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Michael Arias

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Michael Arias
filmmaker Michael Arias
Born(1968-02-02)February 2, 1968(age 56)
Los Angeles,California,U.S.
NationalityUnited States
Occupation(s)Film director,producer,visual effectsartist
Years active1987–present
Websitehttp://michaelarias.net/

Michael Arias(born 1968) is anAmerican-bornfilmmakeractive primarily inJapan.

Though Arias has worked variously asvisual effectsartist,animation softwaredeveloper, andproducer,he is best known for his directorial debut, theanimefeatureTekkonkinkreet,which established him as the first non-Japanese director of a major anime film.[1][2][3]

Early life

[edit]

Michael Arias was born in Los Angeles, California. His father,Ron Arias(born 1941) is a former senior writer andcorrespondentforPeople magazineand a highly regardedChicanowriter.[4]Michael Arias' mother, Dr. Joan Arias, was a professor of Spanish and IBM Software Sales Specialist.[5]

When still a young boy, Arias often watched movies in the theater with his parents and borrowed16mmprints from a local public library for screening at home; it was at this stage in his life that he developed his passion for cinema.

Arias graduated from theWebb School of Californiaat the age of 16. He then attendedWesleyan UniversityinConnecticut,majoring inlinguisticsfor two years, before dropping out to pursue a career as a musician.[6]Michael's early musical associates includeMobyandMargaret Fiedler McGinnis.

Soon after quitting Wesleyan, Arias moved to Los Angeles, abandoned his musical ambitions and, through the efforts of a family friend, began working in the film industry.

Career

[edit]

Early filmmaking career

[edit]

Michael Arias' early filmmaking career is marked by stints in both the U.S. and Japan, working inVFX,CGproduction and software development, and as a producer of animated films.[3]

Dream Quest Images

[edit]

Michael Arias began his film career in 1987 at nascent visual effects powerhouseDream Quest Images(DQ),[7]first as an unpaid intern and then as a full-time employee andIATSEmember. The bulk of his time at DQ was spent as acamera assistanton themotion controlstages, working on such effects-heavyHollywoodfilms asThe Abyss,Total Recall,andFat Man and Little Boy.[8][9]

At the time, the visual effects industry had only just begun adopting digital technologies, and analog techniques such as motion control andstop motionphotography, miniatures, opticalcompositing,matte painting,andpyrotechnicsstill dominated. Arias, by his own account, flourished in the hands-on environment of DQ ( "a big tinkertoy factory run by car nuts and mad bikers" ).[10]

Back To The Future: The Ride

[edit]

After two years of working at Dream Quest, Arias returned to the East Coast with the intention of finishing his studies, this time atNYU'sMusic Technologyprogram. Soon after enrolling though, Arias was contacted by visual effects veteran and fellowAbyssalumnus Susan Sitnek, who invited Arias to join the crew ofUniversal Studios’ immersive attractionBack To The Future: The Ride(BTTFTR), helmed by visual effects legendDouglas Trumbull.Once relocated to the Berkshires, where pre-production was underway, Arias was drafted by Trumbull to animate the attraction'sflight-simulator-style ride vehicles.[11]Of his time working under Trumbull, Arias recalls, "Doug was – IS – such an inspiring figure. For me and the other younger crew, includingJohn Gaeta,now VFX Supervisor on theMatrixfilms, Doug was so generous with his knowledge; such a very warm and receptive and articulate and creative guy. "[10]

Arias' association with Trumbull proved fortuitous, not only for the experience of working daily with Trumbull himself, but also because it resulted in what would be Arias' first trip to Japan, with Trumbull, with whom he toured theOsaka Expoand visited post-production monolithImagicaand video game giantSega Enterprises.That first visit, combined with Arias' friendship with key members ofBTTFTR's largely Japanesemodelmakingcrew, set the stage for Arias' subsequent long-term stay in Japan.[10]

Imagica and Sega Enterprises

[edit]

In 1991 Arias accepted an offer to work as a motion-control camera operator in Imagica's Special Effects department, and moved to Tokyo. Then, after less than a year at Imagica, he was invited by up-and-coming game producerTetsuya Mizuguchito join a newly formed computer graphics unit at Sega Enterprises Amusement Research and Development facility.[12]At Sega, Arias co-directed and animated the ridefilmMegalopolice: Tokyo City Battle(featured inSIGGRAPH1993's Electronic Theater).[13]

Syzygy Digital Cinema

[edit]

In 1993 Arias returned to the US and teamed up with renownedNew York Citytitle designers Randall Balsmeyer & Mimi Everett, with whom he co-founded CG design boutique Syzygy Digital Cinema, creators of digital sequences forDavid Cronenberg’sM. Butterfly,Joel and Ethan Coen’sThe Hudsucker Proxy,Robert Altman’sPrêt-à-Porter,andSpike Lee’sCrooklynandClockers.[8][14]Their title sequence forM. Butterflywas honored by inclusion in the SIGGRAPH 1994 Screening Room and Montreal's Cinéma Du Futur festival of the same year.

Softimage

[edit]

Exhausted by the demands of production and hoping to gain further experience developing computer graphics software, Arias accepted an offer from 3D-animation software innovatorSoftimageto join their newly formed Special Projects group, a "S.W.A.T." team of artists and engineers established to assist key high-end customers on-site.[10]

Encouraged by colleagues, Arias quickly immersed himself in theMental RayrenderingAPIand thereafter began experimenting with techniques for simulatingtraditional animationimagery using computer graphics tools.[11]This research led to Arias' developing and eventually patenting Softimage'sToon Shaders,rendering software for facilitating integration of computer graphics imagery withcel animation.[2][15][16]Newly minted Toon Shaders in hand, Arias worked closely with the staff ofDreamWorks AnimationandStudio Ghiblito add a distinct visual flavor to the traditional/digital hybrid animation of filmsPrince Of Egypt,The Road to El Dorado,andHayao Miyazaki’sPrincess Mononoke(もののけ cơ,Mononoke-hime)andSpirited Away(Thiên と thiên tầm の thần ẩn し,Sen to Chihiro no Kamikakushi).[17][18]

TekkonkinkreetPilot Film

[edit]

In 1995, after establishing himself definitively in Tokyo, Arias was introduced by a friend toTaiyō Matsumoto's mangaTekkonkinkreet(Thiết コン cân クリート,Tekkon Kinkurīto),a work that profoundly affected him.Tekkonkinkreet(Tekkon) is a metaphysical coming-of-age story concerning two orphans,Black(クロ,Kuro)andWhite(シロ,Shiro)and their struggle to survive in a pan-Asian metropolis, Treasure Town(Bảo đinh,Takara-machi),beset by evil. Of first discoveringTekkon,Arias recalls that a friend loaned himTekkonto read, "And that was it. Hooked....I cried many times reading it, also a new experience for me to be moved to tears by a manga."[19]

In November 1997, a conversation with animation auteurKōji Morimoto,who had shown interest in Arias' software projects, led to Arias' introduction tomangaartistTaiyō Matsumoto.From there, what had begun as a simple software demo for Morimoto rapidly escalated to a full-fledged all-CG feature-film project, helmed by Morimoto, with computer graphics efforts directed by Arias himself.[20]

Though the completed 4-minuteTekkonkinkreetPilot Film(“Thiết コン cân クリート” パイロット bản,Tekkonkinkurīto Pairottoban)went on to take an Outstanding Performance award for Non-Interactive Digital Art at theJapan Media Arts Festival[21]and be featured in the SIGGRAPH 2000 Animation Theater',[22]the project was abandoned shortly thereafter for lack of funding and director Morimoto's flagging interest inTekkonkinkreet.[23]

The Animatrix

[edit]
Main article:The Animatrix

Then, in 2000, while still under contract to Softimage, Michael accepted an invitation fromJoel Silverand Lilly and Lana Wachowski (the Wachowskis) to produce Warner Bros’Matrix-inspired animation anthologyThe Animatrix,a project that consumed him for over three years.[8][24]On being pegged to produceThe Animatrix,despite his lack of experience producing, Arias recounts, "I really had to draw on a great deal of experience that had sat unused in the background while I’d been pursuing software development. Everything I’d learned until this point: a brief career in recording studios, composing music and doing sound effects for short films in college, having my own company, working in special effects. It was a great chance to exercise some dormant (or damaged) brain cells."[10]

Arias worked closely with the Wachowskis to refine the project's unique specifications: though initially conceived of as a television series,The Animatrixevolved into a collection of nine non-episodic animated shorts, each six to ten minutes long. With co-producers Hiroaki Takeuchi andEiko Tanaka(president of maverick animation boutiqueStudio 4°C,where much ofThe Animatrixwas animated), Arias ultimately developed and produced eight of the nineAnimatrixsegments (the lone exception being a CG-animated short created bySquare Pictures). To helm the films, Arias and his partners assembled a "dream team" of anime luminaries that includedYoshiaki Kawajiri,Kōji Morimoto,Shinichiro Watanabe,andMahiro Maeda.[10][25]

The Animatrixwas a commercial success[26]and went on garner the 2004ASIFAAnnie Awardfor Outstanding Achievement in an Animated Home Entertainment Production.[27]

Recent filmmaking career

[edit]

Michael Arias' recent career has been focused primarily on directing.[8]

Tekkonkinkreet

[edit]
Main article:Tekkonkinkreet

In 2003, while working onThe Animatrix,Arias picked upTekkonkinkreetagain. Armed with an English-language screenplay penned by screenwriter Anthony Weintraub, and encouraged by mentor Morimoto, Arias moved forward with plans to reviveTekkonatStudio 4°C,withAnimatrixcollaborator and 4 °C presidentEiko Tanakaproducing and Arias directing.

The film was completed in August 2006 and premiered at theTokyo International Film Festivalsoon thereafter.[28]

Museum of Modern Art (MoMA)curatorBarbara LondonnamedTekkonkinkreet"Best Film of 2006" in herArt Forumroundup,[29]and subsequently arranged for the film's North American premiere to be held at MoMA.[30]

With his adaptation ofTekkonkinkreet,Arias, withProduction DesignerShinji Kimura, had re-imagined the manga's Treasure Town as a chaotic pan-Asian hybrid, part Hong Kong, part Bombay, with futuristic and industrial elements densely layered over a foundation that borrowed much from images ofShōwa-era Tokyo.[2]New York TimescriticManohla Dargis,in her review ofTekkonkinkreet,describes Treasure Town as "a surreal explosion of skewed angles, leaning towers, hanging wires, narrow alleys and gaudily cute flourishes that bring to mind a yakuza cityscape by way of a Hello Kitty theme park."[31]Indeed,Tekkon's sumptuous art direction was widely praised, with Production Designer Kimura receiving theBest Art Direction awardat the 2008Tokyo International Anime Fair.[32]Tekkonwas further lauded, not only for Arias' innovative use of computer graphics techniques and seamless integration of digital and traditional animation, but also for the film's handmade, documentary-style approach to storytelling.[33]After an earlyTekkonscreening at theLos Angeles Asian Pacific Film Festival,filmjourney.org editor Doug Cummings elaborated:

Arias’ angles and compositions are uniformally [sic] inventive and striking, and most impressively, he incorporates a bevy of live action camera techniques: handheld framing, long tracking shots through corridors, rack focusing and shifting depths of field–that generate considerable immediacy and environmental realism (despite the obvious hand-drawn artifice). More than simple technological advances, these elements have long been untapped by feature animation due to their inability to be storyboarded – they’re traditional luxuries of live action spontaneity. For all the accolades bestowed uponAlfonso Cuarón’s digitally-composited tracking shots inChildren of Men,Arias’ techniques here are arguably greater achievements.[34]

ThoughTekkonkinkreetwas considered a hit locally and generally well-received by critics and audiences worldwide (particularly in France, where authorTaiyō Matsumoto's work is well known among manga readers[35][36]), North American anime fans questioned Arias' filmmaking credentials and criticized his decidedly non-purist approach to adapting manga to anime (including his decision to work from Anthony Weintraub's English-language screenplay rather than a Japanese text).[37]Online animation forumAnimation Insiderpointedly asked, "What in the hell does Michael Arias think he's doing?"[38]

In defense of Weintraub's screenplay, Arias explained to readers ofAniPages Daily,"He really got it right – the story of Treasure Town, the sense of doom, the action in Kiddie Kastle all fit together very seamlessly."[19]RegardingTekkonkinkreet's evident subversion of (so-called) traditional animation conventions, he added, "I wanted to do things differently....Ōtomoonce said to me and [chief animation director] Nishimi, 'if you're not doing things differently you shouldn't even bother'. "[19]

In the final analysis,Tekkonkinkreetremains a milestone in Japanese animation. It was awarded Japan's prestigiousŌfuji Noburō Award[39]at home, and continued on to compete for two awards at the 57thBerlin International Film Festival[40]and later win the 2008Japan Academy Prize for Animation of the Year.[41]The GuardianlistedTekkonkinkreetthird in its roundup of the ten most underrated movies of the decade.[42]

Association with Asmik Ace

[edit]

Summer 2007 was marked by the formalization of the long-standing relationship between Arias and the Japanese film distribution and production companyAsmik Ace Entertainment.Arias is the first to join the roster of Asmik's artist management division.[43]

Short film:Okkakekko

[edit]
Main article:Ani*Kuri15

Shortly after finishing publicity forTekkonkinkreet,Arias began work writing and directingHide and Seek(おっかけっこ,Okkakekko),one of fifteen 1-minute animated shorts comprising theNHKanimation anthologyAni-kuri(アニクリ,Ani-kuri).Individual segments were streamed from the officialAni*Kuri15website, and broadcast piecemeal starting in May 2007.[44][45]

Arias created the film atStudio4°C,calling on animation prodigy Takayuki Hamada (one ofTekkon's lead animators) to design and animate characters. Other contributors to Arias'Ani*Kurishort include colorist Miyuki Itō, CG director Takuma Sakamoto, British electronic music composersPlaid,andSound designerMitch Osias, allTekkonkinkreetalumni.Tekkonchief animation director Shōjirō Nishimi and production designer Shinji Kimura each directed his ownAni*Kurisegment, and other directors includedSatoshi Kon,Mamoru Oshii,andMahiro Maeda.

The entire collection of fifteen Anikuri shorts has since been released as a DVD-book set, featuring production detail, creator interviews, and storyboard and background artwork.[46]

Heaven's Door

[edit]
Main article:Heaven's Door (2009 film)

In 2007 Arias began work onHeaven's Door,a Japanese live-action feature film loosely based on the German hitKnockin' on Heaven's Doordirected byThomas Jahnand written by Jahn and actorTil Schweiger.Arias' adaptation featuresJ-PopheartthrobTomoya Nagaseand ingenueMayuko Fukudaas unlikely comrades who flee the hospital where they first meet, and embark on a road-trip to reach the ocean and watch the sun set there in the short time they have left.[47]

Heaven's Doormarks the return of Arias'Tekkonkinkreetcollaborators Min Tanaka (the voice ofTekkonkinkreet's "Suzuki" ), composersPlaid,and Sound Designer Mitch Osias.[48]

Heaven's Doorwas released in Japanese theaters on February 7, 2009, to mixed press[49][50]and lukewarm box office, but was praised for its cast, music, cinematography, and sound design.[51][52]Screen Internationalcorrespondent Jason Gray concludes, "I think younger audiences will find the tragedy ofHeaven´s Doorpalpable.... For someone like me who devoured American cinema of the early 70s, tearing up at films likeThunderbolt and Lightfoot,I might not be the best judge. Who knows,Heaven's Doormay become the newLéonfor the teen set here and regarded as a minor indie classic overseas. "[51]

Short film:Hope

[edit]

On June 23, 2009, Japanese pay-per-view broadcasterWOWOWannounced the upcoming on-air premiere of Arias' surreal short filmHope,featuring popular actressJuri Uenoas a struggling animator trapped overnight in an elevator.[53][54]

Hopewas penned by Arisa Kaneko,[55]shot byHeaven's DoorDPTakashi Komatsu, J.S.C., and features original score by Plaid and sound design by Mitch Osias.

The animation studio interiors were shot on location at Tokyo'sMadhousestudios, while veteran production designer (and frequentSōgo Ishiicollaborator) Toshihiro Isomi created a rotating set for Miyuki's elevator on a Yokohama soundstage.

Harmony

[edit]
Main article:Harmony (2015 film)

On November 27, 2014, Japanese broadcasterFuji Televisionmade public Arias' co-directing (withTakashi Nakamura) the feature-film adaptation of the lateProject Itoh's dystopian sci-fi novelHarmony,recipient of aPhilip K. Dick AwardSpecial Citation in 2010. At the time of Fuji Television's statement, production was ongoing atStudio 4°Cwith the film slated for a 2015 theatrical release.[56]Harmonywas released in Japan on November 13, 2015, and internationally in the Spring of 2016.[57]The film was praised for its innovative visuals and novel mixture of science fiction action and philosophical rumination, but at the same time criticized for its profusion of cerebral digressions.[58][59]

Tokyo Alien Bros.

[edit]

In May 2018Nippon Televisionannounced a live-action television series adaptation of Keigo Shinzō's mangaTokyo Alien Bros.,co-directed by Michael Arias and veterandoramadirector Shintaro Sugawara and written by Shō Kataoka.[60]NTVbroadcast the series weekly beginning on July 23, 2018, and ending with the tenth and final episode on September 24, 2018. For director AriasTokyo Alien Bros.marked both a return to live-action filmmaking and a reunion with frequent collaborators Plaid and director of photography Takashi Komatsu.[61]

Translator of works by Taiyō Matsumoto

[edit]

Michael Arias has translated and adapted to English some ofTekkonkinkreetauthor Taiyō Matsumoto's manga.[62]

Sunny

[edit]
Main article:Sunny (manga)

Arias' English translation[63]of Taiyō Matsumoto's quasi-autobiographical[64]mangaSunnywas included in theYoung Adult Library Services Association's Great Graphic Novels list for 2014,[65]and awarded the Best Graphic Novel prize by theSlate Book Reviewand theCenter for Cartoon Studies.[66]

Cats of the Louvre

[edit]
Main article:Cats of the Louvre

Arias is also credited with the 2019 English translation and adaptation of Matsumoto's surreal tale of anthropomorphized stray catsCats of the Louvrefor publisherViz's Signature collection, recipient of theEisner AwardforBest U.S. Edition of International Material - Asia.[67][68]

Ping Pong

[edit]
Main article:Ping Pong (manga)

In 2020 Viz published Arias' English translation of the full two-volume edition ofPing Pong,Matsumoto's popular high school table tennis epic.[69]

No. 5

[edit]
Main article:No. 5 (manga)

In 2021 Viz announced a forthcoming English-language edition ofNo. 5,Matsumoto's surreal sci-fi saga, also translated by Arias.[70][71]

Tokyo These Days

[edit]
Main article:Tokyo These Days

In 2024 Viz began publishing Arias' English translation of Matsumoto's slice-of-life meditation on the struggle between art and commerce.[72]

Personal life

[edit]

Arias has lived inTokyo,Japansince he was 23 and speaks and writesJapanesefluently.[15]

In 2011 Arias documented his experiences providing relief to relatives inMiyagi Prefectureduring the days immediately following theTōhoku earthquake and tsunami.[73][74][75]

Filmography

[edit]
Film
Year Title Role Notes
1989 The Abyss Motion control cameraperson (uncredited)
1989 Fat Man and Little Boy Motion control cameraperson (uncredited)
1991 Back To The Future: The Ride Ride programmer (uncredited)
1993 M. Butterfly Title sequence computer graphics (as Syzygy Digital Cinema)
1994 The Hudsucker Proxy Title sequence and newsreel sequence computer graphics (as Syzygy Digital Cinema)
2003 The Animatrix Producer, computer graphics, additional sequence director, voice cast 2004ASIFAAnniefor Outstanding Achievement in an Animated Home Entertainment Production.[27]
2006 Tekkonkinkreet(Thiết コン cân クリート,Tekkon Kinkurīto) Director, storyboard artist, additional voices 2006 Mainichi Film ConcoursNoburō Ōfujiaward for excellence in animation[39]
2008Japan Academy Prize for Animation of the Year.[41]

57thBerlin International Film FestivalGeneration 14plus and Best First Feature nominations[40]
Gertie Award Jury Special Mention—40thSitges Film Festival[76]
Gran Prix—Anima 2008 festival in Brussels, Belgium[77]
Golden Prize for Best Animated / Stop Motion Film—2007Fantasia International Film Festival[78]
Animation Unlimited screening—31stHong Kong International Film Festival[79]
Panorama Selection—2007Deauville Asian Film Festival[80]
2007 Nippon Connection Film Festival in Frankfurt, Germany[81]
2007 Camera Japan Festival in the Netherlands[82]
Nippon Cinema program—2010 Nippon Connection Film Festival in Frankfurt, Germany[81]
Lancia Platinum Grand Prize Special Mention—2008 Future Film Festival in Bologna, Italy[83]

2007 Hide and Seek(おっかけっこ,Okkakekko) Director, writer, storyboard artist TV short film featured onAni*Kuri15
2009 Heaven's Door Director Nippon Cinema program—2010 Nippon Connection Film Festival in Frankfurt, Germany[81]
2009 Hope Director
2010 Team Dragon fromAKB48Wings Of The Heart(Tâm の vũ căn,Kokoronohane)[84] Director, visual effects supervisor Music video forDragon Ball Kai(ドラゴンボール cải (カイ),Doragon Bōru Kai,lit. "Dragon Ball Revised" )theme music
2015 Harmony Director (withTakashi Nakamura) Feature-film adaptation ofProject Itoh's novel[56]
2018 Tokyo Alien Bros. Director (with Shintaro Sugawara) 10-episode TV-series adaptation of Keigo Shinzō's manga[60]
2019 Make Art Not Friends Director, producer, production designer Live-action music video included in the visual companion piece to singer/songwriterSturgill Simpson'sSound & Furyalbum.[85][86][87]
2023 Godzilla Minus One Actor (American serviceman), montage supervisor(モンタージュ giam tu)

Achievements and recognitions

[edit]

References

[edit]
  1. ^Schilling, Mark (December 21, 2006)."Outlander gazes into Showa's soul".The Japan Times.RetrievedApril 26,2007.
  2. ^abcWallace, Bruce (February 4, 2007)."His adopted home is called Treasure Town".Los Angeles Times.RetrievedAugust 22,2012.
  3. ^abMacias, Patrick (December 21, 2006)."'Animatrix' producer Michael Arias becomes the first foreign director to enter Japan's cult domain ".The Japan Times.RetrievedSeptember 28,2010.
  4. ^"Ron Arias".RetrievedMarch 8,2023.
  5. ^"Obituary: Joan M. Arias".December 20, 2017.RetrievedMarch 8,2023.
  6. ^Kelts, Roland (November 28, 2006).Japanamerica: How Japanese Pop Culture Has Invaded The U.S..Palgrave Macmillan. pp.59.ISBN978-1-4039-7475-4.
  7. ^"Dream Quest Images".The Internet Movie Database.IMDb.com. 2007.RetrievedJune 23,2009.
  8. ^abcd"Michael Arias (I)".The Internet Movie Database.IMDb.com. 2007.RetrievedApril 26,2007.
  9. ^ab"SIGGRAPH Computer Graphics Vol. 32, No. 1".ACM SIGGRAPH.
  10. ^abcdef"XSIBase.com Interview with Michael Arias".XSI Base – Softimage XSI Community. 2003. Archived fromthe originalon April 15, 2008.RetrievedJune 22,2009.
  11. ^ab"3D y Animacion Interview with Michael Arias".www.3dyanimacion.com – El Portal del 3D y la Animación. 2003. Archived fromthe originalon November 3, 2007.RetrievedJune 24,2009.
  12. ^Ánh tượng クリエイターに văn く〜 “Diện bạch さは cốt (コツ)が đại sự” ゲームクリエイター thủy khẩu triết dã(in Japanese). white-screen.jp. October 9, 2007. Archived fromthe originalon April 30, 2010.RetrievedSeptember 2,2009.
  13. ^"SIGGRAPH Publications Video Review Issues 61 – 96".ACM SIGGRAPH. Archived fromthe originalon June 23, 2004.RetrievedJune 22,2009.
  14. ^Ohanian, Thomas; Michael E Phillips (April 20, 2000).Digital Filmmaking, Second Edition: The Changing Art and Craft of Making Motion Pictures.Focal Press. pp. 103, 207.ISBN978-0-240-80427-9.
  15. ^abBynum, Aaron H. (February 5, 2007)."Japanese Animation: A State of Mind (?)".Animation Insider.RetrievedApril 26,2007.
  16. ^ab"U.S. Patent 5,966,134".United States Patent and Trademark Office.
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  19. ^abc"Anipages Daily Interview with Michael Arias".www.pelleas.net. April 17, 2007.RetrievedJune 22,2009.
  20. ^Rumi Hiwasa; translated by Alun Simpson."XSI User Profile: Studio 4 °C".www.softimage.com.RetrievedJune 22,2009.
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  23. ^Macias, Patrick (December 21, 2006)."Anime through an American eye".The Japan Times.RetrievedApril 27,2007.
  24. ^Amid (March 21, 2006)."Studio 4 °C'sTEKKON KINKURITO".Cartoon Brew. Archived fromthe originalon September 27, 2007.RetrievedApril 26,2007.
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  27. ^ab"The Animatrix – Awards".The Internet Movie Database.IMDb.com. 2003.RetrievedJune 22,2009.
  28. ^ "19th Tokyo International Film Festival Lineup".RetrievedJune 22,2009.
  29. ^"Artforum.Best of 2006 ".GreenCine Daily. December 1, 2006. Archived fromthe originalon July 23, 2009.RetrievedJune 25,2009.
  30. ^"MICHAEL ARIAS/TEKKONKINKREET/MoMA".The Bomb.artloversnewyork.com. May 7, 2007.RetrievedJune 25,2009.
  31. ^Dargis, Manohla (July 13, 2007)."Orphan Superpower in the Realm of Anime".New York Times.RetrievedJune 23,2009.
  32. ^"Tekkonkinkreet – Adaptation".Let's Fall Asleep Anime Blog. October 29, 2008.RetrievedJune 23,2009.
  33. ^Alt, Matt (October 17, 2007)."As Immersive As Possible".Otaku USA.RetrievedJune 23,2009.
  34. ^Cummings, Doug (October 29, 2008)."Review ofTekkonkinkreet".filmjourney.org. Archived fromthe originalon December 1, 2008.RetrievedMay 8,2007.
  35. ^"Critiques: Amer Béton"(in French). Comme au Cinema.com. February 20, 2008.RetrievedJune 24,2009.
  36. ^Sotinel, Thomas (February 20, 2008).""Amer béton": errance fantastique dans une ville-jungle "(in French). Le Monde.RetrievedJune 24,2009.
  37. ^Sevakis, Justin (April 27, 2007)."Tekkon Kinkreet Review".Anime News Network.RetrievedJune 24,2009.
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  40. ^ab"Berlinale Annual Archives 2007 Programme".Berlin International Film Festival.
  41. ^ab"Animation of the year"(in Japanese). Japan Academy. Archived fromthe originalon March 16, 2008.RetrievedMarch 30,2008.
  42. ^Leigh, Danny (December 22, 2009)."The view: The 10 most underrated movies of the decade".London: Guardian News and Media Limited.RetrievedJanuary 8,2010.
  43. ^Schilling, Mark (August 24, 2007)."Asmik Ace enters percentery biz".Variety.RetrievedJune 22,2009.
  44. ^"Two Seasons Of Anime Anthology ANI-KURI 15 Available Online! Oshii! Kon! Arias! And More!".Twitch Film. February 3, 2008.RetrievedJune 24,2009.
  45. ^"2 Seasons of NHK's Ani-Kuri 15 Shorts Posted Online".Anime News Network. January 16, 2008.RetrievedJune 24,2009.
  46. ^"アニ・クリ15 DVD×マテリアル"(in Japanese). Ichijinsha Publishing(Chu thức hội xã nhất tấn xã,Kabushiki-gaisha Ichijinsha).RetrievedJune 24,2009.
  47. ^"Michael Arias goes live-action with" Heaven's Door "".Toronto J-Film Pow-Wow. July 25, 2008.RetrievedJune 22,2009.
  48. ^"Heaven's Door".The Internet Movie Database.IMDb.com. 2009.RetrievedJune 22,2009.
  49. ^Schilling, Mark (February 13, 2009)."Directors give romantic dramas a new twist".The Japan Times.RetrievedJune 25,2009.
  50. ^"HEAVEN'S DOOR Review".Twitch. August 7, 2009.RetrievedAugust 19,2009.
  51. ^ab"Heaven's Door Premiere".Jason Gray's Blog.jasongray.blogspot.com. 2009.RetrievedJune 22,2009.
  52. ^Çolak, Christopher."Plaid – Heaven's Door: The Soundtrack".Half Stereo.RetrievedJune 25,2009.
  53. ^"Hope(Wowow press release) "(in Japanese). Wowow.RetrievedJune 23,2009.
  54. ^"HopeHome Page "(in Japanese). Wowow.RetrievedJune 23,2009.
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