three years later ODDT Taxi, Mu Ba Ku Returning with a feature film, caterpillar. The film will focus on an old gangster who languishes in a cell, recalling his past life while chatting with a talking flower. The director attended the Annecy Festival’s “Work in Progress” session and presented preparatory documents with concept artists Mutsu Pass and animators (and studios shoot CEO) Ryoichiro Matsuo. Moments later, he took time to answer ANN’s questions about the film, which is scheduled for release in the future.
ODDT Taxi is a series about connections between people and opening up to others. caterpillar It seems to focus more on inner thoughts, an introspective journey into the hero’s mind and past.
Mu Ba Ku: exist ODDT Taxiabout twenty characters long. Due to limited time, I can only scratch the surface of these characters. exist caterpillarhas three main characters, so it allowed me to go deeper psychologically. That’s what I wanted to do this time: focus more on the characters, depict them in a higher resolution.
exist ODDT Taximany scenes take place in taxis. exist caterpillarthe hero is locked in a cell. Was it important to you to find a basic location from which to develop your story?
Kinoshita: I guess, but I don’t think it’s particularly unique. It was just a case of finding the right setting for the character. This is one of the first things I do when I create a character, ask myself “Where are they?”
ODDT Taxi It’s a TV series. It’s longer than the movie (6 to 7 hours), but shorter (30 minutes per episode). Then you directed ODDT Taxi: In the Woods, a 128-minute feature film. This is another style of writing. Did writing this feature film help creatively? caterpillar?
Kinoshita: along with additional tax In the movie, 80% of the content is taken from the series. The only new part we actually made in the movie was only about 20 minutes. So, I don’t feel like I’m doing a feature film. But this time, in caterpillarI really have this feeling of making a movie.
hero caterpillar Experienced many flashbacks to the 1980s, the end of the Showa era. Specifically, why this period?
Kinoshita: First, I wanted to write a story about a short life of “the good times and the downfall that comes with it”, and I also wanted to overlap that with the life of an outlaw. With this in mind, I feel that the late Japanese bubble economy is the most appropriate time for this story.
During Work in Progress, you explained how you approached the setting of the house, especially the color. But what do you do with your cell? It does look monochromatic…
Mutsu Pass: When you think of a jail cell, you think of prison Breaka ghetto-like, ominous, and dangerous-feeling space. And that’s not what the director wanted. He wanted the place to feel quiet, peaceful and gentle. Moreover, it actually felt very warm under the moonlight. That’s what I’m trying to create.
How did you create it?
road pass: I needed color to create that soft feeling, that positive sense of space. These nighttime scenes usually use green-blue or purple-blue. But in the end, I found that the color that best created this feeling was the light blue that we actually use on screen. Then, there are lights… In real life, moonlight is invisible to the naked eye, but we exaggerate the image of beautiful moonlight. I wanted to use that light, and also the reflected light, to make it look nice. This is something I try to use in that space.
It’s really neat that you explain the main character. Everything in his house is where it belongs. Are you a tidy person at work? Also, on the production side, should the production process go exactly the way you want it, or are you open to suggestions that might bring some “mess”?
Kinoshita: The fact that the characters are so neat is very important in this movie. That’s not so much a reflection of me as it is the writer’s idea.
I ask this question because production has changed dramatically. caterpillar It was originally supposed to be a short film but turned into a feature film. Why this decision? How did you cope with this change?
Kinoshita: It was easy because I asked for a script that was twenty minutes long… and the script I received was longer! I’m the kind of person who takes the time to direct, so it ended up being a feature-length film! (laugh).
can you tell me more about how you work Kazuya Kawamoto? How did you meet him?
Kinoshita: ODDT Taxi This is my first time working together Kawamoto Kazuyaso caterpillar This is only our second collaboration. exist ODDT TaxiI didn’t find him myself; the producer needed someone who could write suspense novels, and he found Mr. Kawamoto and introduced him to me, and he put us together. exist ODDT Taxi and caterpillarwe work the same way. First, I draw characters. Then I gave the sketch to Mr. Kawamoto, and he developed the story based on the sketch.
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You are in the drawing phase and animation will appear shortly. Have you considered designs and settings to make the animator’s job easier? Or do you create it the way you want it and they have to adapt, even if it’s really difficult?
Kinoshita: When you talk about making their job easier, there are two elements. The first is about the work environment; the other is how much freedom they are given in terms of mentoring. in the case of caterpillarI didn’t set working hours for the animators. On the second element, I gave fairly detailed instructions, so there wasn’t a lot of freedom.
In Work in Progress, you talk about sets and props from the late 1980s, but not about fashion. How did you do that part of the job?
Kinoshita: I designed the character, so I’m the one responsible. The fashion of the 1980s is out. I wasn’t there at the time, so I did a lot of research through photos and old movies to use them as reference.
Can you ask your parents to show you old photos?
road pass: I asked my parents but they didn’t have any pictures. But as far as the set goes, the house I grew up in was built in the mid to late eighties, so I’m familiar with that environment. Then I also looked for pictures on the Internet.
Kinoshita: For context, because the eighties are having a revival in Japan, there are a lot of people walking around the buildings from the eighties, taking pictures and posting them on social media. So I follow a lot of those people and that’s useful for getting ideas and a feel for the building.
ODDT Taxi Having received attention outside of Japan and around the world, including the United States, did you take this into consideration when creating? caterpillar? Did you have international audiences in mind during production?
Kinoshita: i don’t think i’m doing caterpillar for fans ODDT Taxi (laugh). I think it’s important that it feels rooted in Japan, rooted in where I was born.
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Mr. Matsuo, you have been talking to Masao Maruyama. Maruyama has always hoped to make movies that can open up new avenues and explore new paths for Japanese animation. Is this the same philosophy when you are making it? caterpillar?
Ryoichiro Matsuo: Exactly. Working with Maruyama taught me that even just one element that is new or resonates with me is the most important reason for making animation.
By the end of Work in Progress, there are tons of people waiting for you, asking for autographs or photos… you’re like a rock star! Are you ready for such a greeting in Annecy?
road pass: not at all!
Kinoshita: Of course, we are so famous! (laugh)
Thank you!
road pass: Can I ask a question? you mentioned ODDT Taxi Very popular in the United States. Do you know why it is so popular?
OK I’m not American, so things are a little complicated. But as a Westerner, I think ODDT Taxi Really interesting. Episode after episode, the plot becomes thicker and thicker. After watching the fifth episode, you realize that someone from the first episode is very important. And of course, there’s the final plot twist! All of this is very interesting.
Second thing: when you talk about anime, Westerners always think of young people throwing fireballs and stuff like that. ODDT Taxi Bringing something different that can appeal to those who don’t like “shounen anime”.
at last, ODDT Taxi Kind of saying to the audience, “Okay, you’re smart. And because you’re smart, I can give you this plot, tell you a story in a different way. I’m not going to guide you and hold your hand because you’re very Be smart and you’ll understand.
Kinoshita: I never thought people would receive ODDT Taxi That way. This is really interesting. Thank you!
