Inuyashiki Project

For every while of being cooped up at home, there would always be a time that Alexander would come along to see the production.

Things were as strategic as ever!

With the trusty storyboard, film angles and cut scenes were already planned beforehand. Making the job of the camera crew just looking at a drawn picture and trying to recreate it to the best of their abilities.

There would, of course, be extra angles outside of the pre-planned angles drawn by Alexander but that is only for the director's convenience.

With this practiced template, filming was as smooth sailing as ever and editors don't have much room to play to their strengths.

Other forms of directors like those in charge of photography and all other filming partitions have also become a bit more organized yet mechanized.

Only the sound director and music organizers have a lot more room to play. Their musical talents are much needed for the perfected balance of Mark Creed's visual talent and the enrapturing sounds that play along with it.

After all, music can't be put into a storyboard but the general conceptualization of it can still be put in perspective. Young Alex also has a lack of interest in developing musical notes but has a barely passable rip-off lyric composition and voice.

What is different about this session of filming is that the young grandson of the American Inuyashiki is set to be filmed.

Nothing extravagant is needed from Alexander's influencing acting as he is only playing what a normal five-year-old should be.

This grandson would be similar to how the little adoptive foster brother of 2019s Shazam would help him in discovering his powers.

With handy authorized and legalized use of comic books, the little boy would compare and contrast hero powers to his cybernetically enhanced grandpa.

Superstrength, superspeed, flight, and so many more. Alexander's character is to check off the list in his hands and offer hero-worshipping advice.

"Wow! Grandpa! So cool!" Little Alex in character and aura shrouded that the NG Master Sullivan was able to act accordingly.

His scene would be to be smug and proud of his grandson's praise of his robotness. The filming crew was surprised that the old man nailed it in one take.

What they didn't know was the fact that Old Sullivan was just being the grandfather he is. Even when he knows Alexander is only acting, he still takes it up like the grandson-nurturing grandfather he is.

"Cut!" Mark put out an okay sign and gave another gesture for the next mechanisms to be in place.

While the crew was preparing, he had to give praise to his family members slash actors. "Good take, Dad! You can take a break for the dummy to take your place. Good take also, Alexander, however, you still have a lot of reenactments to do."

"Got ya, Dad." Alexander knew the procedures and just had his attention on the mechanized and greenscreen mannequin.

It had the same old man figure as his grandfather and had an opening and closing chest area.

There are other forms of this dummy but they had different opening body areas. One splits the head to four sides, one for the face to drop down, one that opens the chest area, and one that splits the entire torso in half.

The Shishigami cyborg villain also has more or less the same set and they are what sells the Inuyashiki magic to the audience.

They wouldn't be the same CGI-heavy adaptation that the Japanese live-action and anime are built upon. Their transformation sequence would be in between the complexity of the Transformers and the simplicity of the T800.

Moving other mechanized parts are quite the task for this era's technological standards, so filmmakers such as Mark would turn to their best bet. Through the manual movement of the movable parts, the robot's magic is conveyed in the camera through tricks.

People with greenscreen suits or partially green-screened would be in the camera while it is in a tracked sequence of recording.

Coupled with a little more visual effects method and computer hocus, balance is achieved and the cyborg lore would still lure people to the cinema.

This Inuyashiki would not have the awkward 'bang' and 'tatata' for every finger gun but a more mechanized finger model from a hand dummy. Other changes include the need for charging through an earlier introduction of body chargers and the 70s-fabled solar panels.

These cybernetically enhanced people would have built-in laser systems and AIs. Why not add built-in self-sufficient and ultra-advanced solar technology and panels while they're at it?

This still isn't the 2010s! Solar panels are still esoteric as of the time that this movie should be shown, so setting up technological milestones would be culturally significant to make a film more classic.

All in all, Alexander made the film to be advanced together by being era-appropriate.

The filming continued but this time, blue light is shown to signify that Sullivan's body had opened up and was glowing its characteristic blue.

Alexander would also be subjected to fan blowings to signify the windiness that the cyborg's flight sequence would affect him.

His character would also be awed at the sight of punch-dented cars and the sequence of windshields being broken.

This cyborg grandpa of his is really a bit negligent to show his grandson such scenes but most of the 70s audience would neglect that and be enamored at the cyborg scenes.

It helped that whenever Alexander would act enamored, those who are immersed in his character would also do the same.

Without a doubt, charisma is a scary tool!

Even Christopher Lloyd can't help but show praise for the child actor's natural charm.

"Alexander, you are a pretty scary child actor! I doubt that experienced veterans could do the same things you do." He wasn't in his iconic Doc Brown enunciations but it was close enough from young Alex's perspective.

"Thank you, Mr. Lloyd. I try my best." The little boy was still outside so he still had to act his age or a tiny bit smarter than a usual kid even when the camera isn't rolling.

"Okay, guys. Cameras are ready. Christopher, you can take to the side now." Mark had to interrupt as filming is still in progress.

Alex and Christopher nodded and the scene was filmed.

It was a relatively simple scene. The antagonist cyborg would track his cyborg counterpart, only to lead him to the old cyborg's grandson.

A specialized camera would zoom in and zoom out towards Alexander's character. It would serve as the antagonist cyborg's vision and advanced computer tech would be added in post-production.

Mark was the one to man the camera and with his uncontested judgment, gave the captured images a pass.

Filming went on breaks and progress, making the entire crew become immersed in the sci-fi lore that their movie is all about.