E7 - I Have To Do It For Myself!

Source: Crunchyroll
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(Please feel free to edit the speaker names if incomplete or inaccurate. Names are handled on a best-effort basis depending on the info on the source file. Dialogue is left as is.)
[00:10] Mom
    Are you still awake?
[00:11] M
    I was just about to sleep.
[00:13] Mom
    Okay. Well, I'm heading to work.
[00:16] M
    Have a safe trip.
[00:17] Mom
    Good night.
[00:24] (Flashback) Granny
    I've got snacks, too.
[00:27] (Flashback) Granny
    Let me put some fresh tea out.
[00:37] (Flashback) M
    That was cool!
[00:38] (Flashback) Granny
    What was?
[00:40] (Flashback) M
    Just now.
[00:55] (Flashback) M
    I'm sorry...
[00:56] (Flashback) Granny
    It's okay.
[01:13] (Flashback) M
    Grandma, can you do it again?
[01:16] (Flashback) Granny
    You're a silly girl.
[01:24] (Flashback) M
    Again!
[01:25] (Flashback) Granny
    Oh my... what a waste of tea.
[01:30] (Flashback) Teacher
    Now, when you're nervous,
    your movements can get clunky,
[01:34] (Flashback) Teacher
    so we're going to practice just
    getting up and sitting down.
[01:38] (Flashback) Teacher
    Note the difference between standing
    right up and standing up slowly.
[01:43] (Flashback) Teacher
    That was standing straight up.
[01:45] (Flashback) Teacher
    Slowly, it's more like this.
[01:48] (Flashback) Teacher
    You lean over first, and then stand.
[01:50] (Flashback) Teacher
    Do you understand the difference?
    Then let's try it.
[02:01] (Flashback) M
    Ow!
[02:22] (Flashback) Teacher
    Tsubame?
[02:27] (Flashback) Teacher
    Okay, step, step, step.
[02:30] (Flashback) Teacher
    You want to have your hands out
     and your chest up,
[02:32] (Flashback) Teacher
    walking along a straight line.
    That's the pretty way to do it.
[02:36] (Flashback) Teacher
    Motohashi, your head's swinging
    a bit too much from side to side.
[02:39] (Flashback) Teacher
    Try to walk in a straight line.
[02:41] (Flashback) Teacher
    It might be easier to sway like that,
     but does not look as nice.
[02:45] (Flashback) Teacher
    Yamashiro, your head is moving, too.
[02:55] (Flashback) Teacher
    Now, with a model's walk, your
    legs cross in front of you,
[02:58] (Flashback) Teacher
    so even if your hips swing,
    your head has to stay steady.
[03:05] TV
    So there you have it. The bottom line is...
[03:08] TV
    Maeda did it!
[03:14] TV
    Maeda did it!
[03:26] (Flashback) M
    I did it!
[03:33] (Flashback) Granny
    I'm not sure you're strong
    enough to help, honey.
[03:36] (Flashback) M
    Try leaning over more!
[03:37] (Flashback) M
    So that your head is this far down.
[03:40] (Flashback) Granny
    Wouldn't I fall over if I did that?
[03:44] (Flashback) M
    Look at this!
[03:45] (Flashback) Granny
    Oh, this is impressive.
[03:47] (Flashback) M
    You lean down like that, and then when
    your behind goes up, you straighten!
[03:52] (Flashback) M
    Like, bam, bam!
[03:53] (Flashback) Granny
    Bam...
[03:55] (Flashback) M
    Bam.
[03:56] (Flashback) M
    See! You were able to stand!
[03:58] (Flashback) Granny
    Wow...
[03:59] (Flashback) M
    Left, right, left, right...
[04:05] (Flashback) M
    You can sway all you want, okay?
[04:07] (Flashback) Granny
    You've got a knack for this, Tsubame.
[04:09] (Flashback) M
    When you go to the left,
    it pulls your right leg along,
[04:12] (Flashback) M
    and then to the right, with your left leg.
[04:15] (Flashback) M
    It's totally natural, and should be easier!
[04:35] (Flashback) M
    Okay!
SIGN    Episode 7 I Have To Do It For Myself!
SIGN    Keep
SIGN    Your
SIGN    Hands
SIGN    Off
SIGN    Keep Your Hands Off Eizouken!
SIGN    Keep Your Hands Off Eizouken!
SIGN    Student Council
SIGN    Motor Vehicle Club
[06:13] D
    Thanks for the lift!
[06:15] D
    I'm going to unload this stuff,
    so it'll just be a minute.
[06:22] M
    Huh, this one says, "Eating bread crusts."
[06:22] D
    That ought to do it.
[06:25] A
    This one is the sound for
    eating a croissant...
[06:27] D
    Hey, stop that!
[06:29] K
    Get that stuff unpacked, and then get in here!
[06:32] K
    We need to have a sound meeting.
[06:35] Trio
    Right.
[06:40] D
    I think I get what you're going for.
[06:43] D
    I'll look into how the sounds for
    monsters and robots are done.
[06:47] D
    But in terms of specific sounds
    that will match your footage,
[06:50] D
    even for the more mundane scenes,
[06:52] D
    it's hard to know what'll be needed
    without seeing what you're dealing with.
[06:55] D
    And it'll be really tough to set
    you up without knowing the timing.
[06:59] K
    I see.
[07:01] D
    The dialog will also have to be
    balanced against the rest of the sound,
[07:04] D
    so if I knew the timing and volume
    you wanted, it'd be easier to figure out.
[07:07] D
    There are also the things
    that affect acoustics,
[07:09] D
    like the size of the location and its layout,
[07:11] D
    so even if it's just a broad outline,
     that'd be handy to know.
[07:14] K
    Understood. We'll get the dialog
    recorded as soon as we can.
[07:17] A
    That means it's time for edits.
[07:19] A
    Should we make a video out of the storyboard?
[07:22] A
    That way we can set the
    timing up for the sounds.
[07:24] M
    The timing is hard to guess at
    until it's actually animated...
[07:28] M
    But it needs to be done to
    get the sound ready in time,
[07:30] M
    so I'll figure something out!
[07:31] M
    How are we going to handle casting, anyway?
[07:33] K
    It's actually been settled already.
[07:37] K
    The client has demands.
SIGN    Team
SIGN    Darker than the last cut
     (but the power is still on)
     Monitor is lit brightly
SIGN    Officer A
[07:45] Seki
    There have been reports of
    vibrations being detected underground!
SIGN    Voice on the Radio:
    "It's a monster.
     A crab-type monster
     has appeared!"
[07:47] Goto
    It's a monster. A crab-type
    monster has appeared.
[07:49] Ono
    Time to blast out of the water!
[07:54] Ono
    Launch it from the catapult!
[07:58] A
    Cut!
[08:01] A
    Your ad-libs are things that
    will be conveyed in the footage,
SIGN    Robot VS Monster (TBD)
    Voice Over Script
[08:03] A
    so you don't have to describe every moment.
[08:05] D
    And you don't have to
    vocalize the sound effects.
[08:08] D
    They'll overlap everyone else's dialog.
[08:11] D
    I think we'd be better off
    recording Seki and Goto's dialog
[08:13] D
    for cuts 12 through 21 separately.
[08:15] Ono
    Sorry about that!
[08:16] Ono
    Pile bunker!
[08:18] Kobayashi
    We are honestly so excited about this!
[08:19] Ono
    Recoil start!
[08:22] A
    Can we adjust the volume differently per actor?
[08:24] D
    Of course.
[08:25] D
    But we need that storyboard
    video for him to practice with,
[08:29] D
    or it's going to be really hard to get
    him to match the timing of the animation.
SIGN    Film
[08:52] M
    Wait, the song for the
    opening still isn't ready?
[08:55] K
    Not only is it not ready,
[08:57] K
    there was so much trouble putting it
    together that they said to forget about it.
[09:01] K
    Which means less work for us, thankfully.
[09:03] A
    If there's no opening, I kind
    like the idea of just—boom!
[09:07] A
    Chomp, chomp!
[09:09] A
    And starting with the monster showing up.
[09:13] A
    Mizusaki, how about the music?
[09:16] M
    I forgot! Let me ask now!
[09:18] K
    We'll use something from a free music library.
[09:20] K
    Doumeki, can you look into it?
[09:22] D
    Uh, sure. I can try.
[09:26] Nakamura
    Excuse us.
[09:27] M
    Oh, wow, nice.
[09:31] A
    U-Um...
[09:33] A
    About the sun, this would be the west,
    which would make this a sunset...
[09:37] A
    I was hoping it could be consistent.
[09:41] Nakamura
    I mean, is it really a problem?
[09:43] A
    W-Well, I think...
[09:45] A
    Since it's an actual location, and
    changes the connotation of the camera pan...
[09:50] A
    Uh, the car here was supposed
    to be drawn as a cel.
[09:53] Nakamura
    It looked a little barren,
    composition-wise, without it.
[09:56] A
    But the cels will be animated,
[09:58] A
    so if it's in the background too,
     there'll be two of them.
[10:01] Nakamura
    So is it not gonna work?
[10:02] A
    If we erase the car...
[10:05] M
    Huh, that doesn't look right.
[10:09] A
    Did you cut the image board out for this?
[10:11] M
    Oh, I see. You copied Asakusa's
    board and then stuck it on there.
[10:15] Nakamura
    Is that a problem?
[10:15] A
    It's just kind of blurry...
[10:18] A
    And the texture is...
[10:20] M
    Wait, is this line right?
[10:23] M
    A character's supposed to pop out from there.
[10:26] Nakamura
    I made it so the light was
    shining down, like you said.
[10:30] Nakamura
    Pretty good, right?
[10:32] Nakamura
    Or isn't it? That's what you asked for, right?
[10:35] A
    It's just... it's turning
    into a different film...
[10:39] M
    Oh, this isn't gonna work!
[10:41] Nakamura
    But Asakusa, you said the
    details were up to me, right?
[10:46] A
    Yes, but while following the image board,
[10:49] A
    and keeping the layout lines in mind.
[10:54] Nakamura
    This sounds different from what
    you were asking about before.
[10:56] Nakamura
    So there's no room for expression?
[10:58] Kubo
    Hey...
[10:59] Kubo
    Um, let me know if there's
    anything else that needs fixing.
[11:02] Kubo
    I can adjust it digitally.
[11:05] Nakamura
    You're gonna change it?!
[11:06] Kubo
    Just making a few changes
    to the general look!
[11:09] A
    S-Sure. That'd be a big help.
[11:13] K
    I like that Kubo girl.
    She's willing to make corrections.
[11:17] K
    That should help take care of some of it.
[11:21] K
    That said...
[11:25] K
    You didn't need to take over all of these!
[11:28] A
    Doing it myself is faster than
    explaining how to fix it.
[11:31] K
    A director needs to be able to give
    directions to other artists.
[11:35] K
    You're supposed to be helping with animation,
[11:37] K
    and handling the photography,
[11:38] K
    on top of the edit!
[11:40] M
    I get how she feels, though.
    It's just faster to redraw it yourself.
[11:46] K
    You do realize that
[11:47] K
    our delays are due to being behind
    schedule with animation, yes?
[11:51] K
    The PC room where the animation needs
    to be done won't be free forever.
[11:54] K
    If you don't get in there soon,
    you won't finish all the art we need.
[11:58] K
    For the record, if we fall any further behind,
[12:01] K
    the dozens of cuts you have
    cooking in that tablet
[12:03] K
    are never going to see the light of day.
[12:05] M
    No way!
[12:05] M
    I'm gonna draw it all!
[12:13] Teacher
    And with that being the case...
[12:16] Teacher
    All right, we'll continue next time.
[12:18] A
    Time to chow down!
[12:20] A
    Let's sit somewhere we can see the lightning.
[12:22] M
    I'm gonna work on this a bit more...
[12:26] A
    I guess I should work on the backgrounds.
[12:28] PA
    Uh, we have a bit of news.
[12:31] PA
    There's a warning for torrential rain,
[12:33] PA
    so classes are canceled for the rest of the day.
[12:35] PA
    All students are to head
    home as quickly as possible.
[12:39] K
    With the amount of work we have to do,
[12:41] K
    we can't just take the rest of the day off.
[12:43] M
    What do you think will happen to the
    food they had ready for lunch?
[12:45] A
    It's raining!
[12:46] A
    At times like this,
    you shouldn't be caught without...
[12:49] A
    A rain poncho!
SIGN    Rain Coat
SIGN    Super Durable
[12:52] A
    Evasive maneuvers!
[12:59] A
    Since we've got our gym clothes, you want
     to hang out until the rain stops?
[13:02] M
    Ugh, I'm freezing!
SIGN    Please use the
     actual entrance
[13:05] K
    I'm going to use the bathhouse
    before heading home.
[13:07] M
    A bathhouse?! I've never been to one before!
[13:12] A
    I'm going, too!
[13:13] A
    One sec, gotta notify Mom.
[13:16] A
    Hey, it's me. Can I stop by the
    bathhouse before going home?
[13:18] M
    Are Asakusa's parents strict or something?
[13:20] A
    With Kanamori and Mizusaki.
[13:21] K
    It's just a matter of keeping them informed.
[13:22] A
    Class let out early because
    of the rain warning.
[13:23] K
    As long as she keeps in touch,
     they won't be upset.
[13:26] M
    Huh, that's not like my parents at all.
[13:27] A
    
[13:30] A
    She said it's okay!
SIGN    Please use the actual entrance
SIGN    Ongyoku Bathhouse
SIGN    Ongyoku Bathhouse
[13:42] Clerk
    Oh.
[13:43] M
    We had to take the indoor route.
SIGN    Reception
[13:45] Clerk
    Must be rough out in that rain.
[13:47] K
    Three students.
[13:47] M
    Huh, wooden plates.
[13:48] A
    When you take them, they lock.
[13:49] Clerk
    Enjoying some fun with your friends today?
[13:51] K
    No.
[13:52] Clerk
    Enjoy yourselves!
SIGN    Sponge
[13:54] M
    Kanamori, what is this thing?
SIGN    Gentlemen
SIGN    Ladies
[13:56] K
    The key for your locker.
[13:58] K
    You pull here to get the key to come out.
[14:00] M
    That's adorable!
[14:02] M
    "Ladies"!
SIGN    Ladies
[14:03] M
    The "ladies" curtain that's so famous!
[14:09] M
    You put your clothes in here? That's neat!
[14:12] M
    Do you think they'd mind
    if I took pictures inside?
[14:14] K
    They sure as hell would!
[14:19] M
    So I can jump in here?
[14:21] K
    That's the rinsing water.
[14:24] K
    You're supposed to wash off first.
SIGN    Rules for the Bathhouse
[14:26] K
    You'll see rules along those lines
    in just about any bathhouse.
[14:29] M
    Like a tutorial...
[14:30] A
    Check this out!
[14:32] A
    A bucket in each hand!
[14:34] A
    I have all I need to clean
    off in one fell swoop!
[14:38] K
    You're trying to save water when
    you paid to bathe in a bathhouse?!
[14:42] K
    Stop showing off!
[14:46] M
    Kanamori, could you do that again?
[14:50] M
    One more time!
[14:54] M
    One more time!
[14:59] A
    Enough already!
[15:03] M
    Sorry! The movement of the water was just...
[15:05] A
    Can it! And take this!
[15:09] A
    By the way, Mizusaki,
[15:10] A
    will your parents be mad about
    your clothes getting soaked?
[15:13] M
    Nah. My parents give me a lot of freedom.
[15:16] M
    The only times I can
    remember them being mad...
[15:18] M
    is when I tried to push the house with
    a car in preschool and broke a wall.
[15:22] M
    And when I tried hatch an egg,
    but it rotted instead.
[15:25] A
    The egg thing! I did that, too.
[15:27] K
    They said we couldn't have an ostrich as a pet.
[15:30] A
    An ostrich egg?!
[15:31] K
    I tried to raise pigs for meat once.
[15:34] A
    Who does that?!
[15:36] A
    You know, other than forbidding anime,
[15:39] A
    your parents seem pretty lenient, Mizusaki.
[15:42] M
    Yeah. They generally let me do what I want.
[15:46] M
    I think this stuff about me being an actress
[15:48] M
    is my dad's idea of trying to
    make my mom's dream come true.
[15:52] K
    And your mother doesn't care?
[15:54] M
    She totally lets me have my freedom.
[15:56] M
    I'm more of a grandma's girl, anyway.
[16:30] A
    An impenetrable barrier!
[16:32] M
    A barrier...
[16:34] M
    You're pretty tough.
[16:36] A
    Right back at you.
[16:37] A
    Huh? Kanamori, are you getting out already?
[16:40] K
    I haven't eaten yet.
SIGN    Dining Hall
[16:44] A
    Dibs on the window seat!
[16:47] A
    Huh...
[16:47] A
    Look at this!
SIGN    m 170 111 l 174 212 506 202 499 192 521 182 522 142 508 134 505 114
SIGN    American
     All the Red Crawfish You Can Catch
SIGN    600 Yen per person
SIGN    • You can eat any crawfish you catch!
    • Boiling and deep frying
     on the house!
[16:50] A
    What a wonderful setup.
[16:53] M
    Got one! We got one!
[16:57] M
    These are the ones we caught?
[16:58] A
    I'd wager they make them purge
     mud for a good long while,
[17:01] A
    so the ones we caught will go to someone else.
[17:04] M
    We should've marked them!
[17:06] A
    I'll add a note to the bathhouse log.
SIGN    Dining Hall
[17:26] A
    A specially made paddle boat for hot water!
[18:11] M
    Hey, the rain's stopped.
[18:14] K
    We should head home.
[18:15] M
    I guess so.
[18:19] M
    Asakusa isn't waking up.
[18:20] K
    Leave her.
[18:21] M
    We have to take her back with us...
[18:23] M
    Asakusa!
[18:27] M
    No good. Guess I'm carrying her.
[18:30] M
    Upsy-daisy...
SIGN    Ongyoku Bathhouse
[18:33] M
    Thanks.
[18:37] M
    People are heavy.
[18:39] K
    Her bag is stupidly heavy, too.
[18:43] A
    Not lost...
[18:45] M
    Did you wake up?
[18:46] A
    Exploring...
SIGN    Culture
SIGN    High School
[18:54] A
    And... then...
[18:59] M
    Blargh!
[19:02] A
    Pull yourself together!
[19:04] A
    What's wrong, Mizusaki?
[19:05] M
    Well, it's about the chainsaw's movement...
[19:09] M
    I didn't want it to just breeze
    by like "bzzzt" and "shwooom"
[19:13] M
    but more like... grind, grind, crunch, crunch,
    with rocks flying around and stuff,
[19:17] M
    but I can't get it right.
[19:20] A
    What about making the screen pan around?
[19:22] M
    I thought about that!
[19:23] M
    But then it makes the movement of the
    treads more smooth, and less impactful.
[19:30] A
    Come on over, Kanamori.
[19:32] K
    How am I supposed to be able to help?
[19:35] A
    There you go again. Isn't a producer
    supposed to develop a discerning eye?
[19:40] K
    Fair enough.
SIGN    I just won an argument
SIGN    with Kanamori
[19:45] K
    To be honest, I can't imagine
    what else you might want to add.
[19:51] K
    The big movements are satisfying to look at,
[19:53] K
    so I don't see a problem with
    just going with what you have.
[19:57] M
    I dunno.
[19:59] A
    Let's try adding sound to it.
[20:01] K
    As it is?
[20:03] A
    It changes the whole feel it gives off.
[20:06] M
    She's right.
[20:07] M
    Animation otaku go as far as to mute
    the sound when they look at something.
[20:30] K
    It definitely helps convey
    the impression of movement.
[20:33] A
    A technique unto itself.
[20:35] A
    Having proper sound takes some
    of the burden off an animator.
[20:38] M
    I... I hate to admit it, though!
[20:41] K
    You do realize film basically
    consists of images and sound, right?
[20:44] K
    Have you considered that your vision for animation
[20:46] K
    is too technical for people
    to understand, Mizusaki?
[20:49] M
    But the people who can understand do,
     y'know? Everyone does it.
[20:54] M
    Think about how pretty it is when
    a goldfish's tail is fluttering.
[20:59] M
    Or swirls of cherry blossom petals...
[21:02] M
    Dancing, too! That's all
    a performance of motion!
[21:05] K
    And anime is another way to appreciate movement?
[21:07] M
    I'd say it's the best way to appreciate it!
[21:10] A
    Certainly, considering that
    every single motion is something
[21:13] A
    intentionally depicted by an artist.
[21:15] M
    It can be a pretty subtle movement,
    without a lot of exaggeration,
[21:18] M
    but the fact that someone
    had to draw it out
[21:21] M
    in order to make it move
    gives it a bigger impact.
[21:23] M
    That's the big difference
    from live action.
[21:26] M
    Think about a rocket. The rocket
    itself isn't the cool part.
[21:29] A
    Yes, it is!
[21:31] M
    Well, yeah, but what I'm saying is...
[21:32] M
    The trail and clouds of smoke it gives off
     are all part of why it's cool!
[21:35] A
    Exactly!
[21:36] M
    Which is why this won't cut it!
[21:39] M
    You want a long shot, like this!
[21:40] M
    Then a close-up!
[21:43] M
    And then the... uh...
[21:45] A
    The nozzle's skirt.
SIGN    Mizu
SIGN    Asa
[21:46] M
    You see that vibrate!
SIGN    Kana
[21:48] M
    You see all of this white
    smoke coming from the rocket,
[21:50] M
    spreading and billowing outwards,
[21:52] M
    and depending on the location,
    it shakes like it's a solid shape!
[21:55] A
    A big portion of the white smoke
    near the launchpad is actually steam
[21:59] A
    that was vaporized by the rocket as part
    of the water sound suppression system.
[22:03] A
    The water sound suppression
    system being—
[22:05] K
    Stop.
[22:07] M
    The shake of the security camera!
[22:12] M
    And as it starts to tilt,
[22:13] M
    the angle of the rocket and its
    exhaust stop being vertical!
[22:16] A
    The tilt is a big deal.
[22:18] M
    It continues to expel smoke!
[22:23] M
    "This is the coolest part of a rocket!"
[22:25] M
    You've got to make the art
    give that kind of feeling!
[22:28] M
    Then it's like, "Yeah, you really get it!"
[22:30] M
    "I don't know who you are, or where you are,"
[22:32] M
    "but I appreciate your attention to detail!"
[22:35] M
    That's why I want to make animation.
[22:38] K
    As unpleasant as I find artistic passion,
     I think I grasp the concept.
[22:43] M
    Would you prefer if I said, "I want to
    make lots of people smile with my anime!"?
[22:46] K
    That would actually be more gross, yes.
[22:49] M
    I think I'm starting to get you, Kanamori!
[22:52] A
    You have to draw the greatest world
    you imagine yourself, after all.
[22:56] K
    So, Mizusaki, you don't want to make anime,
[22:59] K
    but are more concerned with animation, huh?
[23:02] M
    That's what I've been saying this whole time!
[23:05] M
    There might be someone out there dying
    to see the vibrations of a chainsaw.
[23:10] M
    I want to see the teeth of
    the chainsaw jump around,
[23:12] M
    and those kinds of details
    are how I'll survive.
[23:15] M
    Even if most people don't appreciate it,
[23:17] M
    I have to do it for myself!
[23:20] M
    I have to proclaim "Here I am!"
[23:22] M
    to the people who can appreciate
    each individual movement!
SIGN    Illustration by Kenji Maeba