Bokutachi no Remake – 03 – Getting Fired Up

BnR isn’t wasting any time, jumping from the realization Team Kitagawa only has a still camera to work with, to screening day. It was also somewhat disappointing that we didn’t get to see a moment of Eiko’s teams short, only the overwhelming positive reaction to it.

You could say this show isn’t about Eiko’s team or their short, and having them go first added tension to Kyouya’s screening. But jumping straight to judgment day only to rewind back to explain how Kyouya pulled it off feels a little awkward.

That said, I’m happy I was correct in my prediction they’d go with a photomontage style, which was the most logical thing to do, but also that nobody on Kyoya’s team knew what he was going to do. And it worked—even Eiko is impressed!

That said, Kyoya’s team only gets third place, while Eiko wins. Yet Eiko is just as angry as they are, because she thought Kyoya’s short was the best! Alas, it’s not just about artistic attributes; this is a class, and the short was an assignment.

The professor—who is Eiko’s big sis—could tell that Kyouya’s team didn’t think their project through due to some kind of logistical difficulty with production. But she was nevertheless impressed with Kyouya’s problem-solving skills, such that she assigns Eiko to work with Kyouya’s team in the future.

Kyouya may have been simply trying to prove to himself that he could take a different path than the one he took before, but in the process, he inadvertently put his teammates/roommates on notice. Seeing what Kyouya could pull off without a video camera makes them that much more eager to step up their respective games.

In Nanako’s case, she wants to show off her acting chops in an actual moving picture … but she also wants Kyouya by her side while she tries to improve her singing. Even before Kyouya knows what’s really going on, he can tell Nanako has volume and charisma…it’s just she’s quite tone deaf! There are romantic undertones throughout the karaoke session and their walk home.

Not to be outdone by Kyouya or Nanako, Shinoaki reveals to Kyouya that she knows he knows about her night drawing in secret. She tells him that while she knows she’s good enough at it to win some awards, that’s not enough to make a living, and she has zero confidence about it, to the point she’s considering quitting art school altogether!

This is when Kyouya, who knows the Shinoaki of the future will be a famous artist who will bring joy and comfort to millions, including himself, takes Shinoaki by her slender shoulders and tells her she can’t give up…because he loves her…art. Adding the “art” at the end kinda dulls what would have otherwise been a confession, but hearing those words brightens Shinoaki’s entire world, and puts a twinkle in her eyes.

She wants to know what kind of guy thinks such nice things about her, and what his goals might be. Kyouya’s not ready to tell her yet, but like Nanako and Tsurayuki, he’s lit a fire in her belly that she’s determined to feed by continuing to improve her craft.

Rating: 4/5 Stars

Bokutachi no Remake – 02 – On the Right Track

Given the chance to go back ten years, Kyouya has resolved to do a better job this time around, starting with taking a different path in choosing art school. But beyond that he had no idea where that new path would take him. If the answers are in his head, you could say they’re locked, and getting to know his three roommates is a good start in finding the means to unlock them.

By coincidence, Kyouya gets a part-time job at the same konbini as Nanako, and a part of that job is restocking the walk-up fridges. Between the darkness of the stocking space behind the shelves and the coolness of the fridge, the scene is akin to a cozy winter night in the park, only Kyouya and Nanako are on the clock.

While Kyouya may have entered art school completely devoid of confidence, he’s already learned from his roomies that just because they’re talented doesn’t mean they don’t have their own insecurities. It didn’t sit well with Nanako that she thougth Lake Biwa was the ocean, so she left her hometown to get a better idea of the size of the world, hoping to learn who she is as the explores it.

Kyouya admits to us that he’s in no hurry to get past either quiet little scenes with Nanako in the fridge or even the little conflicts that arise when two guys and two girls live in the same space (read: food stealing, which Shinoaki will not tolerate).

Things become a bit more urgent in the now when their class is assigned a short film assignment. They’ve only got three minutes to tell their story. Having spoken to Aki and Nanako and having found similarities to his own (and even having visions of the three on the same train platform), Kyouya comes up with the idea of telling the story of a woman’s life by using a day at train station.

Tsurayuki, the one roommate Kyouya hasn’t reached out to about why he enrolled, goes into his room for a half-hour and comes out with a treatment for the station idea. But then he takes Kyouya aside and says he had the same exact idea locked away. He knows Kyouya didn’t steal it, but asks if “anything else is going on.” Kyouya is unsure of how to answer, so he says nothing, and the tension passes.

Still, it’s telling that Tsurayuki is the first one to get a hint that there’s more to Kyouya than meets the eye, even if he has no idea what that is. He’s a screenwriter, after all, and scenarios like that are always going through his head. He accepts that two people get the same idea all the time, and the group starts production of the short in earnest.

This inevitably leads to creative differences, with producer Kyouya’s insistence they stick to the three-minute limit butting up against Tsurayuki’s desire to tell his story his way. He thinks if it’s good, no one will care about the runtime, and even asks Shinoaki and Nanako to adjust what they’re doing to accommodate his contribution.

When Kyouya puts his foot down, Tsurayuki is angered, but in this case at least, Kyouya is right; this is an assignment and if the rules are broken all their collective efforts are for naught. That said, he also knows Tsurayuki has a point about taking risks and not over-compromising on one’s art.

A lot happens this week with the group beyond the group’s short film. There’s the aforementioned getting-to-know-you and slice-of-life scenes; Kyouya, Shinoaki and Nanako are snared into a fine arts club desperate for members, and Eiko reveals her group is also filming in a train station and won’t be outdone. I do hope at some point Eiko becomes a less antagonistic presence, knowing how well she and Kyouya work together in the future.

When Kyouya’s teacher can tell he’s down in the dumps, she shows him a script from a film that everyone loved, but no one liked the finished product, because the director and cast got to do whatever they wanted without any boundaries. She reminds him a producer doesn’t just issue cuts or subtraction, but about properly wrangling and harnessing the collective talent of his team to make a final product people will like.

It’s just as much a creative process as writing a script, drawing storyboards, or acting, and it’s something Kyouya reveals he’s actually good at when he applies himself. He manages to strike the balance of motivating Tsurayuki and the others to do what they do best without letting them run wild, and they in turn appreciate his calming, organizing presence.

That’s why it’s so heartbreaking that on the first day of filming, when all their planning and preparation is about to start paying off with real images on film, learn Tsurayuki accidentally checked out a digital still camera instead of a video camera. Here, the others echo a statement Kyouya had repeated to himself and used as a crutch for much of his ten years to come: It is what it is…nothing to be done about it.

It is here where we learn the true power of Kyouya’s potential as a producer: he alone, having lived and learned from those ensuing years, is the only one of the four to say No, something CAN be done about it. And he’s right. Chris Marker’s La Jetée is just one famous example of a film composed of a series of still photographs.

I’m guessing that’s what they’ll do, but even if it isn’t, the fact Kyouya isn’t going to let things end here means he’s continuing to learn and benefit from the time jump. What’s so satisfying about this dynamic is that he now finds himself in a position to help everyone out because living and working and bonding with them helped get him in that position. It’s a symbiotic balance creative teams always strive for.

Rating: 4/5 Stars

And now for some pretty charts!

We here at RABUJOI have watched a lot of anime. Not as many as some, but no trivial amount. So we were wondering, which animation studio has churned out the most works we’ve watched? The below charts are the result. We took all of the tv series, OVAs, and films we’ve seen in the anime genre and sorted them by cheif animation production company.

A few notes: These are only works we’ve watched and rated, not all the works the companies have produced.  A few works (e.g., Shikabane Hime) are co-produced by two companies (in its case, Studio feel. and GAINAX). So those shows count for both companies. So when sorting by total number of works (series + OVAs + films), here’s what was revealed:

That’s right, GAINAX and Ghibli are tied for the top spot with fourteen works each. Not too surprising. While GAINAX is a mix of formats, Ghibli is pretty much just films. We haven’t seen any Ghibli films since Tales from Earthsea, so Ponyo and Arriety aren’t included.

But what about pure episode count? Trickier, but doable. More caveats: we included the full count of episodes for currently airing Summer 2011 series (e.g. all 11 Usagi Drop eps, although we’ve only seen the first two). Concurrently, for past series we’ve either dropped or only watched part of (e.g. Bleach), we only count the episodes we’ve watched, not the sum total aired. Finally, we don’t count films as episodes, but we do count OVAs. With all that in mind, let’s have a look at the top ten studios, ranked by total episodes we’ve watched:

The “Other” column on the left is a mélange of 39 different studios. Pierrot’s lofty figure isn’t surprising, as we confess we have watched a lot of Naruto and Bleach in the past…their episodes aren’t typically that high-quality and are extremely drawn-out and filler-prone, so the high ep count should be taken with a grain of salt. Bones and J.C. Staff churn out loads of series, while Sunrise’s count is high due to big (50-episode) Gundam series.

There are some companies (including P.A. Works, Tatsunoko, David, Beetrain and Daume) we really like who are either not yet prolific enough for this list or we simply haven’t watched enough of their works yet.

One thing’s sure, perennial RABUJOI favorite GAINAX’s work count will continue gaining with their current series, Dantalian no Shoka, the continuation of Panty & Stocking, and the final two Eva films. Perhaps our second favorite studio is financially-crippled GONZO, who haven’t done much since Shangri-la, but plan to have a Last Exile reboot out late this year, which is very promising.