Production
According to the director KÅichi Mashimo, he envisioned Noir and Madlax as part of a trilogy exploring the girls-with-guns genre, and soon after the release of the latter, he confirmed having plans to produce the third installment, which would later become El Cazador de la Bruja.
For Mireille's personal sidearm, Mashimo wanted a gun with "a more modern image", therefore the production staff decided on the Walther P99. After considering several compact pistols, including the Walther PPK and the Glock 26, for Kirika's personal sidearm, the Beretta M1934 became the weapon of choice, because of its "classic, European feel" that suited the premise of the series' story. Because of the organization's premise, European guns were chosen for the members of Les Soldats. The assassins in black suits that are sent after the protagonists throughout the series all carry the SIG Pro 2340, which at the time of production was the newest model of its line, while other members were given increasingly older weapons, depending on the member's rank.
According to producer Shigeru Kitayama, Kotono Mitsuishi's voicing of Mireille was a continuation of the working relationship they had from creating Excel Saga, where Mitsuishi voiced the protagonist Excel.
Read more about this topic: Noir (anime)
Famous quotes containing the word production:
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)