It's been a long time coming but as mentioned on our first podcast last week, it's the return of the Anime UK Sales Charts! The last one posted detailed September 2013's chart - yes it's been that long since the last one was posted.
Over the course of the next week or two we're going to be catching up in the form of posts combining certain time periods, for example one particular quarter of the year, while retaining the rankings for each month. Today we're focusing on the period between October 2013 - December 2013. It was quite a while ago, but here's how things shaped up. Continue Reading
By Andrew Osmond
One of the century’s great philosophers sang that everything you know is wrong, black is white, up is down and short is long. Patema Inverted, by director Yasuhiro Yoshiura, confines itself to Weird Al’s middle axiom, that up is down. The heroine Patema begins in an underground world, falling ‘down’ a chasm to the surface. Once there, she must hang on desperately to anything she can, or plunge into the clouds beneath. A surface dweller appears, and the picture rotates one-eighty degrees to show what he sees; an upside down girl, being yanked up into the sky. “Don’t fall!” she shrieks at him. “Fall where?” he asks reasonably.
It’s a wonderfully fresh starting point for a film, though of course there are precedents. Gravity reminded us there’s no up and down in space. In fantasy cinema, David Bowie strode around an Escheresque castle in Labyrinth (an idea extended in the third Night at the Museum), while Paris rolled up on itself in Inception. A much closer film to Patema was Upside Down. Made around the same time as the anime, this was a French-Canadian live-action film whose leads, played by Kirsten Dunst and Jim Sturgess, are kept apart by competing gravities.
It was close enough to give Yoshiura the heebie-jeebies. “When I was making Patema Inverted, the producer came to me and said there’s a film with the same concept, which was a shock!’ Yoshiura told me. ‘I looked at the poster, then I put it away… I haven’t seen the trailer because I didn’t want to be influenced.” Luckily for Yoshiura, Upside Down was a squib, getting poor reviews and scant distribution.
On this inaugural edition of the programme the theme is very much an introduction to Anime Limited. So with that in mind Jeremy Graves (Anime Limited's Marketing Executive) essentially interviews Andrew Partridge (President of Anime Limited) and Kerry Kassim (Head of Marketing for Anime Limited) looking at back at the how the company first came about, how things have gone along the way and give you an idea of where things will be going over the next year too.
On top of that there's also talk on our latest film acquisition, Miss Hokusai, and time to answer some questions from the community as well!
(To download the podcast as an mp3, click on the arrow pointing down in the top right corner of the player above.)
As things stand the podcast is available through Soundcloud only. (Should it help you can find our Soundcloud page HERE.) We are looking to make this available through other services such as iTunes too, but we wanted to get the ball rolling with the podcast sooner rather than later, so in short other platforms will follow.
We look forward to hearing your thoughts.
Glasgow, UK February 26, 2015 - Anime Limited are thrilled to announce the release of Miss Hokusai in the UK and Ireland.
Hailing from Production I.G (Ghost in the Shell; Giovanni’s Island) and directed by Annecy winner Keiichi Hara, Miss Hokusai lands on UK and Irish shores later this year with a theatrical, with a subsequent home video release (both blu-ray and DVD).
Based on the original comic book Sarusuberi by Hinako Sugiura, Miss Hokusai will be released theatrically in Japan from May 9th. UK and Irish audiences can expect to see it hit the big screen from October into November, 2015 with the home video date to be set in due course.
About Miss Hokusai
The place: Edo, now known as Tokyo.
One of the highest populated cities in the world, teeming with peasants, samurai, townsmen, merchants, nobles, artists, courtesans, and perhaps even supernatural things.
A much accomplished artist of his time and now in his mid-fifties, Tetsuzo can boast clients from all over Japan, and tirelessly works in the garbage-loaded chaos of his house-atelier. He spends his days creating astounding pieces of art, from a giant-size Bodhidharma portrayed on a 180 square meter-wide sheet of paper, to a pair of sparrows painted on a tiny rice grain. Short-tempered, utterly sarcastic, with no passion for sake or money, he would charge a fortune for any job he is not willing to undertake.
Third of Tetsuzo's four daughters and born out of his second marriage, outspoken 23-year-old O-Ei has inherited her father's talent and stubbornness, and very often she would paint instead of him, though uncredited. Her art is so powerful that sometimes leads to trouble. "We're father and daughter; with two brushes and four chopsticks, I guess we can always manage, one way or another." Continue Reading
By Raz Greenberg
Back in the beginning of the 21st century, there was a short period when people believed anime was on the verge of breaking to the mainstream audience in the west. People beyond the limited circles of anime fans started talking about anime productions, and science fiction and fantasy fandom in particular began listing certain anime shows right next to live-action modern classics (a list dominated, at the time, by Babylon 5, The X-Files and Buffy the Vampire Slayer). Shinchiro Watanabe's Cowboy Bebop would come up frequently in this context; indeed, it is considered by many to be one of the finest examples of science fiction television, animated or otherwise. The buzz it created was so strong that the Wachowski siblings invited Watanabe to direct not one but two short films in their Animatrix anthology.
What was it that made Cowboy Bebop such a fan favorite and critical darling? Geeks drooled at Watanabe's skill in piling up one familiar genre on top of the other, while still keeping the show 's futuristic world wonderfully coherent and believable. Sure, space westerns were nothing new when Cowboy Bebop debuted (in fact, the idea is almost as old as both genres), but a space western crossed with neo-noir… and blaxploitation film… and the Hong-Kong action cinema… well, that was something new.