Production
King of the Castle in the Demon World features two new Riders, the first of which was shown in silhouette in Japanese children's magazines, Kamen Rider Rey, who is a monster hunter named Takato Shiramine played by Shouma Yamamoto. He is partnered to Rey Kivat, voiced by Norio Wakamoto. The villain of the movie is Takashi Sugimura who is a death-row inmate and transforms into the black and horned Kamen Rider Arc, portrayed by Ken Horiuchi of the comedy troupe Neptune. Arc is to be the tallest Rider without the use of powers at 3.2 m tall. Also guest starring is Gal Sone, who plays a Medusa-like villainess named Sayaka who, among other creatures known as the Legendorga, aids Arc in his quest to rule the world. As part of the role, Gal Sone will show off her competitive eating skills. Toshihiko Seki, Kōji Yusa, Masaki Terasoma, Kenichi Suzumura, Rina Akiyama, and Ryo Ueno of the Den-O cast are all to have cameo appearances in the film.
Read more about this topic: Kamen Rider Kiva: King Of The Castle In The Demon World
Famous quotes containing the word production:
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)