Yoshiji Kigami, animator at Kyoto Animation, gives his impressions of "Liz and the Blue Bird"

This is a translation of a blogpost that Yoshiji Kigami, animator at Kyoto animation, wrote about his thoughts on the latest Naoko Yamada (K-On!, A Silent Voice) movie, Liz and the Blue Bird. It was originally published on the japanese Kyoto Animation site on April 13, 2018: http://www.kyotoanimation.co.jp/staff/anibaka/blog/?p=2489

I personally saw the movie in the theatre some days ago, and I decided to translate this mostly as an excercise, but thought I might as well share it in case someone else might find it interesting.

It should be noted that my native language is neither English nor Japanese, so if the language in the text feels a bit stiff or unnatural at times, you have your explanation there. I am sorry if that is the case, but always be free to leave constructive comments so I can better myself.

The translation is as follows:

Yoshiji’s status report.

These days I feel envious of all the sparkling dazzling newcomers, and I tend to fall into a downcast mood for some reason. My work currently consist entirely of drawing nothing but people swimming day after day. (Free! Season 3) Swimming scenes burns a lot of calories, so I am having a very hard time completing every cut. But nonetheless I am enjoying myself. Just gotta keep at it!

Well, this time I shall to notify you about, or perhaps I should say give my personal impressions of a certain movie and give it some publicity. At long last opening next week on April 21^st, it is “Liz and the Blue Bird”! I watched it as soon as possible at the first preview screening!

Just as the director herself said somewhere, it is a story drawn from the perspective of a bystander, and the finished work truly was an overflow of charm and glamour.

During the opening and middle acts, the movie is controlled by an indescribable tense feeling. Then when finished watching, the modest growth of Mizore and Nozomi made me have sigh of relief from the bottom of my heart that gently melted away that stiffened tension. I was deeply moved... But at any rate, it was a curious film.

Whilst watching I felt an illusional sensation of realism, as if the movie actually was live action. But it was somehow different from that kind of feeling you get from regular Japanese live action movies. Is it a work truly as real as live action? By no means, but nonetheless one feels the breath of the characters as if they were right by you... What comes to mind is after all the director Yamada’s words.

A movie from the perspective of a bystander.

As a rule, in order to not let the viewer lose interest, people who make movies are racking their brains trying to fine-tune the pacing of the movie while conjuring moments that snatch away your heart. In other words, they try to interweave subjectivity and objectivity along with evoking the sense of vibrancy through the direction, while also adding a bit of attractiveness to the shots. I have also been directing, and I have a lot of troubles with this kind of thing... (since I am really afraid of the viewer losing interest)

However, it kind of feels like... somehow this movie is not like that?

It really is a movie where you assume the role of a bystander and quietly just peek into the lives of the two main characters... The indifferent flow of time silently passes by the audience. A far too mundane everyday life passes by for it to be called drama. And yet, the uneasiness builds up this sense of tension that gradually makes your chest burst into an uproar. And a short time later, you come to see that uneasiness fade away. The bystanders that the director speak of are, rather than watching a movie, experiencing something more akin to a play. The distance between the actors and the audience in this movie is infinitively close.

That excessively close sense of distance establishes a lively sense of tension surpassing even that of live action. The sound of footsteps in the corridors reverberate into your very skin, and the air sways of their breathing. When in the space Mizore and Nozomi are, you participate in and share their actions, and it feels so real that I authentically get a vicarious experience of the defencelessly exposed, frail sensitivity you have as a teenager. That feels very bitter and painful...

It’s just the thing that, surprisingly, it felt pleasant.

I learned what you can express through film and the broadness of the medium anew. This was a film that sang the praises of embracing change in everyday life. It is not a film about the dramatic moments, but rather one that has turned its glance toward the hidden, still fleetingness of the interludes between said moments...

The task of Mr Futoshi Nishiya, the character designer as well as chief animation director, was certainly to like an actual magician breathe life into Mizore and Nozomi, and then the musical composition of Mr Kensuke Ushio accompanies everything with a miraculous palette that gently embrace the viewer. Not to mention fans of Sound! Euphonium, I really want people who have an interest in Naoko Yamada to no matter what watch this movie. I want you to go to the cinema, and together with Mizore and Nozomi experience the winds blowing at Kitauji High School.

By all means.