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<v Speaker 1>This is Adam Spiegelan, the host of my second favorite

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<v Speaker 1>movie podcast called Proudly Resent at Proudly Resents dot com.

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<v Speaker 1>And you are listening to my favorite the number one,

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<v Speaker 1>the Rejection Booth. Mike puts so much work into it.

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<v Speaker 1>If you listen to my show, I put no work

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<v Speaker 1>into it. Enjoy the rest of the show, you lucky

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<v Speaker 1>son of a gun.

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<v Speaker 2>Come on, come you tato.

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<v Speaker 3>You read so here?

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<v Speaker 2>Hey, folks, welome to a special episode of The Projection Booth.

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<v Speaker 2>I'm your host, Mike White. On this episode, I am

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<v Speaker 2>talking with Lyle Zanka. He's the director of assets and

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<v Speaker 2>Technology over at G Kids, along with cultural critic Dan Chindell.

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<v Speaker 2>All about Angel's Egg. It is a nineteen eighty five

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<v Speaker 2>anime film from director Memoro Oshi, and it is touring

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<v Speaker 2>the country currently in a new restoration opening at a

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<v Speaker 2>lot of theaters wide, and it will be coming to

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<v Speaker 2>four K blu Ray pretty soon as well, so keep

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<v Speaker 2>an eye out for that. Thank you so much for listening,

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<v Speaker 2>and I hope you enjoy this interview.

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<v Speaker 4>Lyle.

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<v Speaker 2>I want to start with you if I could then

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<v Speaker 2>tell me a little bit more about you and your

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<v Speaker 2>role at G Kids.

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<v Speaker 3>Over G Kids I'm basically and charge of all of

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<v Speaker 3>our technical and what we call post production, basically handling

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<v Speaker 3>the internal lab services as we.

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<v Speaker 2>Like to call them.

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<v Speaker 3>For all of our distribution. There is something we do

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<v Speaker 3>in house which I think is a little bit unique

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<v Speaker 3>to us, but I basically oversee that, which can range

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<v Speaker 3>from simply taking things we get from Japan, localizing them

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<v Speaker 3>and distribute them to doing brand new four K uprises

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<v Speaker 3>and things like that. We do quite a lot over here.

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<v Speaker 2>I mean it sounds like with this Angel Sag brand

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<v Speaker 2>it was a little bit of both, right, They restored

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<v Speaker 2>it in Japan and then do you localize to hear.

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<v Speaker 3>Yeah, so the restoration was done entirely in Japan with

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<v Speaker 3>the trektors overseeing it, but here our main role in

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<v Speaker 3>that whole process was to localize it, which includes a

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<v Speaker 3>brand new, never before done the English dub of the film,

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<v Speaker 3>which you know, despite its seventy something lines of dialogue,

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<v Speaker 3>was something we felt was really important for us to

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<v Speaker 3>do to get as many eyes on this film as possible,

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<v Speaker 3>and as part of that dub, we also replicated what

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<v Speaker 3>they did in Japan as this will be in Adobe Cinema.

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<v Speaker 3>We did like Adobe Atmos mix of that doves as well.

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<v Speaker 3>There's parody there between Japan and the US.

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<v Speaker 2>Do you know from your Japanese counterparts how the print

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<v Speaker 2>looked when they started the restoration of this.

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<v Speaker 3>I don't have a ton of insight into exactly what

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<v Speaker 3>that looked like. We're in the process right now of

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<v Speaker 3>actually going through some quite a lot of interview footage

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<v Speaker 3>that they had recorded between either music director or a

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<v Speaker 3>mono himself having some discussions about what that process looked like.

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<v Speaker 3>One of our localization managers here was actually explained to

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<v Speaker 3>me she speaks Japanese as I don't, but she was

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<v Speaker 3>watching that through before we've had it subtitled. I was

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<v Speaker 3>doing a little bit of explaining about what that process

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<v Speaker 3>looked like, and it sounded very interesting. But from what

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<v Speaker 3>she said, it sounded like they almost had to go

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<v Speaker 3>back and take everything apart and remake some things. I think,

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<v Speaker 3>especially with the music, I think there was a lot

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<v Speaker 3>of work involved in having to recreate that to modern

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<v Speaker 3>quality standards. But having seen the print and done the

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<v Speaker 3>Dolby Vision QC of those DCPs and everything, it looks

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<v Speaker 3>absolutely incredible.

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<v Speaker 2>When was the first time you actually saw Angel sag

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<v Speaker 2>and what did you think.

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<v Speaker 3>In its entirety. The first time I saw it was

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<v Speaker 3>when we acquired it as g Kids. I've been aware

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<v Speaker 3>of its existence for quite a long time. I think

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<v Speaker 3>it's had a long infamous history as something very famous

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<v Speaker 3>on things like Tumblr that people just loved the aesthetic

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<v Speaker 3>of I would post online without ever having really seen it,

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<v Speaker 3>considering it didn't really have a release outside of the

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<v Speaker 3>United States, but as a big fan of a Mono

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<v Speaker 3>and his artwork as one of my favorite artists ever

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<v Speaker 3>since I joined Kids a little over five years ago,

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<v Speaker 3>I was like, we have to acquire this film. I

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<v Speaker 3>felt very lucky that they chose to do a four

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<v Speaker 3>K restoration of this and that we were able to

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<v Speaker 3>acquire it and give it the real attention it deserves

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<v Speaker 3>and get it in front of as many people as possible,

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<v Speaker 3>and especially in doing this Dolby Cinema released to me

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<v Speaker 3>was really exciting.

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<v Speaker 2>And then, yeah, same question for you.

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<v Speaker 4>So I first saw Angel's Egg in college, and the

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<v Speaker 4>way I saw it was the same way but I

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<v Speaker 4>saw most anime at that time, which is fat I

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<v Speaker 4>went to one of many pirate sites that existed where

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<v Speaker 4>you could easily stream films like that. I could not

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<v Speaker 4>tell you how I first heard of it, especially back

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<v Speaker 4>in those days. I say as if it was a

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<v Speaker 4>bat long ago. But it is remarkable, like how in

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<v Speaker 4>a relatively short amount of time, like the mainstreaming of

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<v Speaker 4>anime has made it much more accessible and like much

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<v Speaker 4>more broadly recognized, and like to me, Bad Landscape is

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<v Speaker 4>like almost completely changed from when I was younger. It

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<v Speaker 4>was much more niche and everyone learned about different titles,

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<v Speaker 4>different shows, different movies, certain ways. I might have learned

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<v Speaker 4>about angel ZGG for first sign from like reading about

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<v Speaker 4>it on TV tropes and thinking that sounds interesting, and

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<v Speaker 4>that's how it was passed along for most of the

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<v Speaker 4>forty years that's been since it came out, because it

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<v Speaker 4>didn't get, as we know, a proper release in the States,

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<v Speaker 4>but because there's always been a very dedicated audience for

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<v Speaker 4>anime in the States, there's always been a robust bootleg market.

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<v Speaker 4>So it started out with like bootlegs, and then with

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<v Speaker 4>the Internet as that became more sophisticated, you could see

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<v Speaker 4>it by a stream or via torrents. And I guess

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<v Speaker 4>that another thing that has changed is that in more

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<v Speaker 4>recent years, like people lost for recipes for how to

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<v Speaker 4>Torent properly. But yeah, now we've it's finally available to

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<v Speaker 4>see an allegitimate manner, and I still haven't been able

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<v Speaker 4>to catch it on big screen. There was a few

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<v Speaker 4>years ago much Valiehood screening at Japan Society here in

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<v Speaker 4>New York, which a'mno is actually present for which I

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<v Speaker 4>would have been incredible, but I was out of town

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<v Speaker 4>when it happened. So I'm really thrilled that this is

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<v Speaker 4>happening and that so many more people can now not

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<v Speaker 4>just discover Angel's Egg, but also see it in a

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<v Speaker 4>non bootleg form in crisp sound and video.

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<v Speaker 2>What's kind of your relationship with this film?

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<v Speaker 4>It's interesting I was changed over time. When I saw it,

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<v Speaker 4>I was like nineteen or twenty, so a lot of

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<v Speaker 4>the symbolism just went over my head and I just

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<v Speaker 4>had the wow, Dan, that's crazy reaction to it, which

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<v Speaker 4>I think is a big part of its reputation too.

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<v Speaker 4>It's one of the more notorious Wow this movie is

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<v Speaker 4>so weird and so inscrutable, what does it mean? It

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<v Speaker 4>has that kind of reputation and that's definitely how I

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<v Speaker 4>reacted to it when I was much younger, But then

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<v Speaker 4>as I've come back to it over years. It I

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<v Speaker 4>couldn't say for sure, but oh, I have the explanation

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<v Speaker 4>for Angel Egg. What means absolutely you know, it's obvious, no,

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<v Speaker 4>but it does certain thinkings resonate for me, especially that

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<v Speaker 4>when I saw it in college, I was going to

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<v Speaker 4>a Christian college. I was raised Christian, I was Christian

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<v Speaker 4>at the time, and then since then I now agnostic.

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<v Speaker 4>And so going back to Angel's Egg with that amount

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<v Speaker 4>of religious symbolism in it, I am changing my own

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<v Speaker 4>perspective on faith. Has been really interesting. It's definitely led

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<v Speaker 4>to and resonating with me more.

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<v Speaker 3>Hopefully you'll be in a little bit of luck because

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<v Speaker 3>I was at that Japan Society screening that Amano was

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<v Speaker 3>at and it was recorded, and we are hoping to

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<v Speaker 3>actually put that together into a nice Blu Ray bonus feature,

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<v Speaker 3>so hopefully you'll get to experience that one day.

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<v Speaker 2>That's awesome. What is the next steps with this? Now

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<v Speaker 2>that the restoration is done, Now that the dub has

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<v Speaker 2>been done, the upmost is complete. Where are you going

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<v Speaker 2>from there with this? Lyle?

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<v Speaker 3>Once our theatrical run, we have some special'll be screenings

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<v Speaker 3>in advance, and then our wider release I think the

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<v Speaker 3>week after, and then from there, I think the next

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<v Speaker 3>step will be its streaming debut on HBO Max, which

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<v Speaker 3>I think is really exciting, which is part of a

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<v Speaker 3>larger deal that we've done with them to release like

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<v Speaker 3>lots of different movies. And then after that, as soon

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<v Speaker 3>as we can get it to market, we'll have a

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<v Speaker 3>couple different skews of Blu rays coming out for people

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<v Speaker 3>to purchase, and I think once I've got that in

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<v Speaker 3>my hands, I'll feel like the cycle is complete in that,

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<v Speaker 3>like my desire to acquire this film and get it

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<v Speaker 3>in front of people, having a physical product I think

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<v Speaker 3>will be really exciting.

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<v Speaker 2>Is there a normal process for you when it comes

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<v Speaker 2>to some of these releases that you're doing, or is

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<v Speaker 2>it always a little bit different and you just have

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<v Speaker 2>to roll with punches.

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<v Speaker 3>Every film is different every release. We try to give

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<v Speaker 3>it the attention it deserves, release it in a way

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<v Speaker 3>that makes sense for what it is. But I think

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<v Speaker 3>one of the things we always think is extremely important

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<v Speaker 3>is giving films a really good deserve theatrical release. There's

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<v Speaker 3>very few instances where we acquire a film and it

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<v Speaker 3>goes direct to streaming or anything. Like that, so I

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<v Speaker 3>think at its core that's something that Ji Kids has

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<v Speaker 3>always believed in. It is giving films a proper theatrical

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<v Speaker 3>release and physical releases as well, but usually given our

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<v Speaker 3>relationship with Japan, it's usually theatrical comes first so we

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<v Speaker 3>can release it as close to when they are as possible,

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<v Speaker 3>and then the process of creating a Blu ray can

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<v Speaker 3>take quite a while, so we'll try to get that

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<v Speaker 3>out as soon as we can.

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<v Speaker 2>We can take some time now. Daniel mentioned his reading

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<v Speaker 2>out of the film, and I want to get back

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<v Speaker 2>into that definitely. But what's your take on it? When

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<v Speaker 2>you see this is what's your worst shock test when

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<v Speaker 2>it comes to Angels Egg.

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<v Speaker 3>Yeah, I think what I first saw it, I agree

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<v Speaker 3>with what Daniel was saying, is that you see it

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<v Speaker 3>and you're just like wow. That was something I really

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<v Speaker 3>don't know what to make of that There's so much

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<v Speaker 3>symbolism and imagery going on. But having watched it half

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<v Speaker 3>a dozen times or more in the last six months,

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<v Speaker 3>just during the process of getting this ready for release,

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<v Speaker 3>I think my views on it have did quite a lot.

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<v Speaker 3>But I do think it's one of those films where

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<v Speaker 3>you can take almost anything you want from it. Like

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<v Speaker 3>Daniel was saying, I think a lot of people take

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<v Speaker 3>the interpretation of the loss of faith based I think

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<v Speaker 3>partially on some things that Oshe himself has maybe said

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<v Speaker 3>in the past, but I think also just the dichotomy

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<v Speaker 3>between the two main characters, how different they are and

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<v Speaker 3>how differently they see the world, I think is a

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<v Speaker 3>really you can almost apply that to a lot of

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<v Speaker 3>different things in life and see it that way. But

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<v Speaker 3>when I look at the film, I do see it.

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<v Speaker 3>It's like this back and forth between the two main characters,

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<v Speaker 3>where the one has a lot of hope for the

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<v Speaker 3>future and the one is very skeptical and cynical and

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<v Speaker 3>would rather know the truth than just blindly hope that

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<v Speaker 3>things will get better or this egg will hatch to

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<v Speaker 3>something beautiful. He'd rather just learn the truth now. And

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<v Speaker 3>I think that's really interesting, and I think you can

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<v Speaker 3>take away what's beautiful about the film is that you

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<v Speaker 3>can really just take from it something unique. Almost every

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<v Speaker 3>time I see it, I find something new that I

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<v Speaker 3>can apply it to.

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<v Speaker 4>It is a very dialectical film, pulling equally from like

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<v Speaker 4>Beckett and Tarkovsky, with these just two characters, And yeah,

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<v Speaker 4>I think that the evolving perception and evolving reaction to

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<v Speaker 4>it fits into that dialogue film itself, especially if it's good,

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<v Speaker 4>will resonate in different ways, and then its continued exhibition

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<v Speaker 4>and dispersion creates new dialogue over time. And with a

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<v Speaker 4>film as rich in symbolism and as open ter interpretation

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<v Speaker 4>as this, that means that there's a lot different avenues

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<v Speaker 4>for conversation.

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<v Speaker 3>What leads to a lot of its history and its

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<v Speaker 3>long term but small scale fame amongst the specific communities.

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<v Speaker 3>Is just like how hard it was to get the

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<v Speaker 3>fact that even in Japan when this film was released,

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<v Speaker 3>it was really straight to home video. I know, oh

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<v Speaker 3>she has talked about in the past it prevented him

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<v Speaker 3>from getting any work because it was so poorly received.

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<v Speaker 3>So seeing it come back around forty years later and

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<v Speaker 3>having all this interest around it, having so many people

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<v Speaker 3>discussing it wanting to see it, it permitted at New

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<v Speaker 3>York Film Festival, and I think the audience reaction to

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<v Speaker 3>that was really positive. People had a lot of great

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<v Speaker 3>things to say, were really intrigued by it. So to

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<v Speaker 3>see that basic one eighty of this direct to home

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<v Speaker 3>video Japanese release of a film it involved two of

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<v Speaker 3>the like profound creators in Oshi and Mono, just like

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<v Speaker 3>collaborating on something like this to see it like come

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<v Speaker 3>full circle and get a proper theatrical release in Japan,

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<v Speaker 3>get a proper theatrical release here in the US, it'll

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<v Speaker 3>get true home video Blu ray release, It'll go on

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<v Speaker 3>streaming like it's really getting I feel like it's moment

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<v Speaker 3>that it really deserved. But so many people only knew

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<v Speaker 3>about it because they either heard about it and had

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<v Speaker 3>to torrent it, or they saw random gifts on Tumblr

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<v Speaker 3>that just people really liked the aesthetic of it, but

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<v Speaker 3>really did know the full story of the film. I'm

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<v Speaker 3>really happy to see where it's come.

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<v Speaker 2>How much of the dubbing process were you a part of?

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<v Speaker 3>Our localization manager really oversees that, and we do work

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<v Speaker 3>with a studio call NAIV who did the dub. They

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<v Speaker 3>do a lot of our dubs in terms of my involvement,

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<v Speaker 3>and that was really just making sure they had the

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<v Speaker 3>assets they needed, making sure they do the specs, making

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<v Speaker 3>sure they were making the Dolby atmost versions so we

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<v Speaker 3>could have parody, but really creatively because of my own

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<v Speaker 3>interest in the film and my own passion for it.

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<v Speaker 3>I was having the person managing our dubs need the

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<v Speaker 3>casting selects and options and things. I gave a little

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<v Speaker 3>bit of feedback and read through the dub script and

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<v Speaker 3>gave some feedback just because I felt passionate about it.

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<v Speaker 3>But it's not my traditional role. I just wanted to

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<v Speaker 3>involve myself as much as I could.

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<v Speaker 2>Dan when you saw this, did you see it? Subtitle dubbed?

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<v Speaker 4>Part of the restition of bootlegging anime is the restridition

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<v Speaker 4>of fan subs. I think that someone could do a

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<v Speaker 4>really interesting study in translation through comparing different versions of

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<v Speaker 4>fan subs over the years, especially with also official subs,

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<v Speaker 4>because anime fans, I don't know if you might have noticed,

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<v Speaker 4>but they're very opinionated on many subjects, and especially on

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<v Speaker 4>copper translation. That was actually one of the earliest ways

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<v Speaker 4>that I was introduced to translation philosophy without even thinking

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<v Speaker 4>about or being conscious of. It was the different ways

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<v Speaker 4>that different fan translators with subtitle things. You get the

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<v Speaker 4>ones that are more literal, the ones that are trying

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<v Speaker 4>to be more poetic, the ones that think, oh out

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<v Speaker 4>of the translate this part because it's well known, like

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<v Speaker 4>how honorifics work or whatever. And yeah, every stream of

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<v Speaker 4>an anime on the English language website would have of

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<v Speaker 4>course come with the fan translated subs, and often they

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<v Speaker 4>would insurge themselves into the credit sequences, just so you

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<v Speaker 4>know who to properly pay tribute to for helping making

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<v Speaker 4>that accessible to you.

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<v Speaker 2>As what a freelance culture writer in Brooklyn, what do

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<v Speaker 2>you working out.

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<v Speaker 4>Of these days? I write about a lot of things,

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<v Speaker 4>not just film able it is mostly what I cover,

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<v Speaker 4>but also I've written about art, theater, television, video games.

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<v Speaker 4>I recently was part of a really wonderful retrospective of

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<v Speaker 4>Hideo Kojima's video games for the website Reverse Shots, covering

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<v Speaker 4>the deaf stranding games for them. Continuing the theme of like

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<v Speaker 4>Japanese films, I'm writing about the upcoming not it's been

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<v Speaker 4>out in Japan, but like it's coming out here and

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<v Speaker 4>stay soon Kokuho, which is notable because it has become

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<v Speaker 4>the second highest grossing live action Japanese film at the

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<v Speaker 4>Japanese box office and has actually led to a resurgence

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<v Speaker 4>in the interest in kabuki in Japan. So it's very

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<v Speaker 4>interesting stuff going on.

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<v Speaker 2>And Lole, I know that, you know, the road of

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<v Speaker 2>Angels Zega is not over by any means. But I

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<v Speaker 2>don't imagine you are a one project at a time

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<v Speaker 2>type of person. What else are you working out of

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<v Speaker 2>these days?

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<v Speaker 3>We're working on definitely a lot of different things. I

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<v Speaker 3>think most notably, we have a couple of films coming

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<v Speaker 3>out very shortly great segue, but Cocoho is another film

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<v Speaker 3>that we're actually really seeing as Jikids delves into a

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<v Speaker 3>little bit more of the live action space. So Cocoho is,

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<v Speaker 3>you know, as Daniel was saying, like a really popular

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<v Speaker 3>film in Japan, so we're trying to give it as

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<v Speaker 3>much attention here in the States as we possibly can.

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<v Speaker 3>It's a really beautiful film, so that's really exciting. And

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<v Speaker 3>we've got another film believe just came out in theaters

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<v Speaker 3>but called Little Omily or The Character of Rain, which

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<v Speaker 3>is another really beautiful film. It's actually like a French

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<v Speaker 3>Japanese co production. Really another beautiful film. But yeah, I mean,

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<v Speaker 3>we've got probably twenty plus movies in the works at

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<v Speaker 3>any given time, so Angels is definitely far from the

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<v Speaker 3>only thing we're working on.

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<v Speaker 2>I look forward to hearing what the next one is

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<v Speaker 2>because it's always a tree talking with you guys. I

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<v Speaker 2>love what kids is up to. So thank you so

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<v Speaker 2>much for your time today. Gentlemen, this is fantastic.

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<v Speaker 3>Thank you very much.

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<v Speaker 4>Yep, thanks again for having me on