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They feel empathy for each other, but their relationship is special and unusual. It seemed like one would get a completely different impression by just the way they ended their words in every bit of their conversations.
I absolutely wanted to be faithful to the feelings of the two. It was a very risky speech style we went for, however we did not intend to make something where the people we show it to simple-mindedly sees them as "very good friends".
In order to protect dignity, so that there was not any falsehood in the drawings , I was constantly careful not to make it showy.
I tried to render her charisma, not just her motivated and driven personality. However, in the movie, she shows her imperfections, which weren't depicted in the TV series due to her not being the main character.
For instance, she can be cunning and jealous of even Mizore, who she really cares about. I think viewers of the movie will feel an affinity with her human side.
To be honest, I was confused when I read the script at first. Euphonium , even though the movie is a completely new story. I hope viewers understand that Nozomi is the same girl from the TV series, and the movie shows different aspects of her not shown before.
I'd like to portray her without destroying her image, but surprise viewers with her human side. To be honest, I felt that I could relate to Mizore more than Nozomi at first.
I understood Mizore's feelings but not Nozomi's. I didn't understand her looking away or shuffling her feet at the crucial time.
I thought she wasn't the girl who I knew well. It took a while for me to understand why she acted like that. She has too much on her mind and can't handle her emotions anymore.
On the other hand, Mizore stays the same in the movie, so it's easy to understand her. Mizore's voice actress Atsumi Tanezaki stated: "There was no confusion about Mizore's role.
How she treasures being with Nozomi hasn't changed a bit from the TV series. However, there were very few scenes of the two together in the TV series.
There were only the scenes of them making up and then a few conversations. Therefore, I wondered how I could render her feelings when they were chatting and joking around or playing together in the sun.
The director told me that Mizore feels like it's the last chance to be with Nozomi every time she meets her.
She always feels insecure about her friendship with Nozomi and fears it'll end abruptly without warning. I get it. When Mizore becomes an adult and looks back on her teenage years, she probably remembers Nozomi's back.
I become emotional just thinking about that. Liz and the Blue Bird had two composers: Kensuke Ushio , who had scored Yamada's previous film A Silent Voice , composed the minimal -styled background music for the scenes in high school, while the background music for the Liz and the Blue Bird fairy tale segments and the concert pieces performed by the characters' brass band were composed and conducted by Akito Matsuda, the composer of the Sound!
Euphonium anime series. The soundtrack was composed beforehand, and the keyframe animation done afterwards to match with it; the scenes featuring Ushio's music were particularly hard to animate, as he included the sounds of the characters' footsteps as part of the music, and their movements had to be perfectly synchronized with the sounds; the goal was to have "visuals, music, and the sounds of footsteps in complete tandem".
Unlike A Silent Voice which he joined late during production, Ushio was involved since very early in Liz and the Blue Bird ' s production, and as such helped Yamada develop her own ideas for the film; he stated: "When I read the script, I thought this was a very personal story; a story that should remain hidden from everyone else.
If such adolescent feelings, so very delicate like glass, were to be known to others, I think that those girls would truly become unable to build connections with others later in life.
So I wanted the music to be like holding your breath, secretly watching. There's also the fantastic brass band music that Matsuda composed.
I thought this music was what you should find yourself humming after watching the film, so I tried to make sure I didn't bring the melody out too much in the film music.
That's why I decided to go with this unconventional method of composition. To record the soundtrack, Ushio and Yamada went to the real-life school the building in the film is based on, where Ushio recorded himself tapping and using the present objects in different ways, and later included those sounds in the soundtrack; he later remembered that Yamada "couldn't stop laughing" while he recorded.
He described it as "a way of representing how the two girls, that sort of disjoint between them and that gradual separation. We took that and used that as the base for the soundtrack as well so that's one of the reasons why it ended up with such a nostalgic tone to it.
Within the decalcomania you'll see different objects, the beaker, the piano, the desk scraping sound.
For example, the footsteps are synchronized to the music. The footsteps had an actual tempo. The tempo is 99, , These are coprime numbers.
The footsteps' tempo is always a coprime number but we also slightly moved the tempo because we are humans and not robots. So at the very end of this film, you saw the happy on screen situation - I cannot remember the tone but the footsteps are completely synced.
Just the footsteps. So something that happened that even I didn't expect is the footsteps ended up in sync together and for them they never expected that.
It felt like a genuine miracle that that happened. It was a joint moment. Talking about the recording of the "Liz and the Blue Bird" piece, Yamada stated "The live performance was just so warm And I could feel a sense of space.
Sometimes [the oboist and the flutist] would take a deep breath and at others they would sing out with their instruments.
My chest felt tight listening to such a performance filled with so much emotion. The two of them listened to me so attentively, I ended up feeling too comfortable and talked much more than I had meant to.
As these two were musicians and not actors I thought it would be best if I talked in specifics like 'play the first two notes then stop'.
But in reality they really managed to get on board emotionally and did a great deal of acting. For example there's a moment where Nozomi doesn't want to lose but just can't fight back.
They had really broken down and understood this moment, so the expression in the music was so good.
The animation can't lose to this, I thought. It really made me excited. The end credits also start with a second original song titled "Girls, Dance, Staircase", composed by Ushio with lyrics by Yamada, although Ushio "added a few words so that they would fit with the music in a more interesting way".
At Yamada's idea, the song was sung by a boy soprano , which Ushio called "a brilliant idea. The boy soprano has this feeling of not being distinctly male or female which I guess really fits in with the film's mix of the subjective and objective.
Getting this balance right was very difficult. The piece should have elements of religious music without being too much like a religious piece, so it was very much like threading a needle.
The film was released in Japan on April 21, Eleven Arts released the film the United States on November 9, It premiered in Canada on January 2, Liz and the Blue Bird received positive reviews from critics, with most praise going to the relationship and personalities of the two main characters, soundtrack, and animation.
Natasha H. She does this in one of the most unique and extraordinary methods I've seen in this medium: by pairing her framing and pacing of the story right up with the soundtrack.
It is almost impossible to decouple the visual and auditory experiences of Liz and the Blue Bird [ Whether it's the eyes, or slant of the mouth, or even the criss crossing of legs - the attention to detail shows in every frame of the film.
The music is also very particular, as Ushio weaves instruments familiar and strange together into a sparse and discreet score to portray the mindset of the main two characters and atmosphere of each scene in the film.
It displays human insecurity and vulnerability in beautifully honest ways, and thanks to the combined craft of director Yamada's impeccable vision and composer Ushio's sparse but minimalistic soundtrack, it ends up becoming one of the most touching and moving experiences I've seen this year.
Matt Schley of The Japan Times gave the film a 4. For Sound! Euphonium fans, Liz will be a welcome trip back into its world, but this film will resonate just as strongly with anyone who's ever been through the emotional roller coaster known as high school.
As two sides of the same coin, both stories circle one another until they fuse into a poignant harmony of sight and sound.
He stated: "Despite the way Yamada keeps reiterating how delicate teenage relationships can be, and how easily they can slip away when you move on to the next stage of your life, the story's limited setting and lack of overt drama makes her movie feel somewhat uneventful.
It seems closer, at times, to an after-school special — or to an episode of Degrassi Junior High — than to a full-fledged feature, even if a late twist gives everything more gravitas.
Aesthetically speaking, there are nonetheless some beautiful moments scattered throughout the story, with the animation switching seamlessly between the detailed manga-style drawings of the classroom scenes and the more ephemeral watercolor renderings of the fairy tale sequences.
Like in A Silent Voice , Yamada has a very keen eye for depicting adolescent malaise in visually evocative terms, and Liz and the Blue Bird could have benefited from even more flights of fancy than she allows for here.
The film won the Ofuji Noburo Award. Another Sound! Euphonium film titled Sound! Yamada stated that the "Liz and the Blue Bird" music piece featured in her film "will be connecting the film to [the second one].
From Wikipedia, the free encyclopedia. Liz and the Blue Bird Japanese theatrical release poster.
Euphonium by Ayano Takeda. Kensuke Ushio Akito Matsuda. Further information: Sound! April Retrieved March 20, Fairy Legends and Traditions of the South of Ireland.
London: J. Curtin, Jeremiah London: Macmillan and Co. Hardy, Philip Dixon Dublin: John Cumming. Lover, Samuel Legends and Stories of Ireland.
Kennedy, Patrick Legendary fictions of the Irish Celts. The Fireside Stories of Ireland. Dublin: M'Glashan and Gill; P.
Zipes, Jack New York: Oxford UP. Lists of children's books. Dumpy books Early Puffin Story Books.
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One Thousand and One Nights . Hanna Diyab  . Hanna Diyab  . Arabic epic literature. Susie Hoogasian-Villa. Soushen Ji In Search of the Supernatural .
Miscellaneous Morsels from Youyang. Basil Hall Chamberlain tr. Friedrich Kreutzwald. English Fairy Tales. Thomas Lyttelton, 2nd Baron Lyttelton.
James Mathew Barrie. Richard Johnson. The History of Tom Thumb. Josef Calasanz Poestion. Le Foyer breton. Patrick Kennedy. Legendary Fictions of the Irish Celts .
Jeanne-Marie Leprince de Beaumont. Les Contes des Fees. Henriette-Julie de Murat. Gabrielle-Suzanne Barbot de Villeneuve. Mother Goose Tales.
Charlotte-Rose de Caumont La Force. Le Conteur Breton ou Contes Bretons. Welsh Fairy Tales and Other Stories . Chevalier de Mailly published anonymously.
Les fees illustres. Children's and Household Tales. Deutsches Märchenbuch;  Green Fairy Book. Karl Müllenhoff ; popularized by Ludwig Bechstein.
Johann Karl August Musäus. Volksmärchen der Deutschen Vol. Grimm's Fairy Tales. Ernst Meier. Franz Xaver von Schönwerth.
Georgios A. Griechische Märchen, Sagens und Volkslieder . Consiglieri Pedroso. Fernan Caballero. Legends, Tales, and Stories of Ireland .
Donegal Fairy Stories . Legends of Saints and Sinners . Hero-Tales of Ireland . The Royal Hibernian Tales . In the Chimney Corners .
Michael Scott. Irish Folk and Fairy Tales Omnibus . Legends and Stories of Ireland . Irish Wonders . Legends and Stories of Ireland .
West Irish Folk-Tales and Romances . Irish Fairy Tales . Fairy and Folk Tales of the Irish Peasantry . Fairies and Folk of Ireland .
Irish Sagas and Folk Tales . Myths and Folk-Lore of Ireland . A House of Pomegranates. Childhood Favourites and Fairy Stories .
Irish Sagas and Folk Tales . Tales of the Fairies and of the Ghost World . The Boy Apprenticed to an Enchanter . Five Irish Stories .
The Irish Fairy Book . Fairy Legends and traditions of the South of Ireland . Irish Fairy Stories . Fairy Legends and traditions of the South of Ireland .
Folk-Lore and Legends: Ireland . Fairy Legends and traditions of the South of Ireland .
Old Celtic Romances . Granny's Wonderful Chair . Celtic Wonder-Tales . The Happy Prince and Other Tales.
The Fireside Stories of Ireland . Irish Fairy Tales . Legendary Fictions of the Irish Celts . Irish Fairy Tales .
William Butler Yeats. Tales and Sketches . The Girl Who Sat by the Ashes . Fairy Legends and traditions of the South of Ireland .
In The Celtic Past . Celtic Wonder Tales . The king of Ireland's Son . Standish James O'Grady. Traits and Stories of the Irish Peasantry .
Fairy Legends and traditions of the South of Ireland  . Legends of Saints and Sinners  . Traits and Stories of the Irish Peasantry .
Manx Fairy Tales . Giovanni Francesco Straparola. The Facetious Nights of Straparola. Thomas Frederick Crane. Sicilianische Märchen .