Entertainment ,CNA Lifestyle ,Asia (Page 3)

Andie, who has experienced minor tsunamis over the three years he has lived in Taiwan, explained:” What you’re supposed to do is to rush at a place where nothing’s going to fall on your mind. &nbsp,

Because the walls there is more reliable, I decided to put an arch in between my existing room and kitchen. And if the property collapsed, I’d been near my house where there’s food and water.”

Andie ran downstairs to reach his wife and children after the initial earthquake was through, taking his phone and wallet. &nbsp,

He was unable to call his wife because she left her phone at home, despite the fact that his children’s instructor had confirmed that the children were safe and gathered at the field. So he returned to his house to waited for her.

He claimed that it was only after he noticed his neighbor looking pale that he realized how serious the disaster was.

” You see, Singaporeans do n’t know, “he chuckled”. It’s the same for me, I did n’t know how bad the situation was. In my mind, I thought,’ Okay, really be secure first’.”

” If even the Taiwanese are freaking out, you know this is not regular, “he said. &nbsp,

He claimed that he had lost numerous crystals on his Eastern Television Awards prize and that Kate’s Star Awards prize had been chipped. But the” most painful “damage was to his macbook as its display was” fully smashed”.

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The Japanese studio Gibli, which just won its second Oscar for feature animation for The Boy and the Heron, has n’t yet disclosed what it plans to do next.

Hayao Miyazaki, the founder of the film industry, wo n’t, even if his next task is a brief version of a full-length picture, even at 83, who was the oldest director actually nominated in that category.

A long-time friend claims that Miyazaki is a little ashamed that he declared a decade ago that he would no more create movies citing his age.

After the most recent win, producer Toshio Suzuki, co-founder of Studio Ghibli, expressed regret over telling the world that he would n’t make another movie.

A cheer came up in the small, humble building that houses the theater on the fringes of sprawling Tokyo when the Oscar was reported early on Monday in Japan, where dozens of invited media had scurried in and swooped in to see the service on a large screen.

The award for best visible results went to Japan for the first time, and it marked a great time for Japanese cinema.

The Ghibli and Godzilla movies received praise from Chinese media, noting that the nation had n’t won a double Oscars since 2009 in a row. A new chapter in Chinese cinematic history was a monograph published on Tuesday in the popular Yomiuri paper.

Japan is a significant component of Oppenheimer’s, which won seven Oscar, including best photograph. An American professor who is developing the atomic explosive is the subject of the film. The movie has n’t yet been made available in Japan.

The touching picture by Wim Wenders, Perfect Days, about a sanitation worker, was nominated for an international feature film prize, but it was unsuccessful. Chinese professional Koji Yakusho, who portrays a sweet and unhappy man who cares for vegetation and takes photos, won the Cannes Film Festival award for his performance in May of last year.

The little animation that won for War Is Over was influenced by the music of Yoko Ono and John Lennon. At the Academy Awards, their son Sean, who co-wrote the movie, praised his Asian family.

Suzuki said Miyazaki celebrated his Oscar win in secret at his salon but did not attend the theater event. When asked why Miyazaki had removed his distinctive beard, Suzuki responded,” He does n’t want to look important.”

Suzuki said he spent time determining why Ghibli’s most recent picture was chosen, and whether it was because the story, which centers on a young child dealing with his family’s illness and death, and the development of a relationship with a talking bird, made any Old Testament references. Suzuki claimed that Ghibli’s hand-drawn images captured the transformation of the bird more effectively than computer graphics.

Ghibli did n’t do much publicity for the movie, opting instead for a low-key approach for a work that was reportedly retired after ten years of production.

We believed making things we really wanted to make was acceptable, Suzuki said.

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“Quite frankly, I wasn’t looking at the world when we set out to make this movie,” Yamazaki said in a recent interview. “A lot of our team members said, ‘Oh, it’s Godzilla, The whole world is going to see this. You have to treat it differently.’ I told them all: ‘This is a small budget film made for a certain audience.’ They’ve proved me wrong and I’m very happy that they did.”

Much has been made of the pairing of Oppenheimer and Barbie, but the better double feature for Christopher Nolan’s film might be Godzilla Minus One. Across seven decades of movies, Godzilla has been deployed in a variety of ways. But Godzilla Minus One returns to the essential nature of Godzilla as a sober symbol of nuclear holocaust and atomic trauma.

In the 1954 original, Godzilla is woken by hydrogen-bomb testing. Producer Tomoyuki Tanaka once said: “The theme of the film, from the beginning, was the terror of the bomb. Mankind has created the bomb, and now nature was going to take revenge on mankind.”

Ironically, that Godzilla didn’t reach American audiences at the time. The version released in the US was heavily edited and stripped of much of political themes. Raymond Burr, a Canadian actor, was inserted in new footage.

For some Western moviegoers, Godzilla Minus One is a truer introduction of Godzilla, one of the movies’ greatest and grandest metaphors, than ever before.

“One of the many interpretations of Godzilla, through the evolution of the series of films over the years, has been forgotten – which is the original interpretation,” says Yamazaki. “Given the current state of affairs, what the world is going through right now, I thought it was very important that message not be forgotten. My intent was to put a spotlight on what Godzilla represented.”

In Godzilla Minus One, just as WWII is ending, Godzilla is growing. He begins appearing off the coast of Tokyo. For a kamikaze pilot Koichi (Ryunosuke Kamiki), who didn’t kill himself in battle, confronting Godzilla offers a chance for redemption. When Koichi returns to Japan, he finds his parents dead and the city in ruins. Meanwhile, American bomb tests on Bikini Atoll are fuelling Godzilla’s power.

Recent Hollywood versions of Godzilla have put the kaiju into less Japan-centric contexts. The last was 2021’s Godzilla Vs Kong. Legendary Pictures, which licenses the character from Toho, will on Mar 29 release with Warner Bros Godzilla x Kong: The New Empire. If not for its coming debut, Godzilla Minus One might still be playing in theatres. It bowed out of cinemas in late January after the one-week run of a black-and-white version.

But unlike more broadly blockbuster-styled Godzilla films, Godzilla Minus One is rigorously rooted in a Japanese perspective. Some have lamented that Oppenheimer, in staying close to J Robert Oppenheimer’s story, leaves out any Japanese experience of the bombs dropped on Hiroshima and Nagasaki. But what’s absent of Oppenheimer is everywhere in Godzilla Minus One.

Yamazaki has only seen an English version of Oppenheimer; the film hasn’t yet been released in Japan. But he believes it’s telling that both he and Nolan were separately drawn back to the dawn of the nuclear era.

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