Masakazu Morita, the Japanese voice actor for Kurosaki Ichigo, the protagonist of Tite Kubo’s Bleach, has been voicing the character since the beginning of the series. He has additionally worked as Marco the Phoenix in One Piece, Tidus in Final Fantasy X, Whis in Dragon Ball Super, Pod in Pokémon, Tenjuro Banno in Kamen Rider Drive, and Li Xin in Kingdom.
Bleach: Thousand-Year Blood War
While Morita is a big name in the anime industry, many fans may not know that Morita has also been voicing Kurosaki Ichigo in the popular mobile game Bleach: Brave Souls since the anime series ended. Along with that, he has also worked on a bunch of other popular mobile and PC video games.
However, Morita once revealed in one of his interviews that he prefers anime voice acting over games because it feels more like a conversation compared to video games, where they are just normal dialogues.
Bleach: Thousand-Year Blood War
While Morita is a big name in the anime industry, many fans may not know that Morita has also been voicing Kurosaki Ichigo in the popular mobile game Bleach: Brave Souls since the anime series ended. Along with that, he has also worked on a bunch of other popular mobile and PC video games.
However, Morita once revealed in one of his interviews that he prefers anime voice acting over games because it feels more like a conversation compared to video games, where they are just normal dialogues.
- 4/23/2024
- by Tarun Kohli
- FandomWire
“Barbarian Invasion” director Tan Chi Mui from Malaysia scored a top result from the Siff Project Market. The market is a component event of the Shanghai International Film Festival, which wrapped up over the weekend.
Tan’s “All About Yuyu” was named as the “recommended project for creativity” at the project market’s closing event. The project, which is already being structured as a Malaysia-China coproduction, is a story that combines contemporary wuxia (heroic martial arts) with youth elements. “I want to make a modern wuxia film to recapture the magical feeling I had when watching films during my childhood,” she told local media.
Tan is a repeat visitor to Shanghai. She was previously a jury member for the Asian New Talent Award at the festival and saw “Barbarian Invasion” pick up the Grand Jury Prize at the festival’s 24th edition.
Other top prizes from the project market jury,...
Tan’s “All About Yuyu” was named as the “recommended project for creativity” at the project market’s closing event. The project, which is already being structured as a Malaysia-China coproduction, is a story that combines contemporary wuxia (heroic martial arts) with youth elements. “I want to make a modern wuxia film to recapture the magical feeling I had when watching films during my childhood,” she told local media.
Tan is a repeat visitor to Shanghai. She was previously a jury member for the Asian New Talent Award at the festival and saw “Barbarian Invasion” pick up the Grand Jury Prize at the festival’s 24th edition.
Other top prizes from the project market jury,...
- 6/19/2023
- by Patrick Frater
- Variety Film + TV
The third instalment for the live-action Kingdom historical epic is currently set to premiere in Japan on July 28, 2023. Based on Yasuhisa Hara's hit manga set during the Warring States period in China, director Shinsuke Sato returns to continue the story focusing on the “Battle of Bayou” and “Escape from Zhao” arcs.
The first two Kingdom movies were blockbuster hits in Japan with a combined box office gross last reported to be over 10 billion yen. Returning cast members for this third movie includes Kento Yamazaki (Li Xin), Ryo Yoshizawa (Ying Zheng), Kanna Hashimoto (He Liao Diao), Nana Seino (Qiang Lei) and Takao Osawa (Wang Qi).
The first two Kingdom movies were blockbuster hits in Japan with a combined box office gross last reported to be over 10 billion yen. Returning cast members for this third movie includes Kento Yamazaki (Li Xin), Ryo Yoshizawa (Ying Zheng), Kanna Hashimoto (He Liao Diao), Nana Seino (Qiang Lei) and Takao Osawa (Wang Qi).
- 6/5/2023
- by Suzie Cho
- AsianMoviePulse
Avert your eyes if you're a little squeamish. Kung fu expert Li Xin, nicknamed 'The King of Upside Down', has a rather bold party trick: he can perform a headstand on top of a nail. These pictures were taken at Nanning Zoo in Guangxi, China. Li has been practising the stunt, which lasts ten seconds, for over 20 years. The nail in question has a (more)...
- 12/9/2011
- by By Ben Lee
- Digital Spy
Once in a while, one has to try something new when it comes to films. Unlike Toronto Stories, which is another anthology movie I'd recommend, Paris, je t'aime uses a rather different approach while showing as much audacity as its Canadian counterpart. All in all, the film is a rather enjoyable gem.
First of all, to put it shortly, Paris, je t'aime uses 18 short segments directed by internationally acclaimed directors. Of course, each segment takes place in a different district of Paris. In each segment, the directors, through their own vision, offer their own interpretation of the meaning of love in none other than the most romantic city in the world.
Obviously, the first praise that you'd like to offer for this film is certainly its photography. Without looking like a postal card, Paris, je t'aime has no difficulty to capture the city's beauty in order to fit it into...
First of all, to put it shortly, Paris, je t'aime uses 18 short segments directed by internationally acclaimed directors. Of course, each segment takes place in a different district of Paris. In each segment, the directors, through their own vision, offer their own interpretation of the meaning of love in none other than the most romantic city in the world.
Obviously, the first praise that you'd like to offer for this film is certainly its photography. Without looking like a postal card, Paris, je t'aime has no difficulty to capture the city's beauty in order to fit it into...
- 9/1/2009
- by noreply@blogger.com (Anh Khoi Do)
- The Cultural Post
Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up Paris je t'aime, the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient.
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget The Da Vinci Code -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled Montmartre, in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
PARIS JE T'AIME
Victoires International in association with Arrival Cinema
Credits:
Directors: Bruno Podalydes
Gurinder Chadha, Gus Van Sant, Joel and Ethan Coen, Walter Salles & Daniela Thomas, Christopher Doyle, Isabel Coixet, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard LaGravenese, Vincenzo Natali, Wes Craven, Tom Tykwer, Frederic Auburtin & Gerard Depardieu, Alexander Payne
Producers: Claudie Ossard & Emmanuel Benbihy
Co-producer: Burkhard Von Schenk
Executive producers: Chris Bolzli, Gilles Caussade, Sam Englebardt, Ara Katz, Chad Troutwine, Frank Moss, Rafi Chaudry
Original idea: Tristan Carne
Concept: Emmanuel Benbihy
Production designer: Bettina von den Steinen
Editing supervisors: Simon Jacquet, Frederic Auburtin
Original music: Pierre Adenot
No MPAA rating
Running time -- 120 minutes...
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget The Da Vinci Code -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled Montmartre, in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
PARIS JE T'AIME
Victoires International in association with Arrival Cinema
Credits:
Directors: Bruno Podalydes
Gurinder Chadha, Gus Van Sant, Joel and Ethan Coen, Walter Salles & Daniela Thomas, Christopher Doyle, Isabel Coixet, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard LaGravenese, Vincenzo Natali, Wes Craven, Tom Tykwer, Frederic Auburtin & Gerard Depardieu, Alexander Payne
Producers: Claudie Ossard & Emmanuel Benbihy
Co-producer: Burkhard Von Schenk
Executive producers: Chris Bolzli, Gilles Caussade, Sam Englebardt, Ara Katz, Chad Troutwine, Frank Moss, Rafi Chaudry
Original idea: Tristan Carne
Concept: Emmanuel Benbihy
Production designer: Bettina von den Steinen
Editing supervisors: Simon Jacquet, Frederic Auburtin
Original music: Pierre Adenot
No MPAA rating
Running time -- 120 minutes...
- 5/18/2006
- The Hollywood Reporter - Movie News
This review was written for the festival review of "Paris, I Love You" (Paris, Je t'Aime).Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up "Paris je t'aime," the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient.
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget "The Da Vinci Code" - anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled "Montmartre", in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget "The Da Vinci Code" - anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled "Montmartre", in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.
Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
- 5/18/2005
- The Hollywood Reporter - Movie News
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