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君の名は [Your Name] "Fan-made Screenplay" Original Story and Film by Makoto Shinkai Rewritten in English by Jake Gao gaojake.com [email protected] ii. I want to make it clear that I wrote this with my own time, and without permission from the original filmmakers and producers. As a screenwriting major in Los Angeles, I really wanted to read the screenplay to my favorite movie, Your Name, but I couldn't a copy of it anywhere (Japanese or English). So I came up with the bright idea to write my own! This project was super fun for me as I was able to really study the movie and its details. It also serves as fun writing practice, a way to force myself to write everyday, and something to serve up as a sample of my writing style. I hope that you all enjoy the read, and please feel free to critique me and point out any mistakes-- format, spelling, or grammatical-- as it'll help me improve my future projects! Thank you so much and keep dreaming! -Jake. Original story by Makoto Shinkai 1. EXT. ITOMORI - SKY - NIGHT We are so high sky that sunlight still peaks over the horizon, bouncing off the tops of clouds. Meteorites glow red as they fall towards Earth. Many fragments disintegrate in the atmosphere, but the largest piece dives into the clouds. The sound of wind whistles as the camera tracks the falling comet. The comet bursts through the cloud cover, revealing a darkened prefecture surrounding a large lake. We watch as the comet descends onto Itomori. CUT TO BLACK. OVER BLACK. ALL DIALOGUE IS SPOKEN IN JAPANESE. MITSUHA (V.O.) Every now and then, when I wake up... CUT TO: EXT/INT. TOKYO - DAY A wide, areal view of congested apartments, skyscrapers, and subways. MITSUHA (V.O.) I find myself crying. INT. TAKI’S ROOM - CONTINUOUS A neat, minimalist bedroom with schoolbooks and a desk. TAKI TACHIBANA (22), quick tempered but good hearted, sits up from his bed. He stares at his empty palm. TAKI (V.O.) I can never recall the dream I just had, but... Rewritten by Jake Gao Original story by Makoto Shinkai 2. INT. MITSUHA'S ROOM - CONTINUOUS A girl’s bedroom, small and compact. MITSUHA MIYAMIZU (25), a modest and soft-spoken, with long black hair, sits on the edge of her bed, staring at her empty palm. MITSUHA (V.O.) But... the sensation that I’ve lost something... lingers for a long time. Mitsuha ties her hair with braided cord. EXT. TOKYO - LATER Tracking Mitsuha’s feet as she walks along a busy sidewalk. People, subways, and cars move back and forth creating an organized mess in this concrete jungle. INT. SUBWAY - MOMENTS LATER Taki looks out the window at the cityscape flying past. TAKI (V.O.) I’m always searching for something... for someone. INT. SUBWAY - SAME TIME Mitsuha looks out the window at the same view, her hand pressed on the glass. MITSUHA (V.O.) This feeling possesses me, I think, from that day... EXT. TOKYO - NIGHT - FLASHBACK The comet flies high, its teal and pink tail illuminates the night sky. Taki (14) gazes from his balcony. TAKI (V.O.) That day when the stars fell. It was almost as if... EXT. ITOMORI - NIGHT - FLASHBACK Mitsuha (17) gazes at the falling comet in an open field. The expansive sky stretches over her. Rewritten by Jake Gao Original story by Makoto Shinkai 3. MITSUHA (V.O.) ...as if it were a scene from a dream. Nothing more, nothing less-- TAKI (V.O.) MITSUHA (V.O.) --than a beautiful view. --than a beautiful view. SUPER: Your Name MUSIC CUE: “Dream Lantern” by RADWIMPS. CUT TO BLACK. OVER BLACK. Titles stay on the screen for a moment longer. Beat. MONTAGE WITH OPENING CREDITS. ...Taki and Mitsuha find each other in a crowd of faceless people. ...Taki (14) and Mitsuha (17) stand back to back under a crescent moon. Suddenly-- still in the same position-- the two change. Taki, now 17, in his school uniform, stands taller than Mitsuha, still 17, who has short hair. Mitsuha’s braided cord floats around them. The two walk away from each other, causing the ribbon to disappear. ...Taki with Mitsuha’s braided cord around his wrist, sprints through the faceless crowd. ..Timelapse of Tokyo and Taki walking home from school. QUICK CUTS. --Mitsuha sulks in the corner of her family shrine. She looks at her palm sadly. --Mitsuha, wearing a shrine maiden uniform, performs a ritual dance on a wooden platform. --The comet shines brightly in the night sky. --Tokyo cityscape. --Itomori landscape. --Taki and Mitsuha face away from each other, looking at the sky. Rewritten by Jake Gao Original story by Makoto Shinkai 4. ...Taki and Mitsuha back to back again, but this time we seem them slowly grow older. Taki starts at 14 and ends at 22. Mitsuha starts at 17 and ends at 25. Their smiles fade as they grow older. ..Taki (17) stands on his Tokyo balcony. He stares past the horizon. The camera takes his POV and zooms across Japan to see Mitsuha (17), looking out the window of her room in Itomori. ...Taki and Mitsuha both stretch their hands out towards a large cloud in their respective cities. A moment passes and the two pull their hands back, smiling. They walk in opposite directions. END MONTAGE. END MUSIC CUE. CUT TO BLACK. OVER BLACK. A cellphone alarm rings. FADE IN: INT. MITSUHA’S HOUSE - BEDROOM - DAY Warm sunlight shines through the windows. A futon mattress lays on the floor. There are many different timelines to this story, however the main one will be when Taki and Mitsuha are both 17. The alarm continues to ring as Mitsuha (17) sleeps on the mattress. MITSUHA (V.O.) Taki... Taki... Don’t you remember me? CUT TO: INT. SUBWAY - DAY - DREAMLIKE Mitsuha caught in a mass of people leaving the car, tosses a braided cord, her handmade braided cord used to tie her hair, towards Taki, still in the car. Rewritten by Jake Gao Original story by Makoto Shinkai 5. MITSUHA My name is... Mitsuha! CUT BACK TO: BEDROOM Mitsuha (Taki) jolts up, panting. She takes a look around the room, confused. A neatly organized, Japanese-style room with sliding doors. She looks down at her breasts, and slowly gropes them. Taki is in Mitsuha’s body. Mitsuha, completely captivated by the feeling, doesn’t notice when the bedroom door slides open. YOTSUHA MIYAMIZU (9), a sassy young girl with pigtails, stands awkwardly watching Mitsuha-- her older sister-- touch her breasts. YOTSUHA Mitsuha, what are you doing? MITSUHA (to herself) They feel so real. Beat. Mitsuha turns towards Yotsuha, startled. MITSUHA (CONT'D) (points to herself.) What? Mitsuha? YOTSUHA Are you half-asleep? Breakfast! Hurry up! Yotsuha slams the door. Mitsuha trudges towards the full-body mirror and takes her pajamas off. Beat. Mitsuha sees her naked body. MITSUHA Huh? Rewritten by Jake Gao Original story by Makoto Shinkai 6. Mitsuha sees her naked body. MITSUHA (CONT'D) Huh?!?! DINING ROOM - THE NEXT DAY A traditional Japanese home. Open large doors that allow sunlight to shine through, and a low dining table with no chairs. HITOHA MIYAMIZU (82), a wise and spiritual grandmother, kneels at the dining table in a YUKATA (a casual summer kimono). Yotsuha brings a few bowls of soup to the table. YOTSUHA Grandma, do you want last night's leftovers? HITOHA No thank you, you can have them. Mitsuha jogs in, dressed in her school uniform. YOTSUHA Mitsuha, you’re late! MITSUHA I’ll make breakfast tomorrow. Mitsuha serves herself some rice, familiar with the space and humming to herself. Hitoha and Yotsuha watch her intently. Mitsuha piles rice into her bowl. MITSUHA (CONT'D) (mumbles to herself) Is this too much? Oh well. HITOHA You’re normal today. YOTSUHA (giggles) Yea, you were crazy yesterday. MITSUHA What are you talking about? A bell chimes through a radio in the house and a woman’s voice comes through. Rewritten by Jake Gao Original story by Makoto Shinkai 7. The voice rings through the entire town and we see tall speakers posted all over Itomori, carrying the same signal. This is how the Town Hall communicates with the locals. ANNOUNCER WOMAN (V.O.) Good morning, everyone. The announcer pauses between phrases to let the echo dissipate. ANNOUNCER WOMAN (V.O.) This is an announcement from Itomori Town Hall... regarding the mayoral election... to be held on the 20th next month, the election committee-- Hitoha unplugs the radio from the wall, angry. Mitsuha turns on the TV to a news channel. A female anchor speaks with a picture of the COMET beside her. A bar of text below her reads, “Comet Tiamat to pass by in a month: Visible to the naked eye”. NEWS ANCHOR (V.O.) A comet with an orbital period of 1200 years will pass by in a month. The comet will be visible to the naked eye for several days... The anchor’s voice fades to the background as Yotsuha speaks to Hitoha. YOTSUHA Just make it up with him- - MITSUHA - -It’s an adult matter. The anchor’s voice comes back in. CU of the TV showing a diagram of the comet’s trajectory. A text bar at the bottom reads, “Position of Comet Tiamat”. NEWS ANCHOR (V.O.) ...JAXA is preparing to observe the celestial show of the century. Rewritten by Jake Gao Original story by Makoto Shinkai 8. MITSUHA'S BEDROOM Mitsuha opens a small cosmetic drawer, revealing a few hair ties.
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    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
  • Being Someplace Else: the Theological Virtues in the Anime of Makoto Shinkai

    Being Someplace Else: the Theological Virtues in the Anime of Makoto Shinkai

    religions Article Being Someplace Else: The Theological Virtues in the Anime of Makoto Shinkai Matthew John Paul Tan School of Philosophy & Theology, University of Notre Dame Australia, Sydney 2008, Australia; [email protected] Received: 28 January 2020; Accepted: 27 February 2020; Published: 2 March 2020 Abstract: This work explores the ways in which the anime of Makoto Shinkai cinematically portrays the theological virtues of faith, hope and love. The article will explore each virtue individually, with specific reference to the work of Josef Pieper and Pope Emeritus Benedict XVI. In addition, it will juxtapose their explorations of these virtues with samples of Shinkai’s corpus of films. It will assert that the consistency of Shinkai’s work reveals several important parallels with the theological virtues. Faith is the encounter between one and another that reveals one’s nature. Hope is revealed by the distance between one and another, and is realised in traversing that distance to achieve an ecstatic reunion. Love, as the erotic attraction between one and another, is the driver that also sustains the journey and closes the distance. In spite of the similarities, important differences between the cinematic and theological will be highlighted. Keywords: anime; virtue; Pieper; Benedict; distance; faith; hope; love 1. Introduction In this work, I focus on the work of the anime director, Makoto Shinkai, who is part of a wave of anime directors rising to prominence after the mainstream success of Hayao Miyazaki. I chose Shinkai for a number of reasons, the first is that with Miyazaki ostensibly going into retirement, Shinkai is now being billed as one of the front-runners for the directors most likely to fill the void in anime that Miyazaki left behind.
  • Notes to Editors PRESS

    Notes to Editors PRESS

    EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. Page 2 – Full Programme Information, including: BFI Player collections Akira Kurosawa Classics Yasujirō Ozu Cult Anime Independence 21st Century Early Films of Japan (1894-1914) J-Horror BFI Blu-ray and DVD The Japanese Cinema Book UK wide activity Seasons at BFI Southbank: The Golden Age Radicals and Rebels Anime 21st Century Japanese cinema Mediatheque collection – Lost in Japan International partnerships Page 10 – Stills and moving image assets Page 11 – Notes to Editors PRESS CONTACTS: General enquiries about BFI JAPAN: Liz Parkinson – PR Manager, BFI Cultural Programme - [email protected] | 020 7957 8918 / 07810 378203 Judy Wells – Director, Press and PR, BFI - [email protected] | 020 7957 8919 / 07984 180501 Interviews with BFI spokespeople and selected talent available on request via Liz Parkinson FULL PROGRAMME HIGHLIGHTS EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. BFI PLAYER COLLECTIONS The BFI’s VOD service BFI Player will be the premier destination for Japanese film this year with thematic collections launching over a six month period (May – October): Akira Kurosawa (11 May), Classics (11 May), Yasujirō Ozu (5 June), Cult (3 July), Anime (31 July), Independence (21 August), 21st Century (18 September) and J-Horror (30 October). All the collections will be available to BFI Player subscribers (£4.99 a month), with a 14 day free trial available to new customers. There will also be a major new free collection Early Films of Japan (1894-1914), released on BFI Player on 12 October, featuring material from the BFI National Archive’s significant collection of early films of Japan dating back to 1894.