Things Unheard

I would very much like to be enjoying A Silent Voice, but I have a bunch of other things to worry about. Just before the lights go down in the cinema, I get the word that the promised 40-minute post-film Q&A had suddenly dropped to 20 minutes – shoving an extra half-hour onto a slot’s running time often disappears in the cracks between schedulers, projectionists, front-of-house and cleaners. The woman who tells me this also warns me that we are starting 15 minutes late, because someone who shall remain nameless went off to the bogs, and we couldn’t start the film without them.

Anime Limited want to film the Q&A event for a DVD extra. Kyoto Animation are in the house with their own camera. The director, Naoko Yamada, is sitting next to me and has no idea about the blind panic unfolding in my mind over the next two hours. She’s already sat through a 40-minute meeting where we talk over the likely questions, and her minders steer me towards the areas they most want to discuss. But now I am feverishly calculating and re-calculating the logistics.

How much time do I actually have? Assuming that I am not thrown out the moment I take the stage, is there enough time for audience questions at all? If I drop audience questions (and risk the wrath of fans), will there be still time to talk about the staff at Kyoto Animation, as I have been requested to do, or do we now have to make this all-Naoko, all the time? Maybe if I rush. Maybe if I just fire questions at her like an interrogator. Maybe if I drop all questions about the manga and pre-production and just get her talking about her work, I can salvage something.

The lights go up. I take to the stage and introduce the director of A Silent Voice, and catch myself glancing at my watch when the applause goes on too long. Too much applause will cost me another question.

The cameras are running, the audience are laughing. I even relax the interrogation a little and we seem to have time for audience questions. Later on, I find out why – the person tasked with signalling me that we are out of time has decided to simply lie about it. We run over, which means that cinema-goers two films behind us might find themselves hard-pressed to make it for the last bus. Someone is going to get into trouble over this, but it’s a judgement call that saves the event. For the half-hour that the event lasts, it all looks smooth. Nobody saw the negotiations beforehand, the fretting throughout the film, or the slap on the wrist that the distributor got from the Glasgow Film Festival authorities for playing havoc with their schedule. It’s our job to make this all look easy, but sometimes it really isn’t.

Jonathan Clements is the author of Anime: A History. This article first appeared in NEO #162, 2017.

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Enemies Reunited

Over at the All the Anime blog, I write an article about Naoko Yamada’s acclaimed film A Silent Voice.

A Silent Voice had a rollercoaster ride to success. Despite winning a Kodansha comics competition in 2008, it sat unpublished for three years as editors and lawyers debated its provocative stance. Disability drama is a recognised sub-genre in the Japanese media, but usually strives for a worthy, didactic message. The implied audience is all too often an ignoramus who needs to be educated about specific conditions. Such stories are often termed Pure dramas, deriving their name from the autism-related 1996 TV series of the same name. But A Silent Voice often focussed not on the saintly deaf girl but on the young thug who bullied her, along with his classmates’ casual disinterest. When it finally saw print in 2011, it did so with a ringing endorsement from the Japanese Federation of the Deaf: ‘Please publish it as it is and do not change a thing.'”

Hear Me Now

silent-voiceOver at All the Anime on their monthly podcast, I appear in my role as jury chairman on the awards committee for Scotland Loves Anime, in discussion with members of this year’s panel: Eric Beckman from Gkids and the New York International Children’s Film Festival, Anna Francis from the distributor National Amusements, and Miles Thomas from Crunchyroll. The fourth and final juror, Shelley Page from DreamWorks, was off climbing a hill in Edinburgh.

Discussion includes the four films under consideration: Kingsglaive, Momotaro — Sacred Sailors, A Silent Voice and Your Name, alongside the likely damage that Mods can cause to international sales, the rise and rise of Makoto Shinkai and the tropes of “disability” drama.

Listeners with an interest in what goes on behind the scenes at film festivals can also check out podcasts from earlier years. Highlights include Justin Sevakis and a NSFW digression on hentai in 2015, Gemma Cox on writing about women in anime in 2014, and Hugh David on film and video restoration in 2013.