Mamoru Hosoda, one of Japan’s young anime directors hoping to lead the industry after the retirement of legendary animator Hayao Miyazaki, says he hopes to surpass his boyhood hero one day, but don’t look for Miyazaki in his movies.
“That won’t happen. It is only right that different directors create totally different works,” Hosoda, 49, told Reuters TV ahead of the Tokyo International Film Festival next month where a retrospective of his work will be shown.
“I think there are movies that only I can create and movies that only I know how to make people enjoy them,” he said.
Hosoda’s rise to fame culminated with his 2015 box office hit “Boy and the Beast”, which grossed over 5.8 billion yen ($57 million) to become the second most watched movie in Japanese theatres that year.
His movies are colorful and vibrant and appear to follow in Oscar-winning Miyazaki’s footsteps. However, Hosoda regularly chooses themes related to family and identity, which disappoint some fans who seek the more immersive fantasy provided by works out of Miyazaki’s Studio Ghibli.
“The Boy and the Beast” explores the relationship between a paternal beast-father figure and a run-away child. His previous film, “Wolf Children”, centered on a single mother raising children fathered by a werewolf.
Hosoda said his deeper exploration of the meaning of self-identity in an extremely homogeneous nation are often lost on viewers.
“I think there are possibly people in the audience here who were not able to understand that. And that, in a way, is representative of Japan today,” he said.
Hosoda is hopeful for the future of Japan’s animation industry despite the fact that more and more animators rely on computer graphics to polish their work.
“There are, or should be, multiple correct ways to express oneself in animation,” he said.
“If you start saying that only Disney or Pixar animations are the right kind of animations, that just becomes very boring. If everything needs to have computer graphics,then you lose a lot of the richness in expression available in animations,” he added.
“The World Of Mamoru Hosoda” retrospective runs from October 25 to November 3 at the Tokyo International Film Festival and will include movies such as the critically acclaimed “Summer Wars”.
The first 12 projects have been selected for the fifth edition of Biennale College – Cinema 2016/17, submitted by teams composed of directors and producers who will take part in the first 10-day workshop to be held in Venice from October 5th to 14th 2016. The international Call was launched on May 6th 2016.
Biennale College is an innovative and complex experience that engages every sector of the Biennale di Venezia.
Biennale College – Cinema is the project that promotes new talents in cinema by offering them the opportunity to work closely with master filmmakers in the production of micro-budget films. 3 of these 12 projects will receive support in the amount of 150,000 Euro to produce a maximum of 3 feature-length films (debut or second film), one of which must be Italian, to be presented at the 74th Venice International Film Festival in 2016.
The 12 projects were announced during the press conference held on 4 September on the Lido di Venezia (Palazzo del Casinò), at the 73rd Venice International Film Festival (31 August – 10 September 2016), directed by Alberto Barbera and organized by the Biennale di Venezia, chaired by Paolo Baratta.
The 12 projects selected for the first phase of Biennale College – Cinema are:
• The Anthill –Hanna van Niekerk (director, The Netherlands) – Maarten Kuit (producer, The Netherlands)
• Clementine – Lara Jean Gallagher (director, USA), Karina Ripper (producer, USA)
• Film di Confine – Giorgio Ferrero (director, Italy), Federico Biasin (producer, Italy)
• Inaccessible – Loran Bonnardot (director, France), Jean des Forêts (producer, France)
• In the Making – Kristoffer Borgli (director, Norway), Riina Zachariassen (producer, Denmark)
• Killer? – David White (director, New Zealand), James Ashcroft (producer, New Zealand)
At the close of the first workshop, which will be held in Venice from October 5th to 14th 2016, 3 teams will be invited to participate in two successive workshops, to be held in Venice from December 2nd to 5th 2016 and January 9th to 13th 2017, after which production will begin on 3 feature-length films (debut or second films), one of which must be Italian, which must be low-cost, will be funded in the amount of 150,000 Euro, and will be presented at the 74th Venice International Film Festival in 2016.
Biennale College – Cinema, organized by the Biennale di Venezia, is supported by the Ministry for the Cultural Heritage and Activities – General Direction Cinema. Biennale College – Cinema relies on the academic collaboration of the IFP in New York and of the TorinoFilmLab, and continues its collaboration with the Busan International Film Festival. The Director is Alberto Barbera, the Head of Programme Savina Neirotti.
• Biennale College – Hybrid
Also, the Biennale di Venezia will further integrate the activities of the Biennale College and the Venice Production Bridge with the launch of the new BIENNALE COLLEGE – HYBRID, a program developed to explore today’s most innovative technology: Virtual Reality. This supports the aim of the Biennale to investigate various facets of the audiovisual creative industries, proposing works of virtual reality and TV series, and presenting projects in the development stage in search of financing.
The Biennale College Hybrid explores the esthetics and the narrative opportunities offered by Virtual Reality, providing filmmakers and creatives all over the world with the proper knowledge for making the most of Virtual Reality. Biennale College – Hybrid, in partnership with Nederlands Filmfonds, will prepare nine teams of directors and producers who will work with Virtual Reality projects in their initial phase, helping them to advance under every aspect: creative, production, audience and the market, and financial.
All projects will be presented as a part of the industry office of the Venice Production Bridge, which this year includes feature films, documentaries, virtual reality projects, TV and web series.
Biennale College Cinema and Biennale College Hybrid 2017/2018
MEDIA – Creative Europe Programme
The 2017 edition of the Biennale College – Cinema project, which will include Virtual Reality, will receive essential financing from the European Commission – Connect Directorate General’s Media – Creative Europe Programme. The educational activities of the 2017-2018 edition will thus be funded by a MEDIA grant. This grant is in addition to the funding which the MEDIA Programme has given to the development of the Market and Venice Production Bridge.
– The first edition of the 2012/13 Biennale College – Cinema closed at the 70th Venice Film Festival in 2013 with the screening of the three films: Mary is Happy, Mary is Happy, Nawapol Thamrongrattanarit (director, Thailand) and Aditya Assarat (producer, Thailand); Memphis – Tim Sutton (director, USA) and John Baker (producer, USA); Yuri Esposito – Alessio Fava (director, Italy) and Max Chicco (producer, Italy).
– The second edition of Biennale College – Cinema 2013/14 closed at the 71st Venice Film Festival in 2014 with the screening of the three films: Blood Cells by Joseph Bull (director, Great Britain), Luke Seomore (director, Great Britain), Samm Haillay (producer, Great Britain), Ben Young (producer, Great Britain); H. by Rania Attieh (director, Lebanon), Daniel Garcia (director, USA), Shruti Rya Ganguly (producer, India), Pierce Varous (producer, USA); Short Skin by Duccio Chiarini (director, Italy), Babak Jalali (producer, Iran/Great Britain).
– The third edition of Biennale College – Cinema 2014/15 closed at the 72nd Venice Film Festival in 2015 with the screening of the three films: Baby Bump by Kuba Czekaj (director, Poland), Madgadalena Kaminska (producer, Poland); Blanka by Kohki Hasei (director, Japan), Flaminio Zandra (producer, Italy); The Fits by Anna Rose Holmer (director, USA), Lisa Kjerulff (producer, USA).
– The fourth edition of Biennale College – Cinema 2015/16 closed at the 73rd Venice Film Festival in 2016 with the screening of the four films: Mukti Bhawan – Hotel Salvation by Shubhashish Bhutiani (director, India) e Sanjay Bhutiani (producer, India); Orecchie – Ears by Alessandro Aronadio (director, Italy) and Costanza Coldagelli (producer, Italy); La Soledad by Jorge Thielen Armand (director, Venezuela), Adriana Herrera (producer, Venezuela), Rodrigo Michelangeli (producer, Venezuela) and Manon Ardisson (producer, Venezuela); Una Hermana – One Sister di Verena Kuri (director and producer, Argentina) and Sofía Brockenshire (director and producer, Argentina).
Turner Classic Movies (TCM) today announced the launch of its first ever-official fan club, TCM Backlot, which will serve as the ultimate destination for enthusiasts of TCM. TCM Backlot will give fans unprecedented access to all things TCM including exclusive content, never-before-seen talent interviews, archival videos from the TCM vault, an exclusive TCM podcast, as well as opportunities to win visits to the TCM set, attend meet and greets with TCM hosts and the opportunity to influence programming through online votes. TCM Backlot can be accessed at tcmbacklot.com for an $87 annual fee and will be available for fans to join on April 27, as a kick-off to the 7th annual TCM Classic Film Festival which begins the next day in Hollywood. The fan club was created in partnership with fullcube, a platform integrating and automating subscription-based businesses.
“Creating a fan club allows us to super-serve and further engage with our most passionate and devoted fans,” said Jennifer Dorian, general manager of TCM. “We are always looking for exciting and immersive brand extension opportunities and TCM Backlot offers just that – allowing fans the ability to go behind-the-scenes and dive deeper into the world of TCM, providing a consistently updated fan experience filled with entertaining content and engaging opportunities.”
“The creation of TCM Backlot shines a spotlight on the tremendous opportunities for media companies, like TCM, to transform their relationship with consumers,” said David Hickson, co-founder and CEO of fullcube. “Fullcube’s capabilities help create a brand extension for TCM by bundling a wide variety of engaging assets such as digital content, e-commerce, event and experiential assets, into a premium subscription offering delivering exclusive benefits to classic movie lovers.”
TCM Backlot will provide members with robust access to TCM content, talent, programming and events. Membership highlights include:
Programming Influence – receive an advance look at TCM programming and have the opportunity to influence the schedule of movies through contests and voting.
Guest Programmer – enter to win an opportunity to co-host a night of movies with a TCM host.
On-set Tours – win the opportunity to tour the TCM set and watch a TCM production being shot as well as interact with TCM hosts and crew.
VIP Event Access & Members-Only Events – enjoy exclusive access to special events during the annual TCM Classic Film Festival and the TCM Cruise, as well as exclusive events at historical Hollywood sites and members-only TCM Bus Tour events
Giveaways and Discounts – receive discounts to TCM related events, tours and merchandise as well as contest givaways of TCM merchandise.
Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world highlighting the entire spectrum of film history. TCM, which is available in more than 85 million homes, features the insights of hosts Robert Osborne and Ben Mankiewicz, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. Currently in its 22nd year as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials, hosted by Robert Osborne and Sally Field, along with annual programming events like 31 Days of Oscar® in February and Summer Under the Stars in August. TCM also directly connects with movie fans through events as the annual TCM Classic Film Festival in Hollywood and the TCM Classic Cruise, as well as through the TCM Classic Film Tour in New York City and Los Angeles. In addition, TCM produces a wide range of media about classic film, including books and DVDs, and hosts a wealth of material online at tcm.com and through the Watch TCM mobile app.
TCM is part of Turner, a Time Warner company. Turner creates and programs branded news; entertainment; animation and young adult; and sports media environments on television and other platforms for consumers around the world.
fullcube is a platform integrating and automating subscription-based businesses. Developed after more than a decade of experience designing, launching and managing premium subscription programs for enthusiast brands, the fullcube platform simplifies the consumer experience and maximizes revenue for subscription offerings from publishers, media, entertainment and sports companies, and membership organizations. fullcube’s platform provides an infrastructure that creates a premium subscription product and integrates multiple subscription offerings into a single hierarchy through the bundling of digital content, commerce, event and experiential assets designed to engage subscribers spanning the spectrum from fanatical to brand-new. For more information, visit: www.fullcu.be.
The 66th Berlin International Film Festival, also known as Berlinale, is set to open February 11th and run through the 21st of February, 2016. This year’s President of the Jury will be Meryl Streep. Opening night film is Hail Caesar! from the Coen Brothers, Joel and Ethan.
(Courtesy: Berlinale Festival)
Each year up to 400 films are shown in a splendid array of world cinema with ticket sales around 300,00 and admissions estimated at 500,000 Berlinale is widely considered the world’s largest publicly attended film festival. In addition, the festival’s media events are very reputable. Dieter Kosslick is embarking on his 15th year as the festival’s director. Stay tuned for daily updates! Until then, I’ll see you at the movies…