“Scarlet ‘director of Mamoru Hosoda Bridges East and Western

In Anime Master Mamoru HosodaThe latest feature, “Scarlet“An innovative Japanese movie manufacturer looks west for inspiration: Shakespeare themes, classic European fantasy and tradition of Walt Disney Princess.

In a sense, it makes it a mirror image of what encourages the success for the “KPOP Demon Hunters”, an animated hit of Asian, Asian cultures, asian-culture and the original film that is the weakest Netflix became the most famous original film. (This is probably not a coincidence that “KPOP” and “Scarlet” are developed with Sonyla’s support. While “KPOP” is produced in the house, “Scarlet” is the first studio Chizua that will co-finance the Japanese power plant.)

Via suggest that “Scarlet” is “very relevant to our current social climate,” Hosoda is quite secret about this new project, which prime ministers outside of competition Venice Film Festival 4. September.

“Simply put, this is a story about revenge,” just entrusted. “Our protagonist scarlet is a princess from this type of median century that was not accurate revued to its sworn enemy. Then he is transferred to another world’s search.”

From “Boys and Beasts” to “Belle,” almost all of the histories of Hosod, the real life and avoid virtual areas, past and present, modernity and mit – in a strategy testing its protogers to face challenges. “Scarlet” is not an exception, presenting his Eastern Princess a modern sister in a single hosod spin at the Buddy Movie formula.

“The fact that with this transportation to another world allows you to exchange really unique ideas” explains the hosoda, who remains in the morning about where Grimić comes in the morning. “Which two worlds are in opposition is the basic essence of what this film makes unique.”

This meeting of cultures of mirrors is a more comprehensive hosod phenomenon in animation media. Until about 10 years ago, he notices, there was a little overlap between tons produced in America, Europe and Japan. “It was all changed with the rise of streaming platforms,” ​​he explains.

Suddenly, “the audience from all over the world must consume and understand different types of expression, and these large walls separated by these three styles is reflected in the” Spider-Man “and a spider hunter” and “KPOP demon”. “

“Whatever we create, international audience that can relate to it and who now has literacy to understand the shade of what these different types of animations are trying to transmit,” he says.

“I’m actually a huge fan of American 2D manual animation style, from which I drew a lot of influence. I look at” beauty and beast “and what Glen Keane could establish as this measure of character and performance,” said Hosods. “I have so much respect for what he did, and now maybe Japanese anime affects other people.”

“Scarlet, which lasted four and a half years to produce (almost 50% longer than three-year-old historical functions of Hosods), praised the richer, more detailed aesthetic, including a series of facial and expression rarely seen in anime. Although Hosoda started a career who practiced the traditional Japanese 2D hand-drawn approach, gradually incorporated digital techniques on the road (most importantly in “Bella, which was tapped by Disney Veteran Jin to make a Disney veteran.

Kim returns to “Scarlet”, this time he joined the “Big Hero 6” Collaborator Tadahiro Uesugi (set designer with a characteristic eye). “Several collaborators in this film have a lot of large loans under their belt, and it has allowed me to expand my horizon,” Hosoda says, who used CG to improve the feeling of hand-drawn feeling. “A detail of many characters and models is something that would be extremely challenging with 2D, if not impossible.”

Another key factor in the hosoda growth as a narrator is the way international presentation festival led to a wide audience on his work. It started when the “girl who stopped through the time” called to the screen in Busan in South Korea, followed by Berlin Prime Minister “Summer Wars” and “Mirai” Debituring in Cannes.

“With each film, I am able to communicate directly with a new audience, which has expanded its own horizon for different types of topics and forms of expression,” he says. “The fact that I am able to take these almost Šeksper’s elements and apply them to animation is something I never imagined that I would have happened when I overtake an hour 20 years.

“For me, this idea of ​​revenge is now more relevant than ever. The world is very unstable. It is kind of frightening. There are a lot of conflict,” he says. “But like Creator and Film Creator, I think we all strive to communicate on this different plane or artistic level and I hope that it can somehow bring us to another world, so to speak.”