What if film crews ran the world sprint

Michiko Yamamoto. More like this. Watch options. Storyline Edit. Chihiro and her parents are moving to a small Japanese town in the countryside, much to Chihiro's dismay. On the way to their new home, Chihiro's father makes a wrong turn and drives down a lonely one-lane road which dead-ends in front of a tunnel. Her parents decide to stop the car and explore the area.

They go through the tunnel and find an abandoned amusement park on the other side, with its own little town. When her parents see a restaurant with great-smelling food but no staff, they decide to eat and pay later. However, Chihiro refuses to eat and decides to explore the theme park a bit more. She meets a boy named Haku who tells her that Chihiro and her parents are in danger, and they must leave immediately.

She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods. At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse is the evil witch Yubaba, who is intent on keeping all trespassers as captive workers, including Chihiro.

Chihiro must rely on Haku to save her parents in hopes of returning to their world. The tunnel led Chihiro to a mysterious town. Animation Adventure Family Fantasy Mystery.

Rated PG for some scary moments. Did you know Edit. Trivia Despite having a rich plot with developed characters, Sen to Chihiro no kamikakushi was not made with a script. In fact, Miyazaki's films never had scripts.

So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. The film makes itself and I have no choice but to follow". Goofs After Haku flies out of the bedroom we see Sen's left hand touching more of the blood on the railing. The elevator attendant sees it on the same hand after grabbing her arm as she tries to board it. Not much later we see her looking at the same hand again before running across the pipe.

It isn't till after being held captive by the baby under the cushions that the blood switches hands as he holds her by the left arm revealing no blood on that hand at all. Quotes Zeniba : Once you do something, you never forget. Crazy credits The credits have a series of still images from the film. The last image before the film fades is Chihiro's shoe in the river.

Alternate versions Various dialog is added to the English dub to explain settings, translate Japanese text, or traditions; for example, when Chihiro first sees the bathhouse, in the English dub, she says "It's a bathhouse", which isn't present in the Japanese version.

Connections Edited into Miyazaki Dreams of Flying User reviews 1. Top review. Dub or sub? I've never been a particular fan of anime, and it didn't really occur to me that I was watching a foreign language film dubbed into English or 'American'. I can't imagine seeing a live action foreign language film dubbed into another language, but hey, this is a kids cartoon, what does it matter?

Up to a point it didn't, because I loved the film. I recently re-watched it on DVD with the subtitles and found the difference unbelievable. The film came alive like the other Miyazaki's I've seen. It seemed infinitely more layered, detailed, intelligent and witty than I remembered. Could it be that retaining the intended performances even if the words are unintelligible can make that much difference?

Maybe the dub was just poorly done? Or was it just because I was now versed in the language of Ghibli? As a little experiment I decided to re-watch some of the film with both the English subtitles and English language dub in order to compare, I ended watching the whole thing out of morbid fascination.

It's simply amazing what a difference there is. Entire scenes change. It's not just that subtle emphasis is shifted or the same points are made in a different manner - in the dub, the subject of whole conversations and scenes are changed, and often to some flat and uninteresting hokum. Relationships between characters are changed, their motivations and personalities are changed, the difference is shocking. I appreciate western, and particularly American audiences can be put off by subtitles.

And cinemas are less likely to show the film anyway. It's pointless to be all righteous when, fundamentally, you just want people to see the film. Unless they do, this treasure trove will remain undiscovered, and maybe finding it will encourage people to conquer the 'subtitle demon' as Miyazaki might call him. But the problem is the quality of these dubs, and the liberties taken with the source material.

Of course, without speaking Japanese, who can say it's not the subtitles that are way off? We met in person at the US Olympic Trials, and this concept came up in discussion.

One of the athletes he was coaching was stuck in the They went several months without hitting max velocity in training. Imagine that: a m sprint athlete not hitting max velocity in training for months on end. Stu wrote an e-book about the process. You can find it here. I record flying 10s with a Freelap system, and some athletes—not all, but some—actually PR while sprinting at what they perceive as submaximal efforts. It is fast and violent, yet most effective with a calm, present, and focused mind.

Rather, I envision them as calm and methodical, yet precise, decisive, graceful, and incredibly violent with their movements when the time came to strike.

To me, this mental state is the antithesis of trying too hard. Muscling through a sprint is a great way to run slow. The Samurai approach is the path to speed. Image 2. The great Olympian Alison Felix, beautifully demonstrating what it looks like to run fast while staying calm and peaceful. When describing the concept to athletes, I usually start with a question and a charades-like demonstration. Maybe this is a matter of semantics and preference, but I feel peaceful is a different mode of operation than relaxed, and that peaceful captures the state that facilitates speed better than relaxed does.

Nonetheless, asking athletes to find a smooth and fluid sprint tends to work. All in all, though, it takes time and reps. Very few get it on rep one. They feel it immediately and can tell the difference. Like it felt easier. Submaximal sprinting allows athletes to focus on things other than running fast, like technique.

Before actually sprinting, however, it can be valuable to practice the concept with drills first. The facility I work at has 63m of track, so I am constrained with what I can do with athletes. The workouts proposed below are a reflection of that. If I had more space, I would use it. Adapt for your space as you see fit. If you have a bone to pick because flying sprints by definition mean max speed in your book…sue me.

This style of sprinting is also conducive to working on other kinematic variables as well. In my experience, athletes who are more intense and stiff —or who come across as or actually are angry all the time—tend to need more practice with submax sprints before the mind state starts to stick. My guess is that, in general, the concept of slowing down and achieving a peaceful mind is not attractive or easily achieved psychologically for these types of people.

I doubt social media and the rest of modern existence has lent itself towards freeing the mind. When reviewing film, look for tension in the neck, face, and hands.

That seems like a good thing, right? He calls it speed gate golf: challenging athletes to hit certain times as opposed to percent efforts. Again, in my experience, when athletes get the peaceful concept down, they report lower perceived effort than expected from their times. Alternating between a submax and a maximal sprint gives athletes the opportunity to first feel the smooth, fluid, peaceful run and then to incorporate that into an actual full speed effort. Pro tip: film , film, film.

Compare the submax to the maximal sprint. They should look the same: beautiful. One athlete I work with improved his flying 10 PR from 1. On a full track, you may do a 15—20m initial sprint, a longer float phase—say, 40—60m—followed by a 20—30m full speed sprint to the finish.

This is also reserved for athletes who have the basic concept down. The goal is to achieve the smoothness going into the float phase, hold it, then maintain as the athlete begins accelerating again towards max speed. The athlete who went from a 1. As a result of trying harder, he ran slower, spiraling him into a downward cycle of trying harder, running slower, trying harder, running slower.