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synthvnews · 8 months

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Tsurumaki Maki 2023 Birthday Song: Shooby Doo Bop Dah!

youtube

Vocals: Tsurumaki Maki

Lyrics: Hoshinikomi

Compose & Arrange: tori-pochun

Flute, Piccolo, Alto Flute: Iwasaki Kaho

Oboe, English Horn: Shimura Kana

Clarinet: Marie-Rin

Bassoon: Utaro

French Horn: Tensai Shisoka

Bot Violin, Viola: Usami Yu

Violoncello: Onoe Ryota

Guitar: salmon

Bass: Hara Kazuki

Drums: Okayama Takuto

Piano, Percussions, Renaissance Guitar: tori-pochun

Mixing & Mastering: Leiki Ueda

Illustration: Nanaki

Movie: Hoshinikomi

The Piano with Glass Pipes made by Cy

#弦巻マキ #弦巻マキ生誕祭2023 #synthesizer v #synthesizerv #synthv #synthv news #synthv ai #vocaloid #vocal synth #vocal synths #hatsune miku #voiceroid #voicepeak #Youtube #tsurumaki maki

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enfantsterriblestokyo · 1 year

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「First Love 初恋」(Netflix) 2022年11月24日〜

Official Site

Official Trailer

Teaser Trailer

[Cast]

Hikari Mitsushima / Takeru Satoh

Rikako Yagi / Taisei Kido

Kaho

Minami / Akiyoshi Nakao

Towa Araki / Aoi Yamada

Itsuki Nagasawa / Jiei Wakabayashi

Makiko Watanabe / Takashi Okabe

Morio Agata

Ren Sudo

Kanji Furutachi

Daisuke Kuroda / Shingo Mizusawa

Osamu Mukai

Gaku Hamada

Kyoko Koizumi

[Staff]

Written & Directed by : Yuri Kanchiku

Cinematographers : Kazuma Shinde / Junichi Nakamura

Lighting : Jin Kobayashi

Sound Recordists : Masahito Yano / Yoshifumi Kureishi

Art Department Coordinator : Nori Fukuda

Production Designer : Yoko Sagae

Set Decorator : Tetsuya Nomura

Costume Designer : Babymix

Hair & Make-up Artists : Takeharu Kobayashi / Aina Hanada

Make-up Artist : Yuko Shimada

First Assistant Directors : Shinya Masuda / Kimiyoshi Adachi

Production Manager : Kota Suemitsu / Taisuke Oku

Post Production Supervisor : Tetsuo Ohya

VFX Supervisor : Koji Nozaki

Editorsr : Emi Onodera / Naoki Watanabe

Re-Recording Mixer : Hiroyuki Ishizaka

Sound Effects : Hiroki Matsuura

Music by : Taisei Iwasaki

Line Producer : Mikiya Sato

Executive Producer : Kaata Sakamoto

Producer : Kasumi Yao

Production : C&I entertainment

Inspired by the songs “First Love” and “Hatsukoi” written by Hikaru Utada

#FirstLove初恋 #First Love

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flicksnfilms · 4 months

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Belle (2021)

Suzu is a shy, everyday high school student living in a rural village. For years, she has only been a shadow of herself. But when she enters “U”, a massive virtual world, she escapes into her online persona as Belle, a gorgeous and globally-beloved singer. One day, her concert is interrupted by a monstrous creature chased by vigilantes. As their hunt escalates, Suzu embarks on an emotional and epic quest to uncover the identity of this mysterious “beast” and to discover her true self in a world where you can be anyone.

TL;DR: Do I recommend it? > Very frikkin much.

The long of it:

Studio: GKIDS Director: Hosoda Mamoru Writer: Hosoda Mamoru Music: Ludvig Forssell, Hazama Miho, Iwasaki Taisei, Bando Yuta Cast: Nakamura Kaho, Satoh Takeru, Ikuta Lilas, Narita Ryo Runtime: 121 minutes IMDB | RottenTomatoes | Official Site

Watched: on December 24th

Reaction: ± [Warning: avoiding SPOILERS much as i can but it still hints at the plot evolution.] The parallels in U with its basically straight rip of the plot and character roles from Beauty and the Beast gave off the impression that this film would be a fun teenager romantic comedy. Even our best guess only got the situation right and not the identity, not until just before the reveal.

What a surprising turn of plot. Much darker and more serious than what i thought it might be purely from seeing millenium parade's music video --which was what brought this film to my attention. Very good though. Definitely a rollercoaster ride of emotions.

Memorable aspect of the movie: + Music. Definitely. Brought me to tears at one point. Definitely the point where they want you to. + Animation. A delightful treat for the eyes, with the differences of animation style from the real world to the VR game. I love this practice in these kind-of isekai (like Shangri-La Frontier, and actual isekai Log Horizon and the like). + Story. Man, that story. 10/10 would recommend.

#films i watched in 2023

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ayaneshindo · 10 months

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Kaho Iwasaki photo by Ayane Shindo

#flute #nezumi studio

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shinygoldstar · 3 years

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!!!!!! Ryuu to Sobakasu no Hime Spotify Playlist got updated!!!!!

All the songs are posted now 🎉🎉🎉🎉🎉

(there are more songs in the actual playlist✨✨)

↓ album without commentary ↓

#belle 2021 #ryuu to sobakasu no hime #the dragon and the freckled princess #kaho nakamura #studio chizu #hosoda mamoru #(aaaaaaaaaaaaaaaaaaaaaaaaaaa)#favs #taisei iwasaki #yuta bandoh #ludvig forssell #Spotify #ermhoi #HANA

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iwillhaveamoonbase · 2 years

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I'm honestly so happy with the international response to Belle. Seeing this film 6 months ago, it was everything I had ever needed on an emotional level. It's cathartic and a conduit for my own creativity, but it's so much more than that.

It's an international effort from modern animation royalty and people not involved in the animation industry. Designs from Eric Wong, a British architect, designed the world of U; Shinozaki Megumi, a flower artist, designed that iconic opening dress; Academy Award-nominated Irish studio Cartoon Saloon (of the Breadwinner and Wolfwalkers fame) helped create the world of U; Annie Award-nominated South Korean character designer Jin Kim (who worked on Frozen, Big Hero 6, Encanto, Over the Moon and more) designed Belle's character. Hosoda Mamoru himself was nominated for an Academy Award for Mirai and Belle received a 14 minute standing ovation at Cannes, the 9th longest ovation in the history of the awards (Pan's Labyrinth is number one at 22 minutes, for reference).

The music was also an international effort with Iwasaki Taisei calling on several composer friends to help him make the film (including Ludwig Forssell who speaks Japanese and English and helped create the dub as well as wrote Gales of Song/Uta yo). On top of this, Iwasaki asked fans to send in singing that iconic 'la la la' part of A Million Miles away. 3,000 voices from all over the world not involved in the animation industry forever connected in a film made during a pandemic all about how the internet connects us.

Belle is truly an international collaborative effort involving multiple points of view and skill sets.

Spoilers under the cut:

On a personal note; Kei and Suzu are allowed to be resentful and angry. Suzu is allowed to be messy and stuck in her grief. The ladies' choir and the friendship between Ruka and Suzu and the teens with Chikami are these incredible moments of women supporting women and teenagers supporting teenagers. This is a film for the grieving and the abused; Uta yo/Gales of Song perfectly captures that frustration at yourself and at the world when you are stuck in your grief. Kei and his brother are abused by their father and seem to be known publicly and yet, nobody sees the abuse happening until the end.

It hit me emotionally in ways I'm still processing months later. A Million Miles Away (sung by Nakamura Kaho) still makes me tear up every time. I will never be emotionally over this film or this music. I don't think I will ever stop being inspired by it. I love fairy tales, I love the music, I love the themes of grief and growth. Everyone is different, but for me, this film was everything.

#belle 2021 #belle: the dragon and the freckled princess #belle #moonbase muses

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technotaku · 5 years

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Shiina Momo (椎名もも) A.K.A. Iwasaki Kaho (岩崎果歩) en Abema News https://img.technotaku.com/image/81963/idol+shiina-momo/?referer_service=ifttt

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recentanimenews · 2 years

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INTERVIEW: BELLE's Composers On Creativity, Virtual Meetings And Working With Mamoru Hosoda

All images courtesy of GKIDS

Mamoru Hosoda's latest film BELLE is now in theaters for American audiences and we had the opportunity to discuss the intricacies of creating a soundtrack that deals with a dual-faceted world that takes place in both actual and virtual reality with composers Taisei Iwasaki, Ludvig Forssell, and Yutah Bandoh. How did they come together as a unit to create the film's soundtrack while navigating virtual meetings due to COVID-19? Let's take a look at what they had to say about their creative process and the new challenges they had to face.

Taisei Iwasaki

What were some of your responsibilities as a composer, producer, and director of music for BELLE?

Iwasaki: In addition to composing "Lend Me Your Voice," "A Million Miles Away," and the score, I also invented the concept of a "Composition Village” — selecting several composers, deciding which songs they would be responsible for, discussing the images of these songs with Hosoda-san, and then communicating to them the meaning that the songs should have.

“Memories of a Sound/遠い音色” lays the groundwork for the bombastic “A Million Miles Away/はなればなれの君へ” near the end of the film. How do you approach creating a song that can be used in different ways throughout a story?

Iwasaki: When I started composing for this film, I first went to Kochi Prefecture where the story is set. I took my keyboard to the "Asao Sinking Bridge" where Suzu walks in the story and composed the motif on it.

It was a very meaningful experience for me to walk along the path Suzu walked and composed while feeling the atmosphere of her town.

The climax of the film sees Suzu sing “A Million Miles Away/はなればなれの君へ,” a track that transforms as Suzu herself changes back into Belle for the final parts of the song. What were some of the difficulties with creating a song that maintains cohesion and flow throughout Suzu’s transformation?

Iwasaki: "A Million Miles Away" is nine and a half minutes long in total in the film. (The soundtrack cuts out some of the acting, so it's only 8 minutes.)

I came up with the idea was to divide the song into four parts, taking the fact into account that Suzu's emotions, the emotions of the "U" audience around her, and the emotions of her friends in the real world, all change throughout the song.

Each part had to have its own color but also had to be integrated into one big song, so it was difficult to connect them seamlessly.

I composed the last two parts with the hope that the climax of this song would make not only everyone in the movie but also the audience feel as if they were watching a live performance of Suzu/Belle, and sing "Lalala” in their hearts, and composed Part 4 with the intention of blessing everyone watching the movie.

This song also contains the hope that people who have been divided by Covid-19 will feel like they can connect with each other in the world of "U."

One part of the score that I picked up on was the use of Kaho Nakamura’s humming as a leitmotif in other tracks. How did you come up with using that as a kind of leitmotif instead of a more traditional one found throughout the score?

Iwasaki: The idea of Kaho Nakamura's humming being used in another song was basically decided based on Hosoda-san's concept. Since Suzu is a singer as well as a composer, both the song and the score are presented with humming themes in accordance with her emotional changes and her memories. Specifically, it is as follows.

As I discussed with Hosoda-san about "Faces in the Rain," we came to the conclusion that the vocalized part of "A Million Miles Away," which Suzu sang in the previous scene, gave her one of the impetuses to go save Kei and Tomo. Then, Hosoda-san asked me to use "Lalala" in the scene where "Faces in the Rain" is played.

About “Lend me your voice,” I didn't actually use her humming as a leitmotif. But after I had fully composed the song, I told her, "I want you to sing this song as if you were writing it for the first time, preferably while walking to your favorite riverbank. She is also a composer, so she immediately understood my intention and gave it a try.

I wanted to make a scene of the moment when the song was born, so that's how I used it.

And based on that humming, an actual animation was to be made.

Quite a few of Belle’s songs utilize softer music in the beginning to really show off her voice, before eventually building up as she begins to sing louder. Did Belle’s voice become its own instrument for you that the rest of the music should follow when composing her songs?

Iwasaki: One of the factors that I considered important in Belle's songs was the change in her emotional state. I thought it was important that Suzu/Belle's emotions change during the songs, and that they are expressed musically as well.

In this respect, I believe that her voice guided the music itself in many ways.

Ludvig Forssell

The track “Digital Ripples/電網鼓動” is used when the girls are attempting to find out the identity of The Dragon. In my opinion, it really embodies the idea of trying to search through the internet for someone. What was the thought process behind trying to create a digital-sounding piece of music for this scene?

Forssell: I actually think that I might have completely disregarded the original direction I got for this scene, if I remember correctly it was originally described to me as a “briefing” scene, meaning that I could have taken more of an “espionage” type of approach. However, instead I started this piece with the idea in mind that I wanted this scene to feel like a montage; I wanted a constant drive and for a simple idea or melody to be present throughout linking all the parts and characters of the scene together.

The scene itself deals with how the internet and media, parts of our daily life, that in a sense aren’t real life, depicts individuals and draws conclusions about the motives behind their actions and the repercussions of this type of clickbait-style of almost predatory make-belief that drives the online machine. My goal was to have the viewer get sucked into this wild goose chase that the girls dive into as they search the internet for answers that they’ll later find out aren’t as simple as they might have thought. The synths and digital sounds used in this piece were the glue to connect Suzu and Hiro in their real world to the world of the web.

At one point, Suzu has to calm down a horde of girls due to an interaction with Shinobu that leads to an entertaining board game scene. “Social Warfare/手のひらの戦乱” plays in this scene and it has a different feel as it’s unlike a lot of the other music in the soundtrack. How did it feel to create a song that essentially showcased Suzu going to war?

Forssell: Though the scene — in a way — deals with social media bullying, it tackles it in a very, I guess you could say, “literal way.” Which is why "Social Warfare" was most definitely different, in many ways.

I actually had something completely different in mind and had tried out a few things when I got the first round of picture for this scene. I then quickly realized what Hosoda-san had in mind when he had said he wanted something that sounded like a “mobile game.” At one point I was even unsure whether we’d be recording orchestra for this track because Hosoda-san was so in love with the idea of it sounding somewhat “cheap,” haha. In the end, it was one of those pieces where the scene itself just called for something fun where I got to play around and be sort of silly. I even got to direct the distinguished choir of “London Voices” to sing a few lines of easter egg lyrics in Japanese.

I noticed most of your tracks have their own distinct style or genre when listening to the score on its own. Is this emblematic of how you create music?

Forssell: I think that’s just how things turned out for this film; I was probably the composer on the project who, other than my main songs like “Gales of Song,” had the chance to work out “everything in between.”

The film that plays out in multiple “worlds” and has its main characters depicted in multiple ways, both visually and state of mind, and that meant that we needed to go between several different approaches (which is also partly why Iwasaki-san wanted more than one composer on the project) and to tie all of that together I had to be sort of a chameleon and jump between genres so that it in the end all made sense.

Even though I’m someone who’s previously worked mainly on video games, that will often have you doing a wider array of types of music for one project than you usually would for a film, there were still many “firsts” for me on BELLE.

Near the end of the film, we see Suzu and Kei meet face-to-face through the internet for the first time, but Kei is still very apprehensive about trusting Suzu. The track “Distrust/不信” plays, which gives viewers a sense of dread. How did you attempt to tackle trying to bring out that kind of emotion in viewers for this particular scene?

Forssell: “Distrust” was probably the first bit of music I wrote for BELLE that was right in my wheelhouse, closer to something I have experience doing before. So for me, the ambient, dark mood came rather naturally, and at the time of writing it, I honestly didn’t overthink it too much.

However, it was only later when discussing the piece with Hosoda-san that I came to understand how important this non-musical approach was in depicting a scene dealing with such a serious subject as domestic violence and the state of mind of a child who’s been let down by people he thought he could trust over and over again.

I think that what I felt necessary for the scene was for it to not be a conversation, because it never is; Suzu reaches out to Kei, but at this point, he has no reason to even listen to her, let alone trust her. The “music” is supposed to convey the anger, feelings of betrayal, and turmoil inside of Kei. It’s not telling a sweeping story, it’s just giving you the picture.

The final song we hear before the credits roll is “Skies of Song/辿り着いた空” which does a brilliant and beautiful job of supporting two different scenes at the end. Was creating this song more difficult with how it had to tie into both of Suzu’s emotional moments at the end of the film?

Forssell: The two parts of “Skies of Song” were actually written completely separately with the first part actually only being added during the film’s final mix. Though it does start right after the final conflict of the film, the idea is that we have already landed safely and so the first part lets us build on this newly found confidence and feelings of happiness/belonging into the natural conclusion of Suzu’s personal emotional development.

Hosoda-san’s films all end with a shot of a cumulonimbus cloud as a symbol of personal growth, and for me, it was one of the most rewarding parts of the film to be able to work on. To have the film’s title screen start with the leitmotif from "Gales of Song" and end with it fully “grown-up” really encompasses the growth that Suzu goes through throughout the story of the film. In a way, this motif signifies both how Suzu is able to realize her own potential as Belle but also how she always had that strength within herself; that her alter-ego isn’t a mask to hide behind but rather the cocoon that lets her blossom on her own. This track is supposed to symbolize the warm feeling of relief and peace of mind at the end of a journey where we have ended up better versions of ourselves.

Taisei Iwasaki, Ludvig Forssell, And Yutah Bandoh

What was your reaction when you were given the opportunity to work with Mamoru Hosoda and Studio Chizu on this project?

Iwasaki: I had seen most of Hosoda-san's works, so I was simply happy to be able to work with him. However, when I was contacted by the producer, I felt a lot of pressure because it was a time when most of the departments involved in the film, including the music department, were facing complicated problems.

Forssell: So, I was at home doing nothing — as we all were, this was six months or so into the pandemic — when I got a call from Iwasaki-san out of the blue. We had previously talked about working together at some point, so my mind quickly jumped to conclusions, haha. So, before even knowing what the project was, I had already accepted the job in my head. Not in my wildest dreams had I thought it would be Mamoru Hosoda’s next film and as a huge fan of his previous work — my personal favorite being Summer Wars. Not to mention getting the opportunity to write for a project where music is such a core part to the story, needless to say, I was ecstatic.

Bandoh: I’ve seen Director Hosoda’s works from long ago, and I was very honored!

With the spread of COVID-19, were there any major differences or added pressure when trying to compose the score for BELLE compared to other works either of you have worked on in the past?

Iwasaki: It was difficult to meet many people directly through COVID-19, and this time I was in the position of organizing several composers, so I felt a lot of pressure at first, but since the four composers who participated this time, Ludvig Forssell, Yuta Bandoh, Daiki Tsuneta, and Miho Hazama, were originally friends, I was able to make many contacts with them. The actual collaboration was not so difficult.

Another important factor was that we were able to have quality online meetings due to the development of technology.

In fact, it was COVID-19 that gave me the idea to gather more than 3,000 "Lalala" from all over the world for "A Million Miles Away." I think this was a good thing for the project.

Forssell: We’ve all had our lives turned upside down by the pandemic, I know many friends who’ve had to rethink their entire approach to writing music and recording it over the last two years. However, my personal experience wasn’t only negative ... actually, thanks to the changed conditions, I was able to finally set up a new place to work out of my home and as I left my previous employer half-way through working on BELLE, this really helped me a lot.

Bandoh: In terms of COVID, this was my first experience with meetings being held online — of course, I think the film was doing the same! Also, when recording the orchestra portions with Ensemble FOVE, it was a new experience, as we had to take measures against COVID that I had never experienced before.

In terms of the compositions, it was my first opportunity working with both Taisei Iwasaki and Ludvig Forssell, so I faced the challenge of having to demonstrate my artistry while also collaborating musically. As a result, I think that each of us were able to make music in a very good way.

As the story of the film progresses, there are quite a few homages to Beauty and the Beast. Did you face any challenges creating a score that is influenced by such a classically known story?

Iwasaki: What I was most conscious about was composing music that was truly necessary for the film. I thought that if the music was truly good and not influenced by the times, it would naturally become sustainable music.

As for Beauty and the Beast, I tried to be as unaware of it as possible and never mentioned the live-action film, the animation, or the original story. They are all wonderful, so I did not want to be too influenced by them musically.

Forssell: If anything, I find it better to completely disregard any previous renditions. Especially with something like Beauty and the Beast; people tend to forget that the Disney film isn’t the first or only version of this story so I’d like to think of the parts that reference that classic fairy tale as “our version” of it.

Bandoh: In terms of the music, I was not trying to give too much of an homage to Beauty and the Beast. Both Studio Chizu’s animation and Director Hosoda himself created a very delicate and spectacular story that I was able to add music to naturally.

One aspect of the score I enjoyed was its subtlety. There are quite a few times where it softly plays in the background of scenes. Was this a creative decision throughout the film to have the score more as a nuanced addition?

Iwasaki: The score for this film was composed by several people and I think they all understood the story well and composed songs that fit the scenes.

A score should not be a good piece of music on its own. The most important thing for the film is that it works well in the scene, so we had a lot of discussions about that when we were composing.

Forssell: As someone who definitely wrote a few of those less flamboyant parts to the score, I’d say that with something dynamic and colorful as a film like BELLE, you definitely need the quieter bits so that the bigger parts get to stand out more. It’s easy to overdo it when you are trying to convey so many things and you also have songs being performed throughout, so while giving room for the extravagant parts while tying everything together, I think this was the right decision for this film.

Bandoh: As far as I can remember, the word “subtlety” was not exactly an order from Director Hosoda. Perhaps it was an inevitable consequence of the animation, as far as this film is concerned! While we had very detailed on the score (laughs), I think the music was certainly born more out of a response to the performances in the film.

Since the film deals with the idea of virtual singers in the alternate reality of “U,” was there a conscious effort to make Belle’s songs more in line with current pop music instead of something more symphonic?

Iwasaki: Of course, some of the songs were composed with the current pop music in mind, but overall, I was more conscious of the fact that I wanted to compose songs that would not be affected by the times and that would last for a long time.

Forssell: I have hours and hours of text messages between me and Iwasaki-san discussing the approach for the songs of BELLE from the months leading up to actually writing anything for the film. We talked about basically any and all films that we could think of that feature actual “pop artists” and their music. If anything, I don’t think we even discussed typical musicals at all beyond confirming that that was NOT what BELLE should be.

I will say though that it’s a very fine line to walk. Pop music doesn’t become popular only because of how it sounds, there are so many unquantifiable aspects such as the artist, social trends, mere chance, etc. And as for the musical approach, the music still needs to represent the film and its story so we needed to land somewhere in between. Somewhere where we’d have songs that were strong enough to stand on their own as pop songs while also being part of telling an overarching story. We also tried our best to make the music feel modern while not leaning into any specific current trends so that we’d have something that would not only age well but also be more accessible to an international audience.

You can stream the BELLE soundtrack at the following links in Japanese and English.

Jared Clemons is a writer and podcaster for Seasonal Anime Checkup and author of One Shining Moment: A Critical Analysis of Love Live! Sunshine!!. He can be found on Twitter @ragbag.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Jared Clemons

#Anime #News #Latest in Anime News by Crunchyroll!

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the-freckled-princess · 3 years

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A Million Miles Away -reprise-(はなればなれの君へ, Hanare Banare no Kime e)

Movie "Ryuu to Sobakasu no Hime" Insert Song

For the original version, see lyrics here.

Singer: Belle [CV: 中村佳穂 (Nakamura Kaho)] Lyricist: 細田守 (Hosoda Mamoru) 中村佳穂 (Nakamura Kaho) 岩崎太整 (Iwasaki Taisei) Composer: 岩崎太整 (Iwasaki Taisei) Arranger: 岩崎太整 (Iwasaki Taisei) 坂東祐大 (Bandoh Yuta)

Kanji Romaji きらめきの花夢の宝石世界は美しい臆病と不安縛られるけど強く優しくなれたならあの空は戻らないひとりでは生きられないあいたいもう一度胸の奥ふるえてるここにいるよとどいてはなればなれの君へ目を閉じた時にだけ会えるなんて信じないあいたいはなればなれの君へ Kirameki no hana yume no hōseki Sekai wa utsukushī Okubyō to fuan shibarareru kedo Tsuyoku yasashiku nareta nara Ano sora wa modoranai Hitori de wa ikirarenai Aitai mō ichido Mune no oku furueteru Koko ni iru yo todoite Hanare banare no kimi e Me wo tojita toki ni dake Aeru nante shinjinai Aitai Hanare banare no kimi e

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kentootv · 7 years

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黒の女教師 (Kuro no Onna Kyoushi)

DORAMA DETAILS

Title: 黒の女教師

Title (romaji): Kuro no Onna Kyoushi

Title (english): Miss Double Faced Teacher

Broadcast Network: TBS

Genre: Science Fiction / Thriller

Episodes: 10

Release Date: July 20 - September 21, 2012

Runtime: Friday 22:00

TV Ratings: 9.9%

Theme song: THE OVER by UVERworld

PLOT

By day, Yuko (Nana Eikura) is a chemistry teacher, but at night Yuko does anything to solve the school's problem, even breaking the law

CAST

Teacher

Eikura Nana as Takakura Yuko

Ichikawa Mikako as Uchida Sumire

Kobayashi Satomi as Fujii Aya

Kimura Fumino as Aoyagi Haruka

Minami Kaho as Serizawa Keiko

Mitsuishi Ken as Hotta Manabu

Moro Morooka as Kondo Tsuyoshi

Suzuki Ryohei as Enokido Shuhei

Triendl Reina as Ochinai Fukuko

Suruga Taro as Officer Noguchi

Class 3-D

Matsumura Hokuto as Toda Toshio

Hattori Hirotaka as Miura Kazuki

Fujiwara Reiko as Mishima Kyoko

Kaito (快斗) as Mitsuhashi Takuto

Terayama Aoi as Nakatani Mayu

Ono Asuka as Ono Chinatsu

Kuno Mizuki as Iwasaki Yui

Suzuki Akihito (鈴木彰人) as Kuroki Tatsuki

Nakajo Ayami as Umehara Yu

Murasaki Maaya (村崎真彩) as Kanou Mari

Yamazaki Kento as Yasuda Shunsuke

Shinohara Tsugumi as Midorikawa Fuuka

Komori Mayo (小森真誉) as Inoue Rentaro

Saya (紗也) as Kouno Yayoi

Taiga as Kurihara Keita

Sugisaki Hana as Noma Kaoru

Ueno Karen (上野楓恋) as young Kyoko (ep6)

Nishii Yukito as Sugimoto Junpei

Katoono Taikou as Tachibana Satoshi

Okayama Amane as Sakaguchi Manabu

Taketomi Seika as Yamagishi Rio

Suzuki Ryunosuke (鈴木龍之介) as Isomura Youta

Tsuchiya Tao as Matsumoto Shiori

Ono Ito as Shimomura Asuka

Chiba Yudai as Mochizuki Ryohei

Fujiwara Kaoru as Kikuchi Nozomi

Waki Takashi (脇卓史) as Harada Keigo

Sakata Rikako as Takagi Mizuki

Hirose Alice as Saeki Eika

Nagae Yuuki as Fukushima Souichiro

PRODUCTION STAFF

Director: Shingo Okamoto (岡本伸吾), Yasuharu Ishii, Ryutaro Kawashima

Original Screenwriter: Tomohiro Yamashita (山下友弘)

Screenwriter: Rieko Obayashi (大林利江子), Tomoko Yoshizawa (吉澤智子), Natsuko Ikeda, Kiyomi Fujii, Fumi Tsubota

Producer: Iyoda Hidenori, Sugiyama Tsuyoshi, Kawashima Ryutaro, Sato Atsushi

Music: Dewa Yoshiaki, Habuka Yuri

Music Producer: Shida Hirohide

WEBSITE

Official Homepage: www.tbs.co.jp/kuro-no-onna

Official Twitter: @kuronoonna_tbs

source : AsianWiki + DramaWiki

SPOILER

Yamazaki Kento played the role as one of students from Class 3-D. At first he caught up because of foul action. But then the story line brought it to a good side of him. He's an ace player of a volley club at his school. He has been under his mom's strict lesson to be the top for all his school's grade, both academic and volley club. What kind of problem he got? And how did he solve it? Find the full story by download or stream here:

[DOWNLOAD LINK]

RAW

SUBTITLES

STREAM (with engsub)

#Yamazaki Kento #山﨑賢人 #山崎賢人 #黒の女教師 #Kuro no Onna Kyoushi #Miss Double Faced Teacher #tv drama #dorama #2012

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recentanimenews · 2 years

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Sony Music Launches English Edition Of Mamoru Hosoda's BELLE Soundtrack

Sony Music has announced the release of the English Edition Soundtrack of Mamoru Hosoda's smash hit film BELLE. The film, which offiicially opens today in theaters across the United States, has already racked up multiple box office records in Japan since its initial release last July and international acclaim with film festival awards. The soundtrack is a complete re-recording of all of the film's original Japanese vocal soundtrack into English with the English voice of BELLE, Kylie McNeill providing the vocals. The complete tracklisting is below:

BELLE (ORIGINAL MOTION PICTURE SOUNDTRACK – ENGLISH EDITION) TRACKLISTING –

1. U – millennium parade, Belle*

2. Whispers – Kylie McNeill*

3. Slingshot – Miho Hazama, Taisei Iwasaki

4. Memories of a Sound – Taisei Iwasaki

5. Blunt Words – ermhoi*

6. Gales of Song – Belle*

7. Fleeting Days – Ludvig Forssell

8. Swarms of Song – Belle*

9. Alle Psallite Cum Luya – Ryoko Moriyama, Sachiyo Nakao, Fuyumi Sakamoto, Yoshimi Iwasaki, Michiko Shimizu, Kaho Nakamura

10. Fama Destinata – Belle*

11. Dragon – Yuta Bandoh

12. Justin – Yuta Bandoh

13. Unveil – Yuta Bandoh

14. Digital Ripples – Ludvig Forssell

15. Dragon’s Lair – Yuta Bandoh

16. Lend Me Your Voice (draft) – Kylie McNeill*

17. Social Warfare – Ludvig Forssell

18. Assault – Yuta Bandoh

19. Lend Me Your Voice – Belle*

20. #UnveilTheBeast – Ludvig Forssell

21. Authority and Arrogance – Ludvig Forssell

22. Scorching the Façade – Yuta Bandoh

23. The Truth Obscured – Ludvig Forssell

24. Lend Me Your Voice (humming) – Bentley Griffin

25. Distrust – Ludvig Forssell

26. A Million Miles Away – Belle*

27. Pieces of the Puzzle – Ludvig Forssell

28. Faces in the Rain – Kylie McNeill*

29. Skies of Song – Ludvig Forssell, Kylie McNeill*

30. A Million Miles Away (reprise) – Belle*

*Denotes vocal track

Along with the English edition, the original Japanese version has also been released alongside across the same digital platforms, with a special playlist now available for easy listening of both English and Japanese versions. Three English music videos have also been released showcasing three songs from the film and are featured below:

millenium parade x Belle - U

youtube

Lend Me Your Voice

youtube

A Million Miles Away

youtube

SOURCE: Press Release

By: Humberto Saabedra

#Anime #News #Latest in Anime News by Crunchyroll!

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the-freckled-princess · 3 years

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A Million Miles Away (はなればなれの君へ, Hanare Banare no Kime e)

Movie "Ryuu to Sobakasu no Hime" Insert Song

For the reprise, see lyrics here.

Kanji Romaji きらめきの花　夢の宝石世界は美しい臆病と不安　縛られるけど強く優しく　なれたならあの空は　戻らないひとりでは　生きられないあいたい　もう一度胸の奥　ふるえてるここにいるよ　とどいてはなればなれの　君へ目を閉じた時にだけ会えるなんて　信じないあいたいはなればなれの　君へ歌よ翔べみんなへと　悲しくて嬉しいの！今この世界は　全部あって目を伏せた　空にさえ星は光り　日が昇り咲く花が　あるのね、綺麗歌いつまでも　歌うわ歌い継ぐ　愛してる　いつまでも Kirameki no hana yume no hōseki Sekai wa utsukushī Okubyō to fuan shibarareru kedo Tsuyoku yasashiku nareta nara Ano sora wa modoranai Hitori de wa ikirarenai Aitai mō ichido Mune no oku furueteru Koko ni iru yo todoite Hanare banare no kimi e Me wo tojita toki ni dake Aeru nante shinjinai Aitai Hanare banare no kimi e Uta yo tobe Minna e to kanashikute ureshī no! ima Kono sekai wa zenbu atte Me wo fuseta sora ni sae Hoshi wa hikari hi ga nobori Saku hana ga aru no ne, kirei Uta Itsumade mo utau wa Utai tsugu aishiteru itsumade mo

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the-freckled-princess · 3 years

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Lend Me Your Voice (心のそばに, Kokoro no Soba ni)

Movie "Ryuu to Sobakasu no Hime" Insert Song

Kanji Romaji 一人にして欲しいとあなたは突き放すけれど本当は胸の中にあるものを覗かれたくないのでしょう? 怒り恐れ悲しみ抱えきれぬ夜でも口にできない聞かせて隠そうとするあなたの声を見せて隠れてしまうあなたの心 La la la la la la 一人で生きてゆけるとあなたは言い放つけれど本当は何度も何度も自分に言い聞かせた夜があったのでしょうけどねあなたあなたをどんなあなたでもみたいといつも考えてしまう聞かせて隠そうとするあなたの顔を見せて隠れてしまうあなたの心聞かせてどんなことからでもいい最後まで聞くから開いて傍にゆきたいあなたの心 Hitori ni shite hoshī to anata wa tsukihanasu keredo Hontō wa mune no naka ni aru mono wo nozokaretakunai no deshou? Ikari osore kanashimi Kakaekirenu yoru Demo kuchi ni dekinai Kikasete kakusou to suru anata no koe wo Misete kakurete shimau anata no kokoro La la la la la la Hitori de ikite yukeru to anata wa ī hanatsu keredo Hontō wa nandomo nandomo jibun ni īkikaseta yoru ga atta no deshou Kedo ne anata anata wo Donna anata demo mitai to Itsumo kangaete shimau Kikasete kakusou to suru anata no kao wo Misete kakurete shimau anata no kokoro kikasete Donna koto kara demo ī saigo made kiku kara Hiraite soba ni yukitai anata no kokoro

0 notes

technotaku · 6 years

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