I was not very familiar with animation...
... prior to this project coming my way.
But my boyfriend is a huge Japanime fan...
... and was very excited about the possibility...
... that I was going to be working with Otomo.
He filled me in on who he is, and we watched Akira...
... it's sort of like one of his most famous movies I guess...
... at least for the American audiences.
And it was incredible. I became a fan.
And all the suffering of humanity, the ages of misery and darkness...
... science can change that.
But what use is it if we don't bring it's power to everyone?
The entire world is waiting for the power of Steam Castle!
Some of the kind of adult themed anime stuff going on...
... are sort of grown up stories theres some wonderful work being done.
But it seems to be the area...
You got to be an enthusiast to go find where it is.
It doesn't play in your local Cineplex of your neighborhood.
You are the heir of the Steam family, you alone, you know right from wrong.
Never let go of that
Do not give the treasures of science to the greedy and wicked...
...you must reserve the future for all of us.
I have in the last few years, only the last few years...
... I'm embaressed to say, become much more aware of Japanese animation.
And I was lucky enough to spend some time in Japan earlier this year.
And I'm just blown away by it.
It's very different from what we've been doing in the West.
For instances, in this film, there are no talking animals.
There are no cute moments.
It's all about human beings in nineteenth-century. Human beings.
There is nothing odd or weird in that perspect
And so It's like being in a contemporary drama...
... except that it has appeared in it's setting.
And it's very, very naturalistic.
I wanted to do this film because it's totally different. You know?
First of all, I'm playing a boy...
... and getting to do all the sort of action stuff that...
... You know, girls never get to do in live action films.
And because of, you know, obviously reputation...
... of Otomo as an animator.
It is someone venerated by many people.
And it's always fun to participate...
... in a film that people anxiously expect to be released...
... because the fans have a lot of respect for him.
They asked me if I had ever folded...
... an animated feature film.
And I had never done it.
He had folded small papers...
... and recorded spoken books and those things.
But I had never done anything of this magnitude.
And it seemed like a new and interesting experience...
... giving life to a character with only the voice...
... and the fact that it was a character already drawn...
... and visually real, so to speak.
And then, find the right voice...
... it seemed an interesting process.
- Not too scary? - No no.
In recent years, I have been fortunate to participate...
... in several animated feature films.
All of them interesting in their own way.
But this has been especially...
... fascinating, as well as challenging.
My character, Lloyd...
... is totally elaborated...
... because the Japanese version of the film is over.
I join when a good part of the work is already done...
... and, therefore, I have to put my voice...
... to a character that already exists.
Our dream has died. It's time to leave.
In a way, it's easy because this character is from Manchester.
I am from there near, a few kilometers.
On that side, it was comfortable...
... but you have to find...
... a vocal characterization that fits perfectly...
... with a character that is already there, on the screen.
And the scenes in which I participate are so intense...
... that has been a challenge.
That will stop your game.
We will go down in the river like blood. Eddie!
I got involved because...
Director of Dubbing Rick Zieff
... they hired me to select the cast.
And then they thought of me as a director too.
I had worked with the company on some TV projects...
... and they proposed it to me. I saw a video copy...
...and I said: "I love the project and the story."
It's not like cartoons. It's an animated, real movie...
... and we treat it like a live action film.
And it was very exciting to participate in a film like that.
I did not let the opportunity pass.
The fact that it was a very sophisticated animation...
... almost like a normal movie...
When we were recording, I remember that I said:
"Why did not they do a normal movie? It would have been easier."
But the skill with which it is made is impressive.
What the hell is that?
What the hell?
In <i> every</i> project, I do something I have not done before.
Something that requires a new skill...
... or something that extends...
...My capabilities.
And put voice and give life to animated characters...
... especially to ones that were not originally in English...
... it's pretty challenging. And, in fact, very fun.
Ray, sir. James Ray Steam, sir.
Mr. Stephenson.
James Steam?
The son of Edward Steam?
Also, I am a girl who plays a very active boy of 13 years...
... something you never do in a live action movie.
The boys always touch all the action.
Even if you're a girl in an action movie...
... and I've participated in two, those of X-Men...
... you never really make the most physical and crazy parts.
So it was fun to be able to do it...
... in a film, if only through the voice.
Also, it was funny that he played a 13-year-old boy...
... from Manchester, I, who am a 22 year old woman from New Zealand.
But I said to myself: "And why not?"
I'm looking for interesting work.
And, if possible, that is a challenge too.
And something that is more different...
... what I've done before.
It doesn'' T work.
It is too dangerous. The central valve will not hold.
What? Leave now and leave?
Open all the valves!
What madness
The casting covered many places.
We look for talent throughout the country, especially in Los Angeles.
We did a casting in Manchester...
... where the film takes place, what was exciting...
... and, of course, here in London.
We wanted to make sure that...
... The voices were authentic regionally...
... and in terms of: "That voice could belong to that body."
And that the <i> feeling</i> of the sound was similar to that of the Japanese version.
They were many things, and it took a lot of time.
Anna Paquin, Alfred...
Sound Director Keiichi Momose
... and Patrick Stewart are very good.
They surprised me, and I am honored to work with them.
This Exhibition allows us to show them to the whole world.
- Good synchronization. - Excellent.
Yes. EI 615.
Probably, this is the first time that...
I do not know, some directors...
... could work directly with actors as good as these.
So I am very proud of this opportunity.
- We'll make a copy of this. - Here we go.
- We're going to repeat Q1521. - All right.
I'm lucky that two of the characters closest to mine...
... my son and my grandson...
... interpret actors with whom I have worked.
Fred Molina plays my son, and Anna Paquin...
<i>... that I know</i> of <i> X-Men 1</i> and <i> X-Men 2...</i>
... plays my granddaughter, and very convincingly.
Everyone is called by the first name.
He is the son of a scientist. They are both scientists...
... and have worked together...
... in the use of steam.
The film takes place at the end of the 19th century...
... when steam was the nuclear energy of the time.
And they have divergent views on...
... the direction they should take, both scientifically and ethically.
And they start in different directions.
Then Eddie's journey begins.
Take a course that other people, including your father...
... find doubtful.
And then there's Eddie's son...
... who is involved in this conflict...
... between his father and his grandfather...
... and acts as a catalyst in the resolution of history.
You and the grandfather come with us!
Do not worry about us!
I can not leave and leave them!
Stop wasting time
- Let's hurry up, or we'll die with them! - Wait!
As for making a boy...
Most of the time, my voice is not very sharp anyway.
But there are times when I have to show emotions...
... shout or make noise of efforts...
... and then it starts to sound very feminine...
... more plaintive and pathetic...
... I do not hit anything on this tough guy.
And sometimes I have to make an effort and tell myself:
"Okay, that was good. Now the record goes down. "
Each actor records their track individually.
For my luck...
... some of the other actors, like Alfred Molina...
... they had already done their job when I entered.
So, in the scenes where I "act" with him...
... I hear his voice coming out of the mouth.
That way, I can match my interpretation to his.
So it seems that you are really acting with someone...
... more than when you have mute mouths in front of you.
The strange thing about this work is that...
... you do it only. It's strange that...
... there are 2 or 3 actors in the room.
But you hear them.
You catch where they go with their papers.
This Exhibition allows us to show them to the whole world.
- Too strong. - Too strong.
- It should be much more subtle. - Much more subtle.
Let's go to page 114.
It's when you talk about that tube.
Voucher. The roll that one.
I receive many tips from our director...
... Rick Zieff, who knows the project very well...
... and it helps you to be where you should be...
... emotionally and others...
... and knows what the other interpretations should be like.
Fill in the spaces you have blank.
What we do here is equivalent to SAD sessions...
... or additional substitution of dialogue. In a SAD...
... of a film that I shot, I do lip-syncing...
... of my own dialogue.
Here I do lip syncing of an animated character...
... who speaks in Japanese.
Therefore, the synchronization will never be perfect.
It's over, Eddie.
Surrender. The castle of Steam is about to explode.
As a dubbing director, I have to make sure of several things:
That the interpretations are appropriate.
That the synchronization is good, even knowing...
... that the editors will then fit perfectly.
That the characters are not distorted.
That if the actor has not recorded two days...
... his voice corresponds to what he did two days before...
... and look good in that scene...
... so, if it's a 2 or 3 minute scene...
... flow naturally.
There is nothing ambiguous in this work.
It's not like when...
When you do something where you are seen...
... you can interpret a moment of history...
... and do something with your voice...
... that is not necessarily expected.
But in this work it is different.
The voice has to be absolutely precise.
The script is very well done as far as...
... to the adjustment of words with the movement of the lips.
Someone has spent a lot of time working it meticulously...
... so that our work will be much easier.
Obviously, there are things...
... that do not fit perfectly...
... with the English words.
And there are times when you have to do some juggling.
But most of it has been pretty fluid.
I'm supervising the dialogues.
I have to...
... check if the translation is correct.
Those are the things that I do.
Mr. Kei Momose, the sound director...
... was casting and dubbing director in the Japanese version.
He is the sound supervisor.
Supervise all music...
... and about 200,000 sound elements.
It is an incredible achievement in sound design.
The castle of Steam, where it takes place...
... a good part of the film, it's a cavernous and metallic place...
... and there you hear all kinds of creaks...
... oiled machines. It is an extraordinary achievement in sound.
He supervises everything. He has lived a long time with the project.
Now is our opportunity.
The science...
... must serve the progress of the whole world!
- Dad! Eddy!
The film is extraordinary.
It looks nothing like the animated films I've seen.
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