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On the one hand, he’s being celebrated by industry icons and anime’s most reputable journalists as a disruptive director, so committed to his unique vision that he can bring avant-garde animation to an increasingly more restrictive commercial scene. On the other hand, he’s still unknown by the public at large as he has only helmed one project of his own, and being attached to a mass-produced entertainment factory like Bushiroad means that he’s not exposed to a likeminded arthouse audience but rather younger viewers who aren’t used to his nonstandard methods. Always keep in mind that you want to feed your audience with information that can be processed easily and quickly. Or I could keep going and see what happens. There is no denying that Furukawa is Ikuhara’s apprentice. For someone who draws elements from countless works and fields, Furukawa has no interest in homages as direct recreations. This really rubbed him the wrong way, not just as someone with a vast set of influences, but perhaps on a more philosophical level too. He made a fully conscious decision to go against the trend of emphasizing lore and wordy plotlines with a more viscerally rewarding movie. In his interview with Yuichiro Oguro for the 16th issue of AnimeStyle, Furukawa opened up about this topic more than usual. Bushiroad designed the franchise to be a wide multimedia property with actresses who play the characters in musicals as well as voice them in the anime, and it was by speaking with them that Furukawa grew increasingly conscious about the recurring theme of acting. Who are the judges? Revue Starlight had notoriously always featured a talkative giraffe as an avatar for the audience, and in digging deeper into the dynamics of the stage, Furukawa concluded that it’s not just the performers but also the viewers who willingly let themselves burn down and be consumed. Random as that may seem, tomatoes are arguably the most important motif across the whole movie, کلیک کنید and for very Furukawa reasons at that.