Style
One frequent technique that Mashimo uses as part of his studio-as-hospital strategy is brainstorming new anime concepts with his colleagues in the state of alcohol intoxication. For example, according to him, that is how the idea of the supernatural connection between the two female leads of Madlax was born.
Another typical Bee Train gesture is to invite Japanese voice actors who have already worked on some of their projects to voice the characters similar to the ones they voiced before. For example, this list includes Hōko Kuwashima (Kirika Yuumura in Noir, Margaret Burton in Madlax), Aya Hisakawa (Chloe, Limelda Jorg, Jodie Hayward in El Cazador de la Bruja), and Kaori Nazuka (Subaru in .hack//Sign, Shino in .hack//Roots).
The famous Japanese composer and music producer Yuki Kajiura has created musical scores for multiple projects by Bee Train since Noir (whose appeal lay to a large degree in its soundtrack). Kajiura has provided music for Sign, Liminality, Madlax (as part of FictionJunction Yuuka), Tsubasa Chronicle, and recently El Cazador de la Bruja. When explaining his preference for Kajiura's work, Mashimo once commented that "she's a storyteller who just happens to know how to write music". Another frequent collaboration is that between Bee Train and the musical duo Ali Project (Noir, Avenger, .hack//Roots). Generally, the music plays a just as important role in Bee Train's works as visuals and dialogue do, sometimes even drowning the latter (heard, for example, in .hack//Sign, Avenger, and Madlax).
Read more about this topic: Bee Train
Famous quotes containing the word style:
“Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.”
—Ernest Hemingway (1899–1961)
“As we approached the log house,... the projecting ends of the logs lapping over each other irregularly several feet at the corners gave it a very rich and picturesque look, far removed from the meanness of weather-boards. It was a very spacious, low building, about eighty feet long, with many large apartments ... a style of architecture not described by Vitruvius, I suspect, though possibly hinted at in the biography of Orpheus.”
—Henry David Thoreau (1817–1862)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)