BLACK and WHITE, two street urchins, battle an array of old-word Yakuza and alien assassins vying to rule the decaying metropolis of Treasure Town - where the moon smiles and young boys can fly.
Storyline
In Treasure Town, life can be both peaceful and violent. This is never truer than for our heroes, Black and White - two street kids who claim to traverse the urban city as if it were their own. But in this town, an undercurrent of evil exists and has its sights set on the pair of brothers, forcing them to engage in battle with an array of old-world Yakuza as well as dangerous assassins vying to rule the decaying metropolis, Treasure Town. — Trenton Thompson {trentz985@yahoo.com}
Frequently Asked Questions
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Fun Facts
It took the director 11 years to get it made — and The Animatrix saved it. Michael Arias first created a 30-second CG test for the film in 1997, but financing collapsed. He shelved the project until the Wachowskis hired him to produce The Animatrix (2003). That gig put him in position with Studio 4°C president Eiko Tanaka, who finally greenlit the feature immediately after Animatrix wrapped. Arias later called the Matrix spin-off "fairly vital" to getting Tekkonkinkreet made.
The opening shot took three months and wasn't in the original manga. The vertiginous minute-and-a-half sequence following a crow over Treasure Town was the very first thing the team executed — Arias chose "the hardest shot first" to set the pace. It required 500 hand-drawn illustrations and two months of experimentation. The footage was entirely invented for the film; it doesn't appear in Taiyō Matsumoto's manga.
The director lived at the studio for a year and his children are in the movie. For the final year of production, Arias slept on a cot next to his desk at Studio 4°C and only went home on Sundays. His two young sons (then aged four and six) visited him on weekends and left their literal fingerprints on the production: their drawings appear as White's artwork, and their voices are used in the film.
Arias originally conceived the film as a computer-animated feature and even directed a 4-minute CG pilot in 1999. But when the project was revived, he abandoned the all-CG plan because he wanted to work with what he called "the most talented character animators on the planet" using traditional pencil and paper. CG was still used in roughly 40% of shots — mostly for vehicles and background crowds — but was deliberately hidden among hand-painted frames.