Filmmaker Sally Potter combines the experimental tools and feminist
approach of her earlier films with art - house style and more conventional narrative storytelling to
find the
cinematic counterpart to Virginia Woolf's writing in this 1992 adaptation of Woolf's novel «Orlando: A Biography.»
- the scene at the beginning of a ceremony caused Shimamura a bit of trouble - the lines of the ritual did not properly reflect Zelda's personality, her motivations, her powerlessness, and awkwardness - Shimamura talked about it with Naoki Mori (who was in charge of
Cinematic Design, including screenplay, and cutscenes)- the whole thing was rewritten several times, until they arrived at the final result - there's quite a lot of scenes she really likes in the game - her favorite line is the «Yes» Princess Zelda gives as an answer to the Deku Tree in a particular scene - in that scene, Zelda thinks about what she should do, but she can not see it at all - she refuses to give up, and wants to give hope to Link - Shimamura tried to convey all of those feelings through the single «Yes» she spoke - recording felt completely different than for animation, the dubbing of (foreign) movies, or other games - there was no fixed routine of how to
approach it, as all different things were being tried out - lines were redone even after other lines were implemented in the game, as the team
found better ways to say things - Shimamura finally managed to beat the game the other day, but she wants to keep practicing her shield surfing - Shimamura explains that she really gave it her whole when voicing Princess Zelda, to give her emotions - she hopes that players will remember their memories of Princess Zelda
One of the ways I like to
approach the past is in a
cinematic way, reimagining the past and projecting towards the future just as movies often do, I
find that a fascinating problem.