Sydney Chandler & Takehiro Hira’s Emotional New Sci-Fi Movie Involved “A Lot Of Experimentation” During Filming

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Sydney Chandler and Takehiro Hira return to science fiction in the film Anima, but this time the story focuses much more on feelings and relationships.

Over the last few years, Chandler has quickly become a popular name in science fiction, starting with her first film role in Olivia Wilde’s Don’t Worry Darling, followed by the Apple TV series Sugar, and her recent success with Alien: Earth. Hira, previously recognized for his Emmy-nominated performance in FX’s Shogun, is also a newer addition to the genre, having appeared in The Swarm and the Monsterverse series Monarch: Legacy of Monsters.

In the series Anima, Chandler plays Beck, a talented engineer who recently lost her job at a tech startup and is still grieving the loss of her father. Desperate for work, Beck takes a job with a strange company that offers a unique service: preserving people’s consciousness in a digital cloud after they die, allowing loved ones to ‘visit’ them. As part of this, Beck is tasked with picking up the company’s newest client – someone she’s been scientifically matched with – and bringing them to the facility.

Hira plays Paul, a client hired by Beck for a road trip. Paul is a lonely man who owns a button factory and is dealing with a serious illness. He insists on traveling in his classic Nissan 300ZX and constantly requests unplanned stops. These detours aren’t random, though—they’re Paul’s way of tying up loose ends and trying to rebuild relationships with his family.

To celebrate the premiere of their film at SXSW, ScreenRant’s Ash Crossan, Grant Hermanns, and Liam Crowley spoke with Brian Tetsuro Ivie, Sydney Chandler, Takehiro Hira, and Maximilian Lee Piazza about Anima. Takehiro Hira described the experience of working with Ivie – who was directing his first narrative feature film – as involving “a lot of experimentation on set.” He noted that some of these experiments were successful, while others didn’t quite work out.

He clarified that overthinking wasn’t helpful when making Anima. Instead, he focused on truly feeling the emotions on set. While a few scenes were reshot, leading him to add some new ideas, he ultimately believed the initial versions of those scenes were stronger.

Sometimes overthinking things can be counterproductive; it’s best to trust your instincts in the moment. While I wouldn’t call this a passion project, it definitely has a lot of heart. This was Brian’s first time directing, and many of the crew were young and new to the industry, which I really enjoyed.

Ivie remembered being worried that Takehiro would leave the project as soon as he saw how little experience the crew had. However, the writer/director believed this inexperience actually helped the film Anima succeed, because it forced a very raw, do-it-yourself style of filmmaking. The goal of the story was to explore both a character’s journey into adulthood and their experience with death. Ivie finished by saying that the combination of new crew members and seasoned actors like Hira and Lili Taylor (from The Conjuring) created something uniquely strange and wonderful, and that Hira personally taught him a great deal.

Chandler remembers developing Beck’s history with Ivie, and notes the idea of Beck working with robotic companion animals came up after filming had already begun. She says that changes to the story are common during production – something she’s learned to accept. They quickly started figuring out Beck’s character because Chandler was dealing with personal family matters that delayed her own start to filming.

We had to delay my start by a week, but the director was incredibly understanding and enthusiastic about having me join the project. That kind of generosity isn’t common. We immediately started discussing my character throughout the filming process. I had apologized for not being able to participate in pre-production due to personal circumstances, and he reassured me we’d work it out during filming – and we actually did, finding a way to develop the character organically as we shot.

Chandler was particularly impressed by Ivie’s background in documentaries. He explained that his role involves discovering the story as it unfolds during filming, and Chandler was eager to see how he would apply that same approach to a fictional story. She also praised Ivie as a person, noting he fostered a comfortable and secure environment on set, which allowed her to fully explore her character.

I feel incredibly lucky that everything worked out so well. It’s unusual for things to go smoothly on a film shoot, especially with independent projects. Indie films are often unpredictable – locations fall through, plans change – you just have to be prepared for anything. But that’s also what made this experience so enjoyable.

Chandler Knows Exactly What Genre She Wants To Tackle Next After Her Sci-Fi Streak

Jennifer Graylock/INSTARimages

I’ve noticed you’ve been involved in a lot of science fiction projects lately, like the mind-bending Don’t Worry Darling, the classic-style Sugar, and now Alien. What is it about the sci-fi genre that makes you want to keep returning to it?

I’m a huge sci-fi fan – I write it, read it, and it’s just a big part of my life! I think it’s a surprisingly human genre, actually. The best sci-fi stories often teach us a lot about what it means to be human and how we’d react in different situations. It’s amazing how much imagination these stories can spark. With a character like Anima, who deals with uploading consciousness, you really have to think about what that would mean for you, and then how it would affect the character. It’s all about building layers – like an onion, really! The more unusual and imaginative the story, the more rewarding it is to find the human core and ground it in something real.

I really appreciate how Anima manages to take such a far-out concept and still make it feel relatable and human. Since you enjoy science fiction, I’m curious if there’s a specific sci-fi subgenre or type of story you haven’t tackled yet that you’d be excited to explore.

Okay, let me tell you what really excites me as an actor. Give me horror any day! I want to be covered in fake blood, wielding an axe, just really going for it. Horror and fantasy are honestly my favorite genres. I’m happy to take on more grounded roles if the script is fantastic, but my passion truly lies in these wild, imaginative worlds. I’ve been a lifelong reader of fantasy, sci-fi, and horror – I grew up with Goosebumps and loved them! That’s where my heart is, and I feel so incredibly lucky to be working in a field where I can actually bring those kinds of stories to life. It’s a total dream come true.

ScreenRant asked about the character of Beck in Anima. They noted that while Beck was described as anti-social, her interactions with Paul often showed her as outgoing and sociable. The interviewer was curious about how the actor balanced portraying someone unsure of their life goals while also wanting a connection with another person.

I focused on portraying her as intensely curious. She’s a lonely character who doesn’t easily trust others, but her curiosity is the stronger trait. If you saw more of her backstory, you’d see that loneliness has always been present. She’s drawn to Tak/Paul because he’s quiet, brave, and doing something she doesn’t understand, and she really wants to know why. Honestly, she’s also a bit bored and wants answers! It was fun to play her as mysterious and reserved, working with the director to allow those quiet moments. When she does react – whether it’s to music or frustration – it’s a bigger outburst. I really let the director take the lead, and I enjoy giving him different options so I’m always excited to see how the character ultimately comes together in the final edit. It’s a really collaborative and fun process.

I’m a big fan of Takehiro, especially his work in Shogun and Rental Family. He’s wonderfully awkward in this film, and the chemistry between you two is fantastic. Considering you didn’t have much time to prepare together, how did you build that connection and timing while you were actually filming?

It was surprising working with Hiroyuki Sanada because his character initially seemed cold and reserved in the script. But we instantly connected, likely because we have such different personalities – I’m very outgoing, and he’s quiet and calm with a great sense of humor. We worked well together, almost too well – we’d have fun and joke around between takes, so we had to work with the director to show the distance between our characters. That dynamic was actually my favorite part of the whole film. Hiroyuki is amazing at playing complex, even difficult, characters, and making you root for them. He brings a warmth and heart to every role, even if it’s someone you initially think is unlikable. He could play a villain, and you’d still find yourself sympathizing with him, thinking there’s a good person underneath. Working with him was a really rewarding experience.

ScreenRant asked the filmmaker how it felt to premiere the movie at SXSW, especially considering both the filmmaker and the interviewer have Texas connections. The interviewer mentioned their family lives near Austin and knew how significant SXSW was even before starting a career in film, and wanted to know what it meant to the Texas native to show the film there.

It’s incredible to be premiering the film in Austin, especially at my favorite local movie theater. Austin is such a vibrant city for film lovers, and the music scene is amazing. Seeing the city come alive during SXSW is really exciting. Premieres can be a bit much if you don’t love crowds, but I feel so comfortable here. I know the city and the people, and everyone is so warm and welcoming. It truly feels like the perfect place to launch this film.

Ivie & Piazza Have Very Intriguing Takes On The Idea Of Digital Consciousness Upload

ScreenRant: I need to learn about Anima, so tell me about everything.

Okay, so ‘Anima’ is a film set in the near future that follows a road trip. It stars Maximilian Lee Piazza, Sydney Chandler, Takehiro Hira, and Tom McCarthy – you might even see Tom in a kimono! The story centers around a man who’s cut off from his family and has decided to upload his consciousness using new technology. Sydney Chandler’s character drives him to the place where the procedure will happen. That’s the gist of it.

ScreenRant: How long have you been kicking around the story?

It’s been a long journey getting here, and we were filming almost right up until now. The idea for the film started with an ancient story, ‘The Parable of the Rich Fool,’ about a farmer who had an incredibly successful harvest. He built larger barns to store all his wealth, but tragically died the very same night. I wanted to retell that story for today’s world. Around the same time, I read an article about a company exploring the possibility of uploading people’s consciousness after death, allowing them to continue ‘living’ digitally. ‘Anima’ really came from the combination of that very old story and this incredibly new, futuristic concept, and a desire to explore what that means for us now.

ScreenRant: It sounds like we’re not far off from that.

Brian Tetsuro Ivie explained that the company offered a service to preserve brains through a process called cryostabilization. The idea was that in the future, they could potentially transfer your consciousness, allowing you to exist as a digital entity and travel to any planet you desired, indefinitely. This concept is a central theme explored in the film.

ScreenRant: Would you get cryogenically frozen?

Brian Tetsuro Ivie: Well, that’s a question for Maximilian.

I’m not ready to make that decision now. I’m still young, and I need more time to think about it. Maybe someday, if things get stale and I’m looking for something different. Honestly, if I ever get burnt out from work, I might just want to take a permanent break.

ScreenRant: How did this movie spice up your life?

I loved the script as soon as I read it – Brian really did a fantastic job with the film. It feels very real because it’s about people trying to connect with each other, even when it’s difficult. I think a lot of people my age will relate to it, especially because we’re always on our phones and using apps like TikTok – I definitely am! Sometimes, that can get in the way of making genuine connections and being truly open with others. Overall, it’s a really great film, and Brian’s work is exceptional.

ScreenRant asked an actor what drew them to a particular project, noting that while having work is important, especially with a new director and an original idea, there usually needs to be a deeper reason than just needing a job. The interviewer then specifically asked what attracted them to the film Anima.

When I first read the script, I immediately connected with the character and the story – it was simple, but beautifully written. Brian then sent me a CD and a player, and listening to the music while rereading the script really brought the world he was creating to life. I felt like I wanted to be a part of it. He also wrote me a really thoughtful letter, so it was impossible to turn down the opportunity.

ScreenRant: Brian, did you make a playlist? Is that what the CD was?

There’s a lot to unpack with this project. Sydney Chandler’s character is a former musician who’s lost touch with her passion, and a part of herself along with it. Her father was also a musician, back when people used to share music on CDs – I actually grew up listening to them! To help the lead actors connect with the story, we sent both of them old CDs, headphones, and working CD players. We wanted them to physically experience the lo-fi, analog feel of the sci-fi world we were building. It’s more about exploring feelings than hard science, and we hoped the music would really drive that home and help them understand our vision.

I was really curious to hear Takehiro talk about working with Sydney! They’re both so central to the movie, and I wanted to know what it was like building that connection between their characters. It felt like the whole film rested on their chemistry, so I was eager to hear how they developed that dynamic.

This was my first time working with the actress. We intentionally didn’t meet until we filmed the first scene where our characters meet, and we immediately had a good connection. Looking back, I’m not sure if that was the best approach, but it felt right. It was like my character, Paul, and I were both starting a journey alongside the character Beck, and we naturally developed a friendship while working together. It was a really enjoyable experience.

ScreenRant: We are at SXSW, mixing music and film. Tell me about the music in the movie.

It’s funny, we didn’t actually plan for the film to turn out this way, but I’m thrilled with how it came together. It’s a music-driven movie that blends technology and traditional filmmaking, and honestly, the soundtrack is my favorite part. Being half Japanese and half Irish, I included a lot of lesser-known, traditional Japanese folk music. Someone in a previous interview was even using Shazam to identify the songs because they’d never heard them before! I’ve been told almost all the music is completely new to listeners. It’s a mix of Japanese sounds and alternative music from the 90s, creating a retro-futuristic vibe. We really wanted the soundtrack to feel like discovering a lost CD from your parents’ collection – something unexpected and forgotten.

I’ve been asking people about their favorite movie soundtracks, and it’s interesting how often they say a movie led them to discover a new genre or time period of music. Do you have any soundtracks that really stuck with you – ones you still listen to all the time?

I’ve never liked any of Cameron Crowe’s films. Actually, I discovered John Coltrane, I think, while watching Jerry Maguire. It’s funny, because I doubt Cameron Crowe has even seen that movie. Are you familiar with Jerry Maguire?

Maximilian Lee Piazza: No.

That’s exactly what I mean. Someone asked me if I’d seen Goodfellas, and I said I had, but then they made this strange connection, saying I needed to imagine Renée Zellweger with a John Coltrane soundtrack. That’s how I first heard about that idea. Also, the sound design in films by Peter Weir, like Dead Poet Society, really influenced the way this film sounds.

I’m not as big of a music person as Brian, and I don’t know nearly as much about it. But honestly, and I’m not saying this just because it’s mine, I truly believe this is my favorite soundtrack. It’s completely new to me, but the music really resonates with me on a deep level.

ScreenRant asked, “What did this experience teach you about the kinds of projects you want to work on in the future?”

You know, Wim Wenders did this amazing road movie trilogy, and honestly, I’m steering clear of that genre for now – filming in cars is a real headache! But I’m diving into a new trilogy of my own, set in the near future. This first film is done, and I’m currently writing the second, which is all about the soul – I’m calling it ‘Anima’. The third will focus on the brain. It’s a bit of a loose connection between them, but there’s also a thread about a group of thieves running through it all.

La Haine is one of my all-time favorite movies. It’s a beautiful French film, and I highly recommend watching it. I was particularly impressed by the strong friendship between the characters, the compelling story, and the film’s incredible visuals – it was truly perfect.

You know, as a total movie fanatic, I always love when someone asks if there’s anything else I want to say before people finally get to experience a film. It’s like, is there one last little thing I can share to get them even more hyped? So, basically, the interviewer was asking if I had any final thoughts or anything I’d left out that I wanted to make sure everyone knew before heading to the theater.

So, someone asked me about my background with music, and it’s true, that’s really where my love for storytelling began. I was in a band, but it didn’t quite work out. Honestly, that failure is probably why I ended up making films – it was a natural fallback for me. Something I’ve been thinking about a lot is this idea from poet David White, that you can only truly connect with people who are moving at the same pace as you. That really informed how I approached this film. Everything feels so fast-paced these days, like we’re all just skimming the surface of life. I intentionally made this film slow, hoping it could offer a moment to breathe and really consider what’s important – who matters, and how we can maintain meaningful connections, even when the future feels uncertain. That’s why we chose to shoot on 16mm film and cast actors who I felt had genuine depth and kindness. Ultimately, I just hope people connect with it and find something they enjoy.

As a film buff, I’ve been thinking about how much to tell people about Anima before they see it. The question is, do you want viewers to go in knowing absolutely nothing, letting the movie completely surprise them?

I’d like audiences to know as little as possible about the story going in. My background is in documentaries, focusing on real people and real life, and I’ve always loved that. This project is my first venture into fiction, and I wanted to create something fantastical, mysterious, and truly imaginative. Ideally, viewers will come to the film with a clean slate. I hope they discover it’s more than just the initial concept – that it has a real emotional core, thanks to the incredible performances from Takehiro and Sydney. It’s not just a clever idea or a gimmick; it’s something with real depth.

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2026-03-14 05:18