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“ Lu over the Wall is a story about a mermaid who just wishes to make good friends with human beings,” Yuasa says.
“And that saved me from confusing their different movement styles of animation.”Īlthough widely different in terms of tone, style and intended audience, both films are ultimately about love, kindness and acceptance - themes that we all need to be reminded of in this somewhat erratic time of intolerance. “They were quite different in visual style,” he adds. While I wondered how difficult it must be to shuttle back and forth between two very different projects, Yuasa says that their differences actually made it easier. I had to hurry and went into the pre-production phase while still making Lu because we hired freelance animators when we began with the production and we had to shift them to Night is Short before they would say goodbye to us.” “It was when I was making Lu Over the Wall,” he says, “that I got the green light to start the Night is Short project. Of course, Yuasa had no idea he’d be undertaking two features at once. Now, getting one animation feature out and about is an accomplishment in itself, but to release two outstanding - and refreshing - features takes some kind of special talent. I believe that things should be pleasant in principle and that is why shots get fresh and vivid in terms of color design when characters have a sense of pleasure in the story.”
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In terms of his stylistic choices, mixed-techniques and wide palate of colors, Yuasa said he had to be careful “not to get inclined to dark colors too much as both the movies are full of shaded and night scenes,” adding, “I turned to high-contrasted colors while using neutral colors as well so that you sense freshness and vividness on the whole. My humble wish for creating anime is to have common images, conversations, and scenes sublimed into art works.”
I’m also inspired with what I’m currently interested in and feeling. I often derive inspiration even from really modest visuals a commercial, a cut from a movie, a movement from an anime as well as nameless flowers and grasses blooming on the road, clouds, stars, and moons in the sky. Actually, the structure of tunes can be a model of storyboards when working on them. I believe whole things inspiring me could be tuned into anime. “I’ve been influenced by a lot of artists I get inspired with a lot of things I see, hear, smell, and touch in everyday life. “I love both Tex Avery and Salvador Dali,” Yuasa admits. It wouldn’t be stretching it to say that the many characters who populate Yuasa’s universe wouldn’t be out of place in the philosophical books of Kierkegaard, who, in a different medium and manner, wrote in shifting tones, voices, names and styles ( much like Yuasa’s work makes frequent shifts in design and style) as he attempted to sort out the question of how does one live.
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In fact, throughout all of Yuasa’s work (whether it’s the bizarre 2006 Romeo & Juliet-meets-flesh-eating monsters series Kemonozume, or 2014’s Ping Pong), we encounter anxious, feckless people sifting through life in search of a worthy purpose or at the very least a meaningful connection. In it, he takes a fairly common theme of feckless post-secondary youth on campus and turns it into an utterly surreal, time-shifting portrait of youth, identity, community and society. Every episode, say, of the extraordinary series, Tatami Express, is a standalone work of art that rivals any indie animation short. There are mysteries unexplained, left for us to ponder, to make sense of, or to walk away from.
These counterfeits think they’re telling us great stories about ourselves when really their breaths are as stale and staid as the corporate spaces that exhaled them. Yet his works tell us more truths about individuals, relationships and society than so many of the mainstream animation frauds hell bent on regurgitating the same endless tropes and types no matter how tired, tedious and predictable. Yuasa shows no such fear as he gives us worlds and people that are stylized, exaggerated, distorted and impossible. Yet, so many animation artists can’t seem to grasp than, perhaps fearful of the freedom. Yuasa’s work for film and TV, no matter the genre is consistently imaginative, magical and original. You’re never sure where you are in this kaleidoscopic dance dreamscapes.
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Like a fusion of Tex Avery, Dali and even - seriously - Danish philosopher, Soren Kierkegaard, Yuasa’s work (which includes short films and TV series along with the cult favorite feature film, Mind Game) bursts with visual energy, rapid fire color patterns, sudden shifts in character design, elastic character movements. Night is Short, Walk on Girl then took home the Grand Prize for Animated Feature at the 2017 Ottawa International Animation Festival. Both films were immediate successes with Lu over the Wall grabbing the Cristal for Best Feature Film at the 2017 Annecy International Animation Festival.