The Incomparable

306: Only One Spaceship

 

  the incomparable number 306 2 2016 [TS]

  welcome back everybody to be [TS]

  uncomfortable i am your host Jason stell [TS]

  I'm convening another edition I'm i [TS]

  merely the teaching assistant to [TS]

  professor John siracusa this is anime [TS]

  103 the third in our series of episodes [TS]

  in which John siracusa assigns us anime [TS]

  to watch and comment on [TS]

  hi John I Jason did you do the homework [TS]

  this week I did all the homework all [TS]

  that amazing you assigned less of it and [TS]

  therefore i did was just keep lowering [TS]

  the bar until you succeed I crossover [TS]

  that low bar that's what I did [TS]

  joining me as in addition to being a [TS]

  teaching assistant i am also a student [TS]

  joining me my fellow students in the [TS]

  anime one of three class allene sims [TS]

  hello hello [TS]

  I did the homework to at the last minute [TS]

  m which is pretty pretty on par for how [TS]

  I do things that's that's better as long [TS]

  as you have done before the class that's [TS]

  that's good enough and Erica and sign [TS]

  also i assumed it all the homework i did [TS]

  i did last night go see what makeup and [TS]

  once again I'm the anime teacher's pet [TS]

  yeah yeah alright John explain to us [TS]

  what did we watch and why did you choose [TS]

  what kind of back to the the original [TS]

  format which was multiple things by the [TS]

  same director or artists are you know a [TS]

  single person vision it was toned down [TS]

  this time telling me to two things were [TS]

  going to watch we watched too i guess [TS]

  you would call the movies both of them [TS]

  are very short [TS]

  more like short films by makoto shinkai [TS]

  and I like to think to myself and have [TS]

  only seen a little bit of his work that [TS]

  he has made the same movie three times [TS]

  we only watched two of them now I pick [TS]

  some book ends here the one in the [TS]

  middle we kind of skipped over i think [TS]

  it would've been fun to include up i [TS]

  think two is more than enough to get the [TS]

  flavor and the thing is I liked this [TS]

  movie all three times I saw it and I [TS]

  think is interesting things to say about [TS]

  each one it's not really the same I just [TS]

  you know you did this like like the [TS]

  first episode of this we did which I [TS]

  think was a photo she come you can see [TS]

  the through line you can see the artist [TS]

  you can see a single person's vision [TS]

  in our idea our sensibilities coming [TS]

  through and all these movies and I think [TS]

  that's the thing that's fun [TS]

  yeah so we watched voices of a distant [TS]

  star which is short [TS]

  it's what 20 minutes-ish and five [TS]

  centimeters per second which is a little [TS]

  over an hour long or it's basically an [TS]

  hour-long with a little over with [TS]

  credits but it's basically an hour long [TS]

  and so but what's interesting about five [TS]

  centimeters per second is it itself is [TS]

  split into three stories so it really is [TS]

  sort of like we watched for short [TS]

  stories that are kind of though I mean [TS]

  the man want the 15 centimeters per [TS]

  second are interlinked they are you know [TS]

  we follow a character through but [TS]

  they're all all connected and then you [TS]

  know John you nailed it i was actually [TS]

  really laughing when i got to the the [TS]

  when I opened five centimeters per [TS]

  second and flex and I saw the plot [TS]

  synopsis i just watched voices of a [TS]

  distant star and I just laughed because [TS]

  I was like oh okay so it's the same [TS]

  movie except with you were aliens got it [TS]

  their voices are just star which is when [TS]

  we should start with is that I i became [TS]

  to know it mostly because of its origins [TS]

  as this thing that one person [TS]

  essentially made with very little help [TS]

  usually animated movies no matter how [TS]

  strong the artistic vision behind it [TS]

  takes a team of people because it's [TS]

  really hard to get a draw lots of [TS]

  pictures and then there's voice acting [TS]

  and there's music and then there's but [TS]

  you know the sequence of putting it all [TS]

  together and this was a thing made or so [TS]

  the legend goes by like one person just [TS]

  did everything like got got his [TS]

  girlfriend to do the voices he did the [TS]

  other voice got a friend of his to do [TS]

  the music he drew all the animation he [TS]

  did all the very primitive early 2000 [TS]

  cgi on his power mac g4 and just use the [TS]

  bunch of software programs that he had [TS]

  to essentially make a miniature movie [TS]

  all by his lonesome and so that's that's [TS]

  how I came to be attractive like wow [TS]

  someone's using a mac to make this anime [TS]

  thing about at this point I I like a dot [TS]

  on the merits and some of the sort of [TS]

  handmade home rolled a single person [TS]

  made this qualities show through in the [TS]

  movie but i still think it's charming [TS]

  yeah so let's start with voices of a [TS]

  distant star since that is the earlier [TS]

  of these two [TS]

  and I it is more traditionally anime i [TS]

  would say in the sense that most of em [TS]

  again i know i have a skewed view as an [TS]

  American of this is a genre but to me so [TS]

  much anime and and perhaps so much more [TS]

  in Japanese culture that American [TS]

  culture there is a sci-fi influence and [TS]

  but not not not all as we've seen with [TS]

  with other anime that we've seen and as [TS]

  well see with five centimeters per [TS]

  second actually but here we have it's [TS]

  your your your classic boy meets girl [TS]

  girl enters a robotic spaceship killing [TS]

  machine and goes to various far-off many [TS]

  light-years away locations and fights [TS]

  aliens happens every day in Japan [TS]

  typical you know it is tails all this [TS]

  time [TS]

  yeah uh yeah hey yeah its beauty and the [TS]

  tar seein ya i was i was so in for this [TS]

  for a moment what I'd heard voices of a [TS]

  distant star but I had never watched it [TS]

  before so it was nice to have an [TS]

  opportunity to do that and just from the [TS]

  very beginning where you get the very [TS]

  opening sequence where she is you know [TS]

  she thinks she's in the classroom and [TS]

  then suddenly realizes that she's alone [TS]

  she's talking about how the world is [TS]

  places that her cell phone can can reach [TS]

  to send a message to and then realizes [TS]

  she's not in this world anymore and I'm [TS]

  like whoa what's going on as soon as I [TS]

  sort of figured out kind of where where [TS]

  they actually were in what was what was [TS]

  happening I mean I i admit i love [TS]

  teenybopper drama in anime category [TS]

  orange road has one of my favorite anime [TS]

  series is that seemed like I don't know [TS]

  middle school kids and takes place in [TS]

  basically in junior high and I adore max [TS]

  stuff like I don't care what people say [TS]

  the original three gun movies they're [TS]

  not boring i love them so this took kind [TS]

  of those to animate rope things that I [TS]

  love so much and jam them together into [TS]

  like this this stop choc full 25 minutes [TS]

  of the tropes that I like added you know [TS]

  and then later on top you get this kind [TS]

  of classic sci-fi trope of the time [TS]

  distances between different people who [TS]

  are we're talking and trying to send [TS]

  messages [TS]

  from light-years apart so it was kind of [TS]

  like it was tailor-made for one me [TS]

  yeah i mean this so the story is the the [TS]

  girl whose name is Ayano borough is the [TS]

  boy was just does she have a name me is [TS]

  a macaque oh it's becca yeah I'm she boy [TS]

  and girl meet but you know she goes off [TS]

  and joins the the United Nations [TS]

  spaceflight or as it's labeled on the [TS]

  side of one of the buildings or maybe [TS]

  it's the train its United Nations spacey [TS]

  which i think is you'll see an anime [TS]

  many times over [TS]

  united nations spacey I and so she goes [TS]

  and she's in one of these like Max and [TS]

  there that we learned the backstory that [TS]

  aliens attack Mars and there are the the [TS]

  tarsi and ruins where the where the [TS]

  aliens attacked in the tarsus crater and [TS]

  so she is now out among the stars for [TS]

  she's a Pluto she's marshy the Pluto and [TS]

  then they're going to go a light-year [TS]

  away and then there and then they end up [TS]

  eight light-years away at serious and [TS]

  she is sending on her little um on her [TS]

  little cell phone that's like the old [TS]

  style whereas your texting it makes the [TS]

  Ted touch tones and stuff and there's [TS]

  she said it was just adorable off now [TS]

  introduce exc sending texts like what is [TS]

  that t nine is she sending texts the [TS]

  Japanese equivalent to back to the boy [TS]

  who is back there and so like Erica said [TS]

  you get the time-dilation thing it's not [TS]

  quite the problem [TS]

  thirdly it speed of light so it she [TS]

  sends these messages and he's not going [TS]

  to get them for a year or eight years [TS]

  but if they go faster than the speed of [TS]

  light it doesn't mean she couldn't get [TS]

  back faster than that it's I sometimes [TS]

  in this I felt like that maybe the story [TS]

  thought that she was kind of [TS]

  time-traveling forward but that that [TS]

  didn't seem to make sense to me all I [TS]

  don't know maybe that's not how this [TS]

  works but I got hung about that a little [TS]

  they could they could were back but the [TS]

  ideas they're not going to do not do [TS]

  never intended there other difference to [TS]

  the target she's on this mission yeah [TS]

  they could work back like in other words [TS]

  she could outrun her messages background [TS]

  the whole ship could warp lesson today [TS]

  I'm [TS]

  back today but that's not how it's gonna [TS]

  go don't listen to that message i sent [TS]

  you [TS]

  eight years from now you're gonna get a [TS]

  half of a message but ignore it i'm back [TS]

  you know it's the story of its like like [TS]

  a message from far away like from from [TS]

  in the past when it would take longer [TS]

  for communication happened that's what's [TS]

  happening here so so they're separated [TS]

  and now it's like I you know it's been a [TS]

  year and you see him a year older and [TS]

  then it's been eight years and you see [TS]

  him eight more years older and that's [TS]

  this is not exactly still 15 or whatever [TS]

  it's still don't know but it's this [TS]

  long-distance letter-writing kind of a [TS]

  kind of longing for one another but it's [TS]

  far away and there's nothing they can do [TS]

  about it sadness that is is also i [TS]

  didn't know that the standard uniform [TS]

  for driving a mac in it is a schools are [TS]

  14 minutes apart surprisingly versatile [TS]

  in Japan yes can use it for many [TS]

  occupations thanks United Nations this [TS]

  this thing it you know and you know that [TS]

  all the all the traditional anime [TS]

  stereotypes and trucks that are in this [TS]

  you've got you know you've got school [TS]

  girls you got the kids in middle school [TS]

  you have young people piloting max I [TS]

  think this one does lots of shots of [TS]

  power lines [TS]

  yeah but this one does a pretty good job [TS]

  of mixing the two because that theme of [TS]

  story of like a bunch of kids in school [TS]

  and they're going to have relationships [TS]

  and all sorts of problems in dramas [TS]

  that's that's common to many cultures [TS]

  including Japan and lots of stories [TS]

  about that and this one [TS]

  intermix is the the tech stories with [TS]

  that story as if it's two separate anime [TS]

  so it's pretty much entirely devoted to [TS]

  the relationship thing and and you know [TS]

  people wondering about feelings and [TS]

  being distant from each other and all [TS]

  that stuff and just slices and dices it [TS]

  right in with people in space and stuff [TS]

  like the same in the beginning she's [TS]

  she's hesitant to tell him that she's [TS]

  going to be going because she knows it's [TS]

  going to be sad and she's kind of also [TS]

  leaving him behind it she is the smarter [TS]

  and more skilled of the two she's she's [TS]

  able to go on this mission he's not so [TS]

  that the important thing you should have [TS]

  to tell her her you know friend / [TS]

  boyfriend is that she has to go fly [TS]

  giant robots but it could just as well [TS]

  been [TS]

  say moving to a different town as well [TS]

  see in the next movie and that same [TS]

  thing when she's in this whole movie [TS]

  just fighting aliens [TS]

  she's just training shooting down drones [TS]

  protecting her fleet all that is going [TS]

  on and yet the narration and the scenery [TS]

  and everything about it is all about [TS]

  worrying about this boy back home and [TS]

  the distance between them and like as an [TS]

  aside [TS]

  she's shooting aliens yeah which I love [TS]

  because it it really gets at the sort of [TS]

  the feeling that it pervades all the all [TS]

  of his stuff really like what is it like [TS]

  to be a kid of this age encountering [TS]

  these feelings so the first time how [TS]

  all-consuming is that it's so [TS]

  all-consuming that it trumps everything [TS]

  else like being in a giant robot [TS]

  shooting aliens and fighting for the [TS]

  survival of humans across light-years [TS]

  and everything like that that is that is [TS]

  almost a sideshow to the the emotional [TS]

  turmoil that is that the heart of the [TS]

  story and i love i love the [TS]

  juxtaposition those things and clearly [TS]

  this director does too he he loves many [TS]

  things the table come back to many times [TS]

  but the putting everyday life against [TS]

  the massiveness of Space and Technology [TS]

  and aliens is is always a fun [TS]

  juxtaposition I find an anime when the [TS]

  her spaceship is about to go into space [TS]

  warp and get jump light-year away sheet [TS]

  we get the shot of her inside her mac [TS]

  and she's really upset because like her [TS]

  phone is floating in zero g and she's [TS]

  like oh but if I don't send my text [TS]

  messages before we jump there then [TS]

  they're not going to go for a year and [TS]

  that's like that's the end she like is [TS]

  meanwhile yeah occasionally blasting [TS]

  enemies and getting over to the ship so [TS]

  that she doesn't get left behind but [TS]

  she's also very concerned about her text [TS]

  going out which is kind of adorable [TS]

  mhm and and I think the little film [TS]

  makes you as the the viewer also be [TS]

  concerned about her to getting your [TS]

  texts that might be mostly because it [TS]

  doesn't spend a lot of time telling you [TS]

  all about the mission and the aliens and [TS]

  like that is that is not the world that [TS]

  our characters are are in right there [TS]

  just you know just heard you're up to [TS]

  this world whatever it's just it's just [TS]

  work right and even barely that because [TS]

  she even even share as this precocious [TS]

  child who is [TS]

  qualified to pilot these next for [TS]

  whatever reason that they always end up [TS]

  five lines max she's a little bit in [TS]

  over her head to like she's all just [TS]

  kind of crunched up in her little pop [TS]

  there we don't see lots of friends and [TS]

  people and superiors talking to her even [TS]

  like the other pilots in the other [TS]

  mixture connection is entirely back home [TS]

  so we don't want her to lose that [TS]

  connection even as we see the giant ship [TS]

  like crackling and warping beneath her [TS]

  like some ship could warp out and she [TS]

  would be there is stranded in space and [TS]

  dead or the aliens could attack and kill [TS]

  her and the ship but we really worried [TS]

  or at least I am watching it [TS]

  she should get that phone back she's [TS]

  gonna be eight years away and you don't [TS]

  get it's like long-distance relationship [TS]

  is one thing she said it's kind of like [TS]

  air mail and they're like no not airmail [TS]

  8.6 light-years deal with that I think [TS]

  they did a really good job or the art [TS]

  style is really good at showing how [TS]

  isolating that feeling is to like that i [TS]

  don't want to be say like unrequited [TS]

  love but you know that i don't know like [TS]

  having a crush on somebody and knowing [TS]

  that nothing is going to come of it is [TS]

  really kind of in isolating feeling like [TS]

  you could have contact and you know [TS]

  whatever but really you're kind of alone [TS]

  in it and I thought that the way you [TS]

  know the the mac kinda faded in and out [TS]

  and you know in in for battles and then [TS]

  kind of out during you know the the [TS]

  frantic text messaging and I thought it [TS]

  Illustrated it really well [TS]

  yeah definitely and I mean I mentioned [TS]

  the shots of power lines which is a [TS]

  thing that I have seen in a lot of [TS]

  different anime i think used to for sort [TS]

  of different reasons in different ones I [TS]

  I kind of like to sort of anachronistic [TS]

  idea that in this case the power lines [TS]

  are supposed to sort of represent the [TS]

  communication and the fact that her [TS]

  messages are are going along these you [TS]

  know totally different types of lines [TS]

  but we keep getting reminded of of [TS]

  communications by by looking at the at [TS]

  the power lines over and over and over [TS]

  again so my favorite thing and anime as [TS]

  i mentioned every one of these episodes [TS]

  so heavily featured in this like most of [TS]

  the time anime has one or two scenes [TS]

  that do this thing where they will show [TS]

  you some moment or sensation or whatever [TS]

  like this one almost the entire thing is [TS]

  made up of seems like that and it is so [TS]

  pervasive because it's not just like one [TS]

  shot that takes you like to a different [TS]

  place the different headspace the whole [TS]

  movie takes you two different headspace [TS]

  and it combines to give you an [TS]

  incredible sense of of place like it's [TS]

  clear that the people who made this [TS]

  movie this place that they're showing [TS]

  you all these different scenes and every [TS]

  lingering detail on a railing a [TS]

  powerline a set of fences or barriers in [TS]

  a city or asphalt or like just the way [TS]

  they're the this is real place on earth [TS]

  that they're very intimately familiar [TS]

  with the camera spends a lot of time not [TS]

  pointing at people's faces or maybe not [TS]

  pointing characters that also but just [TS]

  showing things like I mean we know this [TS]

  guy likes trains go they go back and [TS]

  forth he likes the details of the little [TS]

  guardrails that come up and down the [TS]

  power lines everyone and not just that [TS]

  the power lines of the communications [TS]

  but there are so many of them that this [TS]

  is clearly like you know nineties a era [TS]

  Japan where the number of wires going [TS]

  everywhere like the density of the [TS]

  population the number of wires going [TS]

  over is just insane and all the nature [TS]

  and the nature sounds everything like [TS]

  that it's it's very unconventional [TS]

  reconstructed it's almost kind of like a [TS]

  Terrence Malick movie or something where [TS]

  you have all these lingering shots of [TS]

  city machinery and nature and empty [TS]

  rooms with nobody in them and with just [TS]

  some lightning wind blowing through them [TS]

  and you're like it is this is a is this [TS]

  a tone poem versus actual and actually a [TS]

  narrative but this movie managers I [TS]

  think to construct a narrative mostly [TS]

  out of scenes not involving characters [TS]

  let alone characters in modem you're [TS]

  talking like this [TS]

  I don't know if he was up for the you [TS]

  know how much times attempt they spend [TS]

  showing a character space with emotion [TS]

  on it almost all the emotion this movie [TS]

  is done through what the characters c [TS]

  and and what it reminds me mostly of is [TS]

  like like a memory like your live this [TS]

  this whole movie is like a memory [TS]

  because you live something that's like [TS]

  yeah you go through your day or whatever [TS]

  but when you think back oh that that [TS]

  summer I spent in Tokyo or whatever you [TS]

  think back on these type of moments and [TS]

  this is like a memory reached backwards [TS]

  and [TS]

  it came all the way back to the present [TS]

  and these people are living in it now [TS]

  even though this is how they're going to [TS]

  remember it later it's it's really weird [TS]

  sensation it's a and it's something that [TS]

  animation conduct can do pretty well [TS]

  because people are more count tolerant I [TS]

  think of unconventional storytelling [TS]

  when it's animated and especially when [TS]

  you have robots flying around and they [TS]

  don't mind that you're going to spend a [TS]

  seven-second shots showing the little [TS]

  heater that's in a little building for [TS]

  in the wintertime when it gets cold [TS]

  no it actually took me until the second [TS]

  movie before I recognize pick out was [TS]

  because because it wasn't like doing [TS]

  anything that's like huh I wonder what [TS]

  that is and then later and adapt you [TS]

  what you'll see it again don't worry i [TS]

  think the I think that this does a [TS]

  better job of it visually than it does [TS]

  you know from put anchoring you in a in [TS]

  a place in a feeling than it does when [TS]

  it comes to the actual sort of narration [TS]

  and info dumps and stuff when it first [TS]

  started I didn't mind the info dumps at [TS]

  the beginning because at the very very [TS]

  beginning you've got the two kids [TS]

  together in in life and it's this hyper [TS]

  active young boy who is just jabbering [TS]

  on a mile a minute which seems very very [TS]

  realistic he's talking about space and [TS]

  all that kind of stuff so that's that's [TS]

  where you learn about that it didn't [TS]

  strike me as you know well as you know [TS]

  Bob it wasn't one of those because it [TS]

  was just the way kids talk and then when [TS]

  it was messages being read out loud in [TS]

  between them you know in either one of [TS]

  their voices that was fine too because [TS]

  those are the messages that they are [TS]

  reading and hearing in the other [TS]

  person's voice in their head so that was [TS]

  fine but as it got kind of towards the [TS]

  second half towards the end it was it [TS]

  was really most of it was just voiceover [TS]

  from especially the boy talking to [TS]

  himself or just doing a voiceover I [TS]

  guess to tell us how he made his [TS]

  decision to live his life in his time [TS]

  and how he stuck with that but but those [TS]

  words were not really diegetic in any [TS]

  way they weren't him reading off a [TS]

  message they weren't him writing in a [TS]

  diary at least not that we can see so I [TS]

  felt like it's stuck out a little bit [TS]

  more like a sore thumb because there was [TS]

  no in story reason for it whereas [TS]

  earlier in this piece all of the all of [TS]

  the words that we were getting really [TS]

  were a part of the fabric of what it was [TS]

  we were seeing it's almost like we had a [TS]

  time crunch there it's like [TS]

  let me get this thing finished at some [TS]

  point he knows all and i also wonder if [TS]

  it was kind of intended to be if i could [TS]

  get an email to her in a timely manner [TS]

  this is what it would say like that's [TS]

  the thing that I've I do all the time as [TS]

  I compose things that I never actually [TS]

  right in my head and so maybe that's [TS]

  that can be a way to kind of hand waving [TS]

  okay to just very much felt like he was [TS]

  talking to us and not himself [TS]

  yeah yeah i mean like this a problem [TS]

  with the structure of this movie as you [TS]

  have these two and you pull them apart [TS]

  at a certain point that distance become [TS]

  so great that the boys left sort of [TS]

  abandoned but if you don't introduce any [TS]

  other characters who does he have to to [TS]

  tell this too is only so much you can [TS]

  express through the scenery lie i would [TS]

  argue the five centimeters per second is [TS]

  a much better job of showing the short i [TS]

  think in by the time five centimeters [TS]

  per second comes along this same [TS]

  director writer and this you know like [TS]

  it was better able to show how people [TS]

  are feeling without having them simply [TS]

  to read I like I decided to harden my [TS]

  heart and I was gonna like you are right [TS]

  we can get that in other ways but in [TS]

  this movie is to write us to just said [TS]

  straight out although i think the reason [TS]

  i'm mostly distracted by what is a lot [TS]

  of on-the-nose dialogue and riding in [TS]

  this and it's hard to tell a lot of his [TS]

  bad translation to but it's very it's [TS]

  very sort of in the voice of characters [TS]

  this age and characters age are silly [TS]

  and don't know anything so they're very [TS]

  very overblown and dramatic and and so [TS]

  that's you know and so that that's the [TS]

  the dialogue but at the same time very [TS]

  often it's intercut with these but I [TS]

  think even even with the limitations of [TS]

  tech very beautiful poignant scenes of [TS]

  you know ship space warping or you know [TS]

  the wind blowing or sun setting so a lot [TS]

  of the time I am charmed by the visuals [TS]

  enough to not be bothered by the [TS]

  somewhat stilted writer order to forgive [TS]

  the you know the the blabbering of [TS]

  lovesick teenagers being like this this [TS]

  animation is really nice though that was [TS]

  very clever that was very well done and [TS]

  I have to but also just being impressed [TS]

  that this one guy newly on his computer [TS]

  did all this stuff and you know like it [TS]

  as you know this because I know what [TS]

  comes after as I see the promise like as [TS]

  i see you know the these ideas and this [TS]

  artistic sensibility and this way of [TS]

  telling stories plus more experience [TS]

  more time and a lot more money and I [TS]

  don't have to imagine what that looks [TS]

  like because we actually see it but [TS]

  anyway and and I also think that the [TS]

  story on this one it got times it [TS]

  doesn't [TS]

  is it more complete and conventional the [TS]

  other one anyway this one definitely go [TS]

  somewhere things happen there are [TS]

  battles right yeah IDK what weird at the [TS]

  end which is another thing that's kind [TS]

  of typical of a lot of everything I've [TS]

  seen so I just rolled with it [TS]

  yeah there's that moment where the so [TS]

  much for there's a moment where the [TS]

  aliens kind of come on to her neck and [TS]

  kind of attached and then she like blast [TS]

  them away that I couldn't decide what [TS]

  that meant and if that was an attack or [TS]

  an attempt to connect or whether [TS]

  everything that happens after that is a [TS]

  dream because they've gotten her brain [TS]

  or you know they just it was like my ok [TS]

  that happened which does happen to me a [TS]

  lot when I'm watching animes like all [TS]

  right go with it roll with it [TS]

  um but they do get they do get to the [TS]

  light when she's on the planet [TS]

  I in this serious system and there's [TS]

  there's almost like a moment of like [TS]

  she's like she's flying around she's [TS]

  kind of looking at the at the at the the [TS]

  sky and all of that and she's feeling [TS]

  kind of nostalgic and it's almost like I [TS]

  wish I could share this with you moment [TS]

  that i thought was a pretty great bit of [TS]

  visual or she wishes she could be back [TS]

  in a convenience store and getting wet [TS]

  terrain because that's like she's she's [TS]

  on an alien planet and a giant Maxine [TS]

  things and no human has ever seen before [TS]

  and she just wants to to you know be [TS]

  down at the corner store where we had to [TS]

  run to get out of the rain that one time [TS]

  I i think if i had a an issue with this [TS]

  story it is that and you guys lived to [TS]

  it which is it the room as an adult I [TS]

  look at this and think in reality that [TS]

  that boy has nine years where he's [TS]

  gotten to text messages from her and I [TS]

  felt like the absence of other people in [TS]

  his life is the part that I thought and [TS]

  i get i get the romantic aspect of this [TS]

  and why they wanted to keep that but she [TS]

  you know she's staying 15 not only has [TS]

  he now nine years older than her but [TS]

  he's lived nine years he's presumably [TS]

  let's be serious here he had other [TS]

  people in his life other relationships [TS]

  you know with with just people in [TS]

  general that he probably isn't like in a [TS]

  room by himself for nine years and it [TS]

  makes that way more messy and [TS]

  complicated and and it not destroyed it [TS]

  that they want to tell here which is [TS]

  this is this special relationship that [TS]

  will go on through time and space but it [TS]

  in a way that five centimeters per [TS]

  second doesn't do this movie keeps it [TS]

  kind of idea like you know what they say [TS]

  Jason near far wherever you are I know [TS]

  your heart I something without a heart i [TS]

  think i think they're actually telling [TS]

  the story they want to tell here because [TS]

  this this whole sure is is supposed to [TS]

  be about that feeling you have when you [TS]

  were this age that this first love is [TS]

  going to be the only one and this one is [TS]

  that's from her perspective it works for [TS]

  me but I know not like I I understand [TS]

  what you're saying that that is it seems [TS]

  i really have the board with that but no [TS]

  it is to the audience is trying to be an [TS]

  audience feel that thing that they felt [TS]

  and I think they get away with it mostly [TS]

  because from from the boy's perspective [TS]

  like all we get is when he's younger sis [TS]

  I'm harden my heart and then we don't [TS]

  have him mooning over 49 years we just [TS]

  skip to the end essentially when he gets [TS]

  the text messages and he shocked and I [TS]

  can imagine him living his normal life [TS]

  for those nine years doing all the [TS]

  things you talked about we didn't get to [TS]

  see that we weren't living that with him [TS]

  we're still living her [TS]

  yeah upset feelings on the planet and [TS]

  you can also imagine him getting that [TS]

  text message and being like oh I you [TS]

  know like you bury it you push it down [TS]

  you forget all about it you live your [TS]

  life then it comes back in a second [TS]

  because you just you know it's like he [TS]

  by then he probably will have forgotten [TS]

  that he was even gonna be getting this [TS]

  text messages from those ratios and also [TS]

  by the way they show that he's kind of [TS]

  keeping up with the space thing because [TS]

  you still kinda into that right now he's [TS]

  gotta go gezina and stuff [TS]

  the moving pictures the harry potter [TS]

  picture yeah well and the cover of that [TS]

  magazine essentially tells you the [TS]

  result tells you the result of the final [TS]

  battle that the use of you have not yet [TS]

  seen which I thought was clever where [TS]

  they tell you the other ships were [TS]

  destroyed the only one [TS]

  has just returned the one that she was [TS]

  on like you you know that how that's [TS]

  going to work out you don't know that [TS]

  she's a pivotally involved in it but [TS]

  he's keeping up with that you could say [TS]

  skipping out that because it's like he's [TS]

  holding a a flame for her but he could [TS]

  just still be into space [TS]

  he did cover a little bit because he [TS]

  even says in his his out loud dialogue [TS]

  that that he stuck to his guns and he [TS]

  did leave his life without her and he's [TS]

  got his military service that's about to [TS]

  start so so I mean you get like tiny [TS]

  little hints of the fact that he has [TS]

  been living his life but I i do like the [TS]

  fact that the the moment that he gets [TS]

  his the text from her that he does [TS]

  happen to be alone and we do get to [TS]

  experience that sort of you know purity [TS]

  of just having these two characters [TS]

  interacting and no nobody else muddying [TS]

  things up and get a lot of its gotta be [TS]

  like budget like drawing more people is [TS]

  harder getting more voice actors you [TS]

  only have you and your girlfriend to do [TS]

  the voices like it's this is a small a [TS]

  small film and all the ways things have [TS]

  to be small where and think about it for [TS]

  for a short movie like this is a fairly [TS]

  complicated involved high-concept type [TS]

  of thing here with this a lot of plot [TS]

  involving the entrance is not really [TS]

  important to the story accepted as like [TS]

  a contrast to the rest of the story and [TS]

  you said towards the end we have to have [TS]

  things progress we have to have them go [TS]

  eight years away but we can't show you [TS]

  like this is not an episodic thing where [TS]

  we get to see to their you know [TS]

  adventures and and separated by time to [TS]

  list of you have to have to kind of [TS]

  bring this to a big finish and the Big [TS]

  Finish is also weird because it's so [TS]

  widely separated by time because her big [TS]

  finish is you know not that long after [TS]

  the beginning of the movie and his is [TS]

  many many years is you know after all [TS]

  that has ended so we don't actually know [TS]

  what happens to her in the eighth [TS]

  obviously she doesn't come back to earth [TS]

  because i think they wouldn't mention [TS]

  that but she's she's dead out there with [TS]

  the aliens you find and then the toxins [TS]

  are totally typical and me we're not [TS]

  gonna explain these aliens guess it's [TS]

  supposed to be ambiguous you don't know [TS]

  where they tryin to be friendly [TS]

  are you know who is the bad guy or the [TS]

  humans the bad guy or the alien is [TS]

  totally not clear at all the horrors of [TS]

  war the fact that she's killing because [TS]

  she's been trained to kill [TS]

  but is that has ambiguous feelings about [TS]

  it has as all young teenagers who pilot [TS]

  giant mechs do it sometime or another [TS]

  there [TS]

  here's so typical that's all straight up [TS]

  the middle and exactly as expected and [TS]

  it i don't know I I dogs is a lovely [TS]

  mixture of like fanservice and known [TS]

  means mixed in with other stuff that is [TS]

  definitely weirder than those other [TS]

  shows that are much more conventional in [TS]

  the treatment of both the the teenage [TS]

  love story and the aliens vs humans [TS]

  battle this week's edition of the [TS]

  uncomfortable is brought to you by like [TS]

  splash that's like splash one word like [TS]

  splash it is your one-stop app for a [TS]

  whole bunch of different interest movies [TS]

  restaurants songs books podcast apps and [TS]

  more they're all rolled together in one [TS]

  beautiful app so instead of having a [TS]

  whole bunch of different apps that [TS]

  you're tapping from one to another and [TS]

  swiping and finding in folders if you're [TS]

  into movies restaurants books songs you [TS]

  might end up with a whole collection of [TS]

  apps in order to explore your interests [TS]

  like splash solve this problem by [TS]

  instantly linking you to all of your [TS]

  favorite apps and services they're all [TS]

  set up for you you don't have to open [TS]

  all those different apps and it gets [TS]

  better with a few taps you can also [TS]

  explore collections of favorite movies [TS]

  songs books snaps collections created by [TS]

  your friends or other users who share [TS]

  your interests like splash also offers [TS]

  another interesting feature remember how [TS]

  you just forget all about a TV show or [TS]

  movie your friend recommended or maybe [TS]

  it's an awesome new restaurant that just [TS]

  opened up [TS]

  it can happen a lot like specially to [TS]

  bookmark those movie songs books and [TS]

  apps anything you fancy it's organized [TS]

  into categories and once again instantly [TS]

  connected to your favorite apps and [TS]

  services [TS]

  it's like a very super version of [TS]

  bookmarking so check it out like [TS]

  splashes on the App Store you can click [TS]

  the link in the show notes or go to [TS]

  bit.ly/b i TTLY / get like splash that's [TS]

  bitd ly /g tlik ESP la sh thank you like [TS]

  splash one app for all your interests [TS]

  for sponsoring the incomparable well [TS]

  let's move on to 5 centimeters per [TS]

  second which we are told at the very [TS]

  beginning is apparently the speed at [TS]

  which cherry blossoms fall huh is [TS]

  actually true do anything like that [TS]

  don't fact-check I don't want to know [TS]

  what that's going to say license that's [TS]

  why they that's why it's apparently [TS]

  called that this is going to be the [TS]

  story of tono who we meet here in part [TS]

  one [TS]

  so three parts in this story part one is [TS]

  called cherry blossom we learned that [TS]

  the cherry blossoms following are [TS]

  apparently if I centimeters per second [TS]

  because that's totally the title of the [TS]

  movie and we meet tono and his friend [TS]

  akari and yes indeed this is a film that [TS]

  has a very similar plot to the voices of [TS]

  a distant star except way fewer aliens [TS]

  and space max but the the boy and girl [TS]

  who meet and become fast friends [TS]

  early on in school and then are [TS]

  separated just as they're reaching [TS]

  adolescents is absolutely the same story [TS]

  here except here it's just she moves [TS]

  away and then and then I think he moves [TS]

  away or he moves away and then she moves [TS]

  away and so they're separated by [TS]

  distance and they're separated by even [TS]

  further distance later on and I and so [TS]

  it's told in these in these three [TS]

  segments and in the product that thing [TS]

  that i found most impressive for our [TS]

  most important in the cherry blossom [TS]

  segment is we spend a whole lot of time [TS]

  with without with tono on a train going [TS]

  to see her it's been a year since they [TS]

  said goodbye and and he wants to go see [TS]

  her and he has to take a train to [TS]

  another train to another train to [TS]

  another train and there's snow and there [TS]

  are delays and and the the movie takes [TS]

  and it's only an hour long but we take a [TS]

  long time to experience the nervousness [TS]

  of not just of seeing her for the first [TS]

  time in a year but the end and obviously [TS]

  he's had a lot of time to think about [TS]

  her because they were they were friends [TS]

  before but they've been sending letters [TS]

  and and he's been thinking about a lot [TS]

  and now he's super nervous about the [TS]

  whole thing and stressed about the trip [TS]

  and their snow and there are delays and [TS]

  keeps looking at his watch because he's [TS]

  supposed to be there at seven and it [TS]

  gets later and later our expressing his [TS]

  is a passionate love for he's carrying [TS]

  that with him too [TS]

  yeah exactly and and so that that's the [TS]

  thing that sticks with me from this part [TS]

  is that is that time it's not all on the [TS]

  train and we we see i should say because [TS]

  it's important later that opening scene [TS]

  they're crossing train tracks and the [TS]

  cherry blossoms are coming down [TS]

  phone that's also paired with the last [TS]

  shot of the movie that comes much you [TS]

  know comes at the end when it's much [TS]

  later in their lives but I that train [TS]

  stuff is going to stick with me for a [TS]

  very long time the thing that blew me [TS]

  away about this film in general in this [TS]

  segment in particular is the almost you [TS]

  know photorealism or hyper realism of [TS]

  the scenery there are light effects [TS]

  there's reflections on desks there's [TS]

  wrote those reflections and on glass [TS]

  there's rain dripping down that was [TS]

  super realistic because that obviously [TS]

  is computer-aided stuff there's a [TS]

  flickering fluorescent light on the [TS]

  train at one point which just blew me [TS]

  away [TS]

  yes PFI and yet it still feels like [TS]

  anime because the characters are all [TS]

  like anime looking you know looking like [TS]

  their cell drawn they behave like [TS]

  traditional anime but they are in this [TS]

  world that is beautiful and like i said [TS]

  i wrote down photorealistic and then I [TS]

  changed it to kind of hyper realistic as [TS]

  hyper as beyond it it's not it doesn't [TS]

  always look real but it looks like more [TS]

  there's some message like boards with [TS]

  the information about where the trains [TS]

  are coming that it's like I would love [TS]

  real message boards to look like that [TS]

  they don't all they do if they do in [TS]

  Japan maybe they do these are super like [TS]

  impressive [TS]

  it's just amazing that look it looks [TS]

  like a memory everything looks like a [TS]

  memory because it glows and and and [TS]

  between dimensions land of letters on [TS]

  but it's so clear that everyone involved [TS]

  in making this is obsessively dedicated [TS]

  to the details like that first 129 T [TS]

  cell phones those screens on the 90 cell [TS]

  phones like so so dedicated to making a [TS]

  realistic-looking screens [TS]

  yeah that may or may not be exact copies [TS]

  of actual products and all these like [TS]

  it's the same thing that there was [TS]

  attempted voices of a distant star [TS]

  they're not exact because there's a mac [TS]

  in this movie and there's no apple menu [TS]

  there's just all the other menu so yeah [TS]

  it's pretty it's pretty obsessive they [TS]

  created the maggots kinda it's kinda [TS]

  like when a perfect blue you know the [TS]

  details are are like the keyboard like [TS]

  that they sat down and then they had the [TS]

  actual things and drew them but all the [TS]

  stuff about is all different places i [TS]

  think the wikipedia page has some shots [TS]

  and voices it just started shows the [TS]

  actual places in the animation so it's [TS]

  almost as if it's rotoscoped just every [TS]

  setting seen gadget in this is [TS]

  so like this when somebody shot showing [TS]

  pens and pencils and maps and lots and [TS]

  lots and lots of shots of things things [TS]

  and places and scenery and nature and [TS]

  the sound of bugs in the summertime and [TS]

  the hot Sun and every little item in the [TS]

  room or the convenience store or [TS]

  wherever it is you know the school and [TS]

  and the desks and the erasers and and [TS]

  all your notes in your mechanical pencil [TS]

  i love that stuff because like I said [TS]

  you'd normally anime we just have a [TS]

  couple of scenes that and this is an [TS]

  entire movie of it combined with like [TS]

  you said the hyper-real that the world [TS]

  there and it almost looks like an alien [TS]

  planet at certain points it's like a [TS]

  dream sequence was kind of an alien [TS]

  planet but even the regular planets look [TS]

  like does did the sky and the clouds [TS]

  never look like that like they did when [TS]

  you're in love and 11 I guess [TS]

  alright and so this the whole movie is [TS]

  his view through through that lens and [TS]

  it is amazing looking and I really feel [TS]

  like voices distant star was trying to [TS]

  do this but the talent and money and [TS]

  time are not yet they're here was like [TS]

  six or seven years later is a you know [TS]

  sort of a realization of the same vision [TS]

  only cranked up to 11 [TS]

  yeah I i watched voices of a distant [TS]

  star in and then followed it immediately [TS]

  with this so at the very beginning of [TS]

  this um I i was a little bit bored [TS]

  because I just felt like the beginning [TS]

  of the cherry blossom part seemed kind [TS]

  of interminable we had all of those [TS]

  letters from a Kauri it was really just [TS]

  mostly from her and I didn't feel [TS]

  connected to her as a character at all [TS]

  so I was kind of like oh boy what am I [TS]

  in for for a whole hour of this because [TS]

  I knew is longer and then when it [TS]

  switched over to tonos train journey [TS]

  everything changed that was that was [TS]

  when i bought in for the same reasons [TS]

  jason said like everything was real [TS]

  around it I was like I could relate to [TS]

  that tension i found myself just like [TS]

  you know my my shoulders kind of [TS]

  creeping up to around my ears going on a [TS]

  journey like that you know being nervous [TS]

  about it in the first place and then [TS]

  having it be delayed and interrupted in [TS]

  the frustration that brings and you know [TS]

  John you always mention that the tiny [TS]

  beautiful moments that that you love and [TS]

  you're right this one was was completely [TS]

  full of them but two of my favorites [TS]

  were during the train journey I think [TS]

  maybe my favorite moment of the whole [TS]

  thing was when he's on the train and it [TS]

  well before any of the delays start [TS]

  happening it's still just the [TS]

  nervousness of setting out to see her [TS]

  and he reaches into his pocket for his [TS]

  itinerary like he's gonna pull it out [TS]

  for like the hundredth time and look at [TS]

  it again and then he realizes he doesn't [TS]

  need to look at it again he's seen it [TS]

  enough times he's just doing it out of [TS]

  nervous habit so he doesn't even pull it [TS]

  all the way out he sort of talk sit back [TS]

  and back and restrains himself and I i [TS]

  have done that i have been there that [TS]

  moment was just it was just pure gold [TS]

  and then shortly after once it's snowing [TS]

  there's this great shot of a close-up of [TS]

  the inside of a train window where [TS]

  you've got you know the moisture has [TS]

  cooled on the inside of the window and [TS]

  just around the edges you get like ice [TS]

  where it's just iced up just around the [TS]

  window pane and there's no people in it [TS]

  you just see a tiny bit of outside and [TS]

  mostly it's just ice it from the inside [TS]

  of a window and it just it it cut [TS]

  through to the heart of me it was great [TS]

  and the details a lot of these shots [TS]

  like that are extreme close-ups with [TS]

  detail not only is the stuff you're [TS]

  supposed to look at incredibly [TS]

  interesting detail but there are often [TS]

  like labels or even like on glass labels [TS]

  that are on the outside so their labels [TS]

  that are stuck on backward from our [TS]

  perspective they're everywhere it's [TS]

  fascinating it's just yeah all of that [TS]

  and like like I said the flickering [TS]

  fluorescent light killed me i also was [TS]

  interested by the scene where he um he [TS]

  at one point is very tired he takes his [TS]

  watch off and set it on the table next [TS]

  to him but that's after he's like that's [TS]

  it forget it because i can't keep [TS]

  looking at this watch I'm gonna forget [TS]

  your watch if you leave it in the [TS]

  training to do yeah you know those [TS]

  details like there were so many almost [TS]

  real-life logos you know like they [TS]

  changed a letter or they changed like [TS]

  starbucks mcdonalds they change a letter [TS]

  or a little detail in the logo to make [TS]

  it just slightly different and I really [TS]

  really enjoyed that and the beginning of [TS]

  it I think Eric I felt kind of part of [TS]

  what you were feeling to where I was [TS]

  like is this could be an hour of her [TS]

  talking to him and letters and we just [TS]

  kind of see what he's doing and I think [TS]

  that kind of once i realized that wasn't [TS]

  going to be the entire thing I felt a [TS]

  lot better about it like exactly yeah [TS]

  like a teenage girl pining after boys [TS]

  you know that [TS]

  I've done that I think this is something [TS]

  I've experienced so I don't know that I [TS]

  necessarily want to relive that and once [TS]

  they got into you know actually telling [TS]

  the story of the journey and and can it [TS]

  interlacing their background and their [TS]

  relationship i felt a lot better about [TS]

  it [TS]

  yeah actually the one point where i did [TS]

  finally sort of not completely by into [TS]

  akari as a character but when he gets to [TS]

  the station and you know he's he's just [TS]

  so tense and he's been waiting all this [TS]

  time and then you find out that she has [TS]

  to [TS]

  she's just been sitting there all by [TS]

  herself waiting for him to show up and [TS]

  he gets there and he walks up to her and [TS]

  when she realizes he's finally there [TS]

  it's like she can't quite believe it she [TS]

  just all she can do is clutch his coat [TS]

  and cry like that moment totally [TS]

  resonated because you know you're just [TS]

  so overcome with emotion you have no [TS]

  real way to let it out and she is not [TS]

  quite comfortable enough with him in [TS]

  person to embrace him or even look up [TS]

  and meet his eyes she's so worn thin by [TS]

  all this waiting all she can do is just [TS]

  cling to the hem of his coat and cry [TS]

  unto her shoes and oh my god I broke [TS]

  down at that point I just lost it he's [TS]

  four hours late for the record he was [TS]

  supposed to be there at seven it's about [TS]

  eleven-fifteen when you arrive you're a [TS]

  person who likes to be on time don't [TS]

  watch this movie oh yeah it was really [TS]

  in addition to all the emotional turmoil [TS]

  like like that but that doesn't feel the [TS]

  same way about that the train being late [TS]

  seem like they just do everything right [TS]

  in that from myself from that from the [TS]

  showing showing things that you know you [TS]

  know the people who made this movie had [TS]

  to have ridden trains during the winter [TS]

  right you know show is like and and it [TS]

  makes you when you recognize something [TS]

  like that if they I've read and trains [TS]

  limited to have also seen that for us [TS]

  and I've also been on that train with [TS]

  the Flickinger prickling for fluorescent [TS]

  light and with a bunch of strangers or [TS]

  maybe I'm alone in the car and that [TS]

  feeling like that makes you believe all [TS]

  the other things they show like I've [TS]

  never been in a weird convenience store [TS]

  in Japan but they have these little [TS]

  drinks that are in boxes that have cows [TS]

  in them or whatever [TS]

  re coffee right yeah but but i totally [TS]

  buy that is that must be just as real as [TS]

  as the things that's all that they show [TS]

  the train from the outside sitting still [TS]

  attracts who hasn't been in the train [TS]

  that's like why are we not moving yeah [TS]

  like your head is better now you're in [TS]

  the snow [TS]

  you're in the middle of nowhere in the [TS]

  dark the train has lights it's as [TS]

  on the inside it's shining light [TS]

  something outside everyone in the car is [TS]

  silent and the train is not moving and [TS]

  how long are you gonna sit there and all [TS]

  the while you're thinking just like how [TS]

  late am I like when that time passes [TS]

  when he's supposed to have been there is [TS]

  going away from even thinking through [TS]

  his journey yeah she weighed in a [TS]

  certain point is like please just [TS]

  anything tonight yeah yeah yeah he's [TS]

  surprised when he sees her [TS]

  yeah I had this push all the buttons i'm [TS]

  somebody likes to be on time I've been [TS]

  on stressful journey is like this trains [TS]

  and planes and things like that [TS]

  I i flew from California to Michigan to [TS]

  see my girlfriend in high school and it [TS]

  was exactly like this exactly like the [TS]

  stress of the whole thing with the [TS]

  anticipation and then and then you know [TS]

  to be late like this then he's got a [TS]

  whole other layer of feelings that are [TS]

  like disemboweling the anticipation [TS]

  feelings and there was just kind of [TS]

  amazing but they do settle down i have [TS]

  to say when they get to they get to get [TS]

  to this point and and they calm down a [TS]

  little bit and they did they haven't [TS]

  shut down they do they do shut down the [TS]

  station but at this point they haven't [TS]

  quite yet bullshit she brought food we [TS]

  brought food to his next he eats what [TS]

  appears to be a puffball of some sort [TS]

  but he's very hungry so he eats it think [TS]

  it's rice [TS]

  yeah yeah rice balls you got some little [TS]

  octopus or squid in there like I you [TS]

  know the the fascination for for [TS]

  Japanese people that probably looks like [TS]

  a peanut butter and jelly sandwich with [TS]

  us but us all exotic look at the cute [TS]

  with their little sort of like a dog toy [TS]

  or something like that it was very large [TS]

  and fluffy [TS]

  I ever mentioned that he lost his letter [TS]

  halfway through this journey into is he [TS]

  right as the journey gets worse and [TS]

  worse the weather the wind blows the [TS]

  letter out of his hand he's just you [TS]

  know he's he's a broken person and he [TS]

  totally doesn't expect to see he's like [TS]

  walking into defeat to say i I'm so late [TS]

  i'm just going to go and then I don't [TS]

  even know what his plan was but he [TS]

  didn't expect to see here there and [TS]

  there she is an area this is where you [TS]

  got the little heating stove with the [TS]

  the the pan of water on top of it acting [TS]

  is like a humidifier for the room they [TS]

  got me because there's the scene at the [TS]

  beginning right where she feeds him [TS]

  she's like oh it's probably not very [TS]

  good we get the impression that maybe [TS]

  it's the first time she's tried to put a [TS]

  meal together or at least you know for [TS]

  someone special and then at the end we [TS]

  you know would we get back to [TS]

  heard they're like saying something [TS]

  about her fiance and you know make sure [TS]

  you cook for him and I was like oh did [TS]

  they get back together and no yeah cuz I [TS]

  thought that they were they were [TS]

  harkening back to that early arduous [TS]

  journey but yeah this is because they [TS]

  don't spend a lot of time showing you [TS]

  character spaces or any part of the [TS]

  characters are also the most of the time [TS]

  looking at objects and scenery you know [TS]

  it's difficult the last sequence of this [TS]

  movie is difficult to track on first [TS]

  viewing of who the characters involved [TS]

  are because they don't name them and the [TS]

  characters don't have conversations [TS]

  face-to-face with each other but yeah [TS]

  that's why this and the other one [TS]

  repeated viewings help just to keep [TS]

  track of the plot and i think that's [TS]

  that's kind of the fault of the movie to [TS]

  know for not being more clear because [TS]

  you really have to establish things like [TS]

  that before you can play off of them [TS]

  were just kind of a shame but it's also [TS]

  unfortunately a something that's typical [TS]

  of anime we're not gonna spend a lot of [TS]

  time identifying characters and people [TS]

  are going to tend to look the same [TS]

  especially in this with have time to [TS]

  draw the character spaces there just an [TS]

  empty blank ya head with hair on them [TS]

  because I not where you're supposed to [TS]

  be looking at or they will play all that [TS]

  well they were not draw the face and [TS]

  then all of a sudden draw the face with [TS]

  eyes and it's like you know that the [TS]

  face comes into being but most of the [TS]

  time most of time looking at snow and [TS]

  trees and listening to insects murmur [TS]

  and light reflected off little metal [TS]

  things are just fine with me so they get [TS]

  their shoot out of the station station [TS]

  closed down no more trains and they go [TS]

  to like a shed in a field [TS]

  yep well first things first they have [TS]

  their kiss under the tree that you had [TS]

  an awesome tree [TS]

  yeah that got me too i got a little [TS]

  weepy that momentous well I always watch [TS]

  anime and wonder where the parents are [TS]

  like aren't your parents worried about [TS]

  you [TS]

  yeah I kind of get the feeling like so [TS]

  his his trip he spent a lot of time also [TS]

  like planning this trip is all these [TS]

  little diagrams and and her little [TS]

  diagrams like where he's going to be in [TS]

  when he's got this all planned out if he [TS]

  said it was the first time going to [TS]

  speak train station by himself so I feel [TS]

  like he's of the age where he's allowed [TS]

  to go on this long trip and his parents [TS]

  understand that he's doing this I don't [TS]

  know maybe some more permissive culture [TS]

  to allow your twelve-year-old to travel [TS]

  across the country to see his a his [TS]

  friend from way back what I mean I don't [TS]

  get the feeling that disobeying the [TS]

  parents get the feeling that [TS]

  greater allowed to do it was the [TS]

  nineties you know everything anything [TS]

  flew the boat [TS]

  although it's also key that this happens [TS]

  before cellphones become pervasive [TS]

  because I should have called cult you [TS]

  know it's all gonna be a little late or [TS]

  you should go home or whatever here they [TS]

  have the habit of action businesses just [TS]

  before everyone had so I had I had those [TS]

  moments in this where it was just like [TS]

  how if only they could call and say but [TS]

  how you can't also he goes back the next [TS]

  morning so i also had that thought of [TS]

  like it was this his grand plan was like [TS]

  look I can just take the train that will [TS]

  take a while but i can go out there and [TS]

  then we can see each other and then I'll [TS]

  just come back in the morning and will [TS]

  be like you know he's moving he's moving [TS]

  like the next day always just let this [TS]

  is the last minute maybe so but they [TS]

  spend time together under the blanket [TS]

  and they are talking they talk all night [TS]

  which I thought was adorable because I [TS]

  guess they're they're young enough that [TS]

  i don't know you you go all that way to [TS]

  and find the boyfriend-girlfriend [TS]

  essentially they kiss and then they go [TS]

  to a shack with a talk on a toggle night [TS]

  well the high from that first kiss can [TS]

  carry you through the rest of the whole [TS]

  night it's not like they you know they [TS]

  don't that better need anything else [TS]

  there it's gonna take all night for them [TS]

  to come down from the kiss and so just [TS]

  snuggling in the blank I thought that [TS]

  was appropriate for the age and although [TS]

  I'm not quite sure they didn't die from [TS]

  exposure but apparently a very warm [TS]

  blanket [TS]

  yeah and and the shack is super [TS]

  insulated so they say goodbye and he [TS]

  goes off on the on uh on the train in [TS]

  the morning and I before we get to the [TS]

  the other segments i want to say the [TS]

  last so he has a voice over here where [TS]

  he talks about sort of his regret saying [TS]

  goodbye to her and knowing that he's [TS]

  gonna move away and so they're going to [TS]

  be even further away from each other [TS]

  than they are already and he uh one of [TS]

  the things he says like the last thing [TS]

  he basically says is i wanted to protect [TS]

  her and I wrote this down with a large [TS]

  WTF next to it because i didn't like [TS]

  this line at all because of whatever [TS]

  represents it is a it that is the best [TS]

  thing you can think when you're leaving [TS]

  her is what you want to be as her [TS]

  protector and save her from the world [TS]

  that is just that [TS]

  yeah that made me angry because that is [TS]

  kind of a stupid and sexist and awful so [TS]

  I was in it took me out of it [TS]

  I had the same feeling but actually have [TS]

  being that feeling sort of helped me buy [TS]

  into the next section because I cared [TS]

  about him less at that point huh well so [TS]

  like we this too is multiple levels of [TS]

  this one is the japan is not really not [TS]

  really lagging i would say behind most [TS]

  of the rest of the world in terms of [TS]

  their view of women's role in society [TS]

  and that is reflected in the Arthur they [TS]

  produce so that's definitely one angle [TS]

  on second angle is the twelve-year-old [TS]

  boys growing up in that culture are very [TS]

  susceptible to it and I bet that is what [TS]

  he would be thinking that if this boy [TS]

  this time in this place but it does not [TS]

  make him a sympathetic character from an [TS]

  adult perspective best you can do is [TS]

  understand i remember when i was young [TS]

  and a young and stupid boy would seem [TS]

  too many stories that put the wrong [TS]

  ideas into his head about the [TS]

  relationship between men and women but I [TS]

  started for me it comes off as if the [TS]

  artist and the movie think that is the [TS]

  deepest and most passionate important [TS]

  feeling you can have about a woman yeah [TS]

  and not playing it as if this boy [TS]

  doesn't is dumb and doesn't know the [TS]

  ways of the world yet because that is so [TS]

  typical way of thinking of that which is [TS]

  it's the man's job to protect her and [TS]

  it's like he wasn't I want to spend time [TS]

  with her i want to you know I want to [TS]

  help her [TS]

  I want to be her friend and and and you [TS]

  know be with her it was I want to [TS]

  protect her [TS]

  that was his well as possessiveness yes [TS]

  exactly and I and I'm you know it's [TS]

  difficult to walk that line because I [TS]

  really feel like it in any in no matter [TS]

  how enlightened the age i think that is [TS]

  a feeling that boys have right at that [TS]

  age especially when they have these [TS]

  girls they don't quite understand this [TS]

  sort of protective possessive feeling [TS]

  but you're supposed to grow out of it [TS]

  and the movie the movie did not then we [TS]

  didn't give a perspective on that didn't [TS]

  give an adult perspective on it just let [TS]

  us soak in the boy's perspective on it [TS]

  definitely seemed like we were supposed [TS]

  to find that as profound and and make us [TS]

  come draw closer to to the main [TS]

  character instead of farther away so [TS]

  story to is called cosmonaut but there [TS]

  will be no space robots I assure you in [TS]

  story to cosmic you don't know was on [TS]

  the rocket earlier we see it we see a [TS]

  shot of birds in the sky we get more [TS]

  birds in the sky here this is a [TS]

  recurring motif in this which I which I [TS]

  like and also these spectacular the sky [TS]

  at night is full of spectacular space [TS]

  things that you can actually see in the [TS]

  sky at night and that's another [TS]

  stylistic thing about this movie that i [TS]

  thought was nice and also harken back to [TS]

  the short that we watched tono is older [TS]

  he has a there's a girl who is crushing [TS]

  on him named sumida she did they they [TS]

  are on a southern island in japan so [TS]

  this is what how so his uh so-so ackari [TS]

  moved to the north to where it's very [TS]

  wintry and then Tony moves to the south [TS]

  to us a southern island in Japan where [TS]

  it's a more tropical weather and there's [TS]

  a space launch facility so we see a [TS]

  rocket or spaceship basically towed [TS]

  across the train tracks very [TS]

  specifically says it's being towed at [TS]

  five kilometers an hour [TS]

  not to be confused with five centimeters [TS]

  per second but i noticed that did [TS]

  another rate of speed with a 5 sumita is [TS]

  interesting [TS]

  she's totally crushing on him they uh [TS]

  they ride their scooters around she is a [TS]

  surfer because this is a this is a [TS]

  tropical ocean community so there's some [TS]

  stuff where she's surfing which is cool [TS]

  he meanwhile she's surfing what is tono [TS]

  doing he's writing messages on his phone [TS]

  to nobody and then deleting them that's [TS]

  what he does relaxation shooting arrows [TS]

  to that was interesting too because you [TS]

  know at the beginning I completely [TS]

  thought that he was still emailing acai [TS]

  and that they still had this thing going [TS]

  on and you know [TS]

  akari is the reason that that I had to [TS]

  feel bad for poor will accommodate [TS]

  samhita but no nope he's not he's not [TS]

  hanging with her anymore even in [TS]

  cyberspace he's just write messages to [TS]

  himself [TS]

  yeah deleting she's so central to the [TS]

  story even though our are supposed two [TS]

  main characters for stories still hear [TS]

  the story is all about the girl and how [TS]

  she's not just dealing with her feelings [TS]

  for him although that is though just [TS]

  like she's growing up he's trying to [TS]

  figure out they have all a subplot with [TS]

  the career counseling and her sister and [TS]

  I don't know her sister supposed to be a [TS]

  cautionary tale of like what could [TS]

  happen if you don't get your life [TS]

  together and her just deciding what kind [TS]

  of person she's gonna be I really like [TS]

  with her all the scenes of her dealing [TS]

  with surfing she doesn't like [TS]

  let's fill out her to her job form of [TS]

  like where she wants to go or what she [TS]

  wants to be she won't take it which is [TS]

  funny just like the last student I [TS]

  thought that she talked to her guidance [TS]

  counselor about it but she does survive [TS]

  really like I really liked her I thought [TS]

  that she was a really interesting [TS]

  character and and as at erica's point I [TS]

  was not in a position to really liked oh [TS]

  no at this point so I really did like [TS]

  her and I identified with her kind of [TS]

  hopelessly crushing on him yeah that's [TS]

  why I actually i loved this second story [TS]

  probably as much as that as the first [TS]

  part because it's just hit I think maybe [TS]

  it hit home for me even more than the [TS]

  first one because as a youngster I had [TS]

  so many deep passionate unrequited [TS]

  crushes and i think i think i feel like [TS]

  i had way more experience with [TS]

  unrequited love than I did with any [TS]

  actual like popular relationships hell [TS]

  yes [TS]

  oh yeah so this really works for me and [TS]

  I felt like it it ended so accurately [TS]

  because you know she's crushing on him [TS]

  for this whole time and eventually she [TS]

  know as she sort of it comes to the end [TS]

  of this phase in her life and grows up a [TS]

  little bit and learns to surf she [TS]

  realizes that he has he's never even [TS]

  really looked at her and and you know it [TS]

  she just needs to to kind of give up on [TS]

  it and i remember that i remember this [TS]

  just there's a moment where you come to [TS]

  the realization that you don't need to [TS]

  talk to that boy anymore you you don't [TS]

  need to have a friend talk to him for [TS]

  you you don't need to pass him a note or [TS]

  have you know somebody else tell you [TS]

  that that he's not he's not into you [TS]

  there's there's this painful and maybe [TS]

  somehow exquisite moment when you [TS]

  realize that he's just never going to [TS]

  love you and he'll never even really [TS]

  look at you and and that doesn't mean [TS]

  that you stopped loving him and crushing [TS]

  on him but it means you stop trying and [TS]

  then you grieve because there's nothing [TS]

  else to do and that shot of her just [TS]

  curled up on her mattress was [TS]

  transferred and the grouper have been [TS]

  there sister and I think the nicest part [TS]

  of this also is even even though we're [TS]

  not that into tono from the end of the [TS]

  last one that he's nice sorry I'm family [TS]

  night he is your like and he's he's not [TS]

  like he's not toying with her [TS]

  he's not he's not mean to her and that's [TS]

  why i love me such a bad boy sees mean [TS]

  like he's not obsessed with other girls [TS]

  he's just in his own and his home [TS]

  slightly particular not particularly [TS]

  healthy world again sending texts [TS]

  themselves or email [TS]

  to himself but he's always nice and he [TS]

  and you get the feeling that he realizes [TS]

  that she's eventually he catches her [TS]

  like waiting up for him after like [TS]

  archery practice or whatever he knows [TS]

  she's doing it but his like it's he's [TS]

  not he's not going home and thinking [TS]

  about her or the fact that he was there [TS]

  or anything like that he's not going to [TS]

  make the move hehe like when he sees her [TS]

  crying he says you know what's wrong and [TS]

  she says no no but he's not gonna he's [TS]

  not gonna take it any further right he's [TS]

  not going to say oh I know what this is [TS]

  about it's just he's never gonna do that [TS]

  I i speaking of the the way that this is [TS]

  a this crush is portrayed actually i [TS]

  think that i really like they're a [TS]

  couple of scenes in here one where [TS]

  they're riding on their scooters and she [TS]

  gets to her house and and parks her [TS]

  scooter and then he drives off [TS]

  she's got that she got a dog she's got [TS]

  like a little puppy which is adorable [TS]

  too and uh but what I really like is [TS]

  that then he rides off because he's [TS]

  further down the road so he rides off [TS]

  and she stands there waving at him long [TS]

  after he is not like looking at her or [TS]

  anything but she keeps waving and I [TS]

  thought that was adorable [TS]

  because that is like she's really into [TS]

  him and he's just zooming off but she's [TS]

  like no I'm gonna wait if I was a dog my [TS]

  tail be wagging and then two minutes [TS]

  later she's waving them with mixer as [TS]

  you're with her you're wagging tail [TS]

  yeah then there's the scene where her [TS]

  scooter breaks and he says now we'll [TS]

  walk and they walk and then he leaves [TS]

  her he leaves are there and the dog [TS]

  comes out and he just walks down the [TS]

  road again and again she's waving [TS]

  goodbye goodbye as he as he walks down [TS]

  the road because he's that's that that's [TS]

  their relationship right there [TS]

  you mention the fact that he's he's [TS]

  always unfeelingly nice to her in which [TS]

  is true but in a way it almost makes it [TS]

  a little bit worse but she says it's why [TS]

  didn't exactly it's not sure [TS]

  please please stop it would be easier if [TS]

  you were like mean to me or you or I saw [TS]

  that you are an unkind person you know [TS]

  you're on [TS]

  it's a lot easier when your crush is [TS]

  revealed to be a jerk to other people [TS]

  and I don't know what I'm not crushing [TS]

  on you anymore but it but if your crush [TS]

  is like quiet and seems a little sad and [TS]

  is unfailingly nice to you that does not [TS]

  help you deal with your crush it or if [TS]

  you even just stopped like you know [TS]

  riding home with her just yeah exactly [TS]

  now I depart the parts that I really [TS]

  that really resonated with me is uh so [TS]

  she's they do all these things together [TS]

  she waits for him after school they go [TS]

  home school together her scooter breaks [TS]

  down he tries to fix it they ride home [TS]

  in the rain she sees the scooter stopped [TS]

  on the side of the road he's on top of [TS]

  the hill and so she goes up on the hill [TS]

  to sit down with the kind of things that [TS]

  you know she's obviously trying to be [TS]

  where he isn't do things that he does [TS]

  during this time she's you know crushing [TS]

  on him and I'm thinking about him and [TS]

  upset but all those scenes i am with the [TS]

  the backgrounds in the nature and [TS]

  everything in retrospect and again this [TS]

  about it seems like a memory even though [TS]

  you'll remember doing those things you [TS]

  know I was there because he was there I [TS]

  I you know we had this experience [TS]

  together in the reason reason i was [TS]

  saying there is because i wanted to walk [TS]

  home with him or whatever going on all [TS]

  around you is this this natural beauty [TS]

  that sort of magnified by your you know [TS]

  your your emotions and young hormones [TS]

  and everything that when you look back [TS]

  on it it's not so important that the [TS]

  whole time you were there you're [TS]

  crushing this person it's like it's like [TS]

  you were soaking in this this beautiful [TS]

  scenery in the wind and the grass and as [TS]

  I don't know like for me I remember a [TS]

  lot of the settings when these over [TS]

  these emotions borrowers them the [TS]

  emotions and the sort of the ended the [TS]

  details of the people in the situation's [TS]

  fade but i can put myself right back in [TS]

  that spot sitting there like when [TS]

  something dramatic was happening in your [TS]

  world in your mind and you don't know [TS]

  what was happening in the other person's [TS]

  mind maybe nothing was happening there [TS]

  but for you it was really important that [TS]

  you were sitting on this Hill as the Sun [TS]

  went down you know watching the birds [TS]

  fly through the sky while you were [TS]

  thinking this thing and you're just [TS]

  sitting there quietly nothing was [TS]

  actually happening and i think this [TS]

  movie does a really good job of revoking [TS]

  evoking that the fact that everything is [TS]

  so heightened when you're in the [TS]

  situation when all you're actually doing [TS]

  is walking from place to place [TS]

  not even talking or sitting on a hill or [TS]

  just you know eventually later the big [TS]

  climax when something big is about to [TS]

  happen and a rocket takes off in the [TS]

  background which is inappropriate thing [TS]

  that they would be entirely like the [TS]

  rocket might as well as taking off in [TS]

  the background for like you spend like [TS]

  the entire year two years or three years [TS]

  walking home with this person and things [TS]

  are gonna finally come to a head and [TS]

  that's the sort of externality of [TS]

  of what's going on inside I just this [TS]

  section I think this is my that the [TS]

  train sequence is something special i [TS]

  think but this section is the most sort [TS]

  of this middle section is the most [TS]

  evocative for me of sort of what it's [TS]

  like to be in that's too especially [TS]

  since it comes to women like that I a [TS]

  fairly satisfying and where it ends in a [TS]

  realistic way and and it's heartbreaking [TS]

  yeah in my headcanon i like to think [TS]

  that that he has moments you know when [TS]

  we're not seeing him here he has moments [TS]

  where you know kids he's always in his [TS]

  head so much that he thinks about her [TS]

  and in [TS]

  and in [TS]

  wishes that he could could feel the same [TS]

  way about her that he felt about a Kauri [TS]

  and he just can't quite get to that same [TS]

  level of you know those those heights of [TS]

  emotion and therefore doesn't even [TS]

  really give it a chance when she's [TS]

  around because he feels like that's what [TS]

  he's shooting for is you know that that [TS]

  that same feeling which he just doesn't [TS]

  have so he's just kind of lost in his [TS]

  own thoughts when when she's around [TS]

  because she just just doesn't quite [TS]

  quite do it form this resonates for me [TS]

  because I was that girl laying I the [TS]

  crushes that like I didn't have a [TS]

  boyfriend in high school I didn't have [TS]

  like like all of the stuff that seems to [TS]

  be very similar to her [TS]

  I mean that was that was really me and [TS]

  even like the the in her internal [TS]

  monologue about like if I was a puppy [TS]

  and and then she's like why are you so [TS]

  weird i'm so weird why am i weird and [TS]

  that's still like me now you know like [TS]

  why do I have to be so weird and so I [TS]

  mean even even now alene therapist if [TS]

  it's a lot a lot [TS]

  I like they're more characters in this [TS]

  section like she's got a family she's [TS]

  got a big sister she's got a mom she's [TS]

  right all we don't really see his [TS]

  feelings for anything like her world is [TS]

  more fleshed out here and the green [TS]

  hawks and they all they all know who her [TS]

  crushes right in the discuss things and [TS]

  it's just you know like it you get the [TS]

  more feeling for like a school year or [TS]

  two is taking place in like the day [TS]

  there's a little society in the school [TS]

  and they have their own circles and you [TS]

  still get definitely a feeling that that [TS]

  what's-his-name tano i can remember [TS]

  asking me that are too cocky [TS]

  yeah his his head he's he's not dealing [TS]

  well with this transition to adulthood [TS]

  as well see in the final section that he [TS]

  did you know he he goes off in a pretty [TS]

  bad direction here he can't get over a [TS]

  Kauri and he's not he's not moving on [TS]

  with his life in a particularly healthy [TS]

  way where she we feel like it's going [TS]

  through she seems like it's a little bit [TS]

  younger and she's going through all kind [TS]

  of the same things you go through that [TS]

  age but that you know as as shown [TS]

  through her i think the surfing is sort [TS]

  of like you know showing her her [TS]

  development in the species through sort [TS]

  of she had caught waves before and she [TS]

  was sort of thrown off kilter by what [TS]

  were we [TS]

  imagine to be her first crush and like [TS]

  puberty and all that and she can't [TS]

  select the broomstick all over again she [TS]

  can help out around the surfboard by the [TS]

  end of it from key that is by the end of [TS]

  it she gets up on the surfboard again [TS]

  it's like she's coming out of it like [TS]

  she just doesn't quite know what she's [TS]

  going to do with her life but she feels [TS]

  encouraged by the fact that she's [TS]

  getting a handle on this is these were [TS]

  some very strong feelings just very [TS]

  difficult situations but she's growing [TS]

  feel like she's gonna be okay right [TS]

  that's what that's what we're left with [TS]

  that coming out of the segments that she [TS]

  was crushed but that being crushes [TS]

  something we all have to go through at [TS]

  least once and it seems like this is [TS]

  this is going to be the end of the world [TS]

  but really we feel like she's got a good [TS]

  head on her shoulders a good support [TS]

  system and she will she will do well [TS]

  even if nobody else does [TS]

  yeah when she realizes that he's not [TS]

  that that he's not for her what she says [TS]

  is he's always looking past me at [TS]

  something far beyond like oh that oh no [TS]

  he's always thinking about something [TS]

  else [TS]

  he's a disconnected from the world a [TS]

  little bit we move ahead into story [TS]

  number 35 centimeters per second [TS]

  tono is now an adult ackari sort of well [TS]

  I mean that he's thrown out he's figure [TS]

  museum are either he's adults aged shts [TS]

  into a group of what appears to be an [TS]

  adult shape [TS]

  akari his friend from cherry blossom is [TS]

  getting married as we learned in [TS]

  dialogue where she's talking about that [TS]

  she's getting married and she's saying [TS]

  about her parents and i'll see you at [TS]

  the wedding and all this stuff and [TS]

  including uh and then there's a lot of [TS]

  voice over here including a an [TS]

  interesting line which was I doubt our [TS]

  hearts got closer by a centimeter that i [TS]

  wrote down like go more themes are [TS]

  happening but but oh no is in bad shape [TS]

  he says I've wanted to move on but you [TS]

  do it grasp something out of my reach my [TS]

  heart was withering he says at one point [TS]

  at which point i wrote down he has been [TS]

  crushed by the man he goes into work is [TS]

  a computer it's something good job is [TS]

  like writing software on a big fancy Mac [TS]

  he's got a cinema display here really [TS]

  get out on him but he's but he is hard [TS]

  as whether John he will and he goes you [TS]

  know how we could be unhappy because [TS]

  when he goes to the the magazine shop to [TS]

  the newsstand the magazine it's in front [TS]

  of him is for windows vasta which was a [TS]

  very intense [TS]

  very similar edition of Windows Windows [TS]

  vasta it was disliked by most Windows [TS]

  users it we see him he lives in [TS]

  apartment by himself and it's like one [TS]

  of those sad small dark Japanese [TS]

  apartments and he's got he's got all his [TS]

  possessions shoved into this one tiny [TS]

  room it's got a chick crashing there [TS]

  yeah totally batching it we can we see [TS]

  him mostly standing silently not looking [TS]

  at other people with his head down we [TS]

  don't see him talking and hanging out [TS]

  with coworkers you see him having to get [TS]

  dressed up with the tie that's the heart [TS]

  huh mr. white I don't know your life is [TS]

  going terribly wrong he's smoking on his [TS]

  balcony by himself yeah it's hard with [TS]

  heard what happened and i think i think [TS]

  this is a like this this happens this is [TS]

  a depiction we've seen a lot of ways [TS]

  where you know you you leave your high [TS]

  school or college behind where you have [TS]

  a built-in social group if you haven't [TS]

  sort of paired up or come with a stable [TS]

  group of friends or go off our from [TS]

  everybody else and get a job just the [TS]

  grind of like got to get an apartment [TS]

  got to get my food got to clean my [TS]

  clothes got to go to my job got to come [TS]

  home if you don't make an effort to meet [TS]

  and find and see other people you will [TS]

  find yourself and if you're a certain [TS]

  kind of person you will find yourself [TS]

  living alone going to work coming home [TS]

  and just slowly sinking into yourself [TS]

  and I think they don't make clear he [TS]

  said he has had this is that after the [TS]

  determination of a three-year [TS]

  relationship with another girl who is [TS]

  not a car and who is not the surfer girl [TS]

  right who we barely see because they're [TS]

  no longer in a relationship she's the [TS]

  one who drops a little email bomb on him [TS]

  about the you know we said we send all [TS]

  these e-mails back and forth doesn't [TS]

  feel like we got any closer because you [TS]

  know he's obviously still completely [TS]

  closed off and that wasn't going to work [TS]

  out but even that which was probably the [TS]

  one person he took talk to and if I [TS]

  didn't even that is over so he's he's [TS]

  going downhill [TS]

  yeah yeah it's a bad bad scene he we get [TS]

  the i'm dreaming of being 13 and a [TS]

  filled with snow someday we watch the [TS]

  cherry blossoms again and we discovered [TS]

  there's sort of these two voiceovers [TS]

  that are happening at this point in [TS]

  their lives both of the characters are [TS]

  sort of thinking back to those moments [TS]

  from when they were young and together [TS]

  and in that field of snow and on that [TS]

  trip and back at school and all of those [TS]

  things that that is going on here and at [TS]

  the very beginning of this we get a [TS]

  glimpse of of [TS]

  it turns out is the two of them kind of [TS]

  crossing paths with one one another as [TS]

  they're crossing over the train tracks [TS]

  it's the same train tracks that we saw [TS]

  at the very beginning with the with the [TS]

  the cherry blossoms following that will [TS]

  come back they'll be replayed again at [TS]

  the very end in the last shot of the [TS]

  film however as we get this and this is [TS]

  a short fairly short segment as we get [TS]

  this we get the sense of sort of like [TS]

  it's not necessarily regret [TS]

  yeah maybe maybe it's tension with that [TS]

  but it's also just like this [TS]

  reminiscence of nostalgia for this this [TS]

  time in their lives that has passed and [TS]

  she's gonna move on with her life and [TS]

  get married and he's having difficulty [TS]

  in his life but you know what would be [TS]

  good right about now a song montage [TS]

  no I disagree disagree full-hearted [TS]

  fortunately we get one that is not it is [TS]

  a bombastic a song and a montage of [TS]

  things that we've already seen in this [TS]

  movie that's only 60 minutes long [TS]

  well they do add is not all repeats the [TS]

  same as what i think they cut too fast [TS]

  here for you to see what's another [TS]

  forward if you were to look at [TS]

  individually the scenes they do add [TS]

  scenes that add information to the story [TS]

  but it's mostly cut to the beat of the [TS]

  music so it goes by too fast for sale by [TS]

  voices evidence are also ends on a song [TS]

  which i think works really well there ya [TS]

  go that side yeah there it does not work [TS]

  well here it seems jarring and out of [TS]

  completely out of context of the film it [TS]

  it has the same problem both places [TS]

  ended the the cutting and the action [TS]

  happens so fast to keep pace with the [TS]

  song that on first viewing it's very [TS]

  difficult even tell what the heck is [TS]

  going on in this one obviously there's [TS]

  not much going on I don't mind the song [TS]

  here I like the fact that it that is I [TS]

  mean that I feel like the entire movie [TS]

  this part was slow and they built this [TS]

  but I feel like the ramp onto the song [TS]

  was too abrupt home and especially if [TS]

  you can't understand the lyrics which we [TS]

  can't you have to read song subtitle [TS]

  lyrics while the fashion flash million [TS]

  scenes in front of you it was a [TS]

  difficult way to to bring this to a head [TS]

  but again I felt like they were there on [TS]

  the third story they were near the end [TS]

  they had to get to the conclusion that [TS]

  they wanted to get to and [TS]

  I'm a sucker for music videos i like [TS]

  when they do musical montage is in [TS]

  almost anything even if i can't [TS]

  understand what the song is so even [TS]

  though I think we'd better invoices just [TS]

  start mind at that much in this I just [TS]

  feel like it's it it doesn't it doesn't [TS]

  it doesn't flow smoothly from the movie [TS]

  into the song it feels like there was [TS]

  the movie and then there comes a point [TS]

  and this thing was pasted into the end [TS]

  of a missense again in the middle [TS]

  yeah see I didn't have any problem with [TS]

  that but i think because I also like the [TS]

  musical montage thing in general and see [TS]

  that it's enough an anime that I don't [TS]

  mind it so I didn't feel like that was [TS]

  during at all I just hated this song [TS]

  with a fiery passion [TS]

  none [TS]

  [Music] [TS]

  the way machine more than email naive me [TS]

  nobody died he said [TS]

  [Music] [TS]

  so if it had been a different song a [TS]

  better song i think i would have [TS]

  forgiven a lot and probably would have [TS]

  ended quite enjoyed it because I i do [TS]

  agree that it was a little bit on the [TS]

  fast side but i was i was still [TS]

  following it okay and you know I was [TS]

  slightly confused about what happened [TS]

  but was able to kind of piece it [TS]

  together and figure it out i just could [TS]

  not stand the the sound of the guys [TS]

  voice yeah and it wasn't it was not like [TS]

  a smooth melodic sweeping song i think [TS]

  it was supposed to be emotional and it [TS]

  was just it just did not work on any [TS]

  level but then when it ended the actual [TS]

  music that was over the closing credits [TS]

  was beautiful and I was like okay you [TS]

  want me over again [TS]

  yeah it really was it reminded me of a [TS]

  bud light commercial ave and it's a [TS]

  shame because this movie is so beautiful [TS]

  however i did like the last two shots of [TS]

  the montage where it settles down a [TS]

  little bit before it hits the credits [TS]

  and pretty song over the credits which [TS]

  is we see the two birds again [TS]

  mhm huh and if we see that seemed again [TS]

  at the railroad track that we saw that [TS]

  is a replay of the first scene and also [TS]

  the first thing of this where they kind [TS]

  of brush against each other and look [TS]

  back from across the train tracks and [TS]

  just as about their as they're about to [TS]

  turn and lock eyes the train goes by and [TS]

  it goes by free very long time yeah [TS]

  that's one of my favorite bits because i [TS]

  feel like if the music by that point has [TS]

  won me over because the music is still [TS]

  kind of going to this instrumental that [TS]

  point and the trains are gone by and and [TS]

  the trains are going and they're going [TS]

  and they're growing and then when you [TS]

  think the trains gonna actually the [TS]

  train the opposite direction starts [TS]

  coming and it's going it's going it's [TS]

  going it's like and it's entirely like i [TS]

  can't i can't make the trains you know I [TS]

  mean that some trains to take a long [TS]

  time to buy so i wasn't i was totally [TS]

  bought in by that point of the song [TS]

  starts abruptly and and cuts very fast [TS]

  yeah and also by the way the melody of [TS]

  this song is we've throughout the entire [TS]

  movie like it's sort of you know a motif [TS]

  going through music like it's it's like [TS]

  I think they're sturdy bones they're the [TS]

  guys voice is very jarring I i will give [TS]

  you that but anyway I think I like the [TS]

  song better than you guys did and butter [TS]

  you did at that butt and like I said by [TS]

  the time those trains start flying by [TS]

  and things are fading down [TS]

  I'm on board again yeah and it's I i [TS]

  think it's a beautiful bittersweet kind [TS]

  of ending because of course the trains [TS]

  finally do part and he's still looking [TS]

  and she is gone and he and the the the [TS]

  arms come up on the on the guards and [TS]

  you said he's looking he's facing toward [TS]

  where she was and you see him turn [TS]

  around to go back the other direction [TS]

  and walk away and that's the end and if [TS]

  it's a very nice moment sad but he's got [TS]

  a little smile on his face as he turns [TS]

  like that he is like but I mean so this [TS]

  bending it also ambiguous but i think [TS]

  what they're leading you towards is that [TS]

  he's kind of figured out the same thing [TS]

  that the surfer figured out so go figure [TS]

  it out and that like all right I see how [TS]

  this is you know because he finally had [TS]

  his like moment of contact or whether he [TS]

  imagined or not whether it was actually [TS]

  her not or whatever that he even took [TS]

  them however many years in this but this [TS]

  is you know sometimes takes people a [TS]

  long time to get over this [TS]

  he's come around and realized he doesn't [TS]

  know the shoes on his know she's engaged [TS]

  to be married I like they avoided all [TS]

  that drama she's going to be married and [TS]

  who should like nope nope nope she's not [TS]

  you're never going to speak to her again [TS]

  you're probably never gonna see her [TS]

  again whether you saw her on those train [TS]

  tracks or not it doesn't matter and so [TS]

  that I feel like he's saying to himself [TS]

  was she even there [TS]

  does it even matter and so he's got the [TS]

  little tiny smile and the whole showing [TS]

  his footsteps turning away and walking [TS]

  on is that he's finally moving on with [TS]

  his life [TS]

  you get the the train going in between [TS]

  them is almost like just the physical [TS]

  severing of that tie between the two of [TS]

  them and i think that's that's when he [TS]

  gets it and you know it's symbolic and [TS]

  hit him for a guy who's been in his head [TS]

  so deeply for all these years he really [TS]

  needs something that's that kind of hit [TS]

  you over the head some bond over the [TS]

  wires in one direction and also run them [TS]

  over in the other direction or they cut [TS]

  yet keep going keep going on [TS]

  let Iran and the parallel story of the [TS]

  parallel reminiscing of them both [TS]

  remembering that same time I thought [TS]

  that was nice because she's remembering [TS]

  it the way you remember you find an old [TS]

  letter from like middle school and you [TS]

  look at like we're not so many of these [TS]

  movies are some of these things you [TS]

  would find it was like but her husband [TS]

  is terrible right but she's not really [TS]

  happy right now [TS]

  her husband is probably very nice and [TS]

  our soon-to-be husband and she's very [TS]

  happy and right is nothing wrong in her [TS]

  life like it's not it's not she's not [TS]

  gonna go back to be like and so she's [TS]

  been missing finally and look at this [TS]

  thing and management and he's [TS]

  reminiscing not bit early but still like [TS]

  longingly and they're both telling the [TS]

  same story but it's two very different [TS]

  views in the same thing and it takes our [TS]

  train tracks running over the giant [TS]

  emotional and vocal cord that's [TS]

  connecting him to his past at the end of [TS]

  the movie to disconnect them and again [TS]

  like voices in Star I think this movie [TS]

  whether it's realistic or not that are [TS]

  emotionally healthy to hold on to [TS]

  something that long [TS]

  it's getting in touch with the idea that [TS]

  when you have the when when you're in [TS]

  the midst of those relationships they [TS]

  get a hundred percent seems like when [TS]

  I'm 40 I was still be crying about this [TS]

  right like it doesn't matter how old I [TS]

  get I will never forget you I will love [TS]

  you forever this is this is it because [TS]

  that's how it feels and so these stories [TS]

  can't if they realistically play that [TS]

  becomes pathetic for adults to be like [TS]

  that but it stretch the stretch reality [TS]

  a little bit different look kids [TS]

  understand you and you you've been in [TS]

  this situation it seems like it's never [TS]

  going to end [TS]

  but it really will but I know when [TS]

  you're in it feels like it wants all the [TS]

  characters are like you know like at the [TS]

  end of all the stories like I will never [TS]

  forget this is the most important thing [TS]

  in my life nothing will ever change but [TS]

  it gets better and then you have the [TS]

  beautiful beautiful song over the [TS]

  closing credits which actually reminded [TS]

  me very much of a song called [TS]

  recessional by Vienna tank which then I [TS]

  had listened to it for a while so listen [TS]

  to it and realized that the lyrics of [TS]

  that song are actually kind of eerily [TS]

  similar to the themes of these movies [TS]

  and we down to like mentioning [TS]

  fluorescent light bulbs in like a train [TS]

  station or an airport or something and [TS]

  you know specific moments with somebody [TS]

  being so pure just like whoa that's kind [TS]

  of creepy [TS]

  so John what was really interesting to [TS]

  me about this one is that again so much [TS]

  other than the miyazaki so much of the [TS]

  anime that I've seen has been in you [TS]

  know science fiction kind of terms [TS]

  including voices of a distant star and [TS]

  then we get 25 centimeters per second [TS]

  and it's this other kind and I was [TS]

  really happy that they were no aliens [TS]

  and only one spaceship and only seen in [TS]

  the distance and on train tracks and I [TS]

  and I thought it was beautiful and like [TS]

  I said I i thought the detail work while [TS]

  very different from some of the [TS]

  beautiful stuff that I see and say [TS]

  miyazaki movies was you know it also had [TS]

  things in common with that in in in [TS]

  taking the time to show these objects [TS]

  and lingering on them and so yeah I [TS]

  thought this I thought five centimeters [TS]

  per second was was kind of great real i [TS]

  really thought it was [TS]

  yeah I did too one of the reasons I left [TS]

  out a place promised in our early days [TS]

  which is the third attempt to tell to [TS]

  touch on the same themes let's say not [TS]

  not make the same movie is that I feel [TS]

  like that is the most conventional [TS]

  recommend watching it but I feel like [TS]

  you've got the best like this you got [TS]

  the raw first weird little voices of a [TS]

  distant star and you have this which is [TS]

  that the later one which i think is more [TS]

  mature and sophisticated retelling of [TS]

  the same thing and place promise has [TS]

  much more of the trappings of a [TS]

  traditional movie period like there's [TS]

  actual sort of this sort of actually a [TS]

  plot there's a unexplained weird anime [TS]

  thing that goes on with aliens or maybe [TS]

  not aliens or whatever that's not [TS]

  important and not explain but there are [TS]

  you know flying craft and their [TS]

  relationships and there's like dialogue [TS]

  and people and do things and have [TS]

  feelings much more so like it you could [TS]

  meet probably make that into a hollywood [TS]

  movie in some reasonable way that [TS]

  touches on all sorts of the same feat [TS]

  themes and I feel like that other stuff [TS]

  and and place for most early days gets [TS]

  in the way like it is not it's not like [TS]

  sort of like voices of just are two [TS]

  things so much together in a pleasing [TS]

  way this is crazy mashup and it's not [TS]

  five centimeters per second [TS]

  where they cut out everything except for [TS]

  the heart whether they're trying to tell [TS]

  that is sort of like an uncomfortable [TS]

  mix but if you watch all three of those [TS]

  things i think at that point you start [TS]

  to get a feel for makoto shinkai and I [TS]

  think he is a hopeless romantic because [TS]

  you're taking make to make three movies [TS]

  like that and I [TS]

  and it was kind of I you know coming at [TS]

  the same thing from different angles and [TS]

  having a sort of different resolutions [TS]

  at the end but just you know the what [TS]

  attracts me to this and acetone economy [TS]

  is occupied matter is like not so much [TS]

  the stories that tell police they can be [TS]

  about whatever you want it to be about [TS]

  but the way they tell them and it it it [TS]

  it speaks the truth to me that you don't [TS]

  see in most conventional movies because [TS]

  again i think animation can get away [TS]

  with really weird stuff like when you [TS]

  make a live-action movie that has [TS]

  lingering shots of like a telephone wire [TS]

  bisecting the moon people think oh [TS]

  that's what i was already movies as you [TS]

  know whatever but with these movies [TS]

  somehow somehow gets a pass and and and [TS]

  I and I do like the space stuff you said [TS]

  there's only one rocket ship this thing [TS]

  I think it's important that to have that [TS]

  I think it's important to have heavy [TS]

  space machinery moving through these [TS]

  people's lives and and firing off at [TS]

  pivotal moments yeah and constant [TS]

  looking up at the stars all of which are [TS]

  green and purple like you're looking [TS]

  through like Hubble telescope on acid [TS]

  and opening sequences have giant looming [TS]

  planets that somehow that not just [TS]

  hyper-real that's like that's exactly [TS]

  what it's like to be this age there is a [TS]

  giant living plan and purple stars and a [TS]

  rocket ship the fires off behind you [TS]

  not really but there might as well be [TS]

  verdicts on this now that you've seen it [TS]

  all [TS]

  I too enthusiastic thumbs up as long as [TS]

  I completely forget about that last song [TS]

  which is quite a blemish but it will [TS]

  grow on you'll see like a fungus I had [TS]

  managed to I had managed to forget about [TS]

  it until we started talking about it at [TS]

  all my memories where we're very happy [TS]

  so I'm sure 10 minutes after we stopped [TS]

  recording i'm going to forget it again [TS]

  and I'm going to just continue to just [TS]

  low five centimeters per second and i [TS]

  also i quite liked voices of a distant [TS]

  distant star but not not to the same [TS]

  degree pretty much the same especially I [TS]

  am anxious to watch five minutes the may [TS]

  just watch 5 centimeters a second again [TS]

  just to watch it because it's just [TS]

  stunning the the artwork is just [TS]

  absolutely beautiful and i found myself [TS]

  i'm having to go back in like positive [TS]

  and go back and read the subtitles one [TS]

  because they pass kind of quickly but [TS]

  secondly i was just watching things and [TS]

  not paying attention to what was being [TS]

  said because it was just it was it was [TS]

  gorgeous [TS]

  so [TS]

  so I really enjoyed both alright John [TS]

  how do we do we pass pretty well I think [TS]

  like that and I don't know if I would [TS]

  never think about things we watching [TS]

  like we watching too many things that [TS]

  are the same because it's like are we [TS]

  doing the equivalent of playing game [TS]

  after game is exactly like journey [TS]

  because it's kind of like the type of [TS]

  things that i like but I feel like we're [TS]

  getting a reasonable spread here even if [TS]

  we're mostly avoiding like the actual [TS]

  right up the middle traditional like [TS]

  when you know now watching like full [TS]

  metal panic or something right which is [TS]

  like conventional and all the the [TS]

  conventional way so i'm not totally [TS]

  saying that's out of the question the [TS]

  future but this is the kind of movies [TS]

  that I like these are the kind of [TS]

  directors that I like all these movies [TS]

  I've seen so many times and it and [TS]

  likely was saying i do the opposite [TS]

  where I find that I have to read the [TS]

  subtitles and the first few yards and [TS]

  then in the the subsequent many many [TS]

  viewings when I know everything everyone [TS]

  is going to say i spent all time while [TS]

  looking at the frames and watching the [TS]

  movie like trying to watch the movie as [TS]

  if I understand what they're saying but [TS]

  only because I've member is offline to [TS]

  that point and that's these are some of [TS]

  the ways that i really i really just [TS]

  want to look at the whole screen over [TS]

  and over again which is why I get [TS]

  frustrated when the scenes because flash [TS]

  by so quickly but uh these are the [TS]

  assignments on my favorite farinata [TS]

  miyazaki non-toxic own animated with [TS]

  lots of qualifiers on that but this is [TS]

  this is the kind of movie I like and [TS]

  maybe if you are lucky or unlucky you [TS]

  will find out some of the even weirder [TS]

  kinds of animated movies like but that's [TS]

  for another time [TS]

  alright new hashtag teaser that would be [TS]

  ma one of four perhaps which you know [TS]

  will continue to go down this path as [TS]

  long as Professor cute will have us as [TS]

  students I think all right well that's [TS]

  it classes adjourned I'd like to thank [TS]

  my fellow students only in Sims thanks [TS]

  for being here thanks for having me and [TS]

  Erica and sign [TS]

  thank you very much thank you i'm gonna [TS]

  i'm going to have a dairy coffee [TS]

  ah it's very nice very nice i'm going to [TS]

  eat a rice puff ball [TS]

  Thank You professor John circus for [TS]

  picking these films and talking to us [TS]

  about the speed of this audio through [TS]

  skype channel [TS]

  five megabits per second is that a [TS]

  cherry blossom IC falling [TS]

  hmm thanks for listening to this edition [TS]

  of the uncomfortable [TS]

  everybody will see you next week [TS]

  [Music] [TS]