[AnimeNEXT 2017] TMS/Re:Life Interview

At AnimeNext 2017 back in June, I got to speak to the staff of the anime Re:Life. It was a short but informative interview that also went into other shows they’ve worked on, including an anime from the same studio as Kemono Friends.

Re:Life is about a man who gets the chance to relive his high school days. When creating and animating the show, is there anything you had to consider in terms of body language, such as how an older man would act or move that a younger man would not?

Yamanaka Junko: So in terms of body language, by the time you’re 17 you’re pretty much grown as a male. So in terms of the body itself, nothing really changes between 17 and 27. If anything, it’s more the voice actors and actresses who have to portray the 10 years of change, of mental instability.

My next question is for Ueda-san. You worked on a very humorous anime called Tesagure! Bukatsumono. What was it like? It seems like a very unique and interesting experience.

Ueda Reina: Pertaining to this particular series, what we would do is record three minutes of airtime for one hour. There was no dialogue written out. The beginning and ending were set but everything in the middle was all ad-lib. So for the next fifteen minutes, we would do three-minute segments of ad-libbing the entire time, and then we would take multiple episodes in one day. During the set, the actual recording process, there was so much laughing because everyone was laughing at each other’s ad-libbing. It was really fun to work on.

Yamanaka-san, you’ve worked on Detective Conan for many years, on multiple movies and the TV series. When working on the series, are there any golden rules that you must adhere to, like things you must do to make it feel like Conan?

Yamanaka: Someone has to die (ha ha).

The dart hitting Kogoro is an iconic moment.

Because it’s a story about detectives, the actual solving part is where we spend the most energy.

Because Re:Life is about NEETS and redoing your past, do you think this is a more universal or timeless theme, or is it specifically relevant to modern times?

Yamanaka: This is a very difficult question because it’s hard to assume things, but the perspective of the NEET has been around for a while, and the creation of the word is further back. Maybe it’ll still be timeless, but it’d be better for Japan if this is not timeless, and no one remembers what a NEET is anymore.

Thank you for the interview!

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[AnimeNEXT 2017] Studio Trigger Interview

Last time, I asked the illustrious Studio Trigger about the origins of Turning Girls. This time I only had the chance for one question to Yoshinari Yoh (director of Little Witch Academia), but the answer was quite informative.

When you were a lowly footman in the anime industry, what did you swear you’d do when you got further? Like, “If I ever become director, I will definitely do this.”

Yoshinari Yoh: When I just entered Gainax, it was right when Sailor Moon was airing, and I was reading an article in a magazine. I remember commenting, “I would never want to do something about magical girls.” But then once I entered Gainax, the executives (such as Anno) loved Sailor Moon, so I ended up working on it.

Thank you for the interview!

AnimeNEXT 2017 Interview: Yuri!!! on ICE Staff

This interview was conducted at AnimeNEXT with guests Tatenaka Junpei (co-lead figure skating animation supervisor), Ito Noriko (animator), Ogawa Takahiro (production desk manager), Hirose Izumi (color designer).

Creating animation, especially for television, is a very time-sensitive endeavor. You have to work hard to get things on time. So when you were working on Yuri!!! On ICE and you were running low on time, what did you prioritize? What is most important?

Tatenaka: When creating animation, the difficult thing is that you can’t skip any parts. You can’t skip the voice, you can’t skip the music, you can’t skip the art. You have to prioritize everything.

What about terms of style, say, going for better movement or more detailed artwork during figure skating scenes?

Tatenaka: I animated the figuring skating scenes. For the first episode with Victor’s free skating, we had three chances for trial and error to fix it up. And when time is sensitive, we do one check and send it out. Most of it is just, draw it and then it’s out for production.

Maruyama Masao has been a guest at cons in America for a number of years, so there have been plenty of opportunities to get his impression of animation. What is it like working under Maruyama-san, and does he resemble the character that’s based on in Shirobako [Marukawa Masato]?

Tatenaka: Maruyama is very unique. He gives us a lot of control. The most unique thing about him is that, instead of picking what’s going to be the winning formula, he picks unusual combinations and tries them out. It’s like the chemistry of two items, two characters, two of anything that might not work—he likes to experiment with that sort of thing. So it’s either a very big win or a very big loss.

Yuri!!! on ICE has received praise from a lot of pro figure skaters. Is there anything that went into animating Yuri!!! On ICE that differs from other sports series?

Tatenaka: The most difficult and challenging part of animating Yuri!!! is that there are no pauses in movements. In baseball, there’s usually a pause, but in figure skating the characters are constantly on the move, so you have to keep drawing each sequence. All of the poses and the movements are things I haven’t drawn before.

During the skating scenes, the characters have thoughts running through their heads. Did you do research into what real figure skaters are thinking about as they perform?

Ogawa: It’s probably something Director Yamamoto came up with. Because she loves figure skating.

Hirose: She actually did interview some real figure skaters to ask, “What do you think about while you’re skating?”

This next question is about the film In This Corner of the World. In between the chapters of the manga, there are a number of quirky little guides, like how to make your rice last as long as possible by adding as much water as possible and mashing it. Are these funny little moments also in the movie?

Ito: Not all of them because there are a lot of those handwritten notes, but for most of them the characters will have a line explaining why they’re doing something. In the movie, the animated sequence about cooking in the kitchen is done very meticulously. You can see what’s being done while she’s explaining.

This is a question for the female guests here: are there any unique challenges to being women in the animation industry?

Hirose: I have a child. Being a mom and doing production in a tight schedule is very hard for me.

Ito: Not being able to go home. Not being able to shower. I don’t take naps at work because I don’t want people to see me sleeping at the office. But a lot of the male workers don’t care. They’ll sleep on the chairs and on the floors. But I can’t.

Thank you for the interview. I wish you the best of luck on your future projects!

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