shown.

Only the character and the sound
sources are shown.

Only the character and the sound
sources are shown.
Like this.

Only the character and the sound
sources are shown.

The sound comes from here.

He's showing how to do it
with the other senses.

If I get closer a bit...

Then...

- I'm aiming for the sound.
- Yes, that's right.

Amazing.

So...

the source is now in the far
upper side, right?

I see how it works.

He's just showed us people can
recognize space through sound.

It's not my intention...

to make all the images like that.

I chose Scene 6, especially Scene 6-B.

The scene the characters go
inside the room.

There's a reason I chose it.

If I had to do the whole movie that way,

I would have said no.

Please don't take this the wrong way.

But I wasn't so thrilled

about creating scenes or shots
from Edih's point of view.

But they say it's more interesting
if we add AI.

When you described the balloons,
I got excited.

And I thought it's worth a try.

Compared with the previous video,

the only new thing is the camera.
The rest is the same.

the only new thing is the camera.
The rest is the same.
The video was made using outlines of
data extracted from the server room.

The video was made using outlines of
data extracted from the server room.

The video was made using outlines of
data extracted from the server room.
From this part...

The video was made using outlines of
data extracted from the server room.

it's like his mind goes whoosh.

People regard AI as something
that operates all by itself.

But this time, the sensors are
how Kato-san feels the world.

We debated how to express something
using the sensors alone.

When AI recognizes
the world for the first time,

it does what we call "search"
or "sensor."

So if we can visualize these,
I think we'll have something unique.

It looks too linguistic to me.

And it's boring.

It looks totally ordinary.

It just looks stippled.
Nothing special.

That's what you want?

The sense differs if I move

or if I feel the whole space
without moving.

When you move away, computers or
whatever look smaller in size.

But not for me.

For me, a PC is a PC,
a table is a table.

The size doesn't change
if I get close or far.

In my mind, I mean.

But humans naturally do that.

It just looks that way.

In my imagination,

the camera pulls back,
and the room expands.

Like this and then...
like this.

And at last, like this,
it looks like this.

- Exactly.
- Am I correct?

So you're here.

And...

like this.

- What you touch, expands.
- Yes, it can expand more and more.

I think it can stop here.

But the rest here gets expanded
more and more.

And now it's a square.

I think my suggestion matches
your explanation of AI.

I think we can communicate it this way.

But is it interesting as an image

or something we've never seen before...

If that's the point,
then I can't help.

SONAR and fishfinders create maps
by reflecting sound waves.

That's no different.

Making a bird's eye shot could work.

It'd be like the third person view,
and easy to understand.

I think it works.

- Yeah, a down shot...
- It's more...

inner mind.

It shows the image in his head.

First inside his head, then out...

It's true that would communicate
it better.

Sounds good to me.

It's frustrating when
I suggest something,

and people say it isn't new enough.

"I don't give a shit."

I'm like, "What the fuck!"

I gotta give up.

Or this is gonna kill me.

After shooting has finished,

the final step is to record dialogue.

Koichi Yamadera
Voice Actor (Edih)

Koichi Yamadera
Voice Actor (Edih)
Edih is more laid-back?

Koichi Yamadera
Voice Actor (Edih)

Koichi Yamadera
Voice Actor (Edih)
I wonder what tone works?

Koichi Yamadera
Voice Actor (Edih)

Koichi Yamadera
Voice Actor (Edih)
Edih is the cool one.

Edih is the cool one.

He feels like everything is
a pain in the neck.

He can't be bothered to do much.

So, a little lazy?

So the "Aye, Sir" part is a joke.

He's finally getting into it.

It's your stink. You officers all
smell like the same detergent.

Nobutoshi Kanna
Voice Actor (Lesk)

Nobutoshi Kanna
Voice Actor (Lesk)
"What? It doesn't work on him?"

Nobutoshi Kanna
Voice Actor (Lesk)

Nobutoshi Kanna
Voice Actor (Lesk)
"Let's see if he likes this."

Nobutoshi Kanna
Voice Actor (Lesk)

We record up to the coin-toss.

The coin-toss, okay.

Pause after saying the "we begin."

- I got it.
- Thanks.

It seems strange to say,
"What's your problem?" after saying "Wait."

Yes, I agree.

Edih is asking why Lesk said "Wait."

So it's a rule in their game?

That's right.

- It's a street-battle rule.
- Yes, it is.

- Please get ready.
- Okay.

"Have it your way.
I'm Telepathing you..."

I messed up.

Yeah, right after you breathed.

- I'm so sorry.
- Use this part.

"I thought you might be able
to feel the Ghost."

"Here."

"Drink this."

"Yeah, thank you."

Oh, for Edih's "Thank you," you wrote
that he hesitates a bit.

He's not sure...

Lesk gives him a water bottle
and says, "Drink this."

But Edih doesn't see it.

- He hasn't entirely trusted Lesk yet.
- I see.

"Your eyes..."

"They don't see. Who gives a shit?"

"So that's why..."

"I lobbed a visual hallucination at you
using my Telepathy."

"Now it makes sense."

In my opinion...

it was perfect.

I felt the rhythm was good.

Really. Thank you.

- Thank you very much.
- Thank you.

- Great job.
- You too.

I was curious how Kato-san
would make a movie.

I knew he must have a very keen
sense about sound.

If we slack off, he'll know instantly.

Chosen by such a director,

we're really honored.

I agree.

But he can see right through us.

We were actually quite nervous.

Really?

Sometimes they say you can never
adapt a movie from a certain book.

The images are already in our minds.

Yes.

But as a voice actor...

of course, your movie has images too...

I hope my voice makes the audience
imagine more than what they see.

We do, yes.

You gave me goose bumps.

Really?

I'm really happy.

I struggled to stay calm.

- Really?
- Yes.

Kato-san, may I ask your sense
of this character?

As a soldier, Tatiyana is resolute?

As a soldier, Tatiyana is resolute?
Mamiko Noto
Voice Actor (Tatiyana)

Mamiko Noto
Voice Actor (Tatiyana)

Mamiko Noto
Voice Actor (Tatiyana)
- Yes, like a soldier.
- Okay, a military tone, then.

- Yes, like a soldier.
- Okay, a military tone, then.

When she opens up,
she's still like that?

Yes, she is.

Okay.

- We'll begin from Scene 3. Get ready.
- Yes, okay.

"It's the Ghost, Sir."

"It broke into our server
in Blue Cityside."

Can you perform those lines
more gently?

Oh, gentler.

Okay, I'll do that.

Excuse me. About the next two lines,

may I try performing them differently?

- I'd love to hear that.
- Thank you.

"You woke up?"

I dunno what happened.

"I was following you via camera,
but the image cut out."

- Please wait a sec.
- Okay.

What do you think?

This is it. Yes.

The way you performed...

That's what I imagined.

- Oh, thank you.
- Thank you very much.

- Thank you! Thank you!
- Thank you very much!

My hands are cold because I'm nervous.

- It was a real pleasure.
- It was my honor to have you.

Thank you.

Your movie used so many media.
CG, live action, and anime.

Even though the media changes,
the characters stay the same.

This felt new to me.

Each time I was surprised,
I got more pulled in.

- I enjoyed it.
- Thank you.

I enjoyed it very much.

I can't wait to see the complete movie.

And I want to see a sequel!

Really? Thank you so much.

What's Connor's personality like?

- He's merciless.
- Merciless.

Always heartless.

Heartless... How old is he?

He is quite old.

And has a deep voice.

And has a deep voice.
Robert Harris
Voice Actor (Connor)

Robert Harris
Voice Actor (Connor)

Robert Harris
Voice Actor (Connor)
He speaks with a deep voice. Okay.

Robert Harris
Voice Actor (Connor)

So he's 55 years old.

- He's like a career soldier?
- Right.

He'll never go to the front line.

- He's a major.
- Okay.

But he has stayed alive,
so he's done bad things.

- Maybe.
- Right?

Please take a seat there.

- The glass is here?
- Yes.

I feel very at home here.

- Really?
- Yeah.

I've been in booths for decades.

- He means the radio.
- That's right!

- J-Wave, too?
- Yeah.

"Major Connor here."

Sorry for interrupting.

"No problem.
But this will be audio only."

"What are you waiting for?"

"Send in a platoon.
Have them prevent any leak."

May I ask you to perform more calmly
in the latter half?

Calmly? Okay.

Maybe he doesn't get excited so much.

- That's right.
- Yeah, okay.

"If the UGSF can't get in there,
find someone who can."

"I'll take responsibility."

"Get out there and find someone."

It was awesome.
I love your deep, low-key voice.

It was so Connor.

Really.

This is his first film.

Now he's bitten the apple,

maybe he'll try a longer one.

That's not...

- No?
- I mean...

It's not that I don't want to,
but life isn't so generous.

But you want to make it.

If possible, yes.

- The sequel to this movie?
- Yeah.

Especially after hearing people want
to see the sequel.

I wanna see it too.

Make one!

This is Cazablanke.

A frontier planet owned by the
United Galaxy Space Force.

Population: about a million.

More than 90% of the residents are
Earthian-hybrids:

mainly soldiers and their families.

Everyone else must struggle to keep
the soldiers' world alive.

What a weakling!

And your clothes... You look like shit.

I wear what feels good.

Since I'm not a soldier like you,
I don't need to judge by appearances.

I'd die before becoming UGSF beefcake.

You can tell I'm a soldier?

It's your stink. You officers all
smell like the same detergent.

You dog!

Stop the talk!

What're we waitin' for?

When the coin hits, we begin.

He's not bad! But can he take this?

What'd he just hit me with?
Some kinda sound strike?

What? It doesn't work on him?

Let's see if he likes this.

- Wait!
- Wait!

What's your problem?

What's your problem?

Wait...

Your eyes...

They don't see. Who gives a shit?

So that's why...

I lobbed a visual hallucination at you
using my Telepathy.

Now it makes sense. I felt something
like a headache.

You wanna use your Sense for real?

For real?

For the United Galaxy Space Force.

Spare me the military crap.

Just hear me out...

Calling: Connor

Major Connor here.

Sorry for interrupting, Sir.

No problem. But this will be audio only.

This is Captain Tatiyana Aguiari,
Delta Regiment.

This is urgent information.

What is it? Spit it out.

It's the Ghost, Sir.

It broke into our server
in Blue Cityside.

Our secret data is at risk
of being leaked.

The Ghost did?

The Ghost has penetrated and destroyed
all our security barriers.

What are you waiting for?

Send in a platoon.
Have them prevent any leak.

My men are refusing.
They're afraid of the Ghost.

If they can't see the enemy,
they're sitting ducks.

A bunch of cowards...

Do you have a plan, then?

No, Sir. I'm afraid not.

The men are no use. There's no intel.

If the UGSF can't get in there,
find someone who can.

I'll take responsibility.

Get out there and find someone.

Aye, Sir.

I thought you might be able
to feel the Ghost.

Here.

Drink this.

Yeah, thank you.

It's a good offer, right?

The Ghost would be a fun target for you.

Okay...

It sounds pretty interesting. I'm in.

On one condition... You come too.

I use my Sense to capture it.
Then you read it with your Telepathy.

Don't you need Auto-Drive?

Why bother when I've got you here?

Have it your way.
I'm Telepathing you the route.

Please do.

I hate relying on the 'puters
for everything.

Lesk Otokham, First Lieutenant.

This is Captain Tatiyana.

I'm on my way to the site. He's with me.

Edih, how do you do?

I'm Captain Tatiyana.
Thanks for helping.

My pleasure. Good to meet ya.

You have a hot voice.

That sultry voice...

leads you right into the arms
of a handsome boy.

Lesk, I know you Telepathed something
to Edih just now.

Fess up to it.

No, Ma'am. I just conveyed the truth.

Earthian-hybrids need more than words

to understand anything more
complex than two genders.

Are you fibbing?

Fine, then...

Don't trust First Lieutenant Otokham
too much, Edih.

He's prone to misusing his ability.

Got it.

I'll keep my guard up.

By the way, Lesk, how much did you
tell him about the Ghost?

Everything I could possibly know.

Really? Telepathy sure is convenient.

We're just arriving at Blue Cityside.

Copy that. Please be careful, guys.

If you feel danger, you can abandon
the mission.

Edih, keep an eye on Lesk.

Aye, Sir.

You sound like a soldier...

It's fun to pretend.

What do you Sense?

Nothin'.

Nothing here, too.

Clear.

It's in here.

Where?

Read my image as I close in.

Okay.

Someone's here.

The sensations are fusing...

You woke up?

I dunno what happened.

I was following you via camera,
but the image cut out.

I need a report from you now.

I'm not feeling my buddy here,
or the Ghost.

Something's there.

Director and Writer
Hideyuki Kato

Assistant Director and Co-Producer
Makoto Sasaki

Producer
Miyuki Tanaka

What is this?

It's saké, okay.

What cute kitty make-up!

Her mom did it.

Is it okay?

Thanks.

- They look good.
- Made by Kato-san.

- They taste delicious.
- So good.

It's yummy.

Ask Kato-kun to cuddle you.

I want Daddy! I want Daddy!

Daddy! Daddy!

You don't like that?

Okay, okay. Okay, I'm sorry.

So, the movie is done.

What did you think on seeing it?

I say "see" on purpose.

Don't gimme that.

What did you think on seeing it, Sasaki?

You want my opinion?

Well, I liked it.

But your visual senses don't
let you see it.

So, as someone sighted,

I'm not really sure
if it was what you imagined.

But it's a finished movie,

and I think it's good as it is.

What's important is whether
it's a good movie or not.

Did you enjoy it?

I did.

What did you enjoy?

Well, that's...

I hate to say it...

but it was the dubbing.

If you ask me...

I'll admit it.

And what was that cat, after all?

You dare ask me that?

Director, Camera, and Editor
Makoto Sasaki

Producer
Miyuki Tanaka

English Subtitles
Ayumi Kageyama & Jonathan M. Hall