I know they want to club to be full 'meritocracy' But Kumiko is pushing the new 3rd year girl a bit annoying. She even gives many outs that she doesn't mind making way for the longer standing members, and I get her, she just joined seemingly sudden and isn't as invested in the National goal as the rest.
I'm on the side of "do it for the experience" Sure, try as hard for nationals, but 90% of these 3rd year band members, this is going to be the last they're ever gonna do a marching band thing. Half might not attend college and just jump into the work force, and more than half of those won't be signing up for the much more competitive college marching band clubs. So having Kumiko who's been aiming hard for it for 3 years, and then lose out on the audition to this fresh 3rd year member who doesn't even want to take her spot is silly.
I guess its a reflection of Kumiko's view on music and if its that important to her and stuff. But that's my view on what's happening.
having Kumiko who's been aiming hard for it for 3 years, and then lose out on the audition to this fresh 3rd year member who doesn't even want to take her spot is silly.
What's she supposed to say, after she was Reina's main backer two years earlier, taking a solo away from the president who had been aiming hard for it for three years? I'm surprised that was never brought up.
Gee, after that episode, I showed up here eagerly anticipating another round of "Are Kumiko and Reina yuribait?" Imagine my disappointment.
This episode also shows the tension between two girls who have tendency to speak out their minds. Mayu Kuroe knows she is a better player than other students. When she says she is worry that others cannot make it, she indirectly says others are not good enough. Is her attitude the reason she got transferred to Kumiko's school? Kanade Hisaishi is known for questioning other people. She immediately points out that Mayu has the attitude problem. Kumiko is relieved after Kanade calms down.
The drama and tension built up nicely. Overall the auditions went smoothly. Mayu continued her uncertain stance, but continues to go along with it for now. Honestly it's really just a matter of time until we actually get into what the heck happened to her that's made her that uncomfortable. But we're not getting there now.
The good thing about the tension is it bringing the best out of some people. Kumiko rose to the occasion and I'm sure she gave a far better performance knowing she was up against someone of Mayu's level than if she was only dealing with Kanade and a first year.
Of course the odds are good now that Kumiko will lose that spot after the second audition since she can then triumphantly find herself and retake it through the final audition. But that's something to tackle later.
Good for Hazuki too. She worked her butt off for years and fell short so many times. But she didn't let the disappointment break her. She just kept working and finally earned her spot. Good on her .
And I kind of like the way Taki approached the tubas. While taking someone with less overall skill has it's pros/cons there is value to it. The pure power of her tuba can add quite a bit even at the cost of having her stay quiet during parts that she's not able to ideally handle yet. Plus there's plenty of chances for Satsuki to make her comeback .
Quote:
Originally Posted by HandofFate
I know they want to club to be full 'meritocracy' But Kumiko is pushing the new 3rd year girl a bit annoying. She even gives many outs that she doesn't mind making way for the longer standing members, and I get her, she just joined seemingly sudden and isn't as invested in the National goal as the rest.
I'm on the side of "do it for the experience" Sure, try as hard for nationals, but 90% of these 3rd year band members, this is going to be the last they're ever gonna do a marching band thing. Half might not attend college and just jump into the work force, and more than half of those won't be signing up for the much more competitive college marching band clubs. So having Kumiko who's been aiming hard for it for 3 years, and then lose out on the audition to this fresh 3rd year member who doesn't even want to take her spot is silly.
I guess its a reflection of Kumiko's view on music and if its that important to her and stuff. But that's my view on what's happening.
The point is to win. It's because this is the third year that Kumiko can't afford to bend and let Mayu take the easy way out. The experience means jack if they lose. The first episodes of this season made it clear. It's win or bust. Let Mayu back off and they happen to lose, Kumiko can spend the rest of her life regretting it.
And she certainly can't back off after what happened in the first year. Support Reina taking the spot that she deserved but be weak and let Mayu back off because she might lose the soli part?
In the end it's not like Kumiko won't be there if Mayu competes. The worst case scenario is losing the soli part with Reina. That would suck, but it's overall a lesser evil than dropping the quality of their group.
Quote:
Originally Posted by Master_Yoma
Well its finely time for the competition and the usual people have been chosen
I'd say some waves were made because it wasn't just the usual people. Hazuki making it after the way the first two years went is a huge moment for her. Kept up with the work and finally earned her place there. While Suzume making it over Satsuki isn't insane it was a surprising turn for the individuals involved.
And I kind of like the way Taki approached the tubas. While taking someone with less overall skill has it's pros/cons there is value to it. The pure power of her tuba can add quite a bit even at the cost of having her stay quiet during parts that she's not able to ideally handle yet. Plus there's plenty of chances for Satsuki to make her comeback .
I'd see how it rolls but right now I'm not sure if I like it so much or find his reasons that convincing. I get his idea as a conductor, but as a band director or a school teacher, it kind of sucks.
His reason in essence is that Suzume played louder in the audition. My question is whether he mentioned it to anyone, so they had a fair chance to emphasize the right things in the audition. Suzume is still too new to think of much more than making all the right notes sound. Satsuki probably can consciously trade off b/w precision and power, and in an audition I would think most players would emphasize the former without a good reason otherwise. Even after the audition, Taki doesn't volunteer what he's looking for until he's asked - is Kumiko supposed to pass this information out or keep it to herself?
Of course, the other possibility is that Satsuki just didn't have the raw breath capacity to compete despite spending a year on increasing it. If she's so far behind Taki is willing to throw away one-third of his Tuba tone production at the higher registers, her future in Tubas seem bleak indeed.
Oh, and I really don't like Mayu's passive-aggressive thing. It's arrogant, and constantly mouthing it is frankly disgusting. It may be against the themes of the story, but here's my view: If you believe that you are good enough you are in control, and you want to throw the match, just throw it. Privately. If you don't, just blow your best. If you are ambivalent, just go with whatever you ended up doing at the audition. Don't go wallowing around like a drunk cow in a public space going "I can. Should I? Should I not?"
Spoiler for "An Extraneous Detail':
Oh, and just to overanalyze one small segment - someone needs to talk with Reina about her teaching methods. She's teaching Just Intonation (though I doubt she realizes she's doing so) to the noobs, and they are playing Bb/D, a major chord in first inversion. If I were the first year, I'd be thinking:
Yes, Reina-sempai, I understand you want the D to be 0.14 semitones low, F to be 0.02 semitones high. However, did you notice we are all using 12TET instruments, so you are asking me to blow in an un-natural way. Also, did you realize my frequency stability is so poor the analyzer rounded ("quantized") half of my D to an E-flat, and the last half of the F is quantized as F-sharp. Do you think I can really control myself to hit 0.14 semitones anytime soon, or discern 0.02 semitones? Have you considered how any advantages of Just Intonation will probably be gone if my pitch is still wobbling by a quarter tone? Can you at least give one of us first-graders the Bb because that's the easiest one to blow of the three, give the third tone to the 2nd year, and settle for ET for the 5th?
Short version - Reina, teach them basics first. And thank you to KyoAni for taking the effort to generate a realistic chord for the situation, such that it can be over-analyzed in the above fashion. It might be a minority sport but I think that shows that can be taken apart like this deserve extra points.
Oh, and I really don't like Mayu's passive-aggressive thing. It's arrogant, and constantly mouthing it is frankly disgusting. It may be against the themes of the story, but here's my view: If you believe that you are good enough you are in control, and you want to throw the match, just throw it. Privately. If you don't, just blow your best. If you are ambivalent, just go with whatever you ended up doing at the audition. Don't go wallowing around like a drunk cow in a public space going "I can. Should I? Should I not?"
I agree that the teacher is mean. He is probably proud about his stubborn, because it delivers the result. The story is partially from the author's experience. In one of her interviews, she said her teacher helped the group improved. The teacher's attitude is already the sign of trouble since season one. Students were discontent. The club president from the season one was a weak character, but she had a lot of friends supporting her. Kumiko doesn't have that luxury, and she has to face the conflict soon or later.
Spoiler for ranting:
I can only think up possibilities for selecting candidates for competition:
1. meritocracy: the teacher decides the players who sounds more
2. seniority: the reward for members who dedicate their time to the club
3. privilege: the benefit for the club officers who keep the club running
Taki-sensei's selection logic may have fallacy. The reason one player is selected over anther is due to making louder sound.
The logic of marching bands rarely have string instruments is because sound of most string instruments are hard to hear by audience. Therefore, symphony orchestra has many violin players, just to make the sound heard.
For eupho selection, Taki-sensei usually choose two players for the competition. Once, Taki-sensei was no happy with Kumiko's performance. So, he has Kumiko on stand by, and having Asuka to play euphon alone. In Natsuki's last year, Taki-sensei selected her as the third performer of Eupho. So, Natsuki is the third place after Kumiko and Kanede. The purpose is to make up the deficiency of other section. The other section uses heavier instrument, and it is less popular. Since the other section lacks the qualified players, the players of eupho section for competition are increased.
By using the same strategy during Kumiko's second year, Taki-sensei can increase number of players for that section. So, he doesn't have to eliminate the more skillful player for the louder player.
Mayu's words mean no harm. She just doesn't know how to express her concern properly. She is described as a humble person, and she doesn't mean to offend anyone.
On the other hand, Reina's attitude was rude, but she didn't know how to resolve the conflicts. So, Reina faced the confrontation head on. When confronting the similar situation, Kumiko only knew to make apology.
I think the role of Mayu is to bring out the inferiority complex of Kumiko. During the movie production, the author was asked to create a secret boss(of video game) for the school. She came up Mayu, who is Kumiko's mirror reflection.
The word "style" is used as the body shape in Japanese. Kumiko felt frustrated when she saw Asuka's "style" and Reina's "style". Mayu's "style" still frustrated Kumiko a little bit.
Finding Mayu playing same instrument causes concern to Kumiko. Mayu has established herself as the member of A-Team, from her previous school, which had reputation for strong band. Kumiko wanted to play her older sister's instrument, but she never get the chance to play it. She played the same instrument for years. When she is proud that she is the best player of the instrument in her school, Mayu joins the club. It turns out Mayu plays the same instrument. It might be Kumiko's weakness. Her attitude makes her trustworthy by her fellow students. She only opens her heart to few friends, because they do not pose a threat to her position in the band.
Spoiler for friendship and competition:
Kumiko's jealousy to Mayu can be compared to Nozami and Mizure, but the envy is resolved in the movie.
Nozami and Mizure took the different path due to difference in talent, but they are still friends.
Spoiler for friendship and dreams:
Mayu wants to be Kumiko's friend. She is sincere, but Kumiko keeps a distance from her. She won't share Asuka's legacy with Mayu.
Asuka is as talented as Mayu. Kumiko opens her heart to Asuka, because she doesn't feel threatened.
Reina and Kumiko had the grudge during middle school. Kumiko tried to fix their relationship. They eventually become best friends. Kaori kinda of misinterpret the level of their friendship. After graduation, Kaori's nursing education forces her to give up music practice. In the movie, Asuka and Kaori share expense for the apartment. They also wear same style rings, to show they are close. They are together because finding a good roommate is hard. Kaori went through an extreme to write a letter to Asuaka.
Images
Wearning ring on the little fingers means singles, lonely, and independence.
The graduation ceremony is tomorrow, and I want to say what I should write. By the time Asuka reads this letter, the graduation ceremony will probably be over. Haruka will definitely burst into tears by then, and I'm starting to get a little worried now.
Whether it's me, Haruka or Asuka, the three of us will go our separate ways after spring. Even though we can still see each other during our graduation trip, we still feel lonely. Over the past year, I have lived a life filled with club activities. Now that I have no practice, I feel a little bored. Asuka, you are also busy studying, so you may have a similar feeling to me now.
I wrote this letter because I thought that Asuka would disappear immediately after the graduation ceremony. I always felt that you didn’t like such an atmosphere. Originally, I wanted to talk to you directly about various topics, but when I wanted to talk to Asuka seriously, you always made me laugh, so I thought that if I wrote a letter, you would read it seriously.
So many things have happened in the past three years, and it is true that the last year has passed very fast. Taki-sensei's arrival, Kitauji has continued to change... Even Haruka has changed a lot. Although she still has no confidence in herself, she has become much stronger, but she would definitely not admit it to Haruka herself.
As for myself? Even though I plan to work hard, there are still many things I don’t know about myself. However, there is no doubt that I enjoyed my school life, and I have no regrets because it was my own choice. However, at that time, I couldn't deny the question you raised, Asuka. That's the only thing I regret until now.
As I was writing this letter, it got dark before I knew it. When I came back to my senses, I was surprised to realize that I had written so many pieces of paper. This also made me understand that I am very bad at expressing my feelings. If it were Asuka, she would definitely be able to write better than me. But you probably won't write to me.
When Asuka was away from club activities, I kept thinking about what I could do. I wanted to be Asuka's help, but in the end I still couldn't do it. Many people were running around for Asuka, but in the end you came back on your own strength. I've always liked this about you, Asuka, ah... It's not quite right to say "before", because I still do now.
Asuka, you will move to a new world and make new friends. After being exposed to different things, the memories of high school will become somewhat dull. I know very well that this is natural, but I don't want this. Who calls me a willful person?
I want to be with Asuka forever, and I want to be the number one in Asuka's heart, so I mustered up the courage to write this letter. I always feel that... my writing is a little strange because my hands are shaking. My normal writing is not so ugly. This is true.
I'm really happy to meet Asuka. Thank you very much for being willing to be friends with me, and...if possible, I want to be with you in the future.
Asuka. To be honest, I almost don’t know what to write. I kept writing and found that your name was written all over it, but the words I wanted to convey to you were not written. Anyway...well...although it's a little weird to use "anyhow", I'm going to nursing school in the spring. I told you before that it's very close to Asuka's university. So...if I can, it's really just if, ah...I don't know why my hands keep sweating. I'm sorry, I hope it won't affect you in reading this letter.
If it's convenient for you, Asuka, would you like to move in with me?
I've wanted to share a house with someone for a long time. Of course, you don’t have to agree, but I think this way you can share the living expenses and save money. Please be sure to reply to me. If you avoid talking, I will ask you directly.
Finally, I wish you a happy graduation again.
Kaori
In the second chapter of "The Final Movement of Determination", Kumiko had some conflicts with Reina, so she went to Asuka's rental palce to seek advice. When she saw that the person who answered the door was Kaori, Kumiko was very surprised. Kaori speaks to Kumiko, "It's not just Asuka, I'm sure everyone is special for someone in this world, as Kumiko-san to Reina-san, or Reina-san to Kumiko-san. There is always someone special. So, Asuka is special to me. To Asuka, I am special to her."
Kumiko doesn't share same goal and same dream with Reina. So, they are going to pursue the different path.
Mayu is nice. People overanalyzing as if she was some malicious person are wrong. In fact Kumiko hasn't dropped her "everyone wants you to play" attitude she pulled on Asuka and Kanade. She lied to Mayu too about Kitauji desiring the better player at all times. Mayu wants to avoid a situation like is Season 1 where the Band will have to choose between her and Kumiko but Kumiko just brushes it off.
Even Kanade tried to mediate by relating her stunt in Chikai no Finale. Asuka wants Hibike! Euphonium to be shared but Kumiko hides it the moment someone is interested.
It's clear Mayu is trying to be friends, but she is very awkward about it. And keeps unintentionally touching Kumiko's sore spots. I also agree with arkhangelsk. No matter how well intentioned, her repeated proposals to throw the audition are horrible.
I like that we're getting into Mayu's head a bit more with this one. It puts her actions into a bit more context. Makes sense that someone that doesn't fixate on anything or feels lacking in a sense of self would feel uncomfortable taking anything away from people passionately chasing their goals. Honestly that is probably what is giving Kumiko the edge over Mayu right now. Kumiko may be struggling in various ways, but she is passionate about reaching their band goals.
Honestly if Mayu's passion can be unlocked or if she has any sort of breakthrough that probably will make it tough for Kumiko to fend her off in a future audition. But makes sense that Kumiko has figured out her discomfort. Mayu works hard to not make any waves, be generally likable, and yet keeps a certain distance. Even to the degree of excluding herself from pictures. As if she just wants to be there and then disappear...Mentioned having a lot of pictures from her time at Seira, but I'd expect she's in none of them.
Reina and Kumiko's interactions really are either Reina being super cute or Kumiko having fun at her expense from being so cute . And yeah it really shows how close they've gotten at this point that they are both wearing matching swimsuits and mixing up the tops and bottoms .
Mayu shares her philosophy with Kumiko. It means to criticize herself, but using Liz and Blue Bird analogy sounds like Mayu's personal criticism to Mizore. From Mayu's philosophy, Kumiko finds she has more in common with Mayu than she expected. There are people who like photo shoot, but they are camera shy. For Mayu's case, it seems she has tendency to stay distance from others.
Spoiler for Mayu's philosophy:
I think Mayu's words would be harsh to Mizore. Mizore has friends around her, yet she is attached to Nozomi, the social butterfly.
The season two described Mizore's panic attack whenever Nozomi was around. Their relationship worked out at the end.
The movie Liz and Blue Bird summarizes Nozomi's attitude to Mizore.
All Kumiko's senior members were praising Asuka. Asuka's music skill is not proving in anime at least. Asuka's position in in the band is like the section principal. On who is the best player or MVP, the name on the top of the list including Reina, Midori, Mizore, and Chieri.
Spoiler for Liz and Blue Bird director's interview:
Please tell us how you felt when you became the director.
When I read the plot of the original work, I thought it was a subject that reflected Takeda-sensei's unique characteristics and essence. I was impressed by the fresh perspective on the subject, which is a very everyday topic but one that is rarely taken up. I wanted to capture the transparent, non-artificial atmosphere of the original work in a film.
I came here with the ``Eupho'' series as a series director, so I knew this work very well, so I thought there might be a new angle from the original work. I discussed these things with director Ishihara of the series and the rest of the staff, and it was decided that I would be allowed to produce this movie.
Since this story is about individuals rather than groups, I wanted to emphasize the accumulation of small changes.
Please tell us about Mizore and Nozomi, who are the center of the story.
Nozomi is a bright and energetic girl who loves music and plays the flute. Nozomi calls out to Mizore. Mizore has been alone until now, but Nozomi calls out to her and lifts her up in her own world. At that moment, Mizore was imprinted, or rather, Nozomi became her entire world.
Mizore, who thinks that Nozomi's existence is her world, has a feeling that the "suki"' she has for Nozomi and the "suki" that Nozomi has for Mizore just don't mesh. This work carefully explores the differences between the two. We like each other, and we can't help but be interested in each other, but we just don't seem to fit together...but I don't think it's just a matter of mutual understanding. For example, I wanted to hopefully depict the moment when two people overlap, like when the movements of gears of different sizes overlap for a moment.
I can feel the atmosphere of this very delicate work.
The first thing I wanted to do was to take the impression I had of the story of these two from the original work and translate it into a film. Also, as I get closer to Mizore and Nozomi's worries and growth, I want to make sure I don't miss any small changes or realizations. I thought it would be best if it was close to the content of this movie. I discussed this with Mr. Nishiya, the character designer, and the design he came up with is the one we created this time. He sketched out several options before making a decision, but there was one direction that he wanted to go in, so we didn't change much. It was interesting to see how just a small change, such as whether the chin is pointed or rounded, can make a completely different impression. As a result, I think the thinness of the lines... the perfect shape that gives you a sense of finite ephemerality.
The use of colors also creates a calm atmosphere.
This time, I wanted to depict something gentle and small, like "Girls' Sighs"'' without missing anything. So, for example, even the way they shift their perspective should be treated as something that comes from their thoughts, and should not be overlooked. It's like holding your breath and recording. I focused on using colors that give a sense of fragility and ephemerality, as if you were looking into them through glass, as if they would disappear if you touched them.
What kind of discussions did you have with the scriptwriter, Reiko Yoshida?
I was very interested in the world of girls that Yoshida depicts. The flow of the original work had already been completed, so I don't think it felt like we were having too many meetings.
I thought that Nozomi's credo, ``A story should have a happy ending,'' was very good, so I guess we had a discussion about aiming for a happy ending.
Were there any areas where the two of you had different opinions?
I think it probably wasn't that big. It goes without saying that Mr. Yoshida and I don't necessarily have the same perspective, but thanks to that, our understanding of the world of the work is not one-sided, and we are able to approach it calmly. I've been working with Mr. Yoshida for 10 years now, and we've always maintained this comfortable distance, so it always feels fresh.
What aspects did you pay particular attention to when creating your work?
This work is about delicate emotions and the accumulation of emotions, so I was careful not to make the play symbolic, like ``I look sad because I'm sad.''
For example, Nozomi, who plays the flute, raises the top of her mouth and smiles in her eyes, which is perceived by her partner as smiling. She is a girl who thinks about things like this, but on the other hand, she is doing things like ``warning'' to maintain the distance between herself and her partner. It was important for me not to take shortcuts in expressing myself in order to protect the dignity of these women, who are living their lives step by step with these thoughts in mind.
Did the staff feel confused about such a difficult play?
It wasn't as confusing as I had imagined. We have a staff that specializes in delicate and careful work, so I think we were able to have meaningful discussions about the direction this work is taking. For example, if it's a conversational play, it's important that each interaction is a ``first'' for the actors. When a person speaks, listen to it, digest it, understand it, and give an answer. I aimed for a normal conversation.
Spoiler for interview of the author and the movie director:
-Today, I would like to ask you to tell us about the background and appeal of the movie ``Liz and the Blue Bird'' from the perspective of the original author and director. How do you two know each other in the first place?
-Naoko Yamada (hereinafter referred to as Yamada)
-Ayano Takeda (hereinafter referred to as Takeda)
-This time, ``Liz and the Blue Bird'' is based on "The Second Movement of Events'" written by Takeda-san. Please tell us about the process of making it into a movie.
Takeda: I've been hearing about the movie for quite some time, and I remember that by the time the second season of the TV series had finished, I was writing the plot for the first and second parts of ``The Second Movement of Events.'' I wrote it down in great detail, and then handed it over to KyoAni and left it completely up to them.
Yamada: Mr. Ishihara started with the idea of making one movie based on ``The Second Movement of Events,'' so there was no plan to make two in the first place. However, when I read Takeda-sensei's plot, there was something about Nozomi and Mizore that made my heart flutter.
Mr. Ishihara wanted to tell the story of Kumiko Oumae (the main character of the TV series), so I thought it would be better to separate the stories so that both the story and the characters could be depicted properly. This is how ``Liz and the Blue Bird'' was born.
Takeda: I was surprised when I first heard it. I always feel like a fan and say, ``Sound! I was enjoying the anime ``Euphonium,'' and I was completely surprised when it was made into a movie, but he said, ``I can't believe you would make another movie independent of that plot (lol).''
- Director Yamada said earlier that she was ``excited'' when she read the plot, but could you tell us more about the relationship between Mizore and Nozomi?
Yamada: I've always thought that since the second volume of the original work, ``Kitauji High School Brass Band Club's Hottest Summer,'' it captures some amazing points. When I ask people who have read my work what they think about the relationships between the girls, I usually get strange reactions. Some people understand it very well, and some people don't understand it at all. It's not a romantic relationship or a relationship between a man and a woman, but the two people who are the closest to each other can express their feelings so directly that they would normally hide them. I thought it was a rare chance to come across a work like this.
Takeda: (lol). I've always wanted to write about things like unconsciousness and randomness in my novels, but it's really difficult to express that in words. But Director Yamada was able to draw what I wanted to write as smoothly and beautifully as if by magic hands. Every time I watch your work, I'm impressed by how amazing it is.
Yamada: thank you. I have a strong desire to shake people's unconscious minds. I've had many experiences that moved me through music, paintings, movies, etc., and I feel like I'm constantly researching the question, ``What moved me?''
I feel that I am finally able to express what Takeda sensei would have been able to express with all her words, by using various elements such as color, sound, atmosphere, and time.
Yamada: I think I've always admired and respected the idea of making things. For example, when I want to express the word "cold," I have a sense of value in my head that it's no good if I make the character say "cold." So, I'm always thinking about what it takes to express the word "cold."
Regarding the relationship between Mizore and Nozomi that is depicted in this work, what kind of idea did you have when writing about the two in "The Second Movement of Events"?
Takeda: Ever since the second volume, I've always had the feeling that Mizore and Nozomi's emotional vectors towards each other were off, and I wanted to write about how that changed. Their feelings towards each other are not always fixed, but are constantly changing, moving in different directions, for better or for worse.
So, when I was thinking about how to tie them together properly as a work, I thought it would be great to use the free song "Liz and the Blue Bird" as a theme, and I started putting together the story.
Takeda: When I'm writing a novel, I always feel like the characters start moving on their own, and I think Nozomi back then was trying to do that with all her sincerity. I think that line clearly showed that she wanted to approach Mizore to the best of her abilities and accept what she was willing to accept. I think it really feels like it's been put together.
-What did Director Yamada keep in mind when creating a movie about the relationship between these two people?
Yamada: It was a project where I wanted to be fully involved in the adolescent days of the two girls, so with the peace of mind that Ishihara's main story was in the works, I was really absorbed in capturing the subtleties of the girls. .
In this story, the points of view change rapidly, so I am conscious of three points of view: Mizore, Nozomi, and those around them. It felt like I was hiding and peeking, and I was concentrating on not missing out on the girl's secret story.
- Compared to the original work, where the main character, Kumiko, was trying to make Mizore and Nozomi notice changes in their relationship, I felt that the number of characters appearing in this work was limited.
Yamada: After all, I wanted it to be their problem. I want them to express their thoughts, which they have been thinking a lot about, rather than have them brought out by a third party. In that sense, I wanted the girls to confide in their secret stories that they don't want anyone to see by filming in secret.
-By the way, who do you sympathize with more, Mizore or Nozomi?
Takeda: When I was writing ``The Second Movement of Events,'' I feel like I was leaning towards Nozomi quite a bit. Kumiko and I have completely different personalities, and even when I'm writing, Kumiko and I see the world differently, but perhaps Kumiko's perspective is closer to Mizore's. That's why every time Kumiko protects Mizore, I think to myself, ``Maybe Nozomi isn't that bad either'' (lol).
Yamada: Whether it's Mizore and Nozomi or Liz and the Blue Bird, I don't understand the feelings of those who fly away, but I feel like I can understand the wet, soggy feeling of those who become attached. However, I think Nozomi is kind of enka-like (lol). Even though I worry and think about a lot of things, I am self-sufficient. What's more, it weighs heavily on the other person, and they cause them trouble together.
-Does Takeda-san's actual experience include the relationship between Mizore and Nozomi?
Takeda: When I create a character, I always pull out various parts from my friends and acquaintances and put them together, but when I think back to my school days, I witnessed a lot of troubled friendships. Sometimes I wonder if Mizore and Nozomi's relationship reflects the feeling of ``Why is it like that?''
-Are there any specific situations?
Takeda: It's a small thing, but I was talking to five of them on the way home from the train, and I'm good friends with one of them, but not so much with the others... She said that she felt a little awkward and lonely because of what she said. That's probably how I feel (lol).
Yamada: I think it's very well written. I wonder what I should say to make this person happy. At times like that, no matter what I say, I don't feel like it's hurting me.
Takeda: There's a feeling of fumbling around. I feel like that kind of feeling is coming out.
-Takeda-san, how did you feel after actually seeing the film?
Takeda: In the past, even in the TV anime series, what I wrote and the visuals felt completely different, but this time, ``Liz and the Blue Bird'' has an even more independent worldview. It feels like I'm tightly encapsulating something like a quiet, beautiful, slightly undulating youth, and I'm basking in it directly.
This is the only way I can put it into words, but I was really moved by the fact that I was able to draw the work I wrote from various angles.
-Finally, please tell us about the highlights for those who are about to see the movie.
Takeda: It may not be the typical happy ending that everyone envisions, where the prince comes to pick up the princess, but I think things are moving in a bright direction, so please look forward to seeing what the future holds for these two.
Yamada:I place great importance not only on the performance scene, but also on the sounds that create the world. There are various types of sound, so I would be happy if you could truly experience it in the surround environment of a movie theater. It feels like a very quiet movie, and I think it will be a great movie experience. Thank you very much for your support!
Spoiler for interview with music director:
--When creating the music for this work, were you particular about the instruments you used?
I think there are some unusual things about school when you look at it after you graduate. Even if there are children of the same age gathered together, it will not be possible if you go out into society. I remember that I often used prepared piano sounds there. A prepared piano is a grand piano with an eraser inserted or a nail placed between the strings to produce a sound that is not typical of a piano. I put duct tape on it so it wouldn't resonate, or just played the strings with a bow... It has the meaning of something prepared by a person, so I think that fits this work.
-Is there any “special” behind-the-scenes story that you would like people who are going to watch from now on to pay attention to?
Actually, the noises are made to respond to the girls' movements. In the scene where Mizore and Nozomi talk in the biology room, a high-pitched sound based on the sound of beakers being scraped is used to express tension. In the scene where Mizore gives Nozomi her beloved hug, the water pipes and the examiner make sparkling noises to express that they were surprised, and in the scene where Nozomi laughs, she says, ``I see you're starting to smile.'' , that's good.'' The beakers laughed out loud. If you listen with this in mind, you may discover something new.
Spoiler for interview with the author:
1. I want to proudly convey to everyone that ``The euphonium is such an instrument.''
2. Every character has the power of a leading role.
3. I wanted to draw a high school student who is moving forward and aiming for the top.
4. It's okay to have friendship that comes above love.
Novel Maru: It's been 6 years...
Takeda: That's right. This is a work that I have been writing regularly since my second year at university. When I look back on it, I'm deeply moved by how much Kumiko has grown.In the beginning, she was passive in everything, but now she's grown into an adult.
Novel Maru: Embarrassed, I don't know there was an instrument called euphonium.'
Takeda: It's almost unknown to the general public. The euphonium is a type of brass instrument, but when you tell someone who doesn't know about wind music, it's the representative instrument that makes them wonder, "What is that?"
Novel Maru: yes.
Takeda: When it came to the title, there seemed to be some twists and turns among the editors, deciding whether to use the trumpet, which is a major instrument, or the trombone, but I decided to go with the euphonium, and I thought, ``Oh, this author is a wind band musician.'' I thought it would convey, ``I know that.''
Novel Maru: I thought it was a wonderful title, as the words themselves had a relaxed and beautiful sound.
Takeda: thank you. It comes from the Greek word "Euphonos" (good sound), so it feels very fitting when you say "Sound!".
Novel Maru: Mr. Takeda, how did you come across the euphonium?
Takeda: I myself played the euphonium in a brass band for five years, from fifth grade to third year of junior high school.
Novel Maru: I see! That's all the details.
Takeda: That's right. That's why I felt it would be great if I could proudly convey that ``this is the kind of instrument the euphonium is.''
Novel Maru: Have you loved music since you were a child? .
Takeda: That's not what I meant (laughs). I had some free time over the summer vacation and was wondering what to do, when a friend of mine happened to invite me to join a brass band, so I just joined.
Novel Maru: (lol). That will lead to a bright future as a writer...
Takeda: Before that, he had learned to play the piano, but no matter how much time passed, his left hand (which was not his dominant hand) never improved. But since brass instruments only have three pistons, they can basically be operated with just the right hand. That's how I became hooked on Euphonium and brass bands (lol).
Novel Maru: In the ``Euphonium'' series, each character has a three-dimensional charm, and I was drawn into their relationships.
Takeda: I tend to create characters well in the first stage. We create parameters such as what kind of characteristics this child has and what level of performance he should have, and then incorporate them into the story based on those criteria.
Novel Maru: "parameter".
Takeda: yes. In RPG games, a character's experience points, skills, HP, etc. are expressed in numbers. I apply this to the characters in my novels, creating parameters for each individual character.
Novel Maru: I heard it for the first time! Naturally, each one has its own unique character.
Takeda: Another approach is to create pairs of characters to emphasize their differences.
Novel Maru: What do you mean by pairing?
Takeda: For example, the main character, Kumiko, is the type of person who easily gets carried away and values social harmony. In contrast to her best friend, Reina, who plays the trumpet, she is strong-willed and strict towards herself and others, so the pairing is contrasted.
Novel Maru: Certainly, in addition to Kumiko and Reina, I really enjoyed the interactions between the two good friends.
Takeda: Yes. Since there are a lot of people in the brass band, we had a hard time trying to keep the characters from overlapping each other towards the end.
Novel Maru: The characters were so strong that any child could become the main character.
Takeda: Right up until I started writing, I had actually intended for Reina to be the main character.
Novel Maru: Yeah! I'd like to read that too... However, it seems like it would be a completely different work.
Takeda: Yes. When you put a child like Reina, who is both a genius and a hard worker, in the middle of the story, that inevitably becomes the norm. But when the teenagers who picked up the book read it, they realized that this was normal...
Novel Maru: Ahh…….
Takeda: That's right (laughs). I think I'll feel suffocated while reading it. When you think about it that way, it was a good balance to have a life-sized girl like Kumiko, who could be found anywhere, as the main character. In the end, I think it was good to have Kumiko as the main character.
Novel Maru: Depending on the person, it seems like they can have a “favorite character.”
Takeda: We also receive a variety of opinions from SNS(Social Networking Service). Things like, ``I wish I hadn't written this child this way,'' or ``The teacher has an obligation to write this character's ending to the end'' (lol).
Novel Maru: Oh, it's hot...!
Takeda: However, I think these things are a reflection of the fact that they were so invested in reading them, so I'm honestly grateful for them. It makes me happy to think that the characters have already formed their own image in the reader's head, and that the characters are living their lives freely.
Novel Maru: Do you want to respond to requests?
Takeda: I feel like I want to respond, but is it better for the author to write all of the characters, or should I leave it up to the reader from here on? This is also a work that I wrote while exploring those boundaries.
Novel Maru: The goal of the Kitauji High School brass band is to win the gold medal at the national competition. 55 people will be selected through audition to participate in the competition. It also carefully depicts how the club members deal with jealousy and conflicts in a harsh world where talent is judged.
Takeda: I agree. One of the basic rules of the ``Sound! Euphonium'' series is that we don't introduce characters who maliciously try to undermine the group. Since this is a club activity where a large number of people gather together, it is natural that children with different ideas may quarrel or clash with each other.
However, each person believes that their own opinion is the best and acts accordingly.
Novel Maru: It means that no one is trying to degrade anyone.
Takeda: yes. It's OK to disagree on what is best. But no harassment.
Novel Maru: No cowardly behavior.
Takeda: Of course, I think there is a different kind of interest in novels like that, but if you do that based on this worldview, it will end up being a dark story, and it will gradually deviate from the essence of wind music. In this work, I wanted to depict the relationships between the children as they move forward.
Novel Maru: I am energized by the bright members of the club who are looking up and trying to move forward.
Takeda: I decided from the beginning that I wanted it to be an entertaining and upbeat story. I wanted to write a novel that would be comfortable for children who are currently playing brass bands to read.
Novel Maru: Even if you don't do it, I think you'll want to play a brass band. If I could go through my high school years all over again, I would want to join the brass band.
Takeda: thank you! (lol)
Novel Maru: Mayu Kuroe, who appears in "The Final Movement of Determination," in which Kumiko is a third-year student, was particularly impressive. She is a transfer student from a strong school, and like Kumiko, she plays the euphonium.
Takeda: When I first started the series, I honestly thought I wouldn't be able to write a character like this because I didn't have the confidence to write it.
Novel Maru: It's was so.
Takeda: However, when I wanted to delve deeper into the theme of why people play brass bands, and whether winning in competitions is everything, the character of Mayu Kuroe became necessary.
Novel Maru: Will they aim for the gold medal at the national competition, or will they play in a friendly and fun manner? Mayu Kuroe's presence casts a shadow of anxiety on Kumiko's heart.
Takeda: Welcome to the Tachibana High School Marching Band! Before writing ``, I had the opportunity to interview the brass band club of Kyoto Tachibana High School, which is a strong marching school, and in the case of Kyoto Tachibana, I was very conscious of how to make the show look fun when approaching club activities. That's right.
Novel Maru: I see. There is also a brass band club that places emphasis on entertainment.
Takeda: Personally, I don't think everyone playing in a wind band needs to aim for national competitions. However, Kumiko and Kitauji decided to aim for that, and chose to work hard to achieve that goal. Everyone strives to pursue their goals even when it is difficult.
Novel Maru: Once you make a decision, follow through. Although it is important, it is actually quite difficult.
Takeda: If you do this in a small space, it's natural that things won't work together or that your place will be threatened. That's what I wanted to depict in the first part of "The Final Movement," so I delved into the theme of "place and place of refuge."
Novel Maru: The theme of the second part of the final volume, ``The Final Movement,'' is ``Who is the effort for?''
Takeda: Like gymnastics, who are you doing this for? There is such a thing as that.
Novel Maru: Team gymnastics may have a feeling of being forced upon the children, saying, ``It's dangerous, but the kids are doing their best, so you're impressed, aren't you?''
Takeda: It's not an attempt to exploit emotion, but I feel like there are a lot of people these days who exploit effort in this way.
Novel Maru: Efforts that are exploited.
Takeda: The hardships and efforts of everyone at Kitauji High School to aim for the national team, but who is it really about and what is it for? I wanted to face this issue properly.
Novel Maru: The more you get absorbed in your efforts, the more you lose track of where your destination was. There are many adults like that.
Takeda: I believe that all my efforts should be for myself. Even if you're working hard and someone says, ``No, working harder, so you're not good enough,'' you can ignore them. You don't have to sacrifice your efforts to others. You don't have to attack someone to protect yourself. As long as you are sincere with yourself, your efforts will bear fruit in some way.
Novel Maru: Work hard for yourself, not for anyone else.
Takeda: Of course, things don't always go well in life, but I wanted to convey that joy to young readers in their teens and twenties.
Novel Maru: Yes. It made me want to try my best at something. By the way, Takeda's works are also impressive in how they clearly depict the strong bonds and friendships between girls.
Takeda: I have a hard time with ideas like love supremacy. When it comes to romance-themed genres like girls' manga, don't you think romance is often placed higher than friendship?
Novel Maru: There was definitely an atmosphere where if you had a boyfriend, it was natural for you to prioritize him over your female friends.
Takeda: That's right. However, I also believe that there are times when friendship is more important than love. Just because you're dating a boy, it's okay if your female best friend doesn't take second place.
Novel Maru: Many readers may be surprised to hear that.
Takeda: I think it doesn't have to be all about one goal or vector: love. There are many different types of relationships, each with its own best form. I feel that the more people you can rely on, the better.
Spoiler for interview with the voice actress:
黒江真由は“異物”であり“スパイス”!? Mayu Kuroe is “foreign body” and “spice”!?
-In addition to the word "foreign body," please tell us if there was anything particularly impressive that Director Ishihara and sound director Yota Tsuruoka said to you during the dubbing for episode 1.
Tomatsu: The first thing I heard was, ``It's a difficult role anyway'' (lol). Everyone on the staff has their own image of Mayu, and there's probably no common point of view that says, "That's how it is." She seems to have a hard time grasping, and there are some lines and actions that make me wonder why she says things, but she's not a bad guy by any means."
-You're not the type to bite with hostility, are you?
Tomatsu: However, there are many times when the person on the receiving end of the comment wonders, ``What did she mean by just that?'' So it's really difficult for the people watching to understand how they perceive it, and the way they see it changes when their voices are included. I think it's a role where the way I see it changes a lot with just a little tweaking. However, in the sense that she is a transfer student and is in charge of Eufo, she is in a position where she has to be Kumiko's rival. I think it's necessary to show that exquisite relationship. It's not like it's a squeamish feeling or anything (lol).
-It's a relationship that the boys around you can't guess.
Tomatsu: The directors told me that she's the kind of person you've never met that makes you wonder, "Does this kind of girl exist in real life?'' At that time, I realized that the feeling of using honne and tatemae while maintaining a good balance with an exquisite sense of distance is unique to girls. I went to an all-girls school, and there were quite a few girls like Mayu.
-Really!
Tomatsu: Rather than focusing on a specific person, I keep in mind that there are kids who have some of those elements, and use those as hints to create the role. I don't want to make Mayu look bad either, but I feel like it's necessary to create a play that makes audience think, ``What is this girl?''
-The fact that Mayu is a "third-year transfer student'' is also a big point, isn't it?
Tomatsu: That's right. Most of the students in the brass band club join as new members during their first year. I think the (positions) are completely different between a third-year student who has established relationships with those kids and a transfer student who is a very good student who came from a strong school.
I like that we're getting into Mayu's head a bit more with this one. It puts her actions into a bit more context. Makes sense that someone that doesn't fixate on anything or feels lacking in a sense of self would feel uncomfortable taking anything away from people passionately chasing their goals.
Isn't that also why Kumiko doesn't want to go to music school?
Isn't that also why Kumiko doesn't want to go to music school?
Kumiko never thought about going to a music college. She chose her current high school because it still has sailor uniform. Also, she wanted to start a new life with new friends. Her middle school team won the dud gold, which was winning regional gold but failed to make it to national(or winning national gold). Kumiko really wants her school to win a national gold. So, she broke up with Shuichi. She was drowning in the loving feeling and afraid she could not reached her goal. Since Mayu's school had experience winning gold from the national competition, getting Mayu involved was aligning with Kumiko's goal.
Azusa, Kumiko's teammate, happy, because she won the ticket to the high school with emphasize in music. Azusa knows Kumiko got shouted by her senpai when Kumiko won the spot instead of her senpai. She knew it was not the factor that Kumiko had no about music school. When Azusa has nothing to do, she plays music. Her effort paid off. Her school is also the gold winner from the national competition. Her activity in her current school enable her to be eligible for a music college.
Reina, Kumiko's another teammate, was sad about the dud gold(not eligible for the national competition). Kumiko thought the national was way beyond their ability. Reina declined the enrollment offer from Azusa's high school. Reina and her elementary school friend once compete for playing piano spot. After Reina won, her explanation was she had more practice more often than her friend. Her friend got angry in anime. She told Reina she didn't have piano to practice at home, unlike Reina. Reina's goal is to become a musician. Both Reina and Mizore's families can and are willing to afford extra music lessosn and their music instrument. So, talent, environment, and effort are all important to get into music industry. Nevertheless, Reina's silly reason not to attend Azusa's high school is getting in her way to become a musician.
2024-05-06, 00:43
Author
.
. And yeah it really shows how close they've gotten at this point that they are both wearing matching swimsuits and mixing up the tops and bottoms 
