Here’s Sushi directing James to the village’s nearest gay disco. And again, since now James has leaned back, her arm is strategically posed for the big reveal.

Sushi and James have both watched his hat crash into the flower pots. This is an homage to how, in the old 007 movies, James Bond always showed off his hat-throwing skills to tease Moneypenny. But now he can’t seem to hit the broad side of a minka, let alone a coat rack.

While Sushi never seems to mind that James just used her water fountain as a urinal (perhaps because this isn’t really her house), she did just notice that James’ fly is still wide open.

Now I could have shot that from her POV but we’ve already established that James has a nice dick and there’s no need to belabor that point since we have a story to tell.

Also this is our first hint that Sushi might be — could she be? Topless. Here I use another trick from Austin Powers and the old Pink Panther movies. Over the next few shots I’ll be intentionally obstructing Sushi’s amazingly perky breasts. This trope shall be known henceforth as ‘titillation.’

In this shot, Sushi is upset at coming face-to-face with a maskless stranger, but he happens to have a mask handy at the front door for such occasions — just like my wife does.

When tossing an object from one puppet to another, you can pull the old knife-throw trick used in live action shows. Here, there’s enough stiffness in the mask’s fishing line ear straps to hold it up in the air, thereby simulating centrifugal force for the fraction of a second necessary to achieve the sleight-of-hand illusion in the next shot.

(We’ll cover actual flying animation in future scenes.)

James is startled in mid-pee when Sushi greets him with “Konnichiwa.”

The camera angle here is intentional. James is not only physically taller than Sushi, but we perform a tilt down in the next shot to introduce the notion that James is a misogynist, conditioned to look down on women.

That watercolor wallpaper behind the rosewood screen is a placeholder. It’s a green screen shot that will be filled with an interior shot later.

Notice Sushi’s mask, and the flowers behind her — both pink. That tree is also made in Thailand from plasticine. Meanwhile, Annette Pardini (@mydollasylum on Instagram) has made quite a few custom costume pieces for POSERS, including what I affectionately call Sushi’s “face diaper” in this scene.

James hands Sushi his business card. This was a live action shot with my wife and I wearing latex gloves. As the card passes from James to Sushi, we again transition from B&W to color. It’s the subtle things…

This is basically Buddha’s reaction shot with James wondering out load, “How dew Oi flush dis ting?”

We pan up from James’ POV to spy a urine-sprayed security camera, which shows James’ transgression in its lens reflection as we see the sliding panel door opening behind him.

This is my first instance of some tricky animation being intentionally downplayed. It sends a message to the audience that this film is less about its technical execution and more about the story that’s about to spew forth.

So yeah. That’s a puppet penis. And this just became an R-rated film or a TV-M show. So brace yourselves.

James, in his state of desperate deterioration, has mistaken the Buddha water fountain for a Japanese toilet so he ‘Rainbirds’ all over its face.

Feel free to be shocked, offended, disgusted or amused by this. I don’t care which. It’s entirely up to you, the audience, to make whatever metaphorical or karmic sense you want of this. My job as a filmmaker is simply to provoke. That’s the contract.

Technically speaking, these Phicen male puppets come with silicone penises in three glorious stages of erection. For this shot, I filleted the biggest one open, down the frenulum with an X-ACTO blade, and inserted a stretch of 1/32” silicone tubing that was about 18 inches long. On the other end I Super Glued a medical syringe. Then I filled the syringe from a glass of water with a couple drops of yellow food coloring.

It took a few tries to get the glue formula right, so the tube would not get blown out. Cyanoacrylate did the trick. And I had to tie the shaft closed with fishing line at the base. But by far the biggest problem was catching a good squirt for each exposure. That was super hit-or-miss, which resulted in a lot of swearing on my part as my wife witnessed from downstairs.

Now add to this the fact that for each fill of the syringe, I could only get two or three good squirts. And after each try, I had to remove James’ cock from his hands and from between his legs, and siphon up more urine through the penis before posing it back for the next try.

So yeah, this shot took two nights to “pull off” but I think the results are reminiscent of classic bathroom humor scenes in comedies like Austin Powers: International Man of Mystery and Me, Myself & Irene. Especially in terms of wall soakage.

“Oi’m burstin’ fer a piss.” — James Bondáge

This was a fun MOCO shot where we follow the swing of James’ mallet against the gong. This type of camera work is an homage to Stanley Kubrick’s scene in The Shining where Jack chops through the door with an axe, and the audience is made to feel the sheer, blunt force of each blow.

But here we witness James resonating from his strike, canceling out the forces of his own tremors. Voice actor Robbie Howlett really sells this with the aid of a vibrato effect, although the line I used was intended for a different scene. Such is the magic of filmmaking. Juxtaposition springs at you from unexpected sources and from all directions. It’s a film editor’s job to reconnect those nerves in new ways, once severed.

We finally get to our real establishing shot midway through the scene. I’m a rebel that way. This is a straight track across the entire exterior of the minka. Here I honor the architecture by staying plumb and true.

James is still mumbling to himself, trying to figure out how a Japanese door works. Does he knock or is there a bell? Oh wait — of course. There’s a gong!

“Dey tink of everyting, dem.”

From the POV (Point of View) of our murder hornet voyeurs, we get to savor the light, the colors and the tremors that are coursing through James’ addled brain. We see a glimpse of Sushi through the panels, and tucked in the corner is a working Buddha water fountain. He appears to be contemplating why this stranger decided to trample through a peaceful Zen garden and crush an orange starfish in his drunken stupor.

Because this is an exterior shot, and during an apparent earthquake, I vibrated those Oriental lanterns for almost every frame simply by blowing on them with varying force. I feel this lent more of an organic feel to the scene rather than just putting a fan on them.

This is a pure MOCO (MOtion-COntrolled) shot of my 1:6 scale Vespa with sidecar. My wife bought this prop for me for our anniversary, because we love riding our Vespa.

Here we surmise the homeowners are into potted flowers and bad-ass scooter helmets. And once we pan to the license plate, we get our first hint that this film is going to be NSFW.

Those flowers, by the way, are handcrafted in Thailand out of plasticine modeling clay. The details are incredible.