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Entire COS DVD Commetary - Technical Staff

Ripped from subtitles, though be aware like the other one, there also may be errors as there had to be use of OCR during file conversions. Also not much indication of who is saying what either.

Below the cut is the staff talking a lot about the technical stuff, like visual development and things like textures and animation.

Warning: Like the other commentary, this is long as heck.

1 00:00:02,836 --> 00:00:07,215 Here we go! Theatrical Fullmetal Alchemist DVD extra,

2 00:00:07,299 --> 00:00:10,718 audio commentary with the staff. We hope you enjoy it.

3 00:00:10,802 --> 00:00:13,387 And now, we'll introduce everyone here today.

4 00:00:13,472 --> 00:00:15,765 First up is the director, Mizushima Sei¤i-san.

5 00:00:15,849 --> 00:00:17,892 Hello. Mizushima here. Nice to meet you.

6 00:00:17,976 --> 00:00:21,312 Okay, we also have the technical director, Miyahara Yohei-san.

7 00:00:21,396 --> 00:00:25,316 I'm Miyahara and I supervised the photography and 3D work.

8 00:00:25,400 --> 00:00:26,651 Nice to meet you.

9 00:00:26,735 --> 00:00:28,945 And known for his homepage Yita Nikki ["Gossip Journal"]

10 00:00:29,029 --> 00:00:30,738 is production desk, Oyabu Yoshihiro-san.

11 00:00:30,822 --> 00:00:33,449 It's not "Ota," it's "Yota Nikki."

12 00:00:33,534 --> 00:00:35,618 --"Yota Nikki," right? That's key. --Right, right, right.

13 00:00:35,702 --> 00:00:37,995 And we at Mainichi Broadcasting will be bringing this feature to you.

14 00:00:38,080 --> 00:00:39,914 Thank you for doing this.

15 00:00:39,998 --> 00:00:41,791 Thanks for having us.

16 00:00:41,875 --> 00:00:44,126 And the gear there is already...

17 00:00:44,211 --> 00:00:45,670 Spinning, isn't it?

18 00:00:45,754 --> 00:00:50,049 For this bit, we specially requested the texture

19 00:00:50,133 --> 00:00:54,971 from the 3D department of an art company called Studio Easter.

20 00:00:55,055 --> 00:00:57,848 This is incredible, you know? Even the parts not in the shot are moving quite a bit.

21 00:00:57,933 --> 00:01:01,018 --Yes, they are. --They're moving stealthily there.

22 00:01:01,103 --> 00:01:02,937 Even if it wasn't in the storyboards,

23 00:01:03,021 --> 00:01:05,022 it might suddenly appear in the layout.

24 00:01:05,107 --> 00:01:09,360 That's because it's in the premise and stuff.

25 00:01:09,444 --> 00:01:13,239 Like in the back here. They're just kind of casually moving.

26 00:01:13,323 --> 00:01:17,493 Just unobtrusively continuing to spin.

27 00:01:17,578 --> 00:01:20,454 Even in the shot later from inside the armor,

28 00:01:20,539 --> 00:01:24,625 the gears are moving in the background.

29 00:01:24,710 --> 00:01:29,672 I think they're really effective in scenes like this.

30 00:01:29,756 --> 00:01:34,302 Even here, the ones in the shot are moving.

31 00:01:34,386 --> 00:01:37,805 So, how was this done in terms of techniques? Any comments?

32 00:01:37,889 --> 00:01:42,602 Oh, technically, our thought was to bring out the best in animation,

33 00:01:42,686 --> 00:01:47,273 so we had all the textures done separately for close and wide shots

34 00:01:47,357 --> 00:01:54,488 in an attempt to use an artistic approach to anime.

35 00:01:54,573 --> 00:01:59,619 But you know, things are moving a lot. Even the animation.

36 00:01:59,703 --> 00:02:01,912 The numbers were huge.

37 00:02:01,997 --> 00:02:04,582 It's amazing. It's towards the beginning,

38 00:02:04,666 --> 00:02:06,334 so things are really moving like it's a movie.

39 00:02:06,418 --> 00:02:08,753 --It is a movie. --Oh, right.

40 00:02:08,837 --> 00:02:11,756 Things are moving like they should in a movie.

41 00:02:11,840 --> 00:02:13,674 But you know, this is just...

42 00:02:13,759 --> 00:02:16,427 Tentatively calculating from the start,

43 00:02:16,511 --> 00:02:20,640 about 60-70 cels were used per scene.

44 00:02:20,724 --> 00:02:25,394 --Wow, really? --Yes, and in 7 minutes, about 8,000 were used.

45 00:02:25,479 --> 00:02:29,732 And I'd even had a discussion with Mizushima-san about how

46 00:02:29,816 --> 00:02:34,362 if we did 90 minutes at this rate, we'd use 1 20,000 cels.

47 00:02:34,446 --> 00:02:37,531 --But did we really use that much in the intro? --That's how many were used.

48 00:02:37,616 --> 00:02:40,451 --Wasn't that a calculation from somewhere in the middle? --No, it was the intro. Just the intro.

49 00:02:40,535 --> 00:02:41,744 Really?

50 00:02:41,828 --> 00:02:43,913 Yes, there's only 6 or 7 minutes of this.

51 00:02:43,997 --> 00:02:45,915 It's 6 1/2.

52 00:02:45,999 --> 00:02:50,711 When we were making this part, it was about a year ago, right?

53 00:02:50,796 --> 00:02:51,879 Yes, I believe so.

54 00:02:51,963 --> 00:02:54,548 Around the beginning of November,

55 00:02:54,633 --> 00:02:56,967 the storyboards were finished and we started planning the animation.

56 00:02:57,052 --> 00:02:58,803 Really? Is that about when it was finished?

57 00:02:58,887 --> 00:03:02,640 Yes, we'd had just the intro storyboards drawn up in advance.

58 00:03:02,724 --> 00:03:06,477 --The plan was to make the trailer from this part. --Right, right, we had to make that.

59 00:03:06,561 --> 00:03:10,773 So we got the sequence together in advance and decided to get it moving.

60 00:03:10,857 --> 00:03:13,693 So, at this point, were you prepared to go 1 20,000 cels?

61 00:03:13,777 --> 00:03:16,112 Not at all! In terms of production,

62 00:03:16,196 --> 00:03:19,156 we'd told Mizushima-san to go with 3¤,000 cels.

63 00:03:19,241 --> 00:03:20,658 And having said that,

64 00:03:20,742 --> 00:03:24,286 the production side thought it might go to ¤0,000 or ¤¤,000.

65 00:03:24,371 --> 00:03:27,498 Well, in the end, it turned out to be 60,000, though.

66 00:03:27,582 --> 00:03:29,667 --Did it take that much? --It went 60,000.

67 00:03:29,751 --> 00:03:32,753 --I see. --Officially, mind you.

68 00:03:32,838 --> 00:03:36,006 Is it secretly more?

69 00:03:36,091 --> 00:03:38,634 --Tomioka-san's scenes start from around here, right? --Yeah, this is...

70 00:03:38,719 --> 00:03:42,638 --What? No, this isn't it. --Oh, from... Here, where they turn the corner. From here.

71 00:03:42,723 --> 00:03:44,056 It pulls way back and...

72 00:03:44,141 --> 00:03:46,308 This part is incredible.

73 00:03:46,393 --> 00:03:50,938 Yeah, Tomioka totally exploded here.

74 00:03:51,022 --> 00:03:53,023 There's some really intricate performances in there,

75 00:03:53,108 --> 00:03:54,859 but you can't see much of it.

76 00:03:54,943 --> 00:03:59,739 I think for people who saw the end of the TV series,

77 00:03:59,823 --> 00:04:03,743 it's surprising because Ed and Al suddenly show up.

78 00:04:03,827 --> 00:04:07,538 As the director, were you trying to review some material here?

79 00:04:07,622 --> 00:04:10,332 No, well, this was to start off

80 00:04:10,417 --> 00:04:13,502 by establishing what Fullmetal Alchemist is all about.

81 00:04:13,587 --> 00:04:15,045 We wanted to show the format,

82 00:04:15,130 --> 00:04:19,091 since we figured some people would be seeing it for the first time.

83 00:04:19,176 --> 00:04:22,386 So, there was that intent behind putting a sequence like this here

84 00:04:22,471 --> 00:04:24,680 in terms of the overall structure of the film.

85 00:04:24,765 --> 00:04:26,432 But watching these 7 minutes,

86 00:04:26,516 --> 00:04:29,685 it's got pretty much all the essential elements of Fullmetal.

87 00:04:29,770 --> 00:04:33,439 Well, the actual content of the film betrays this stuff, though.

88 00:04:33,523 --> 00:04:37,109 But that's what's great in the case of Fullmetal.

89 00:04:37,194 --> 00:04:40,070 --The trailer also only used this part from the beginning. --Right, right.

90 00:04:40,155 --> 00:04:41,989 So we shocked everyone into thinking

91 00:04:42,073 --> 00:04:44,408 this was the kind of movie it was going to be,

92 00:04:44,493 --> 00:04:46,869 and then we slowly revealed the plot.

93 00:04:46,953 --> 00:04:52,541 That's the way we all decided to do it.

94 00:04:52,626 --> 00:04:56,086 Of course, it was Aikawa who initially suggested it.

95 00:04:56,171 --> 00:04:58,547 But it's interesting to think about things like that,

96 00:04:58,632 --> 00:05:01,884 strategically deciding how to do it.

97 00:05:01,968 --> 00:05:06,305 It's really good to have ideas coming from the studio.

98 00:05:08,350 --> 00:05:12,561 In terms of production, the plan was to finish by the end of January.

99 00:05:12,646 --> 00:05:15,940 --We totally didn't finish by then! --No, we did not!

100 00:05:16,024 --> 00:05:18,609 It was pretty... You know, it didn't really come together

101 00:05:18,693 --> 00:05:19,777 and I was getting mad and stuff.

102 00:05:19,861 --> 00:05:23,614 But there was 3 months... I mean, only 1 00 scenes,

103 00:05:23,698 --> 00:05:25,741 so even if it was a theatrical pro¤ect,

104 00:05:25,826 --> 00:05:28,160 I figured we could get it done in 3 months.

105 00:05:28,245 --> 00:05:29,787 But it didn't even come close to being finished.

106 00:05:29,871 --> 00:05:32,414 There was no color at the cutting stage.

107 00:05:32,499 --> 00:05:34,250 There was no color.

108 00:05:34,334 --> 00:05:38,003 A very energetic person named Osaka-san was the animation director,

109 00:05:38,088 --> 00:05:40,756 but there were rumors that it might've gone faster

110 00:05:40,841 --> 00:05:42,424 if he'd done it alone.

111 00:05:42,509 --> 00:05:44,343 We had people like Norimitsu-san...

112 00:05:44,427 --> 00:05:45,511 Right, Suzuki-san.

113 00:05:45,595 --> 00:05:48,305 And Tomioka-san and Takeuchi-san...

114 00:05:48,390 --> 00:05:51,684 We had wonderful key animators, which is why it ended up this way.

115 00:05:51,768 --> 00:05:56,188 The finished film is really great.

116 00:05:56,273 --> 00:05:58,232 But still, the scenes took a long time coming together,

117 00:05:58,316 --> 00:06:01,735 --so we had a nervous time of it. --They sure did.

118 00:06:05,323 --> 00:06:08,409 --Man, this is just scary! --Really?

119 00:06:08,493 --> 00:06:11,829 It's scary no matter how many times I see it.

120 00:06:11,913 --> 00:06:14,748 --Oh, the sea surface... --We made Fukushi-kun work really hard here.

121 00:06:14,833 --> 00:06:19,169 We really did give Fukushi-san a lot of trouble here.

122 00:06:19,254 --> 00:06:21,797 Maybe we should apologize here. Say we were sorry about that.

123 00:06:21,882 --> 00:06:23,465 It's like, how many takes did we do?

124 00:06:23,550 --> 00:06:28,596 Oh, that was me asking if things couldn't be tweaked just a bit more.

125 00:06:28,680 --> 00:06:30,431 So how many takes did you guys do?

126 00:06:30,515 --> 00:06:31,682 Um, how many did we do?

127 00:06:31,766 --> 00:06:36,562 --I don't even know. --It probably ended up at about ¤ takes.

128 00:06:36,646 --> 00:06:38,731 But you know, towards the end,

129 00:06:38,815 --> 00:06:41,817 --Fukushi-kun was wanting to give it another go himself. --That's true.

130 00:06:41,902 --> 00:06:44,069 He did some retakes himself.

131 00:06:44,154 --> 00:06:46,238 Fukushi-kun is the director of photography,

132 00:06:46,323 --> 00:06:49,700 Fukushi Toru-san... Toru is right, right?

133 00:06:49,784 --> 00:06:50,743 You're right.

134 00:06:50,827 --> 00:06:52,870 You're checking now?

135 00:06:52,954 --> 00:06:56,040 You're the one who's supposed to have known him the longest!

136 00:06:56,124 --> 00:06:58,500 I don't address him by his first name much, so...

137 00:06:58,585 --> 00:07:03,422 Anyway, he does kickboxing, and he'll be like, "I'll kick you."

138 00:07:03,506 --> 00:07:05,674 --That's scary. --He's a really scary person.

139 00:07:05,759 --> 00:07:06,800 Not really.

140 00:07:06,885 --> 00:07:10,512 --Are we allowed to say he's scary? --He isn't really.

141 00:07:10,597 --> 00:07:13,057 Ah, here we are in the real world.

142 00:07:13,141 --> 00:07:15,184 Talk about a lot of psychological jabs.

143 00:07:15,268 --> 00:07:17,603 He's still talking about Fukushi-kun!

144 00:07:17,687 --> 00:07:23,275 We'll see how this part affects things later.

145 00:07:25,028 --> 00:07:28,155 Kaneko-san handled the directing for the beginning part

146 00:07:28,239 --> 00:07:32,910 and from here, Iwasaki Taro-kun handled the directing.

147 00:07:32,994 --> 00:07:35,746 This is a troublesome long scene.

148 00:07:35,830 --> 00:07:39,959 Since I was hyper aware of the number of scenes from the start,

149 00:07:40,043 --> 00:07:43,504 so we did a long scene, even though it's pretty troublesome.

150 00:07:43,588 --> 00:07:47,383 So, in switching from the past to the real world,

151 00:07:47,467 --> 00:07:51,512 were there any directorial difficulties you faced?

152 00:07:51,596 --> 00:07:58,143 Well, so, how do we show that we're back in the real world

153 00:07:58,228 --> 00:07:59,937 without using too many scenes?

154 00:08:00,021 --> 00:08:01,021 I did worry about it,

155 00:08:01,106 --> 00:08:04,066 but the script had that kind of stuff squared away pretty neatly.

156 00:08:04,150 --> 00:08:09,655 ¤hanging the hues between the real and alchemic worlds

157 00:08:09,739 --> 00:08:12,324 was something I'd talked about with Nakayama-san

158 00:08:12,409 --> 00:08:14,326 for the final episode of the TV series,

159 00:08:14,411 --> 00:08:16,120 and I'd heard what her plans were.

160 00:08:16,204 --> 00:08:18,706 So, really, the easiest thing to see is the color of the sky.

161 00:08:18,790 --> 00:08:21,792 I think it's that the color of the sky changes,

162 00:08:21,876 --> 00:08:24,128 so that's how we did it.

163 00:08:24,212 --> 00:08:26,797 From around here... Actually, it's from the beginning of this part,

164 00:08:26,881 --> 00:08:28,465 but the animation director Takahashi-san

165 00:08:28,550 --> 00:08:30,384 did wonderful key animation work.

166 00:08:30,468 --> 00:08:35,639 The truck bed is packed with people,

167 00:08:35,724 --> 00:08:38,726 making it really troublesome to deal with.

168 00:08:38,810 --> 00:08:42,980 But the layout is splendid and so are the performances.

169 00:08:43,064 --> 00:08:46,650 I'm often asked who did this part.

170 00:08:46,735 --> 00:08:48,569 Takahashi-san did wonderful work.

171 00:08:48,653 --> 00:08:51,697 We planned out the animation right after New Year's.

172 00:08:51,781 --> 00:08:53,866 --Without the song, we couldn't get into animating it. --Right, the song!

173 00:08:53,950 --> 00:08:59,747 I'm sure Ohyama-san is around here somewhere...

174 00:08:59,831 --> 00:09:01,707 Well, concerning this...

175 00:09:01,791 --> 00:09:07,212 I have a story about Ohyama-kun and my trials and tribulations

176 00:09:07,297 --> 00:09:11,800 concerning Ferenc-san's song coming up.

177 00:09:11,885 --> 00:09:15,804 This really ultimately turned into an unbelievable song.

178 00:09:15,889 --> 00:09:19,308 You know, originally, we said it was a carnival,

179 00:09:19,392 --> 00:09:24,063 so we were talking about something really bright and happy,

180 00:09:24,147 --> 00:09:27,399 but it totally didn't happen that way.

181 00:09:27,484 --> 00:09:32,780 It became a song full of Ferenc-san's sentiments towards the Roma.

182 00:09:32,864 --> 00:09:39,119 Well, you know, to start with, it was Takeda-san.

183 00:09:39,204 --> 00:09:40,996 It was his idea.

184 00:09:41,081 --> 00:09:45,209 He sent me a ¤D and said, "It's a Roma musician, man.

185 00:09:45,293 --> 00:09:47,461 "What do ya think?! Ain't it good?!"

186 00:09:47,545 --> 00:09:48,796 When I said, "It sure is nice!"

187 00:09:48,880 --> 00:09:50,672 He went, "We can get 'em to make a song for us!"

188 00:09:50,757 --> 00:09:53,926 --And I was like, "What?!" --So, he'd already talked to them about it?

189 00:09:54,010 --> 00:09:58,680 I discussed with Ohyama-kun about whether that would be all right

190 00:09:58,765 --> 00:10:01,266 and then the recording day was set,

191 00:10:01,351 --> 00:10:05,270 so we had Takahashi-san wait this whole time for the song to finish.

192 00:10:05,355 --> 00:10:09,066 To add insult to injury, I added scenes after the song was done.

193 00:10:09,150 --> 00:10:11,193 Right, right. The song part has separate storyboards.

194 00:10:11,277 --> 00:10:14,071 Talk about double torture.

195 00:10:14,155 --> 00:10:17,825 But in the end, it overlaps in terms of the composition.

196 00:10:18,243 --> 00:10:25,624 We really agonized about how to switch to L'Arc's wonderful song.

197 00:10:25,708 --> 00:10:28,794 But when we hardened our resolve to run it right together

198 00:10:28,878 --> 00:10:32,923 and were trying to decide how to switch, we picked this format.

199 00:10:33,007 --> 00:10:36,218 But when we actually tried it, it came out pretty nicely.

200 00:10:36,302 --> 00:10:40,222 --Well, yeah, but we largely owe it to Mima-san's abilities. --Oh, that's true.

201 00:10:40,306 --> 00:10:43,392 I'm really grateful to him for this part.

202 00:10:43,476 --> 00:10:45,519 And this opening got a little flashier, you know?

203 00:10:45,603 --> 00:10:46,770 Yes, it did.

204 00:10:46,855 --> 00:10:48,856 After I got chewed out by Minami-san.

205 00:10:48,940 --> 00:10:50,440 Why was that?

206 00:10:50,525 --> 00:10:54,444 Well, I wanted something that felt like this to start with,

207 00:10:54,529 --> 00:10:56,196 but in the beginning, I was planning

208 00:10:56,281 --> 00:10:58,407 --on putting more work into it at the studio. --Oh, I see.

209 00:10:58,491 --> 00:11:02,411 And Suzuki Norimitsu-san, who worked on the intro earlier,

210 00:11:02,495 --> 00:11:05,747 tends to do pretty tricky work,

211 00:11:05,832 --> 00:11:09,126 so I was thinking of letting Norimitsu-san handle this part,

212 00:11:09,210 --> 00:11:10,627 when I was told, "What are you doing

213 00:11:10,712 --> 00:11:13,380 not using a great key animator like that in the actual movie?!

214 00:11:13,464 --> 00:11:17,634 And how many cels are you planning to use on the opening?!"

215 00:11:17,719 --> 00:11:21,680 Thus, resulting in this package that mixes the past into it.

216 00:11:21,764 --> 00:11:24,766 I was told to consider the trouble the animation director would go through.

217 00:11:24,851 --> 00:11:31,398 We'd originally discussed making it a sort of overview of the TV series,

218 00:11:31,482 --> 00:11:34,735 so it was a question of how to insert things in between.

219 00:11:34,819 --> 00:11:36,987 There was a guy named Mochizuki-san,

220 00:11:37,071 --> 00:11:40,407 who made DVD menus and things for us

221 00:11:40,491 --> 00:11:44,453 and also handled a bit of editing around the festival,

222 00:11:44,537 --> 00:11:48,749 and we talked about wanting to get him involved in this.

223 00:11:48,833 --> 00:11:52,544 --So, the idea to use these illustrations came from him. --Oh, I see.

224 00:11:52,629 --> 00:11:54,922 And we were definitely using highlights,

225 00:11:55,006 --> 00:11:59,134 the memorable type scenes, so I thought that was good.

226 00:11:59,928 --> 00:12:01,678 The telop here are Kusano-san, right?

227 00:12:01,763 --> 00:12:02,763 Oh, yes.

228 00:12:02,847 --> 00:12:05,057 This one, too, "The ¤onqueror of Shamballa."

229 00:12:05,141 --> 00:12:08,644 I kind of like this. I wanted to present a movie like that.

230 00:12:08,728 --> 00:12:11,730 The grand title of the film in small print in the corner.

231 00:12:11,814 --> 00:12:13,732 --Modestly. --Right, right, right.

232 00:12:13,816 --> 00:12:16,401 Speaking of telop, there was the very first one

233 00:12:16,486 --> 00:12:18,779 that I noticed was wrong during a viewing

234 00:12:18,863 --> 00:12:20,948 --and I was almost in tears when I saw that. --I remember that.

235 00:12:21,032 --> 00:12:25,369 --At the very start... --The "¤ontinental ¤alendar" was written wrong.

236 00:12:25,453 --> 00:12:29,456 I almost cried when they said they couldn't do it on that day.

237 00:12:29,540 --> 00:12:31,083 That was also Oyabu-san...

238 00:12:31,167 --> 00:12:34,753 There was a name that was wrong.

239 00:12:34,837 --> 00:12:42,719 I think we should bring this up later during the credit scroll.

240 00:12:42,804 --> 00:12:45,264 Noah. Noah's great.

241 00:12:45,348 --> 00:12:49,726 Did you give Sawai-san any suggestions on her performance?

242 00:12:49,811 --> 00:12:50,936 I did nothing.

243 00:12:51,020 --> 00:12:52,688 You did nothing!

244 00:12:52,772 --> 00:12:55,607 Well, we had her perform it honestly

245 00:12:55,692 --> 00:12:58,610 and it already had the right feel to it, so...

246 00:12:58,695 --> 00:13:03,657 Of course, I did direct her on some of the details,

247 00:13:03,741 --> 00:13:08,954 but we started by explaining things and having her watch the film,

248 00:13:09,038 --> 00:13:14,001 and I had no problems with the direction she took the performance,

249 00:13:14,085 --> 00:13:15,877 so we just went with it.

250 00:13:15,962 --> 00:13:18,630 She's young, but she has a rather sensuous voice, doesn't she?

251 00:13:18,715 --> 00:13:21,466 Yeah, I originally heard she was in ¤aili¤ ¤iin,

252 00:13:21,551 --> 00:13:25,262 so I thought she might sound more bright and cheerful,

253 00:13:25,346 --> 00:13:28,473 but she had a very strong supporter,

254 00:13:28,558 --> 00:13:30,726 and when I saw her in the final episode of Sailor Moon,

255 00:13:30,810 --> 00:13:32,102 speaking in a rather dark voice...

256 00:13:32,186 --> 00:13:36,732 --Maybe it could work. --I thought it could work, so we did a little audition

257 00:13:36,816 --> 00:13:40,569 and we decided we'd definitely love to have her.

258 00:13:40,653 --> 00:13:44,072 Her supporter was quite passionate, wasn't he?

259 00:13:44,157 --> 00:13:48,702 --It was Nakamura Yutaka-kun, who did some great work in a later part. --He's an animator.

260 00:13:48,786 --> 00:13:53,498 We wanted her badly partly to increase his motivation.

261 00:13:53,583 --> 00:13:57,586 He was taking photos at a preview show.

262 00:13:57,670 --> 00:14:00,130 I remember how he looked really happy.

263 00:14:00,214 --> 00:14:01,673 Oh, this is Hasebe-kun's scene.

264 00:14:01,758 --> 00:14:03,759 Yes, this is Hasebe-san's scene.

265 00:14:03,843 --> 00:14:05,385 He's great, isn't he?

266 00:14:05,470 --> 00:14:09,431 He does such detailed work on the performances and everything.

267 00:14:09,515 --> 00:14:10,474 Just splendid!

268 00:14:10,558 --> 00:14:14,770 He said he wanted to do more, but that if he did, he'd never finish.

269 00:14:14,854 --> 00:14:16,355 Kind of a double-edged sword.

270 00:14:16,439 --> 00:14:17,481 Right, right, right, right.

271 00:14:17,565 --> 00:14:19,733 "Well, I thought about doing more on that part."

272 00:14:19,817 --> 00:14:21,151 "Huh? That sounds great. Why didn't you do it?"

273 00:14:21,235 --> 00:14:22,778 "Well, it'd never get done."

274 00:14:22,862 --> 00:14:25,989 "Oh, I see." That's the kind of conversation I had with him.

275 00:14:26,074 --> 00:14:29,868 That's true. We planned the animation at the very beginning,

276 00:14:29,952 --> 00:14:32,496 but it didn't get done until the end.

277 00:14:32,580 --> 00:14:35,624 We really had him hanging in there with us to the very end.

278 00:14:35,708 --> 00:14:37,751 No, it's true!

279 00:14:37,835 --> 00:14:41,421 In the end, I actually got help for Nakamura-san's part and stuff.

280 00:14:41,506 --> 00:14:43,507 From Hasebe-san instead.

281 00:14:43,591 --> 00:14:47,219 Really, Hasebe-kun did a lot.

282 00:14:47,303 --> 00:14:49,971 You said you'd be taking pieces of this for the trailers,

283 00:14:50,056 --> 00:14:52,599 so it was really tough!

284 00:14:52,683 --> 00:14:54,226 Of course, I'd want this part!

285 00:14:54,310 --> 00:14:56,937 That's true. That's true,

286 00:14:57,021 --> 00:14:59,773 but it was like, "Hasebe-san's working on it. What do we do?"

287 00:14:59,857 --> 00:15:02,776 --But that's why we gave it to Hasebe! Because it's so cool! --Right.

288 00:15:02,860 --> 00:15:05,862 It was that kind of scene and that's why we asked Hasebe-san.

289 00:15:05,947 --> 00:15:08,448 There's no problem once it's done.

290 00:15:08,533 --> 00:15:11,118 Right, it's just tough going until it gets done.

291 00:15:11,202 --> 00:15:15,038 Though, that's true for everything.

292 00:15:18,084 --> 00:15:19,835 Oh, it's Madam from here.

293 00:15:19,919 --> 00:15:22,129 Yes, it's Madam.

294 00:15:22,213 --> 00:15:24,631 The key animator for this part changes here

295 00:15:24,715 --> 00:15:28,385 and there's some detailed movement in the background, like waving hats.

296 00:15:28,469 --> 00:15:30,720 But Kanno-san himself is also...

297 00:15:30,805 --> 00:15:33,098 Kanno-san, the animation director, is also a stickler for details,

298 00:15:33,182 --> 00:15:35,559 like with how the expressions change, right?

299 00:15:35,643 --> 00:15:38,103 What's with that? You sound so hesitant.

300 00:15:38,187 --> 00:15:39,563 Like you're probing him.

301 00:15:39,647 --> 00:15:41,565 ¤ome on, no probing.

302 00:15:41,649 --> 00:15:44,067 No, I mean, we didn't have much time

303 00:15:44,152 --> 00:15:46,278 and in the end, finishing the inbetween animation was...

304 00:15:46,362 --> 00:15:48,238 We sent it overseas, so some of it wasn't fully done.

305 00:15:48,322 --> 00:15:49,781 Oh, sort of.

306 00:15:49,866 --> 00:15:53,702 Some of the stuff with the characters did stand out a bit,

307 00:15:53,786 --> 00:15:54,911 but we fixed it for the DVD.

308 00:15:54,996 --> 00:15:58,915 Yes, we fixed it and I was thinking it looks better now.

309 00:16:01,627 --> 00:16:03,545 --Hess sure is cool. --Yup.

310 00:16:03,629 --> 00:16:09,634 There's the stupid toupee-on-the-ground gag.

311 00:16:09,719 --> 00:16:12,262 The part where the toupee's in the street.

312 00:16:12,346 --> 00:16:15,223 Surprise, one of them actually wore a toupee, kind of thing.

313 00:16:17,727 --> 00:16:20,687 I wasn't sure if it was "Hotel Four Seasons" or "Four Seasons Hotel,"

314 00:16:20,771 --> 00:16:22,731 so we agonized over it when we made the telop.

315 00:16:22,815 --> 00:16:25,192 The question was, "What's that thing in the final shot?"

316 00:16:25,276 --> 00:16:29,112 Oh, I remember that.

317 00:16:29,197 --> 00:16:33,450 Huh? It's the thing in the final frame, right?

318 00:16:33,534 --> 00:16:35,327 Here...

319 00:16:35,411 --> 00:16:36,786 But now, you can tell what it is, right?

320 00:16:36,871 --> 00:16:39,039 Yes, it's been fixed now.

321 00:16:39,123 --> 00:16:41,791 --Right, the globe. --The globe... It was blue, wasn't it?

322 00:16:41,876 --> 00:16:43,376 The texture didn't get applied in time.

323 00:16:43,461 --> 00:16:46,505 --For the theatrical release? --Yes.

324 00:16:46,589 --> 00:16:48,840 We noticed it way at the very end. It was like, "Hey!"

325 00:16:48,925 --> 00:16:50,467 "It's blue!"

326 00:16:50,551 --> 00:16:51,718 Right, right.

327 00:16:51,802 --> 00:16:54,387 "It's too late now."

328 00:16:54,472 --> 00:16:59,017 This is a short sequence, so it's over in no time.

329 00:17:03,147 --> 00:17:08,401 What kind of material did you use as reference for historical Germany?

330 00:17:08,486 --> 00:17:11,571 Well, you know, material on Munich back then is...

331 00:17:11,656 --> 00:17:15,784 Much of it was destroyed in the aerial bombings of World War II,

332 00:17:15,868 --> 00:17:16,868 so there's nothing there.

333 00:17:16,953 --> 00:17:21,248 So, we looked at where there are old buildings in Europe

334 00:17:21,332 --> 00:17:23,875 and that was something else I heard about from Takeda-san.

335 00:17:23,960 --> 00:17:27,254 --"Budapest's awesome!" --In his own words.

336 00:17:27,338 --> 00:17:31,800 Yes, and right when I was doing the storyboards for this,

337 00:17:31,884 --> 00:17:37,639 --I went on a trip to Europe with my wife. --I heard you went location hunting.

338 00:17:37,723 --> 00:17:42,435 And she'd actually wanted to go to places like France and Italy,

339 00:17:42,520 --> 00:17:44,854 but to also do the location hunting,

340 00:17:44,939 --> 00:17:47,774 we went to ¤zech, Austria, Hungary... Oh, not Hungary.

341 00:17:47,858 --> 00:17:49,276 A less flashy selection.

342 00:17:49,360 --> 00:17:52,362 We ended up with a less flashy selection.

343 00:17:52,446 --> 00:17:55,490 There's actually several scenes where they're eating,

344 00:17:55,575 --> 00:17:56,992 but the stuff on the plates are...

345 00:17:57,076 --> 00:18:02,622 Yes, they're stuff I actually ate, which I took photos of.

346 00:18:02,707 --> 00:18:03,748 It's like, "Here's what they eat."

347 00:18:03,833 --> 00:18:06,751 --Is the white sausage part of that, too? --Oh, yes, yes, yes.

348 00:18:06,836 --> 00:18:11,756 Sausages are a real local specialty there, so we had to...

349 00:18:11,841 --> 00:18:15,760 You brought quite a few photos back for reference.

350 00:18:15,845 --> 00:18:18,805 Right. I took ¤00-¤00 photos.

351 00:18:18,889 --> 00:18:20,724 Wow, you took that many?

352 00:18:20,808 --> 00:18:21,725 You took that many?

353 00:18:21,809 --> 00:18:22,809 --Yeah, I did. --That's incredible.

354 00:18:22,893 --> 00:18:27,522 I handed them to the background people and stuff for reference.

355 00:18:27,607 --> 00:18:31,985 This part is Saito Eiko-san.

356 00:18:32,069 --> 00:18:35,405 The key animation got done at a pretty early stage,

357 00:18:35,489 --> 00:18:37,449 which shocked the hell out of me.

358 00:18:37,533 --> 00:18:39,868 She'd been working as an animation director and key animator

359 00:18:39,952 --> 00:18:41,578 throughout the original series,

360 00:18:41,662 --> 00:18:44,414 and she does incredibly solid work.

361 00:18:44,498 --> 00:18:47,917 This is the first theatrical film I'd directed, of course,

362 00:18:48,002 --> 00:18:49,961 but this was the first time I'd had her work on a movie, too,

363 00:18:50,046 --> 00:18:53,715 and the performances were just so detailed!

364 00:18:53,799 --> 00:18:59,429 It made me acutely aware of how different it is for TV and movie.

365 00:18:59,513 --> 00:19:03,266 In Part D... Oh, I guess no one will know what part this is.

366 00:19:03,351 --> 00:19:07,729 In the latter half, she worked as a character animation director

367 00:19:07,813 --> 00:19:12,692 and she did absolutely stellar work.

368 00:19:12,777 --> 00:19:16,112 Ed's expressions change minutely over and over throughout this scene,

369 00:19:16,197 --> 00:19:18,615 even though I weeded some out...

370 00:19:18,699 --> 00:19:21,660 It's amazing. Look. Look.

371 00:19:21,744 --> 00:19:26,414 Damn, it's detailed!

372 00:19:26,499 --> 00:19:30,627 Really. I thought it was amazing when I saw it.

373 00:19:30,711 --> 00:19:32,837 --Like, "A movie sure is different"? --Right, right, right.

374 00:19:32,922 --> 00:19:37,217 --Incredible, isn't it? --It sure is moving.

375 00:19:37,301 --> 00:19:38,259 You know, it's sort of like...

376 00:19:38,344 --> 00:19:42,263 Iwasaki-san, who was doing the performance for this part early on,

377 00:19:42,348 --> 00:19:44,432 was also sensitive to the fact that this was a theatrical film.

378 00:19:44,517 --> 00:19:47,018 He'd added an a¤ul lot of performance,

379 00:19:47,103 --> 00:19:51,231 so I was weeding it out on my end.

380 00:19:51,315 --> 00:19:54,234 The direction might say, "Please add this sort of performance,"

381 00:19:54,318 --> 00:19:58,363 but then it'd become, "Sorry, we don't need that."

382 00:19:58,447 --> 00:19:59,656 I said to Iwasaki-kun,

383 00:19:59,740 --> 00:20:02,575 "You don't have to get so worked up about that part."

384 00:20:02,660 --> 00:20:05,203 --And he'd be like, "Oh, really?" --That's true.

385 00:20:05,287 --> 00:20:06,705 In terms of performance,

386 00:20:06,789 --> 00:20:09,791 we'd be working on them while discussing cel count.

387 00:20:09,875 --> 00:20:13,253 "I told you. I told you first thing." "No, you didn't."

388 00:20:13,337 --> 00:20:14,337 That kind of thing...

389 00:20:14,422 --> 00:20:16,214 --About who did or didn't say something? --Right, right, right.

390 00:20:16,298 --> 00:20:17,632 --Like, "If we keep this up, we'll end up with this many cels." --More than anyone,

391 00:20:17,717 --> 00:20:22,637 Kaneko Shingo-san was really worried about that.

392 00:20:22,722 --> 00:20:27,976 "Is it really all right to use this much?" He was asking the whole time.

393 00:20:28,894 --> 00:20:32,605 So, how did it go? Was it Kaneko-san's part that used the least?

394 00:20:32,690 --> 00:20:36,484 Yeah, I think in the end, probably...

395 00:20:36,569 --> 00:20:40,697 Due to pangs of remorse for having finished the storyboards last...

396 00:20:40,781 --> 00:20:43,074 There's no way that's true.

397 00:20:43,159 --> 00:20:45,452 --Well, he came in last by a wide margin. --That's true.

398 00:20:45,536 --> 00:20:49,789 You know, I finished all my parts by around February

399 00:20:49,874 --> 00:20:54,627 and when I said, "I'm finished," he was seriously surprised.

400 00:20:54,712 --> 00:20:59,591 By around the beginning of March, the main part was all done,

401 00:20:59,675 --> 00:21:03,970 and around the middle of March, you finished the epilogue and it was done.

402 00:21:04,054 --> 00:21:06,639 Yeah.

403 00:21:06,724 --> 00:21:08,641 You know, this beckoning gesture...

404 00:21:08,726 --> 00:21:10,727 In my storyboards, the hand is facing down.

405 00:21:10,811 --> 00:21:13,688 It was pointed out that that's the Japanese way,

406 00:21:13,773 --> 00:21:17,108 so we were like, "Oh, right, right. It has to face up."

407 00:21:17,193 --> 00:21:18,902 We had to fix it.

408 00:21:18,986 --> 00:21:22,030 With everyone pitching in...

409 00:21:25,826 --> 00:21:28,620 --This is technically Hughes's first appearance. --That's right.

410 00:21:28,704 --> 00:21:30,705 Hughes is right, right?

411 00:21:30,790 --> 00:21:37,670 --Gracia appeared briefly earlier as well. --You're checking that with us, too?

412 00:21:44,553 --> 00:21:46,763 Oh, after this... No, maybe not?

413 00:21:46,847 --> 00:21:48,097 What? What?

414 00:21:48,182 --> 00:21:50,725 Running...

415 00:21:50,810 --> 00:21:52,727 This, this. This disused road.

416 00:21:52,812 --> 00:21:55,313 Oh, the wall...

417 00:21:55,397 --> 00:21:58,024 We fixed it several times.

418 00:21:58,108 --> 00:22:01,653 We hadn't expected it to be a layout that involved a building...

419 00:22:01,737 --> 00:22:03,196 Right, this part is sort of...

420 00:22:03,280 --> 00:22:07,575 Worst case scenario, we were going to take some overlay,

421 00:22:07,660 --> 00:22:10,703 stick it on the wall in 3D, and match the animation.

422 00:22:10,788 --> 00:22:14,999 So we'd asked the art department for some material,

423 00:22:15,084 --> 00:22:20,004 but due to various circumstances, it never came.

424 00:22:20,089 --> 00:22:22,090 Right, it never came.

425 00:22:22,174 --> 00:22:25,885 It was written in the layout requesting what we wanted,

426 00:22:25,970 --> 00:22:28,388 but the production director, Iwasaki-san,

427 00:22:28,472 --> 00:22:34,143 the producer for this part, Mabuchi-san, and myself,

428 00:22:34,228 --> 00:22:36,229 didn't quite communicate enough,

429 00:22:36,313 --> 00:22:38,731 so nothing came.

430 00:22:38,816 --> 00:22:40,650 So things actually don't show up sometimes?

431 00:22:40,734 --> 00:22:42,569 --Well, yeah. --It happens.

432 00:22:42,653 --> 00:22:45,572 What happens often is if the planning goes awry,

433 00:22:45,656 --> 00:22:47,907 the animators think it'll be ¤G

434 00:22:47,992 --> 00:22:50,493 and the ¤G people think it'll be animated,

435 00:22:50,578 --> 00:22:52,620 and when you open the box, it's empty.

436 00:22:52,705 --> 00:22:54,664 It happens quite a bit.

437 00:22:54,748 --> 00:22:56,249 Yes, it does.

438 00:22:56,333 --> 00:23:00,587 You tend to discover these things in the eleventh hour.

439 00:23:00,671 --> 00:23:03,590 Then it becomes a question of, "So what do we do?"

440 00:23:13,934 --> 00:23:17,812 Watching Part A... Iwasaki-san tends to be persistent, so...

441 00:23:17,897 --> 00:23:19,647 --Really? --Yes, yes.

442 00:23:19,732 --> 00:23:22,775 He'll check the rushes once, then think about it,

443 00:23:22,860 --> 00:23:25,695 and when you think it's all good, he'll be like, "Here, and here."

444 00:23:25,779 --> 00:23:26,654 I didn't know.

445 00:23:26,739 --> 00:23:28,656 He'll keep at it until pretty close to the end.

446 00:23:28,741 --> 00:23:33,620 The rushes for Part A got checked relatively quickly even then,

447 00:23:33,704 --> 00:23:36,414 but still, he kept at it until fairly close to the end.

448 00:23:36,498 --> 00:23:44,881 Every so often, he shows an eye for detail that's startling.

449 00:23:44,965 --> 00:23:49,761 Somehow, I have this impression that he's pretty loose,

450 00:23:49,845 --> 00:23:51,930 but when it comes to things he's particular about,

451 00:23:52,014 --> 00:23:54,057 he can be pretty persistent.

452 00:23:54,141 --> 00:23:57,894 I think that's a great thing about him.

453 00:23:57,978 --> 00:24:01,189 I'm pretty familiar with him, calling him Taro all the time.

454 00:24:01,273 --> 00:24:04,275 This was where people said the old guy looks suspicious.

455 00:24:04,360 --> 00:24:06,361 The whole time, this was...

456 00:24:06,445 --> 00:24:08,571 The animation is Kanno-kun,

457 00:24:08,656 --> 00:24:14,410 but it was like, "Are you doing it on purpose?"

458 00:24:14,495 --> 00:24:17,455 "Hey, this guy in the back looks like he's scheming big time."

459 00:24:17,539 --> 00:24:19,916 When he said, "Is that bad?" I didn't know what to do.

460 00:24:20,000 --> 00:24:22,126 Putting yourself in the audience's shoes,

461 00:24:22,211 --> 00:24:24,963 you might think that old guy is actually the bad guy

462 00:24:25,047 --> 00:24:27,382 instead of Bradley.

463 00:24:27,466 --> 00:24:30,009 You could have this great misconception.

464 00:24:37,851 --> 00:24:39,060 So, here's Bradley.

465 00:24:39,144 --> 00:24:42,772 Well, I should say Lang, rather than Bradley.

466 00:24:42,856 --> 00:24:44,565 This part was also pretty...

467 00:24:44,650 --> 00:24:48,111 "Where did the driver Ed put down go?"

468 00:24:48,195 --> 00:24:53,116 And we were like, "Oh, crap."

469 00:24:56,912 --> 00:25:00,331 This part is somehow...

470 00:25:00,416 --> 00:25:02,208 This finger is sort of...

471 00:25:02,292 --> 00:25:03,543 Oh, right.

472 00:25:03,627 --> 00:25:05,336 Makes you wonder how many fingers he has.

473 00:25:05,421 --> 00:25:07,797 It happens to look a bit weird somehow.

474 00:25:07,881 --> 00:25:15,013 There was something about whether the door was open or not, too.

475 00:25:16,432 --> 00:25:19,267 When you think about it, we made this in a pretty big rush.

476 00:25:19,351 --> 00:25:20,727 Yes, we really were in a rush.

477 00:25:20,811 --> 00:25:22,687 Was this area colored later on, too?

478 00:25:22,771 --> 00:25:25,815 Oh, yes. I'm sorry.

479 00:25:25,899 --> 00:25:29,861 They were all lumps until about the middle of June.

480 00:25:29,945 --> 00:25:31,988 The only exception was the intro.

481 00:25:32,072 --> 00:25:36,034 No matter what we said, the intro alone seemed like it would get done,

482 00:25:36,118 --> 00:25:38,119 but the rest was just in a rush.

483 00:25:38,203 --> 00:25:39,871 Until things got moving, I seem to recall

484 00:25:39,955 --> 00:25:44,667 we just kept doing retakes of the intro.

485 00:25:44,752 --> 00:25:46,586 Up to that point was where I did the storyboards

486 00:25:46,670 --> 00:25:51,716 and from here, we had Masui Soichi-san do them.

487 00:25:51,800 --> 00:25:52,842 Masui-san got the storyboards done quickly.

488 00:25:52,926 --> 00:25:54,260 Yes, he was fast.

489 00:25:54,344 --> 00:25:56,804 No, Ando-san also got them in before the end of the year.

490 00:25:56,889 --> 00:26:00,183 --Ando-san got it in by the end of the year? --Yes, he did!

491 00:26:00,267 --> 00:26:04,896 Oh, that was because we couldn't check Part D until Part ¤ came.

492 00:26:04,980 --> 00:26:06,731 Also, starting here it's...

493 00:26:06,815 --> 00:26:08,649 --What? --P.A. Works.

494 00:26:08,734 --> 00:26:11,652 We had to have the storyboards first thing

495 00:26:11,737 --> 00:26:15,865 to hand it over to Horikawa-san.

496 00:26:15,949 --> 00:26:18,868 Starting from this Part B, the direction is done by Hashimoto-kun,

497 00:26:18,952 --> 00:26:22,705 someone who's worked all along on the series at P.A.

498 00:26:22,790 --> 00:26:27,710 He's known for doing quite detailed work,

499 00:26:27,795 --> 00:26:31,506 but some of his awkwardness came out while working on the film

500 00:26:31,590 --> 00:26:32,965 and he got a bit depressed about it.

501 00:26:33,050 --> 00:26:34,967 But fundamentally, he did a good job, really.

502 00:26:35,052 --> 00:26:36,677 He really did a lot on this pro¤ect.

503 00:26:36,762 --> 00:26:39,555 He's part of the main staff, but he works separately by himself,

504 00:26:39,640 --> 00:26:43,017 so I'm sure that's tough.

505 00:26:43,102 --> 00:26:47,730 Oh, this is where the mecha animation director Kaneko Shuichi-san

506 00:26:47,815 --> 00:26:51,317 shows his eye for detail and love for airplanes.

507 00:26:51,401 --> 00:26:52,693 You know, for this part...

508 00:26:52,778 --> 00:26:55,988 He said he was going to revise just the propellers

509 00:26:56,073 --> 00:26:57,615 and that stayed on the shelf forever.

510 00:26:57,699 --> 00:27:00,451 --And I was wondering why it was still unfinished. --This part is so cool, too!

511 00:27:00,536 --> 00:27:01,661 "Why is it still unfinished?"

512 00:27:01,745 --> 00:27:05,206 "Well, see, in Europe, the propellers rotate to the right,

513 00:27:05,707 --> 00:27:08,584 but it's left in America..." I might be getting it backwards, but...

514 00:27:08,669 --> 00:27:10,294 "But according to documents,

515 00:27:10,379 --> 00:27:13,798 they sometimes both rotate toward the center."

516 00:27:13,882 --> 00:27:15,424 It was just amazing!

517 00:27:15,509 --> 00:27:18,761 It made me feel like, "Wow, this is what builds up the quality."

518 00:27:18,846 --> 00:27:20,429 It's incredible.

519 00:27:20,514 --> 00:27:23,766 Kaneko-san's love for airplanes is no small thing.

520 00:27:23,851 --> 00:27:25,434 Well, Oyabu-kun won him over

521 00:27:25,519 --> 00:27:27,270 based solely on the fact that we have planes flying, right?

522 00:27:27,354 --> 00:27:28,729 That's right. It was like, "Are there going to be planes?"

523 00:27:28,814 --> 00:27:30,439 "Yes, there will be."

524 00:27:30,524 --> 00:27:33,192 And it was like, "Then, I'll work as an animation director."

525 00:27:33,277 --> 00:27:35,653 I'm really grateful.

526 00:27:35,737 --> 00:27:37,280 And while we were being grateful,

527 00:27:37,364 --> 00:27:40,408 we kind of ended up asking him to do Part D as well.

528 00:27:40,492 --> 00:27:42,076 Originally, he was only supposed to work on Part B, right?

529 00:27:42,161 --> 00:27:44,704 That was the arrangement at first.

530 00:27:44,788 --> 00:27:46,622 Just the airplane part. Just the biplane part.

531 00:27:46,707 --> 00:27:52,753 Yes. A bit later, there's a scene where the biplanes are in a line.

532 00:27:52,838 --> 00:27:55,631 Once we see it, we can have Oyabu-san sort of...

533 00:27:55,716 --> 00:27:57,300 So, you mean we should do that later?

534 00:27:57,384 --> 00:27:58,968 Yes.

535 00:28:00,679 --> 00:28:03,556 Ah, they're coming into the castle.

536 00:28:03,640 --> 00:28:05,725 What about the color of the light and stuff here?

537 00:28:05,809 --> 00:28:07,643 I think they made lots of cel overlays

538 00:28:07,728 --> 00:28:09,687 and did things pretty properly.

539 00:28:09,771 --> 00:28:13,733 This is a part where I really thought Hashimoto-kun does good work.

540 00:28:13,817 --> 00:28:18,112 He said there was so much material, it was hard to make sense.

541 00:28:18,197 --> 00:28:20,990 But you know, we had quite a lot done during photography,

542 00:28:21,074 --> 00:28:23,451 like adding gradation brush work and things.

543 00:28:23,535 --> 00:28:28,915 We made minute ad¤ustments to how far the shadows would reach.

544 00:28:28,999 --> 00:28:30,708 The director of photography, Fukushi-san,

545 00:28:30,792 --> 00:28:35,796 handles how light works very beautifully,

546 00:28:35,881 --> 00:28:38,716 so he's really good at sequences like this.

547 00:28:38,800 --> 00:28:43,721 But more like, I told him to subdue the flares quite a lot.

548 00:28:43,805 --> 00:28:49,101 And in the end, he wrote down my comment somewhere.

549 00:28:53,148 --> 00:28:56,442 This area is pretty cool, too, with how the light plays.

550 00:28:58,987 --> 00:29:02,531 The animation didn't get done for a long while for this part, either,

551 00:29:02,616 --> 00:29:04,659 even though it was P.A.

552 00:29:04,743 --> 00:29:08,579 Someone named Morioka-kun, whom I know and who does good work,

553 00:29:08,664 --> 00:29:12,124 did this part, but his original art looked really cute,

554 00:29:12,209 --> 00:29:16,587 so I was apprehensive that it might influence the vocal recordings.

555 00:29:16,672 --> 00:29:19,298 The haction here... I mean, action.

556 00:29:19,383 --> 00:29:20,466 Not haction.

557 00:29:20,550 --> 00:29:23,886 The action is by a Sasaki Masakatsu-san,

558 00:29:23,971 --> 00:29:27,181 who is another magnificent animator.

559 00:29:27,266 --> 00:29:29,642 He's really fast.

560 00:29:29,726 --> 00:29:31,727 He finished stuff up one after another, didn't he?

561 00:29:31,812 --> 00:29:34,730 This is a really hard scene, but he was incredibly fast.

562 00:29:34,815 --> 00:29:37,358 Thanks to him, it was really easy to make it a part of the trailer.

563 00:29:37,442 --> 00:29:40,569 It made it into the second round of special reports or something.

564 00:29:40,654 --> 00:29:45,324 But we doggedly did quite a few retakes for this part, too.

565 00:29:45,409 --> 00:29:49,537 Like, "What do we do with the sky you can see in between?"

566 00:29:49,621 --> 00:29:53,541 Or how it didn't feel right for things to be still at the start,

567 00:29:53,625 --> 00:29:55,501 --and we ended up adding camerawork and stuff. --The effects around here are also...

568 00:29:55,585 --> 00:29:56,711 --Yes. --Right?

569 00:29:56,795 --> 00:30:00,214 Kaneko-san supervised it.

570 00:30:03,302 --> 00:30:06,345 It's pretty nice.

571 00:30:06,430 --> 00:30:09,432 This is where it leads to the discussion

572 00:30:09,516 --> 00:30:12,435 of how broken the plane in Part ¤ should be.

573 00:30:12,519 --> 00:30:18,107 You can see it briefly in the back.

574 00:30:21,862 --> 00:30:24,780 The special effects for the airship here were...

575 00:30:24,865 --> 00:30:26,157 --Oh, yes, yes, yes. --...Ebikawa...

576 00:30:26,241 --> 00:30:29,577 Yeah, it was Ebikawa. We asked Ebikawa-kun to do it.

577 00:30:29,661 --> 00:30:34,749 This area is really done by people who've worked for us for a long time.

578 00:30:34,833 --> 00:30:38,127 They're friends, who're easy to invite to work with us.

579 00:30:38,211 --> 00:30:41,505 People who know both Miyahara and me.

580 00:30:41,590 --> 00:30:45,343 Ebikawa-kun is also someone we had helping out

581 00:30:45,427 --> 00:30:49,680 with some of the tough parts during the ¤ series.

582 00:30:49,765 --> 00:30:52,850 We were really fortunate.

583 00:30:55,145 --> 00:30:58,773 Right, right. He says they worked hard to gather them all,

584 00:30:58,857 --> 00:31:01,192 but there are apparently a lot of Spears of Longinuses.

585 00:31:01,276 --> 00:31:02,276 Right, right, right.

586 00:31:02,361 --> 00:31:04,737 There's a lot of literature left,

587 00:31:04,821 --> 00:31:10,785 but no matter how hard we looked, there was only one design.

588 00:31:10,869 --> 00:31:12,828 I think production had a hard time.

589 00:31:12,913 --> 00:31:14,872 I asked Anzai to look for it,

590 00:31:14,956 --> 00:31:17,750 and we had him looking for a long time, and I looked, too,

591 00:31:17,834 --> 00:31:20,127 but when we were like, "Found it!" what we'd found was the same

592 00:31:20,212 --> 00:31:23,214 and it was a huge disappointment.

593 00:31:23,298 --> 00:31:25,549 Around here, the mecha animation director Kaneko-san was like,

594 00:31:25,634 --> 00:31:27,093 "You know the things stuck in the airplane?

595 00:31:27,177 --> 00:31:30,388 "Is it okay for them to be the same on both sides?"

596 00:31:30,472 --> 00:31:32,056 "Is that all right?"

597 00:31:32,140 --> 00:31:36,268 I remember him making revisions saying things like that.

598 00:31:36,353 --> 00:31:39,105 Reference material was so hard to come by.

599 00:31:39,189 --> 00:31:42,691 There's quite a lot written about things in texts,

600 00:31:42,776 --> 00:31:46,946 but so many things didn't have actual pictures, so it was rough.

601 00:31:47,030 --> 00:31:49,949 You often said this at meetings,

602 00:31:50,033 --> 00:31:54,078 but this era is right on the cusp of photographic records, right?

603 00:31:54,162 --> 00:31:55,704 Right, right, right, right.

604 00:31:55,789 --> 00:32:01,669 So, using complete fabrications doesn't seem right,

605 00:32:01,753 --> 00:32:04,505 and yet, it's not as if there's an abundance of reference material.

606 00:32:04,589 --> 00:32:09,510 But you know, this goes for those biplanes and for this...

607 00:32:09,594 --> 00:32:11,762 What? Not a balloon... The airship, too,

608 00:32:11,847 --> 00:32:14,974 but we had Fukuchi Jin-san do the designs

609 00:32:15,058 --> 00:32:18,602 and he's someone who takes the era's sensibilities into consideration

610 00:32:18,687 --> 00:32:21,856 and draws things properly by doing research,

611 00:32:21,940 --> 00:32:24,191 so his suggestions were really helpful, you know?

612 00:32:24,276 --> 00:32:25,234 That's true.

613 00:32:25,318 --> 00:32:26,694 Huh? I feel kind of lonely suddenly.

614 00:32:26,778 --> 00:32:29,947 I was just thinking about how helpful he was.

615 00:32:30,031 --> 00:32:32,199 You seem sort of restless. What's up?

616 00:32:32,284 --> 00:32:33,242 No, not at all.

617 00:32:33,326 --> 00:32:34,785 Do you want to go on to later parts?

618 00:32:34,870 --> 00:32:36,996 Who came up with this German incantation?

619 00:32:37,080 --> 00:32:38,456 This was Karsten-san...?

620 00:32:38,540 --> 00:32:39,623 Yes, Karsten-san.

621 00:32:39,708 --> 00:32:44,128 Who is that?

622 00:32:44,212 --> 00:32:49,425 The production designer Aramaki-san said he knows a German guy.

623 00:32:49,509 --> 00:32:51,677 Oh, so Karsten-san is Aramaki-san's friend.

624 00:32:51,761 --> 00:32:53,095 A friend? A colleague.

625 00:32:53,180 --> 00:32:55,514 A colleague.

626 00:32:55,599 --> 00:32:59,268 He also came up with some English translations

627 00:32:59,352 --> 00:33:04,398 for the title, "Shamballa o Yuku Mono."

628 00:33:04,483 --> 00:33:07,318 I don't know what we ultimately settled on, though.

629 00:33:07,402 --> 00:33:09,570 Huh? It's "¤onqueror of Shamballa," right?

630 00:33:09,654 --> 00:33:11,906 He came up with quite a few variations and from those...

631 00:33:11,990 --> 00:33:13,741 But it was ultimately the one Aikawa and I came up with, right?

632 00:33:13,825 --> 00:33:15,576 Yes, that's how it ended up.

633 00:33:15,660 --> 00:33:17,369 He did various things.

634 00:33:17,454 --> 00:33:18,537 Since this is Germany,

635 00:33:18,622 --> 00:33:21,790 we figured we needed to have the placed-in elements in German, too,

636 00:33:21,875 --> 00:33:26,253 so we had him supervise various bits of German.

637 00:33:28,840 --> 00:33:29,632 And now, starting here,

638 00:33:29,716 --> 00:33:33,802 we'll be talking with color designer Nakayama-san.

639 00:33:33,887 --> 00:33:36,597 I'm Nakayama and I handled the color design.

640 00:33:36,681 --> 00:33:38,974 --Thank you for having me. --Thank you for being here.

641 00:33:39,059 --> 00:33:42,978 With regards to the differences in hue between the real and alchemic worlds,

642 00:33:43,063 --> 00:33:44,563 were there any difficulties you ran into?

643 00:33:44,648 --> 00:33:50,027 Well, the director and I had discussed this before the movie.

644 00:33:50,111 --> 00:33:55,574 Because it's a continuation of the TV series,

645 00:33:55,659 --> 00:34:01,372 Ed has already gone to Munich around the final episode,

646 00:34:01,456 --> 00:34:06,627 so we got to talking about how it might be better to change the hues

647 00:34:06,711 --> 00:34:10,422 between the real world of Munich and the Fullmetal world over here.

648 00:34:10,507 --> 00:34:11,840 Since it all flows from there,

649 00:34:11,925 --> 00:34:16,470 fundamentally, it's a continuation of what we did in the TV series.

650 00:34:16,555 --> 00:34:19,765 Normally, in flashbacks and things,

651 00:34:19,849 --> 00:34:24,228 you often leech out the colors to get the right feel,

652 00:34:24,312 --> 00:34:27,231 but conversely, in the case of this film...

653 00:34:27,315 --> 00:34:30,943 Munich is the focus, so you might normally keep the color there

654 00:34:31,027 --> 00:34:36,824 and leech out the color from the Fullmetal world,

655 00:34:36,908 --> 00:34:38,200 but we did the opposite this time.

656 00:34:38,285 --> 00:34:40,661 We decided to keep the ¤ series as the standard

657 00:34:40,745 --> 00:34:44,290 and leech the colors from the real Munich world.

658 00:34:44,374 --> 00:34:46,125 That's where we were coming from,

659 00:34:46,209 --> 00:34:50,004 so it's not like we did anything just because it's a movie.

660 00:34:50,088 --> 00:34:51,797 But in tackling the movie,

661 00:34:51,881 --> 00:34:54,800 you tried leeching a bit more of the color compared to the series

662 00:34:54,884 --> 00:34:57,219 and made some subtle ad¤ustments, didn't you?

663 00:34:57,304 --> 00:35:02,099 Well, the basics didn't get changed, but...

664 00:35:02,183 --> 00:35:04,643 --But some minute changes in individual scenes and things... --We did make minute changes

665 00:35:04,728 --> 00:35:08,647 in the contrast for individual character...

666 00:35:08,732 --> 00:35:11,066 For example, even in the Fullmetal world,

667 00:35:11,151 --> 00:35:15,070 we did tweak characters like Winry and Al.

668 00:35:15,155 --> 00:35:16,989 If you compare it with the TV series,

669 00:35:17,073 --> 00:35:20,784 you'll probably begin to see subtle differences and things, right?

670 00:35:20,869 --> 00:35:26,040 --Hmm, I don't know if people will be able to tell. --Won't they be able to?

671 00:35:26,124 --> 00:35:29,209 But I put you through quite a bit of trouble, so...

672 00:35:29,294 --> 00:35:31,962 No, no, I think it's a matter of preference,

673 00:35:32,047 --> 00:35:36,342 and a lot is based on whether I'm satisfied with it or not, so...

674 00:35:36,426 --> 00:35:39,803 With a TV series, it goes for a year and it's long,

675 00:35:39,888 --> 00:35:42,014 but once you make decisions for the main characters,

676 00:35:42,098 --> 00:35:44,725 you can't easily make changes to them. You can't fix them.

677 00:35:44,809 --> 00:35:49,396 The work just keeps moving right along,

678 00:35:49,481 --> 00:35:54,026 so I figured I'd take this opportunity to mess with it a little.

679 00:35:54,110 --> 00:35:56,612 --Since it's a movie... --Since I'm doing this for the movie anyway,

680 00:35:56,696 --> 00:36:01,325 I thought I'd make some adjustments. I did do things like that.

681 00:36:01,409 --> 00:36:04,578 From the people who've watched it,

682 00:36:04,663 --> 00:36:07,581 I've gotten quite a lot of favorable responses

683 00:36:07,666 --> 00:36:10,376 --to the differences in colors, --Oh, really?

684 00:36:10,460 --> 00:36:15,673 --so I'm really grateful. --If that's the case, I'm glad.

685 00:36:15,757 --> 00:36:18,509 --It's pretty much all thanks to you. --No, but, well...

686 00:36:18,593 --> 00:36:23,931 Towards the end, where Ed has come to the real world,

687 00:36:24,015 --> 00:36:26,517 --you know how the sky is overcast? --Oh, yes, yes, yes.

688 00:36:26,601 --> 00:36:28,894 That was a bit of a miscalculation.

689 00:36:28,978 --> 00:36:31,522 --Oh, because it's overcast, even though it's in the alchemic world. --Right, right.

690 00:36:31,606 --> 00:36:33,399 The scene where I made the scene overcast.

691 00:36:33,483 --> 00:36:35,192 Yes, that's right.

692 00:36:35,276 --> 00:36:36,860 That and the underground...

693 00:36:36,945 --> 00:36:41,907 We didn't change the colors for the underground city in the TV series.

694 00:36:41,991 --> 00:36:44,702 We went with the normal colors for the underground city,

695 00:36:44,786 --> 00:36:49,289 but the backgrounds were pretty leeched of color.

696 00:36:49,374 --> 00:36:52,042 Because this was a movie, I thought I'd match things up a bit

697 00:36:52,127 --> 00:36:54,753 and gave it that leeched look,

698 00:36:54,838 --> 00:36:59,258 but it still looked leeched, even coming from Munich.

699 00:36:59,342 --> 00:37:03,137 And even if you went above ground, it was overcast,

700 00:37:03,221 --> 00:37:05,180 so the colors were still leeched.

701 00:37:05,265 --> 00:37:09,143 --I was a little sad there was no contrast there. --I'm very sorry.

702 00:37:10,895 --> 00:37:13,313 That was pretty much...

703 00:37:13,398 --> 00:37:16,608 So, it's not exactly the pride of a professional,

704 00:37:16,693 --> 00:37:20,112 but I was like, "There should be subtle differences there!"

705 00:37:20,196 --> 00:37:22,614 There was stuff like that.

706 00:37:22,699 --> 00:37:27,202 Well, it worked out all right somehow, so I guess it was okay.

707 00:37:27,287 --> 00:37:32,082 Are there any scenes that you thought turned out the best?

708 00:37:32,167 --> 00:37:38,797 --Personally, there's the sequence with Ed and Al on the stairs, --Ah, yes, yes, yes.

709 00:37:38,882 --> 00:37:41,508 where Al leaves.

710 00:37:41,593 --> 00:37:45,804 For that part, when the background people were doing the prelim BG,

711 00:37:45,889 --> 00:37:49,600 I had them make various revisions several times,

712 00:37:49,684 --> 00:37:53,937 but for all that, I felt that it came out really well.

713 00:37:54,022 --> 00:37:55,689 Personally speaking, that was...

714 00:37:55,774 --> 00:37:57,566 --...it for you. --Yes, that was it.

715 00:37:57,650 --> 00:37:58,776 I also love that part.

716 00:37:58,860 --> 00:38:02,529 That's a part I'm self-satisfied with.

717 00:38:02,614 --> 00:38:06,033 Even while I realized that other people might not get it,

718 00:38:06,117 --> 00:38:07,326 I decided that was okay.

719 00:38:07,410 --> 00:38:10,704 It was like, as long as I liked it, that's all that mattered.

720 00:38:11,998 --> 00:38:15,083 Okay, and with that, thank you very much, Nakayama-san.

721 00:38:15,168 --> 00:38:19,338 And now, let's go back to our original four members.

722 00:38:21,466 --> 00:38:22,758 You know, for this part,

723 00:38:22,842 --> 00:38:26,345 when the layout was finished, it turned out to be really complicated

724 00:38:26,429 --> 00:38:29,681 and it was like, "What are we going to do with this?"

725 00:38:29,766 --> 00:38:31,517 --We were like, "We'll just take it head on!" --Oh, this scene!

726 00:38:31,601 --> 00:38:35,896 --I'll never forget this scene! --Oh, this scene was incredibly... Yeah.

727 00:38:35,980 --> 00:38:37,606 It's a memorable scene.

728 00:38:37,690 --> 00:38:42,361 Yes, memorable! This was finished at the end!

729 00:38:42,445 --> 00:38:45,614 --Oh, of everything... --Yes, of everything, it was finished last,

730 00:38:45,698 --> 00:38:47,658 and Ito-san went through a lot of trouble as the animation director.

731 00:38:47,742 --> 00:38:52,037 --That's right! I remember now. --It's unforgettable.

732 00:38:52,121 --> 00:38:57,501 We had Genba-san personally come to BONES once

733 00:38:57,585 --> 00:39:01,380 and we all checked this material with each other

734 00:39:01,464 --> 00:39:04,049 to settle on this scene.

735 00:39:04,133 --> 00:39:08,679 Right, that was Genba-san.

736 00:39:08,763 --> 00:39:12,641 Around here, for the movement of the armor,

737 00:39:12,725 --> 00:39:17,521 we had the animators do rough key animation

738 00:39:17,605 --> 00:39:25,571 in an attempt to go for as animated a look as we could,

739 00:39:25,655 --> 00:39:28,031 but in terms of the ¤G, we weren't going to make it

740 00:39:28,116 --> 00:39:30,742 unless we stuck in the layouts one after another.

741 00:39:30,827 --> 00:39:35,622 We took finished material that hadn't been checked by the directors,

742 00:39:35,707 --> 00:39:39,376 lied that it had passed directorial inspection,

743 00:39:39,460 --> 00:39:46,133 and just put it all into ¤G.

744 00:39:46,217 --> 00:39:49,761 After the cutting was done,

745 00:39:49,846 --> 00:39:53,974 I said, "No, that's not the real thing," and reinserted all the scenes

746 00:39:54,058 --> 00:39:56,602 and I almost got grabbed by the shirt collar and asked,

747 00:39:56,686 --> 00:39:59,646 "Who the hell's side are you on?"

748 00:39:59,731 --> 00:40:02,482 That's this area.

749 00:40:02,567 --> 00:40:04,443 But they sure really worked hard.

750 00:40:04,527 --> 00:40:06,737 Still, this part is just really...

751 00:40:06,821 --> 00:40:10,490 The Al model you just saw moving was also 3D.

752 00:40:10,575 --> 00:40:11,700 For the Al model in particular,

753 00:40:11,784 --> 00:40:13,368 we had someone called Suzuki Daisuke-san

754 00:40:13,453 --> 00:40:15,996 do both the modeling and motion.

755 00:40:16,080 --> 00:40:17,539 He's really good.

756 00:40:17,624 --> 00:40:21,543 --He is good. --Like this part is amazing.

757 00:40:23,504 --> 00:40:24,755 That was a really big sigh there.

758 00:40:24,839 --> 00:40:28,717 It's so incredible, it makes you sigh.

759 00:40:28,801 --> 00:40:32,095 Oh, this spin kick...

760 00:40:32,180 --> 00:40:37,935 The Al model armor and Alphonse are animated here, though.

761 00:40:38,019 --> 00:40:40,896 Everything else is ¤G.

762 00:40:40,980 --> 00:40:45,651 Around here, the idea was that they'd come through the gate,

763 00:40:45,735 --> 00:40:49,988 so it was later suggested that the armor be dented some

764 00:40:50,073 --> 00:40:52,282 and that was something we had a bit of trouble with in ¤G.

765 00:40:52,367 --> 00:40:56,787 Sorry about that. It was a part that took a long time to finalize.

766 00:40:58,790 --> 00:41:02,084 With that, the hard scenes come to an end for a time.

767 00:41:02,168 --> 00:41:05,337 It was something we waffled about quite a bit

768 00:41:05,421 --> 00:41:08,757 and we had things changed even as we asked,

769 00:41:08,841 --> 00:41:11,301 "¤an we still get it done in time?"

770 00:41:11,386 --> 00:41:12,886 Actually, more like, we'd talked about it early on,

771 00:41:12,971 --> 00:41:15,597 but then forgot about it.

772 00:41:17,809 --> 00:41:19,643 The effects here are also something

773 00:41:19,727 --> 00:41:24,439 the director of photography, Fukushi-san, put a lot of thought into.

774 00:41:24,524 --> 00:41:28,110 We talked about how we had some reference.

775 00:41:28,194 --> 00:41:30,112 That's the part where, Miyahara-kun, you were...

776 00:41:30,196 --> 00:41:33,699 It was the bit where he watched the ¤ell¤i¤ DVD and said,

777 00:41:34,033 --> 00:41:37,744 "This isn't it, is it?"

778 00:41:37,829 --> 00:41:40,455 It was incredible. When I watched it pretty close to the release,

779 00:41:40,540 --> 00:41:43,000 I thought, "Oh, this kind of feel might be good,"

780 00:41:43,084 --> 00:41:46,753 so what we'd looked so hard for turned out to be that.

781 00:41:50,133 --> 00:41:53,385 This whole segment is part of Part B,

782 00:41:53,469 --> 00:41:56,346 and it had hard but not very flashy shots on one hand,

783 00:41:56,431 --> 00:42:00,017 while there were those armor we couldn't decide on on the other hand.

784 00:42:00,101 --> 00:42:02,519 That's the kind of part we send off wholesale.

785 00:42:02,603 --> 00:42:03,603 That's true.

786 00:42:03,688 --> 00:42:06,690 Well, the strategy was that we figure

787 00:42:06,774 --> 00:42:10,986 Horikawa-san's place would create more solid work than even we could.

788 00:42:11,070 --> 00:42:12,863 And seeing Masui-san's storyboards,

789 00:42:12,947 --> 00:42:15,490 Horikawa-san said, "Oh, are these Masui-san's storyboards?"

790 00:42:15,575 --> 00:42:18,618 and she looked a bit glum.

791 00:42:18,703 --> 00:42:20,454 "Oh, it's him!" basically.

792 00:42:20,538 --> 00:42:25,500 Masui-san certainly doesn't try to avoid anything.

793 00:42:25,585 --> 00:42:30,130 But we give him scenes like this with that in mind.

794 00:42:30,214 --> 00:42:34,134 For a while there, among BONES's production staff,

795 00:42:34,218 --> 00:42:37,137 the phrase "P.A. magic" was floating around.

796 00:42:37,221 --> 00:42:39,765 That's awful.

797 00:42:39,849 --> 00:42:43,143 We got quite a lot of help from P.A. during the series, too.

798 00:42:43,227 --> 00:42:45,479 We were able to have them stick with us until the end,

799 00:42:45,563 --> 00:42:46,813 so we were really fortunate.

800 00:42:46,898 --> 00:42:50,567 Hashimoto-san and Sekiguchi-san were really just...

801 00:42:50,651 --> 00:42:58,492 They both got to like Fullmetal and I was grateful for that.

802 00:42:58,576 --> 00:43:01,286 The meal scene here is also... Right?

803 00:43:01,370 --> 00:43:03,246 Like the sausage and stuff.

804 00:43:03,331 --> 00:43:09,461 It totally reflects the food I ate in Germany.

805 00:43:09,545 --> 00:43:10,796 The voice actors here...

806 00:43:10,880 --> 00:43:15,133 Oh, she's a TBS reporter. Maya-maya.

807 00:43:15,218 --> 00:43:17,636 She was cute.

808 00:43:20,181 --> 00:43:23,141 This is it.

809 00:43:23,226 --> 00:43:26,561 --This reporter Komada had a pretty good voice, didn't he? --Yes, yes, yes.

810 00:43:26,646 --> 00:43:28,772 Was it Takano-san? He was energetic.

811 00:43:28,856 --> 00:43:30,107 He was awfully psyched.

812 00:43:30,191 --> 00:43:32,275 Right, right, right, right.

813 00:43:34,570 --> 00:43:35,821 Oh, yes, that reminds me.

814 00:43:35,905 --> 00:43:39,199 Partway through, since the reporters were going to talk,

815 00:43:39,283 --> 00:43:41,493 I was asked if there were any model sheets

816 00:43:41,577 --> 00:43:44,746 and it was like, "They're characters in just a couple of scenes!

817 00:43:44,831 --> 00:43:49,668 "You can do what you want with the characters!"

818 00:43:49,752 --> 00:43:51,670 On top of that, we decided on the day of

819 00:43:51,754 --> 00:43:53,755 which of the two male reporters would be playing which.

820 00:43:53,840 --> 00:43:55,799 --I swapped them after hearing their voices, right? --Right, right, right.

821 00:43:55,883 --> 00:43:58,218 I remember requesting that.

822 00:43:58,302 --> 00:43:59,886 "We drew up the characters to be like this,

823 00:43:59,971 --> 00:44:01,805 so please play each other's roles."

824 00:44:01,889 --> 00:44:04,432 And they were like, "What?!"

825 00:44:06,853 --> 00:44:07,811 This is also one of those parts

826 00:44:07,895 --> 00:44:13,608 where Kaneko-san did a great job touching things up for us.

827 00:44:13,693 --> 00:44:15,110 The special effects are all spot-on, too.

828 00:44:15,194 --> 00:44:17,821 Because Kaneko-san does directing as well,

829 00:44:17,905 --> 00:44:24,035 he discussed camerawork and framing issues with me quite a lot

830 00:44:24,120 --> 00:44:26,037 and like the part just earlier, he said,

831 00:44:26,122 --> 00:44:28,165 "Wouldn't it be more effective if there were two biplanes there?"

832 00:44:28,249 --> 00:44:30,458 And I went, "Oh, that's true. Let's do that."

833 00:44:30,543 --> 00:44:34,045 So he added that in for us. I really appreciated that.

834 00:44:34,130 --> 00:44:36,756 Even with the scene just earlier that was panning,

835 00:44:36,841 --> 00:44:39,718 there was an issue of whether the Envy dragon would be visible or not.

836 00:44:39,802 --> 00:44:41,678 Yeah, we did various things like dimming the edges of the screen

837 00:44:41,762 --> 00:44:43,847 --and leeching some of the colors. --"Would it better to show the dragon or not?"

838 00:44:43,931 --> 00:44:47,350 See, the dragon's not there here.

839 00:44:47,435 --> 00:44:48,643 And for the transmutation circle,

840 00:44:48,728 --> 00:44:52,147 matching the size between this and the close-up shots

841 00:44:52,231 --> 00:44:55,442 was something we had quite a bit of trouble with.

842 00:44:55,526 --> 00:44:57,569 Especially since it's blurred here,

843 00:44:57,653 --> 00:44:59,321 so deciding just how much of it you'd be able to see

844 00:44:59,405 --> 00:45:00,572 involved quite a lot of trial and error.

845 00:45:00,656 --> 00:45:04,826 Here, too. We did two or three retakes for this, too, didn't we?

846 00:45:04,911 --> 00:45:07,746 Like too much was visible at one point.

847 00:45:07,830 --> 00:45:09,789 And particularly with size...

848 00:45:09,874 --> 00:45:11,708 When you have to show how big it is in a circle,

849 00:45:11,792 --> 00:45:14,044 if things are a little mismatched

850 00:45:14,128 --> 00:45:16,588 between the finished background and the layout,

851 00:45:16,672 --> 00:45:19,883 that alone can make handling things difficult.

852 00:45:19,967 --> 00:45:21,885 And when you factor in the transmutation circle,

853 00:45:21,969 --> 00:45:24,387 it gets pretty tough.

854 00:45:28,100 --> 00:45:30,101 His face looks really good here.

855 00:45:30,186 --> 00:45:32,479 It was Ito-san.

856 00:45:32,563 --> 00:45:38,109 He's got Ed's expressions completely covered.

857 00:45:38,194 --> 00:45:39,361 And now, starting here,

858 00:45:39,445 --> 00:45:43,782 we'll be talking with character designer and executive animation director, Ito-san.

859 00:45:43,866 --> 00:45:46,952 --Thank you for being here. --Hello. Ito here. Thank you for having me.

860 00:45:47,036 --> 00:45:50,997 --The director talked about facial expressions just now. --Yes.

861 00:45:51,082 --> 00:45:52,082 Any thoughts?

862 00:45:52,166 --> 00:45:56,878 Well, in general, unlike in the TV series,

863 00:45:56,963 --> 00:45:59,214 I guess I tried to be more particular

864 00:45:59,298 --> 00:46:02,842 about the subtle changes in facial expressions.

865 00:46:02,927 --> 00:46:05,637 Well, it was pretty...

866 00:46:05,721 --> 00:46:09,015 In the first round of layout checks,

867 00:46:09,100 --> 00:46:12,644 if I wrote in the kind of nuance I was hoping for,

868 00:46:12,728 --> 00:46:17,232 I'd get back facial expressions that made me go, "Oh, this is it!"

869 00:46:17,316 --> 00:46:22,070 --Though, he was really great about it during the TV series, too. --I suppose so.

870 00:46:22,154 --> 00:46:27,534 I'd look at the storyboards, absorb it and put my thoughts in order,

871 00:46:27,618 --> 00:46:31,871 and then I'd do my best to draw that, pretty much.

872 00:46:31,956 --> 00:46:33,373 Well, on this pro¤ect,

873 00:46:33,457 --> 00:46:37,377 the animation directors of each part put those things in,

874 00:46:37,461 --> 00:46:39,754 so I kind of just touched them up a bit

875 00:46:39,839 --> 00:46:43,758 and added in some of my own selfish touches.

876 00:46:43,843 --> 00:46:46,428 I suppose I did a lot of expressing through the hands.

877 00:46:46,512 --> 00:46:50,223 In general, having an executive animation director

878 00:46:50,308 --> 00:46:51,641 on top of having animation directors

879 00:46:51,726 --> 00:46:55,937 seemed to us like a pretty smart way to have you involved.

880 00:46:56,022 --> 00:46:59,649 I suppose. Well, there were some time issues on this pro¤ect, so...

881 00:46:59,734 --> 00:47:01,818 Storyboards were late, after all. Sorry about that.

882 00:47:01,902 --> 00:47:04,863 --I figured what I could do with it would be limited, --Ouch! Ouch! Ouch!

883 00:47:04,947 --> 00:47:10,160 so that was something I was personally aware of

884 00:47:10,244 --> 00:47:14,456 and I'd decided from the start to just handle the key points.

885 00:47:14,540 --> 00:47:15,790 Among those things,

886 00:47:15,875 --> 00:47:19,210 I suppose expressions is an area that I paid special attention to.

887 00:47:19,295 --> 00:47:21,087 I think that really shows in the film

888 00:47:21,172 --> 00:47:22,672 and I keep watching, feeling really grateful.

889 00:47:22,757 --> 00:47:25,592 While I was watching... No, even while we were working on it,

890 00:47:25,676 --> 00:47:30,805 I was happy seeing your revisions.

891 00:47:30,890 --> 00:47:35,060 Well, I suppose my number one hope was to convey even some fraction

892 00:47:35,144 --> 00:47:39,647 of how the characters are feeling to the audience.

893 00:47:39,732 --> 00:47:41,900 The story itself is also a bit hard to understand

894 00:47:41,984 --> 00:47:45,695 and there was a lot directorially that relied on the expressions.

895 00:47:45,780 --> 00:47:49,699 That's true. The depiction of the relationships between the characters

896 00:47:49,784 --> 00:47:52,786 is pretty detailed, I suppose you could say.

897 00:47:52,870 --> 00:47:56,081 There was a need to express their state of mind.

898 00:47:56,165 --> 00:48:00,418 I think that's one of the selling points of Fullmetal, too.

899 00:48:00,503 --> 00:48:05,548 I'm really gratified that you would say so.

900 00:48:06,675 --> 00:48:08,968 You showed each key animator

901 00:48:09,053 --> 00:48:11,388 and animation director's abilities to their advantage,

902 00:48:11,472 --> 00:48:15,141 and yet, the film definitely bears your signature.

903 00:48:15,226 --> 00:48:18,436 I think a great balance was struck there and I liked that.

904 00:48:18,521 --> 00:48:20,897 Well, of course, there's also the fact that you had to do it that way

905 00:48:20,981 --> 00:48:24,943 --in order to finish it, given the kind of schedule we had. --I suppose you could say that.

906 00:48:25,027 --> 00:48:27,946 It is a theatrical film,

907 00:48:28,030 --> 00:48:31,533 but there were also schedule issues, so...

908 00:48:31,617 --> 00:48:34,285 --As the needling complaints continue... --No, no, no, no.

909 00:48:34,370 --> 00:48:36,621 But really, if it hadn't been Ito-san,

910 00:48:36,705 --> 00:48:38,623 things wouldn't have worked out the way they did,

911 00:48:38,707 --> 00:48:42,627 and that's something I'm always saying, so I'm truly grateful.

912 00:48:42,711 --> 00:48:45,755 Any spot in particular that you really obsessed over?

913 00:48:45,840 --> 00:48:50,093 --Oh, with this sequence, there's that scratch on Ed, you know? --Yes, yes.

914 00:48:50,177 --> 00:48:51,344 The scratch on his cheek.

915 00:48:51,429 --> 00:48:53,138 When it first got to me,

916 00:48:53,222 --> 00:48:58,059 I made revisions for it to go the other way

917 00:48:58,144 --> 00:49:03,481 and later, when I saw the scene where he gets the scratch,

918 00:49:03,566 --> 00:49:05,733 it was in the complete opposite direction, so I thought,

919 00:49:05,818 --> 00:49:08,653 "Shoot! I better get it fixed during key animation revisions,"

920 00:49:08,737 --> 00:49:10,697 and I put a lot of work into fixing it.

921 00:49:10,781 --> 00:49:14,701 But Sekiguchi-san had fixed things to match the first shot

922 00:49:14,785 --> 00:49:18,538 where I had revised the scratch to go in the opposite direction,

923 00:49:18,622 --> 00:49:21,124 so we had to take that and go back to how it was again.

924 00:49:21,208 --> 00:49:23,585 This isn't really a scene you obsessed about, but more like...

925 00:49:23,669 --> 00:49:25,712 I didn't know stuff like that happened to you, too!

926 00:49:25,796 --> 00:49:27,505 It was like, "Oops, that's not good.

927 00:49:27,590 --> 00:49:30,383 Better fix it on my end before people find out about it."

928 00:49:30,468 --> 00:49:32,802 So what is this? Some big confessional event?

929 00:49:32,887 --> 00:49:34,137 No, no, no.

930 00:49:34,221 --> 00:49:38,641 Well, you know, unlike the series, the time span is kind of long,

931 00:49:38,726 --> 00:49:41,811 so you sometimes forget what you did earlier.

932 00:49:41,896 --> 00:49:45,565 Sorry, there was quite a bit of that for me, too.

933 00:49:45,649 --> 00:49:47,442 There were some things where I was like,

934 00:49:47,526 --> 00:49:49,569 "Sorry, I noticed this midway through."

935 00:49:49,653 --> 00:49:52,780 So there's just one scene where the scratch seems like it might be going

936 00:49:52,865 --> 00:49:57,118 ever so slightly in the wrong direction. But we'll just keep that our secret.

937 00:49:57,203 --> 00:50:00,914 --No one's figured it out. --Oh, really?

938 00:50:00,998 --> 00:50:03,041 What about how Winry's grown?

939 00:50:03,125 --> 00:50:05,168 Or more like, it was something I obsessed over

940 00:50:05,252 --> 00:50:07,670 --and made a lot of impossible requests to you about. --In this area,

941 00:50:07,755 --> 00:50:11,132 I didn't see eye-to-eye with setting producer, Anzai-kun,

942 00:50:11,217 --> 00:50:12,717 with regards to the costume,

943 00:50:12,801 --> 00:50:14,594 so there was a question of which way to go.

944 00:50:14,678 --> 00:50:17,263 Oh, right. Anzai-kun, the setting producer...

945 00:50:17,348 --> 00:50:20,391 He also likes Winry,

946 00:50:20,476 --> 00:50:23,770 so he was particular about Winry's costumes.

947 00:50:25,940 --> 00:50:27,565 Well, I felt bad about it towards Anzai-kun,

948 00:50:27,650 --> 00:50:30,109 but I figured, since I was the director...

949 00:50:30,194 --> 00:50:32,445 I took the liberty of taking the priority.

950 00:50:32,530 --> 00:50:33,655 I see!

951 00:50:33,739 --> 00:50:36,074 So that's the kind of thing you were doing!

952 00:50:36,158 --> 00:50:38,243 He brought photos, saying, "This and this."

953 00:50:38,327 --> 00:50:40,787 Oh, really? I didn't know.

954 00:50:40,871 --> 00:50:42,705 And when I drew it thinking, "So, is this it?"

955 00:50:42,790 --> 00:50:44,499 it turned out not to be it.

956 00:50:44,583 --> 00:50:45,959 And it was like, "I see."

957 00:50:46,043 --> 00:50:47,585 --Sorry for the trouble you went through. --Not at all.

958 00:50:47,670 --> 00:50:52,006 What's up with the fact that I don't know this?

959 00:50:52,091 --> 00:50:54,133 And well, Ed is also really...

960 00:50:54,218 --> 00:50:56,636 Part of it just flows from the end of the TV series,

961 00:50:56,720 --> 00:50:58,805 but his costume and things are also...

962 00:50:58,889 --> 00:51:02,267 Yes, well, within myself,

963 00:51:02,351 --> 00:51:05,812 my familiarity with drawing him and the passage of time,

964 00:51:05,896 --> 00:51:08,648 along with the changes in the actual character,

965 00:51:08,732 --> 00:51:14,571 combined nicely with how he's grown.

966 00:51:14,655 --> 00:51:18,616 Ed looks pretty melancholy towards the beginning,

967 00:51:18,701 --> 00:51:23,079 which came out great, giving him a darker feel.

968 00:51:23,163 --> 00:51:24,497 I think how he looks at the start...

969 00:51:24,582 --> 00:51:26,874 By the start, I mean the start of the series...

970 00:51:26,959 --> 00:51:30,712 --And how he looks now are completely different. --That's true.

971 00:51:30,796 --> 00:51:33,047 This area is wonderful.

972 00:51:33,132 --> 00:51:37,635 In this case, there was some actual chronological growth,

973 00:51:37,720 --> 00:51:42,432 so that was something I agonized about quite a bit.

974 00:51:42,516 --> 00:51:45,476 But I gave up on it halfway through.

975 00:51:45,561 --> 00:51:48,563 But it's there. You can see it.

976 00:51:48,647 --> 00:51:54,944 I think it's depicted in a way that you can feel that.

977 00:51:55,029 --> 00:51:57,071 With the new characters, like Noah,

978 00:51:57,156 --> 00:51:58,656 we put you through a bit of an ordeal.

979 00:51:58,741 --> 00:52:02,744 Ah, yes. Noah was a little hard.

980 00:52:03,412 --> 00:52:08,666 I'm still not confident that she came out right, even now.

981 00:52:08,751 --> 00:52:11,336 Personally, I feel that we were able to take it

982 00:52:11,420 --> 00:52:14,380 pretty much where I wanted it to go.

983 00:52:14,465 --> 00:52:16,841 Getting that stuff hashed out is just tough.

984 00:52:16,925 --> 00:52:18,468 With regards to the women,

985 00:52:18,552 --> 00:52:21,846 I was being particular and asking you to come up with many drafts,

986 00:52:21,930 --> 00:52:25,391 saying this or that wasn't right.

987 00:52:25,476 --> 00:52:29,562 The final draft of the model sheet that was done first

988 00:52:29,647 --> 00:52:34,859 --and the Noah in the actual film are pretty disparate in age. --That's true.

989 00:52:34,943 --> 00:52:39,781 She ended up being much more mature.

990 00:52:39,865 --> 00:52:41,658 But so, how did that work?

991 00:52:41,742 --> 00:52:46,704 Did a solid image emerge in the film at the start

992 00:52:46,789 --> 00:52:47,872 and was that what got used from there on?

993 00:52:47,956 --> 00:52:51,417 Well, when you're drawing up a model sheet,

994 00:52:51,502 --> 00:52:54,504 there's no performance or emotions behind it,

995 00:52:54,588 --> 00:52:56,923 so when that gets added to the mix,

996 00:52:57,007 --> 00:53:01,135 it can tend to affect the age range of the character.

997 00:53:01,220 --> 00:53:02,637 With Noah in particular,

998 00:53:02,721 --> 00:53:05,139 we hadn't yet established what her voice would sound like,

999 00:53:05,224 --> 00:53:09,268 so there were some things us directors hadn't decided on.

1000 00:53:09,353 --> 00:53:11,354 It was when the art and voice got done

1001 00:53:11,438 --> 00:53:15,608 that we were sort of able to have a common perception of her.

1002 00:53:15,693 --> 00:53:18,611 And with that, Ito-san, thank you very much.

1003 00:53:18,696 --> 00:53:19,737 Thank you.

1004 00:53:19,822 --> 00:53:24,826 And now, let's go back to our original four members.

1005 00:53:24,910 --> 00:53:27,787 As the director, did you worry about the size of the characters and things,

1006 00:53:27,871 --> 00:53:29,706 --since this was going to be a theatrical film? --Size?

1007 00:53:29,790 --> 00:53:34,085 --You mean, grown-up? --As in, the screen size is different from a TV.

1008 00:53:34,169 --> 00:53:36,254 Well, sure, it's in everyone's mind.

1009 00:53:36,338 --> 00:53:38,548 It wasn't widescreen before.

1010 00:53:38,632 --> 00:53:41,843 On TV, it was ¤¤3, but this is 1 6¤9.

1011 00:53:41,927 --> 00:53:45,847 And it's something you think about at the storyboarding stage.

1012 00:53:45,931 --> 00:53:48,099 --Oh, here it is. --It's the next part.

1013 00:53:48,183 --> 00:53:51,602 The part Kaneko Shingo-san did the storyboarding and directing.

1014 00:53:51,687 --> 00:53:55,440 The only part that has the same person storyboarding and directing.

1015 00:53:58,193 --> 00:54:01,279 At the very, very end, he said he wanted to put special effects in.

1016 00:54:01,363 --> 00:54:03,030 Oh, I remember that.

1017 00:54:03,115 --> 00:54:04,198 In his efforts to get special effects,

1018 00:54:04,283 --> 00:54:07,869 Furuichi-san and others said, "We'll give it a try."

1019 00:54:07,953 --> 00:54:09,203 What? This dragon?

1020 00:54:09,288 --> 00:54:14,333 --The dragon. Like towards the beginning. --Oh, right. Just for the close-up shots.

1021 00:54:14,418 --> 00:54:17,920 The close-up in there made me want a wide shot.

1022 00:54:18,005 --> 00:54:20,798 But we didn't put it in there in the end.

1023 00:54:22,676 --> 00:54:24,635 There's a lot of casual motion in here.

1024 00:54:24,720 --> 00:54:27,638 Yes, there is.

1025 00:54:27,723 --> 00:54:30,808 Even stuff in the far back is moving here.

1026 00:54:30,893 --> 00:54:34,353 This is really the UFA Studios...

1027 00:54:34,438 --> 00:54:39,192 Well, we borrowed a kind of documentary on Lang from Aikawa

1028 00:54:39,276 --> 00:54:42,779 and we used that as reference.

1029 00:54:42,863 --> 00:54:45,156 Though, that image was totally fake.

1030 00:54:45,240 --> 00:54:48,910 --We had that designed, right? --Yeah, we had Aramaki-san design that.

1031 00:54:55,876 --> 00:55:00,463 This is like, "What is everyone doing?"

1032 00:55:00,547 --> 00:55:03,049 --The animator was a pretty serious person and... --Yeah.

1033 00:55:03,133 --> 00:55:05,009 ...he put a lot of effort into drawing this.

1034 00:55:05,093 --> 00:55:07,136 I'm really appreciative... Wait, who did this part?

1035 00:55:07,221 --> 00:55:10,723 --That would be Saito Ryuuichi-kun. --Oh, yes, yes, yes. Formerly of ¤ebec.

1036 00:55:10,808 --> 00:55:12,266 Yes. He's really incredible.

1037 00:55:12,351 --> 00:55:16,646 I also worked with him a bit on a previous pro¤ect.

1038 00:55:16,730 --> 00:55:18,314 A young kid.

1039 00:55:18,398 --> 00:55:21,859 He hasn't been a key animator for that long yet,

1040 00:55:21,944 --> 00:55:26,030 --but his work was really detailed. --His layouts were detailed, weren't they?

1041 00:55:29,201 --> 00:55:30,368 Is this a fan service scene?

1042 00:55:30,452 --> 00:55:36,040 Right, right, right. All because we put her in a shot at this distance,

1043 00:55:36,124 --> 00:55:38,668 we had Kakazu-san come in.

1044 00:55:38,752 --> 00:55:39,627 It was like, "Will we need her?"

1045 00:55:39,711 --> 00:55:42,797 She waited for about four hours and all she did was the "humph."

1046 00:55:45,259 --> 00:55:48,052 In the end credits, she's listed as "Actress Yumi Kakazu."

1047 00:55:48,136 --> 00:55:50,137 Well, she is an actress.

1048 00:55:50,222 --> 00:55:51,889 I thought that was amazing.

1049 00:55:51,974 --> 00:55:53,641 Oh, here it is. Nihin ni ¤ik¤iu. ["The State of Affairs in Japan"]

1050 00:55:53,725 --> 00:55:57,019 --Yes. This turned out to be the right cover in the end. --Yes, it did.

1051 00:55:57,104 --> 00:56:01,357 Towards the end, there was talk of the cover being wrong.

1052 00:56:01,441 --> 00:56:03,651 We went, "What?!" and then it turned out to be another book.

1053 00:56:03,735 --> 00:56:05,778 Right, right. Aramata-sensei had it.

1054 00:56:05,863 --> 00:56:07,363 Right, right, right, right.

1055 00:56:07,447 --> 00:56:10,032 "Hey, that's not Ni¤¤in ni ¤iku¤iu."

1056 00:56:10,117 --> 00:56:11,784 As it turned out.

1057 00:56:15,873 --> 00:56:17,623 I have no idea if people can tell or not,

1058 00:56:17,708 --> 00:56:19,500 but speaking of the special effects from earlier...

1059 00:56:19,585 --> 00:56:25,381 It's everywhere, like in the teacups and the set.

1060 00:56:25,465 --> 00:56:30,678 Based on the one argument that it would be visible on the big screen.

1061 00:56:30,762 --> 00:56:32,722 The magic words.

1062 00:56:32,806 --> 00:56:35,600 I got told, "Well, you can see it in the theaters, so..."

1063 00:56:35,684 --> 00:56:38,561 Even as I thought, "Is that true?"

1064 00:56:42,357 --> 00:56:45,693 The area behind them here is...

1065 00:56:45,777 --> 00:56:51,657 What am I thinking? The background was drawn very prettily.

1066 00:56:51,742 --> 00:56:53,367 I think this was where, at the very end,

1067 00:56:53,452 --> 00:56:56,162 the art director said he'd do it himself.

1068 00:56:56,246 --> 00:56:57,038 Ogura-kun? Oh, right.

1069 00:56:57,122 --> 00:56:59,248 I believe that's what he said.

1070 00:56:59,333 --> 00:57:02,084 That was also from...

1071 00:57:02,169 --> 00:57:07,798 It was based on the sets in the movies that Lang actually made

1072 00:57:07,883 --> 00:57:10,426 and in actuality, the films back then were black and white,

1073 00:57:10,510 --> 00:57:14,513 so he wanted to make it as pretty as possible when it was in color

1074 00:57:14,598 --> 00:57:17,808 in order to have it correspond with their talk of a dream world.

1075 00:57:17,893 --> 00:57:19,685 And he said he wanted to use those pretty colors,

1076 00:57:19,770 --> 00:57:24,732 taking a cue from the artist-- I can't recall his name right now--

1077 00:57:24,816 --> 00:57:29,362 who draws the album covers for a band called Yes.

1078 00:57:29,446 --> 00:57:32,740 So, our art director put a lot of special care into it

1079 00:57:32,824 --> 00:57:36,994 and it turned out really beautiful. I just love it.

1080 00:57:37,079 --> 00:57:42,208 Even when we said we couldn't wait any longer, he wouldn't produce it.

1081 00:57:42,292 --> 00:57:44,961 It took a while for it to come. He kept asking for a bit more time.

1082 00:57:45,045 --> 00:57:47,588 I seriously gave some thought

1083 00:57:47,673 --> 00:57:53,636 to going over there in the middle of the night and stealing it from the P¤.

1084 00:57:53,720 --> 00:57:57,598 But you know, KUSANAGI was the type to work all throughout the day,

1085 00:57:57,683 --> 00:57:59,350 but they gradually shifted later and later,

1086 00:57:59,434 --> 00:58:01,686 --so Ogura-kun would go in there at night. --Ogura-san would go in at night and be like,

1087 00:58:01,770 --> 00:58:02,812 "When can I get in touch with you?"

1088 00:58:02,896 --> 00:58:04,438 Right, right, right.

1089 00:58:04,523 --> 00:58:05,690 I'd be there until late at night, too,

1090 00:58:05,774 --> 00:58:10,820 so we'd discuss backgrounds around 2 or 3am at night.

1091 00:58:10,904 --> 00:58:15,574 Oh, yeah. He would upload backgrounds to the server for us,

1092 00:58:15,659 --> 00:58:19,120 but we'd wonder, "Up to what time counts as 'morning,' I wonder."

1093 00:58:19,204 --> 00:58:21,247 As we were waiting for the backgrounds...

1094 00:58:21,331 --> 00:58:25,710 Towards the end, 1 0am turned out to still count as "night."

1095 00:58:25,794 --> 00:58:26,711 It was hard to figure out.

1096 00:58:26,795 --> 00:58:29,880 We'd be told, "It'll be done within the night."

1097 00:58:29,965 --> 00:58:33,509 And after that, we had to check the materials,

1098 00:58:33,593 --> 00:58:38,806 then submit it to Fukushi-kun at T2 in the morning,

1099 00:58:38,890 --> 00:58:41,267 but we'd be cutting it close.

1100 00:58:41,351 --> 00:58:43,477 --"The backgrounds aren't coming in!" --Oh, right, Nakayama-san had to check it, too.

1101 00:58:43,562 --> 00:58:46,230 Nakayama-san would also be waiting to check the colors,

1102 00:58:46,314 --> 00:58:48,107 saying, "I wonder when it's going to come in."

1103 00:58:48,191 --> 00:58:51,485 --Amidst sandbags. --It was incredible.

1104 00:58:51,570 --> 00:58:54,447 --It was truly like the city that never sleeps. --Yes, it was.

1105 00:58:54,531 --> 00:58:57,450 This is also a troublesome part with lots and lots of people,

1106 00:58:57,534 --> 00:59:00,119 --and it was Yasaki-san. --She told me herself

1107 00:59:00,203 --> 00:59:02,788 that some of the hands were up in the wrong direction,

1108 00:59:02,873 --> 00:59:04,498 but it was like, "No one will notice, so don't worry!

1109 00:59:04,583 --> 00:59:07,334 "Actually, more like, which ones are wrong anyway?"

1110 00:59:07,419 --> 00:59:11,297 There were so many people in this part and it's such a mob,

1111 00:59:11,381 --> 00:59:13,257 we were having trouble deciding who to give it to

1112 00:59:13,341 --> 00:59:16,594 when an insider, a young woman named Yasaki-san,

1113 00:59:16,678 --> 00:59:21,807 said she would do it and took on a whole set of about 30 scenes.

1114 00:59:21,892 --> 00:59:24,518 The director was in the walla around that part, right?

1115 00:59:24,603 --> 00:59:26,395 Oh, huh? Did I?

1116 00:59:26,480 --> 00:59:28,397 Yes, you were saying, "Fuhrer, Fuhrer."

1117 00:59:28,482 --> 00:59:30,107 --Was that the one we all got into? --Yes, that was the one.

1118 00:59:30,192 --> 00:59:33,611 I didn't know. That's great.

1119 00:59:33,695 --> 00:59:35,362 --I can't forget it. --I don't remember it at all.

1120 00:59:35,447 --> 00:59:39,200 That shot had static in it at the very end.

1121 00:59:39,284 --> 00:59:42,870 --We had to splice in some negatives. --Yes, we did. I'll never forget it.

1122 00:59:42,954 --> 00:59:44,997 --I sure panicked. --By "static", you mean on the screen, right?

1123 00:59:45,082 --> 00:59:47,041 Yes, on the screen.

1124 00:59:47,125 --> 00:59:51,003 There it is, Al's head.

1125 00:59:51,088 --> 00:59:53,339 Well, I'll say this now, but it wasn't the photographer's fault.

1126 00:59:53,423 --> 00:59:55,841 I forgot to replace it. I was like, "Shhh!"

1127 00:59:55,926 --> 00:59:57,259 Apologize for it!

1128 00:59:57,344 --> 00:59:59,553 Yes, sorry. Really...

1129 00:59:59,638 --> 01:00:03,682 To Minami-san, I said, "Why is it like this?"

1130 01:00:03,767 --> 01:00:04,809 You looked really puzzled at the time.

1131 01:00:04,893 --> 01:00:08,062 Yeah, looking puzzled, I was like, "Wow, that's strange."

1132 01:00:08,146 --> 01:00:10,773 Yes, that was my mistake.

1133 01:00:10,857 --> 01:00:12,483 --He can say it now that it's over. --Now that it's over...

1134 01:00:12,567 --> 01:00:14,735 After all, we'd been working

1135 01:00:14,820 --> 01:00:21,242 --with the goal of not having to edit the negatives. --Right, right, right, right.

1136 01:00:22,160 --> 01:00:24,286 --This part is great! --Yeah.

1137 01:00:24,371 --> 01:00:25,538 This is Inadome-san, right?

1138 01:00:25,622 --> 01:00:27,373 Yes.

1139 01:00:27,457 --> 01:00:30,793 This part is great.

1140 01:00:33,922 --> 01:00:35,381 Bang!

1141 01:00:35,465 --> 01:00:37,675 He shoves him away with so much force.

1142 01:00:37,759 --> 01:00:44,765 The animation and the actor's performance match splendidly.

1143 01:00:47,936 --> 01:00:52,189 And the way the music comes in here is great, too!

1144 01:00:56,111 --> 01:00:57,945 As I recall, after we recorded the voices,

1145 01:00:58,029 --> 01:01:00,865 we fine-tuned the size of the mouth and things.

1146 01:01:00,949 --> 01:01:03,284 Oh, really?

1147 01:01:03,368 --> 01:01:06,579 Yeah, Oguri-kun's performance was really good,

1148 01:01:06,663 --> 01:01:11,417 so I got with Kaneko-san and decided to adjust things.

1149 01:01:14,421 --> 01:01:18,757 The music around here is just great.

1150 01:01:18,842 --> 01:01:22,386 The issue of how much longer Alphonse had to live

1151 01:01:22,470 --> 01:01:25,639 was something Kaneko-san and I discussed quite extensively.

1152 01:01:25,724 --> 01:01:29,643 Then based how much blood came out and stuff.

1153 01:01:29,728 --> 01:01:32,688 I see, I see.

1154 01:01:32,772 --> 01:01:35,608 Like, "What's his illness?"

1155 01:01:35,692 --> 01:01:37,193 So, does the premise have what he's ill of?

1156 01:01:37,277 --> 01:01:40,404 --Well, it does, but it's a secret. --Oh, I see.

1157 01:01:40,488 --> 01:01:44,575 Was it a secret? Maybe it was written in the script.

1158 01:01:48,663 --> 01:01:50,789 That's totally like a "Kaneko scene."

1159 01:01:50,874 --> 01:01:55,878 This is the part where Kaneko-san was contemplating

1160 01:01:55,962 --> 01:02:02,635 which direction is correct when laying flowers on the grave.

1161 01:02:02,719 --> 01:02:06,889 This is the scene where he really obsessed about that.

1162 01:02:09,476 --> 01:02:10,643 --This. --Oh, this scene.

1163 01:02:10,727 --> 01:02:15,814 Is the correct way to put them towards the back or the front?

1164 01:02:15,899 --> 01:02:18,359 Oh, here it comes! The "Kaneko dream scene."

1165 01:02:18,443 --> 01:02:19,777 --Oh, yes. --The dream scene. Ah.

1166 01:02:19,861 --> 01:02:21,654 Miyahara-san, please go ahead.

1167 01:02:21,738 --> 01:02:26,659 Yes, this is a little scene Kaneko-san and I put together.

1168 01:02:26,743 --> 01:02:32,081 We said that these blue globes were souls

1169 01:02:32,165 --> 01:02:34,792 and this scene almost got shot down.

1170 01:02:34,876 --> 01:02:36,961 That's right. After you'd finished making it,

1171 01:02:37,045 --> 01:02:38,754 --it was like, "Oh, it'll actually get cut." --Yes. I was told,

1172 01:02:38,838 --> 01:02:40,339 "We're making the stairs red."

1173 01:02:40,423 --> 01:02:42,591 And when I asked, "What?! But the stairs are stone, right?"

1174 01:02:42,676 --> 01:02:46,428 The response was, "No, that's not how it is."

1175 01:02:46,513 --> 01:02:50,641 --He really showed a lot of attention to detail there. --Yes, he did.

1176 01:02:50,725 --> 01:02:54,103 Looking at the revised storyboards that I'd done,

1177 01:02:54,187 --> 01:02:56,647 it was determined that it wasn't interesting.

1178 01:02:56,731 --> 01:02:58,107 And he said he wanted to change it himself,

1179 01:02:58,733 --> 01:02:59,817 so given that it was Kaneko-san,

1180 01:02:59,901 --> 01:03:02,903 --I said he could do what he wanted with it. --Yes.

1181 01:03:02,988 --> 01:03:06,365 Of the close to 1,¤00 scenes, that's probably the one scene

1182 01:03:06,449 --> 01:03:10,119 for which Mizushima-san exercised his control over this film.

1183 01:03:10,203 --> 01:03:11,412 That stairs scene...

1184 01:03:11,496 --> 01:03:13,580 That's true.

1185 01:03:13,665 --> 01:03:15,666 I'd be saying that it was good enough already,

1186 01:03:15,750 --> 01:03:19,378 --but he'd be saying something about the finish of it. --The finish was unreliable, though.

1187 01:03:19,462 --> 01:03:20,587 Right, right, right, right.

1188 01:03:20,672 --> 01:03:24,800 --But we made that scene longer than it was originally supposed to be. --Yes, a bit.

1189 01:03:24,884 --> 01:03:27,219 Oh, this area is Yasaki-san, too.

1190 01:03:27,304 --> 01:03:30,097 --Yasaki-san really did a lot of mob scenes for us. --Yes.

1191 01:03:30,181 --> 01:03:32,766 And there are people moving at the edge of the screen.

1192 01:03:38,440 --> 01:03:40,649 Oh, coming after this is that...

1193 01:03:40,734 --> 01:03:43,736 The Nazi party badge...

1194 01:03:43,820 --> 01:03:44,695 Yes.

1195 01:03:44,779 --> 01:03:46,697 The issue of whether it would shine or not.

1196 01:03:46,781 --> 01:03:48,907 When I said I wanted a backlit twinkle,

1197 01:03:48,992 --> 01:03:52,494 everyone opposed it, saying it was lame.

1198 01:03:52,579 --> 01:03:55,581 Here, for this one.

1199 01:03:55,665 --> 01:03:58,709 But this was totally effective, so I'm glad.

1200 01:03:58,793 --> 01:04:01,670 I just love the backlit twinkle.

1201 01:04:01,755 --> 01:04:04,465 But if we used it, there probably would've been

1202 01:04:04,549 --> 01:04:06,800 a "twinkle" sound effect, and it would've been lame.

1203 01:04:09,596 --> 01:04:13,349 Backlit twinkles don't shine as prettily as in photographed cels.

1204 01:04:13,433 --> 01:04:15,434 Well, that's true.

1205 01:04:15,518 --> 01:04:17,102 I've heard it's hard.

1206 01:04:17,187 --> 01:04:19,855 I've been working since that film era,

1207 01:04:19,939 --> 01:04:22,858 so I don't think anything of asking for something like that, but...

1208 01:04:22,942 --> 01:04:25,569 --We bickered over the size of this plane. --Yes, we did.

1209 01:04:25,653 --> 01:04:28,155 And like, how wrecked it was.

1210 01:04:28,239 --> 01:04:30,699 Kaneko-¤an insisted you can't see it if it's not big,

1211 01:04:30,784 --> 01:04:34,036 but I was like, "In terms of scale, it should be this size!"

1212 01:04:34,120 --> 01:04:37,581 In the end, I used my directorial discretion and revised it.

1213 01:04:37,665 --> 01:04:39,708 But that scene with the plane firing its engines,

1214 01:04:39,793 --> 01:04:43,504 didn't the storyboard not have them looking at it from that end?

1215 01:04:43,588 --> 01:04:48,217 --It was like, "At that rate, they'd die when it fired." --Right, right, right, right.

1216 01:04:48,301 --> 01:04:52,763 That was a scene we debated a bit.

1217 01:04:52,847 --> 01:04:56,100 I had a lot of fights like that with Kaneko-san in this area.

1218 01:04:56,184 --> 01:04:58,852 It was funny.

1219 01:04:58,937 --> 01:05:02,189 Did you have the most disagreements with Kaneko-san in the end?

1220 01:05:02,273 --> 01:05:03,816 Not exactly disagreements,

1221 01:05:03,900 --> 01:05:07,778 but Kaneko-san also has directorial experience

1222 01:05:07,862 --> 01:05:12,408 and he has his own directorial style.

1223 01:05:12,492 --> 01:05:13,992 --Like his own films. --Right.

1224 01:05:14,077 --> 01:05:16,578 And when you're handing him stuff in single episode increments,

1225 01:05:16,663 --> 01:05:19,998 he's an incredible director you can completely rely on,

1226 01:05:20,083 --> 01:05:22,751 but when you consider the overall flow of a film...

1227 01:05:22,836 --> 01:05:25,421 In other words, I had a vision as the director

1228 01:05:25,505 --> 01:05:28,006 and on occasion, he had been doing things that weren't in line with it.

1229 01:05:28,091 --> 01:05:31,844 With my faith in Kaneko-san, I had just kept on going,

1230 01:05:31,928 --> 01:05:34,430 so I found all this out when it got on film.

1231 01:05:34,514 --> 01:05:36,306 All the stuff that wasn't right.

1232 01:05:36,391 --> 01:05:39,643 That's when things came under dispute

1233 01:05:39,727 --> 01:05:44,648 and ultimately, the movie is under my direction,

1234 01:05:44,732 --> 01:05:46,859 so even as I kept saying, "Sorry, sorry,"

1235 01:05:46,943 --> 01:05:50,487 I ended up revising things. And there were several scenes like that.

1236 01:05:56,286 --> 01:05:59,496 Oh, here's the foreboding that something's about to happen.

1237 01:05:59,581 --> 01:06:03,876 The theater... The little theater...

1238 01:06:03,960 --> 01:06:07,254 --Don't say that. --It was incredible.

1239 01:06:07,338 --> 01:06:11,592 From the script check, I asked Nakamura-san

1240 01:06:11,676 --> 01:06:14,803 to do the storyboards for one and a half minutes,

1241 01:06:14,888 --> 01:06:17,723 and when I got it back, there was about 8 minutes there.

1242 01:06:17,807 --> 01:06:20,642 Also with the number of scenes,

1243 01:06:20,727 --> 01:06:23,979 knowing Nakamura-kun, we knew he'd probably run over,

1244 01:06:24,063 --> 01:06:26,482 so we decided to ask him for fewer scenes,

1245 01:06:26,566 --> 01:06:28,567 in order to account for the overall number of scenes.

1246 01:06:28,651 --> 01:06:31,653 --Oh, here it is! --Here it is! --There it is.

1247 01:06:31,738 --> 01:06:35,491 So, we gave him an impossible number of 30 scenes

1248 01:06:35,575 --> 01:06:36,950 and we were told it was impossible,

1249 01:06:37,035 --> 01:06:38,660 but we asked him to do his best,

1250 01:06:38,745 --> 01:06:41,497 because we had various issues with the number of scenes.

1251 01:06:41,581 --> 01:06:43,999 And when it came back, there were initially about 1 ¤0 scenes.

1252 01:06:44,083 --> 01:06:45,876 "What shall we do with this?"

1253 01:06:45,960 --> 01:06:47,669 And there wasn't much we could do,

1254 01:06:47,754 --> 01:06:49,129 so we took a look at how long it was,

1255 01:06:49,214 --> 01:06:50,672 and he said, "There's about 3 minutes of it."

1256 01:06:50,757 --> 01:06:53,717 And it was like, "It's gonna be 2 minutes max."

1257 01:06:53,801 --> 01:06:56,762 --Wow... --This area had super animators...

1258 01:06:56,846 --> 01:07:01,391 But you know, even though we were particular about this scene,

1259 01:07:01,476 --> 01:07:05,562 Nakamura-kun also understood it was just one sequence in the film.

1260 01:07:05,647 --> 01:07:09,733 The two of us went back and forth quite a bit on this part.

1261 01:07:09,817 --> 01:07:12,611 I explained how this different scene would be spliced in,

1262 01:07:12,695 --> 01:07:17,407 how that would flow, and what the directorial intent was,

1263 01:07:17,492 --> 01:07:21,537 and that's how things got cut down to what we have.

1264 01:07:23,706 --> 01:07:26,667 Well, Kaneko-san and Nakamura-san both kind of checked it over

1265 01:07:26,751 --> 01:07:27,876 to make sure it flowed as a sequence.

1266 01:07:27,961 --> 01:07:29,419 I see.

1267 01:07:29,504 --> 01:07:31,547 You know, that dance hall?

1268 01:07:31,631 --> 01:07:39,680 We did it all in 3D and did a rough model for the layout, remember?

1269 01:07:39,764 --> 01:07:42,975 So at the beginning, Yutaka-san said,

1270 01:07:43,059 --> 01:07:47,104 "There are a couple pillars in there, so I'd like to see it."

1271 01:07:47,188 --> 01:07:51,066 But when the set was done, it was like, "Uh, more than a couple there."

1272 01:07:51,150 --> 01:07:53,277 It was more like several dozen.

1273 01:07:53,361 --> 01:07:54,361 Right, right, right.

1274 01:07:54,445 --> 01:07:55,654 Just incredible.

1275 01:07:55,738 --> 01:08:01,451 But you know, ultimately... It'll show up later,

1276 01:08:01,536 --> 01:08:03,745 but we voluntarily dropped some of the scenes.

1277 01:08:03,830 --> 01:08:05,581 Yes, we did.

1278 01:08:05,665 --> 01:08:07,583 Right, right, right, right.

1279 01:08:07,667 --> 01:08:09,751 Some of the scenes towards the beginning

1280 01:08:09,836 --> 01:08:13,964 were things that seemed impossible.

1281 01:08:14,048 --> 01:08:15,674 They were tremendous scenes.

1282 01:08:15,758 --> 01:08:16,967 It would've been directly after this.

1283 01:08:17,051 --> 01:08:18,343 Right, right, right, right.

1284 01:08:18,428 --> 01:08:21,763 --We cut two or three scenes after this. --It's coming up after this.

1285 01:08:21,848 --> 01:08:23,307 We dropped three scenes?

1286 01:08:23,391 --> 01:08:27,477 It was around three. Three or four.

1287 01:08:28,771 --> 01:08:30,397 And here... Oh, not yet.

1288 01:08:30,481 --> 01:08:33,108 They talk for a long while here.

1289 01:08:37,989 --> 01:08:43,327 This is great. This kind of slow, long scene... Or rather, these grand pans,

1290 01:08:43,411 --> 01:08:44,911 I think Kaneko-san is great at.

1291 01:08:44,996 --> 01:08:45,912 Oh, here it is!

1292 01:08:45,997 --> 01:08:50,584 Originally, Gluttony was going to thread his way through the pillars

1293 01:08:50,668 --> 01:08:51,585 in pursuit of Wrath.

1294 01:08:51,669 --> 01:08:54,421 This is where I was told to put in special effects

1295 01:08:54,505 --> 01:08:57,090 for Nakamura-san's stones being destroyed.

1296 01:08:57,175 --> 01:08:59,384 Sorry about that, and I got pretty picky about it, too,

1297 01:08:59,469 --> 01:09:02,804 --and I ended up having Nakamura-san go to a lot of trouble. --It was like, "Are you serious?"

1298 01:09:02,889 --> 01:09:04,765 Oh, here's the "Miyahara 3D"!

1299 01:09:04,849 --> 01:09:07,142 It's incredible!

1300 01:09:07,226 --> 01:09:09,436 This was the scene were I did the camera mapping in about 8 hours

1301 01:09:09,520 --> 01:09:12,105 and I got a big sigh from Oyabu-san.

1302 01:09:12,190 --> 01:09:13,690 When I said, "Please check it,"

1303 01:09:13,775 --> 01:09:19,237 he sighed a big mysterious sigh and kind of lost it.

1304 01:09:19,322 --> 01:09:22,616 --It's one Nakamura-san okayed, but I asked for a retake. --That's cruel.

1305 01:09:22,700 --> 01:09:23,659 It was like, "What the heck?"

1306 01:09:23,743 --> 01:09:26,161 You show unexpected perfectionism in areas like that.

1307 01:09:26,245 --> 01:09:28,955 Everyone will be thinking, "Well, this should be good enough,"

1308 01:09:29,040 --> 01:09:31,083 and Oyabu-kun might say, "No."

1309 01:09:31,167 --> 01:09:33,293 For this scene,

1310 01:09:33,378 --> 01:09:36,129 the layout actually had it located where the pillars just start,

1311 01:09:36,214 --> 01:09:40,133 but I mistakenly put in two.

1312 01:09:40,218 --> 01:09:42,260 But the result looks cool, so I think it's okay.

1313 01:09:42,345 --> 01:09:45,597 This is Yoshinagi-san's super scene.

1314 01:09:45,682 --> 01:09:48,600 He worked right up to the time for photography

1315 01:09:48,685 --> 01:09:51,144 --and this area is wonderful. --Splash!

1316 01:09:51,229 --> 01:09:53,397 This, too. This was hard, too.

1317 01:09:53,481 --> 01:09:58,610 Oh, the handling of the water and stuff was also incredible.

1318 01:09:58,695 --> 01:10:00,612 This is the one and only spot

1319 01:10:00,697 --> 01:10:03,782 where I stripped Nakamura Yutaka of his timing.

1320 01:10:03,866 --> 01:10:07,619 During cutting, "He can't eat it here!"

1321 01:10:07,704 --> 01:10:10,706 Originally, he groped around a lot.

1322 01:10:16,629 --> 01:10:18,088 --Whoosh! --Splat!

1323 01:10:18,172 --> 01:10:26,304 It's confusing whether it's the water or blood here.

1324 01:10:28,391 --> 01:10:31,351 --This part is just... --Amazing. It was amazing.

1325 01:10:31,436 --> 01:10:32,936 This is Umakoshi-san, right?

1326 01:10:33,020 --> 01:10:35,480 He'd say, "Do you think this will be all right?"

1327 01:10:35,565 --> 01:10:40,569 And the layouts he brought were all the size of throw blankets.

1328 01:10:40,653 --> 01:10:44,030 It's incredible. It's full of pans with action.

1329 01:10:44,115 --> 01:10:47,075 It's a whole succession of pans with action.

1330 01:10:47,160 --> 01:10:51,288 But this grasp of space is just amazing!

1331 01:10:51,372 --> 01:10:56,334 It really makes me wonder how it all works.

1332 01:10:56,419 --> 01:11:00,797 Working on this part continuously to the end,

1333 01:11:00,882 --> 01:11:04,676 towards the morning, Shingo was yelling something.

1334 01:11:04,761 --> 01:11:06,636 Just yelling nonsense.

1335 01:11:06,721 --> 01:11:11,433 But we don't really remember that time period very well, either.

1336 01:11:11,517 --> 01:11:14,644 --How did we get it done? I mean, towards the end, we were crazy. --No memory.

1337 01:11:14,729 --> 01:11:17,439 After all, we were short on time.

1338 01:11:17,523 --> 01:11:20,525 The people we'd asked to do the layouts can't all do key animation,

1339 01:11:20,610 --> 01:11:22,652 so I don't know what crazy thoughts we had,

1340 01:11:22,737 --> 01:11:26,615 but we were asking people like Kawamoto-san to do key animation.

1341 01:11:26,699 --> 01:11:29,367 A brazen request.

1342 01:11:29,452 --> 01:11:33,288 Even as I was asked, "Oyabu-kun, how many more scenes are coming?"

1343 01:11:33,372 --> 01:11:37,667 All sorts of people in the project served in dual capacities.

1344 01:11:37,752 --> 01:11:39,920 That's incredible. Wasn't it hard to ask him that?

1345 01:11:40,004 --> 01:11:41,797 Oh, it was totally hard to ask him.

1346 01:11:41,881 --> 01:11:47,677 But we were just desperate.

1347 01:11:47,762 --> 01:11:51,723 It just goes to show why we didn't have things colored until mid-June.

1348 01:11:51,808 --> 01:11:55,185 It wasn't for no reason. Seriously.

1349 01:11:55,269 --> 01:12:00,065 The other day, I was reviewing the recording material and I was shocked.

1350 01:12:00,149 --> 01:12:01,650 So much of it had no color.

1351 01:12:01,734 --> 01:12:03,985 No matter what anyone said, according to our schedule,

1352 01:12:04,070 --> 01:12:06,112 we were supposed to have it all colored in about another week,

1353 01:12:06,197 --> 01:12:07,781 so I figured the colors had to be in,

1354 01:12:07,865 --> 01:12:10,617 but when I looked at that DVD on some occasion,

1355 01:12:10,701 --> 01:12:12,744 it was just so colorless.

1356 01:12:12,829 --> 01:12:14,746 I was like, "Is this for real?"

1357 01:12:14,831 --> 01:12:17,499 Oh, the Yita Nikki was pretty awesome around that time.

1358 01:12:17,583 --> 01:12:24,589 It showed very nicely how Oyabu-kun was sort of losing it.

1359 01:12:24,674 --> 01:12:28,510 That was wonderful.

1360 01:12:28,594 --> 01:12:29,803 Oh, here it is! The death...

1361 01:12:29,887 --> 01:12:33,056 The "death out."

1362 01:12:33,140 --> 01:12:36,101 Kaneko-san's new phrase.

1363 01:12:36,185 --> 01:12:40,522 Kaneko-san is a director, who shows an incredible amount of perfectionism

1364 01:12:40,606 --> 01:12:41,982 when it comes to life and death.

1365 01:12:42,066 --> 01:12:43,483 Here. This, right?

1366 01:12:43,568 --> 01:12:44,734 What was it? The "death effect"?

1367 01:12:44,819 --> 01:12:49,239 --The "death effect." --Yes, he called it the "death out."

1368 01:12:49,323 --> 01:12:54,661 Oh, but the timing around here is also really...

1369 01:12:57,373 --> 01:12:59,666 --Ah, here's Dad. --Yes, here it is.

1370 01:12:59,750 --> 01:13:03,003 Dad...

1371 01:13:03,087 --> 01:13:05,422 Putting this part together was so hard somehow.

1372 01:13:05,506 --> 01:13:08,592 The momentum really got built up, but then it gets killed here.

1373 01:13:08,676 --> 01:13:14,598 But without this, you can't take the story to where the gate opens.

1374 01:13:14,682 --> 01:13:19,811 But with the music and the performance of the actors,

1375 01:13:19,896 --> 01:13:24,649 I feel like we neatly sidestepped any sluggishness.

1376 01:13:24,734 --> 01:13:29,571 We borrowed Aramaki-san's production designs once

1377 01:13:29,655 --> 01:13:31,823 and did a remodeling,

1378 01:13:31,908 --> 01:13:36,995 but it was really hard to lay out this set of scenes in Envy's chamber.

1379 01:13:37,079 --> 01:13:39,122 Just in terms of the building.

1380 01:13:39,206 --> 01:13:41,458 --Sorry about that. --If you try to use a slightly wide angle,

1381 01:13:41,542 --> 01:13:43,585 how the pillars play into it and stuff was...

1382 01:13:43,669 --> 01:13:46,796 It really made me realize how amazing the animator is.

1383 01:13:48,758 --> 01:13:51,760 It's like Osaka-san's great feat.

1384 01:13:51,844 --> 01:13:57,766 No, really! It's like Osaka-san's strength alone pulled this together.

1385 01:13:57,850 --> 01:14:00,310 It was a good thing it was Osaka-san.

1386 01:14:00,394 --> 01:14:03,313 It was such a great help that our animation directors

1387 01:14:03,397 --> 01:14:05,607 were people who could really nail that sort of thing.

1388 01:14:05,691 --> 01:14:08,610 Though, I did get chewed out for it.

1389 01:14:08,694 --> 01:14:12,072 "Why are you using such a pain-in-the-butt design?"

1390 01:14:12,156 --> 01:14:12,822 "Sorry about that."

1391 01:14:12,865 --> 01:14:17,744 I mean, these storyboards came in at the beginning of March!

1392 01:14:17,828 --> 01:14:19,412 When was the release date?

1393 01:14:19,497 --> 01:14:22,707 The release date was July 23rd.

1394 01:14:22,792 --> 01:14:25,752 Yes, we were supposed to deliver the materials by the end of June.

1395 01:14:25,836 --> 01:14:28,797 This area was just extraordinary.

1396 01:14:28,881 --> 01:14:31,758 We had a lot done for this gate, too, didn't we?

1397 01:14:31,842 --> 01:14:33,760 It was originally in 3D.

1398 01:14:33,844 --> 01:14:35,637 Yes, there was mention of 3D.

1399 01:14:35,721 --> 01:14:36,763 How did that go again?

1400 01:14:36,847 --> 01:14:39,724 --There was too much material overall, so we couldn't do it in 3D, right? --Yes, pretty much.

1401 01:14:39,809 --> 01:14:40,767 So, we decided to go with overlays.

1402 01:14:40,851 --> 01:14:45,689 Due to various situational difficulties,

1403 01:14:45,773 --> 01:14:48,650 we asked art to handle it.

1404 01:14:50,361 --> 01:14:53,697 Oh, right, right. I was wondering why it was black.

1405 01:14:53,781 --> 01:14:56,157 "You're a lucky one, Edward-san."

1406 01:14:56,242 --> 01:14:58,994 This incredibly clever line...

1407 01:14:59,078 --> 01:15:03,123 ...was added by me in the storyboards.

1408 01:15:03,207 --> 01:15:05,208 Kaneko-san took a lot of digs at me for this part, too.

1409 01:15:05,292 --> 01:15:06,751 He said it was too convenient.

1410 01:15:06,836 --> 01:15:10,338 Oh, that parade of armors just now...

1411 01:15:10,423 --> 01:15:12,132 --Here it comes, here it comes! --Here it is!

1412 01:15:12,216 --> 01:15:13,883 --They've got weapons, don't they? --They've got weapons.

1413 01:15:13,968 --> 01:15:18,138 After we had them walking once without weapons,

1414 01:15:18,222 --> 01:15:22,392 a retake got issued at the last minute to give them weapons.

1415 01:15:22,476 --> 01:15:24,686 Right, right. "They don't have weapons. What should we do?"

1416 01:15:24,770 --> 01:15:26,104 "Oh, we forgot.

1417 01:15:26,188 --> 01:15:28,565 Since we forgot them over here, I guess we can just leave it that way.

1418 01:15:28,649 --> 01:15:31,443 But it'd still be bad if they don't have weapons..."

1419 01:15:31,527 --> 01:15:36,406 --That's how it went. --The person basically doing the 3D directing is Matsuura-kun

1420 01:15:36,490 --> 01:15:42,370 and he's known as a strict, tough guy in the industry,

1421 01:15:42,455 --> 01:15:46,041 but when I said, "Sorry about this. Please give guns to all of them."

1422 01:15:46,125 --> 01:15:47,709 He went, "I don't wanna do this anymore!"

1423 01:15:47,793 --> 01:15:52,714 When I heard him sounding so plaintive for the first time,

1424 01:15:52,798 --> 01:15:55,216 rather than feel like I was doing something terrible to him,

1425 01:15:55,301 --> 01:16:00,346 I was surprised, like, "Oh, even he complains sometimes!"

1426 01:16:00,431 --> 01:16:01,931 It came as a real shock.

1427 01:16:02,016 --> 01:16:05,727 Fundamentally, he was enthusiastic, even with the hard stuff.

1428 01:16:05,811 --> 01:16:06,811 But you know,

1429 01:16:06,896 --> 01:16:08,813 when that part got turned in, there was a sense of accomplishment.

1430 01:16:08,898 --> 01:16:11,232 This aura of, "We're done!"

1431 01:16:11,317 --> 01:16:13,777 But then we ended up going, "Oh, but we still need guns, don't we?"

1432 01:16:13,861 --> 01:16:16,196 Well, considering the continuity into Part D,

1433 01:16:16,280 --> 01:16:19,866 it just would've been bad if they didn't have those guns.

1434 01:16:19,950 --> 01:16:23,244 We felt bad, but we had to ask for them.

1435 01:16:23,329 --> 01:16:26,706 Starting here, the plane became 3D for a bit and stuff.

1436 01:16:26,791 --> 01:16:29,125 Around here is what we were saying about Osaka-san earlier.

1437 01:16:29,210 --> 01:16:30,710 It's where he really pulled it together nicely.

1438 01:16:30,795 --> 01:16:34,380 Right. He did close to ¤0 scenes on top of being a animation director.

1439 01:16:34,465 --> 01:16:41,096 We'd say things like, "Well, it'd be faster if you did this part."

1440 01:16:41,180 --> 01:16:45,308 Or like, "You're going to be revising it anyway, right?"

1441 01:16:45,392 --> 01:16:48,603 That part just now where Alphonse collapses...

1442 01:16:48,687 --> 01:16:54,484 Kaneko-san and I discussed at great lengths what his state of mind was.

1443 01:16:54,568 --> 01:16:57,779 And we decided he was feeling a sense of accomplishment

1444 01:16:57,863 --> 01:17:00,240 and it wasn't as if he really died suffering.

1445 01:17:00,324 --> 01:17:03,618 Originally, he looked a little more in pain,

1446 01:17:03,702 --> 01:17:07,831 but we got Ito-san and others to look at the performance again.

1447 01:17:07,915 --> 01:17:10,625 And while feeling bad about it towards Osaka-san,

1448 01:17:10,709 --> 01:17:13,586 as well as Ito-san,

1449 01:17:13,671 --> 01:17:17,882 we decided it still had to be that way and made that scene.

1450 01:17:17,967 --> 01:17:22,554 The planes look really good here.

1451 01:17:22,638 --> 01:17:27,016 We used quite a bit of 3D in this sequence here.

1452 01:17:30,729 --> 01:17:33,690 Here it is!

1453 01:17:33,774 --> 01:17:35,859 --From here... --Oh, here it is, here it is!

1454 01:17:35,943 --> 01:17:39,821 It's really like the "Matsuda Souichiro world."

1455 01:17:39,905 --> 01:17:41,698 We gave this part to Matsuda-kun,

1456 01:17:41,782 --> 01:17:45,410 a great key animator, who also worked on things like ¤team¤i¤.

1457 01:17:45,494 --> 01:17:48,329 We gave it to him, but this also took a long time to get finished

1458 01:17:48,414 --> 01:17:49,873 and we had a rough time.

1459 01:17:49,957 --> 01:17:52,417 No, no, I have no comments.

1460 01:17:52,501 --> 01:17:55,253 No, really. It turned out splendidly.

1461 01:17:55,337 --> 01:17:56,713 This part looks cool, doesn't it?

1462 01:17:56,797 --> 01:18:00,008 This is the scene where I asked for additional backlit effects later on.

1463 01:18:00,092 --> 01:18:03,678 I said I wanted interference...

1464 01:18:03,762 --> 01:18:04,762 Here it is!

1465 01:18:04,847 --> 01:18:08,808 Kind of a scene combining 2D and 3D.

1466 01:18:08,893 --> 01:18:12,687 "Why does the camera go past Eckart?"

1467 01:18:12,771 --> 01:18:15,732 I got asked that over and over by the producer, Minami-san.

1468 01:18:15,816 --> 01:18:18,109 I said I wanted it to feel like it went through her.

1469 01:18:18,194 --> 01:18:19,861 But he was like, "But that should stop at the close-up."

1470 01:18:19,945 --> 01:18:23,948 And I was like, "No, I told you, I ¤ant it to go through."

1471 01:18:24,033 --> 01:18:25,700 This is the one scene you can see the aurora.

1472 01:18:25,784 --> 01:18:27,452 You could barely see it.

1473 01:18:27,536 --> 01:18:29,287 This is so cool.

1474 01:18:29,371 --> 01:18:30,830 No, really...

1475 01:18:30,915 --> 01:18:32,248 All the smoke is animation on ones.

1476 01:18:32,333 --> 01:18:34,083 Right, right, right.

1477 01:18:34,168 --> 01:18:38,796 I remember being chewed out by everyone, "Why is it on ones?!"

1478 01:18:38,881 --> 01:18:41,633 We said it was like hitting balls to the fielders until they dropped.

1479 01:18:41,717 --> 01:18:46,179 Working everything out, changing colors, and other things

1480 01:18:46,263 --> 01:18:50,808 practically killed me and production.

1481 01:18:50,893 --> 01:18:54,562 That's true. Every single frame was done by hand.

1482 01:18:54,647 --> 01:19:00,610 Miyahara-kun insisted from the start that smoke would be best animated.

1483 01:19:00,694 --> 01:19:03,988 Well, it's not impossible to do by ¤G,

1484 01:19:04,073 --> 01:19:09,410 but if you don't spend the time, it just won't look like animated clouds.

1485 01:19:09,495 --> 01:19:13,831 And we thought it might not look like Fullmetal anymore, so...

1486 01:19:13,916 --> 01:19:20,338 I feel really bad about doing that to Sugiura-san and others.

1487 01:19:20,422 --> 01:19:23,174 They drew so much.

1488 01:19:23,259 --> 01:19:27,178 For the ¤G for the airplanes and also the armor,

1489 01:19:27,263 --> 01:19:30,556 the preliminary backgrounds didn't quite get done in time,

1490 01:19:30,641 --> 01:19:33,351 so we did all the ¤G in normal colors

1491 01:19:33,435 --> 01:19:38,940 and changed the colors later by compositing it in.

1492 01:19:39,024 --> 01:19:41,693 This is done so well.

1493 01:19:41,777 --> 01:19:46,447 --It was people like Sugiura-san. --We partitioned a lot of sequences,

1494 01:19:46,532 --> 01:19:48,825 so there were quite a number of preliminary backgrounds, too.

1495 01:19:48,909 --> 01:19:52,203 We really put the background people through a lot of trouble, too.

1496 01:19:52,288 --> 01:19:56,207 I got a quiet e-mail from Nakaza-san, the president of KUSANAGI,

1497 01:19:56,292 --> 01:19:58,710 asking, "How are things going?"

1498 01:19:58,794 --> 01:20:00,712 And I replied, "I'm sorry."

1499 01:20:00,796 --> 01:20:03,131 Just saying that everything production is saying is true.

1500 01:20:03,215 --> 01:20:06,801 It was like, "True, true, it's true."

1501 01:20:06,885 --> 01:20:09,220 Just had to say, "We'll do our best, so please bear with us."

1502 01:20:09,305 --> 01:20:10,513 I really feel bad about that.

1503 01:20:10,597 --> 01:20:15,268 Nakaza-san never believed us to the very end.

1504 01:20:15,352 --> 01:20:18,062 Even though we were saying we were finishing it up on this day,

1505 01:20:18,147 --> 01:20:19,605 she was saying, "Don't pull my leg now.

1506 01:20:19,690 --> 01:20:22,317 --The release date's going to get pushed back, isn't it?" --Still, for a while there,

1507 01:20:22,401 --> 01:20:25,737 there really were rumors that the release would be in autumn,

1508 01:20:25,821 --> 01:20:29,449 even though it was false.

1509 01:20:36,957 --> 01:20:39,000 --It's nice. --Yes.

1510 01:20:39,084 --> 01:20:41,669 This is a nice sequence, too.

1511 01:20:41,754 --> 01:20:45,089 Animation directors Tomioka-san and Saito Eiko-san...?

1512 01:20:45,174 --> 01:20:46,591 Right.

1513 01:20:46,675 --> 01:20:48,634 They really worked hard.

1514 01:20:48,719 --> 01:20:51,220 Oh, I remember doing some detailed work here,

1515 01:20:51,305 --> 01:20:54,057 like making the background a little out of focus to express the distance.

1516 01:20:54,141 --> 01:20:55,767 Yes, and towards the latter half,

1517 01:20:55,851 --> 01:21:00,730 we tried blurring the overlayed smoke a little and stuff.

1518 01:21:00,814 --> 01:21:02,648 There was a lot like that.

1519 01:21:02,733 --> 01:21:04,609 For the automail part after this,

1520 01:21:04,693 --> 01:21:08,821 we had Aramaki-san himself make the revisions.

1521 01:21:08,906 --> 01:21:09,906 Oh, I didn't know.

1522 01:21:09,990 --> 01:21:12,283 Yes, he did.

1523 01:21:12,368 --> 01:21:15,620 Now that I look at it closely, it didn't show all of it.

1524 01:21:15,704 --> 01:21:20,083 At this point, we were like, "Let's use everything we possibly can."

1525 01:21:20,167 --> 01:21:23,753 That's awful.

1526 01:21:23,837 --> 01:21:28,341 We were asking all sorts of people for stuff at a tremendous rate.

1527 01:21:28,425 --> 01:21:30,593 Starting around here again...

1528 01:21:30,677 --> 01:21:36,516 The armor with the ku¤iki stuck to them in ¤G...

1529 01:21:36,600 --> 01:21:37,558 Oh, this was also...

1530 01:21:37,643 --> 01:21:38,643 --Yes. --This is great.

1531 01:21:38,727 --> 01:21:44,065 This is the scene we asked Irie-¤an to do.

1532 01:21:44,149 --> 01:21:48,361 ¤uite a bit of attention went into the camerawork here, too.

1533 01:21:50,656 --> 01:21:54,867 Oh, man, I remember tweaking the smoke a lot.

1534 01:21:54,952 --> 01:21:59,330 That's true. Around here, the special effects were all sandbags, sandbags, sandbags.

1535 01:21:59,415 --> 01:22:04,752 They were all sick of it, "What the heck is with all these sandbags?"

1536 01:22:06,505 --> 01:22:07,672 It's in there.

1537 01:22:07,756 --> 01:22:13,052 Did Irie-san create the motion of the armor in this part?

1538 01:22:13,137 --> 01:22:14,595 For the base, yes.

1539 01:22:14,680 --> 01:22:17,140 I think the movement of the armor was Tomioka

1540 01:22:17,224 --> 01:22:22,854 --and Irie-kun, wasn't it? We had them draw up patterns. --Osaka-san also drew some.

1541 01:22:22,938 --> 01:22:24,772 For the basic motions.

1542 01:22:24,857 --> 01:22:28,359 --The most important key animators of each part... --Oh, this part is tremendous.

1543 01:22:28,444 --> 01:22:30,862 --This is all animation, though. --It's incredible.

1544 01:22:30,946 --> 01:22:35,992 The fact that the things he transmuted are shaped like Armstrong

1545 01:22:36,076 --> 01:22:39,412 was a gag Irie-kun put in during animation.

1546 01:22:39,496 --> 01:22:40,830 Wow.

1547 01:22:40,914 --> 01:22:42,540 It wasn't like that at all in the storyboards.

1548 01:22:42,624 --> 01:22:46,461 And how he backwards hand-springs in...

1549 01:22:46,545 --> 01:22:50,089 Irie-san really did it well.

1550 01:22:51,800 --> 01:22:53,134 The way they fall is great, too.

1551 01:22:53,218 --> 01:22:54,677 They're flailing their legs and stuff.

1552 01:22:54,761 --> 01:22:56,929 Wasn't this part originally supposed to be in 3D?

1553 01:22:57,014 --> 01:22:57,805 Oh, was it?

1554 01:22:57,890 --> 01:22:59,348 And the question came up

1555 01:22:59,433 --> 01:23:02,768 about how we were going to have them grab the cloth and climb down,

1556 01:23:02,853 --> 01:23:06,314 and at the time, we already had as many scenes as we could take,

1557 01:23:06,398 --> 01:23:13,529 so we felt bad, but we asked Irie-san to do it in animation.

1558 01:23:15,574 --> 01:23:18,826 Ah, here's Roy.

1559 01:23:19,995 --> 01:23:24,749 He certainly steals the scene. It's like, "He's here!"

1560 01:23:24,833 --> 01:23:43,935 There's the air brush effects on the sandbags.

1561 01:23:44,019 --> 01:23:45,394 I was wondering what he understood.

1562 01:23:45,479 --> 01:23:49,732 No, he's perceptive, so he can tell that they need a balloon.

1563 01:23:49,816 --> 01:23:52,985 Sorry, man. You know, there were various length issues and stuff, so...

1564 01:23:53,070 --> 01:23:56,614 --I agonized over it, but really... --Sorry. No, really, sorry.

1565 01:23:59,409 --> 01:24:02,745 This part is also not very flashy, but hard to do

1566 01:24:02,829 --> 01:24:04,664 and Saito Eiko-san drew the key animation.

1567 01:24:04,748 --> 01:24:09,043 Sometimes, Winry has these really Saito-looking expressions.

1568 01:24:17,010 --> 01:24:18,594 Nice.

1569 01:24:18,679 --> 01:24:22,890 There was a question of whether he'd grab his jacket or not.

1570 01:24:22,975 --> 01:24:27,562 If he didn't wear the jacket, we couldn't do the parachute later.

1571 01:24:29,314 --> 01:24:33,651 Having him put it on in the course of events...

1572 01:24:33,735 --> 01:24:35,861 --This is all sneakily 3D, isn't it? --Yes, it is.

1573 01:24:35,946 --> 01:24:38,531 I like this part like this.

1574 01:24:38,615 --> 01:24:45,580 Around here... For the rocket motion in Part D,

1575 01:24:45,664 --> 01:24:48,624 we got quite a bit of help from Kaneko Shuichi-san.

1576 01:24:48,709 --> 01:24:51,252 We got him to do quite a bit around this part, too,

1577 01:24:51,336 --> 01:24:55,673 --so we were fortunate. --It was a great help that he served as an animation director.

1578 01:24:55,757 --> 01:25:00,386 Oh, the ku¤iki on Eckart's stomach finally appeared.

1579 01:25:00,470 --> 01:25:03,139 It was a real animation director's nightmare.

1580 01:25:03,223 --> 01:25:05,600 No matter how many times I said, "It doesn't move,"

1581 01:25:05,684 --> 01:25:09,645 Tomioka-kun would synch them up and... Look, look, look!

1582 01:25:09,730 --> 01:25:14,233 And when I said, "I'd really rather it didn't move as much as possible,"

1583 01:25:14,318 --> 01:25:17,612 he replied, "If I didn't do that, this sequence is nothing but pain."

1584 01:25:17,696 --> 01:25:22,241 So I was like, "Okay, I understand. But please try to keep it subtle."

1585 01:25:22,326 --> 01:25:26,662 But you know, he worked on this tough material to the very end

1586 01:25:26,747 --> 01:25:32,501 to match up those ku¤iki.

1587 01:25:32,586 --> 01:25:35,296 The ku¤iki done on cels...

1588 01:25:35,380 --> 01:25:36,714 --Look, it's laughing. --Right, right.

1589 01:25:36,798 --> 01:25:39,884 The ones on Eckart don't have any special effects or anything,

1590 01:25:39,968 --> 01:25:43,054 but the ones stuck to the aircraft all...

1591 01:25:43,138 --> 01:25:48,059 Ebikawa-san did a little pattern and applied texture to them.

1592 01:25:48,143 --> 01:25:53,272 But that was also where there were subtle differences between scenes

1593 01:25:53,357 --> 01:25:56,442 and I kept sending it back for retakes to have them fixed,

1594 01:25:56,526 --> 01:25:57,151 even while I apologized for it.

1595 01:25:57,194 --> 01:26:02,114 Ebikawa-san was enthusiastic about it right away when we decided on it,

1596 01:26:02,199 --> 01:26:06,702 but he had misread how many scenes there were.

1597 01:26:06,787 --> 01:26:09,038 When all was said and done, though,

1598 01:26:09,122 --> 01:26:12,416 he really worked hard all the way to the end.

1599 01:26:12,501 --> 01:26:17,421 Tomioka-kun made a lot of fixes to the layout around this part.

1600 01:26:17,506 --> 01:26:23,427 Well, I was the one who asked him to do it that way, but...

1601 01:26:23,512 --> 01:26:28,224 He meticulously revised the layouts, so I appreciated that.

1602 01:26:28,308 --> 01:26:31,435 Now that I'm looking at it, you can't really tell.

1603 01:26:31,520 --> 01:26:32,770 We did some pretty detailed things

1604 01:26:32,854 --> 01:26:35,022 like blurring the backgrounds to create a sense of distance.

1605 01:26:35,107 --> 01:26:36,565 Wasn't the stuffed animal added later here?

1606 01:26:36,650 --> 01:26:40,528 Oh, this bear. Kaneko-san said he wanted to add the bear.

1607 01:26:40,612 --> 01:26:43,781 This is a "Kaneko-san being particular" scene.

1608 01:26:43,865 --> 01:26:46,575 He created this incredible back story, too.

1609 01:26:46,660 --> 01:26:48,744 When we were planning the animation,

1610 01:26:48,829 --> 01:26:53,708 it was like, "It's too sad, so please stop."

1611 01:26:54,793 --> 01:26:59,130 The wreckage in this part involved a lot of work, too.

1612 01:27:03,844 --> 01:27:05,344 The acting here is wonderful, too.

1613 01:27:05,429 --> 01:27:10,516 The hair swinging back was missing in the inbetweens at first

1614 01:27:10,600 --> 01:27:13,602 and it was the scene where I got chewed out by Nakayama-san

1615 01:27:13,687 --> 01:27:16,105 for wanting to fix it at the end.

1616 01:27:16,189 --> 01:27:18,232 "You're going to fix that animation ni¤?!

1617 01:27:18,316 --> 01:27:20,609 I told you you couldn't do stuff like that anymore!"

1618 01:27:20,694 --> 01:27:23,529 And I was like, "I'm sorry, but I still want to fix it."

1619 01:27:23,613 --> 01:27:28,367 And I used a ¤uick Action Recorder to look at how to fix it.

1620 01:27:28,452 --> 01:27:31,036 I remember that.

1621 01:27:31,121 --> 01:27:35,458 --Oh, so cool. --This is another pan with action.

1622 01:27:38,962 --> 01:27:42,131 The question here was, is the background blurred? Is the smoke?

1623 01:27:42,215 --> 01:27:43,674 I really remember that.

1624 01:27:43,759 --> 01:27:49,305 Well, there are a lot of scenes where I personally touched things up.

1625 01:27:49,389 --> 01:27:53,267 Towards the end, we were all working on it in some way.

1626 01:27:53,351 --> 01:27:58,731 It was like this big, background revising session.

1627 01:27:58,815 --> 01:28:04,236 We did ask Ogura-kun to do the small, really detailed stuff,

1628 01:28:04,321 --> 01:28:09,575 while we hung on to the stuff we could handle ourselves.

1629 01:28:09,659 --> 01:28:12,620 Towards the end, it really was an all-out war.

1630 01:28:12,704 --> 01:28:15,164 It was great that Part D was the all-out war.

1631 01:28:15,248 --> 01:28:17,750 Yes, Part D was incredible.

1632 01:28:17,834 --> 01:28:23,380 --Well, it's also the toughest part in terms of the content. --There was a lot of material.

1633 01:28:25,467 --> 01:28:27,551 We had Nakayama-san

1634 01:28:27,636 --> 01:28:29,970 working on this part right up to the cellophane check.

1635 01:28:30,055 --> 01:28:32,223 She was sleeping among the sandbags by the end, remember?

1636 01:28:32,307 --> 01:28:38,687 She really was among the sandbag scenes, sleeping furiously.

1637 01:28:40,607 --> 01:28:42,441 Really...

1638 01:28:44,402 --> 01:28:45,486 It's from around here, right?

1639 01:28:45,570 --> 01:28:47,780 I think an unexpected person is being used

1640 01:28:47,864 --> 01:28:49,865 in an unexpectedly extravagant fashion.

1641 01:28:49,950 --> 01:28:56,956 That's true. There was some fuss that occurred around this part.

1642 01:28:57,040 --> 01:29:00,793 Basically, it wasn't getting finished.

1643 01:29:00,877 --> 01:29:03,128 It was like our first huge crisis.

1644 01:29:03,213 --> 01:29:07,508 This part isn't it yet. Harada-kun worked hard on this part.

1645 01:29:07,592 --> 01:29:09,134 It's from after this.

1646 01:29:09,219 --> 01:29:13,764 From here, at around a week before the cutting,

1647 01:29:13,849 --> 01:29:18,018 we reassigned it to Komori-san and Kawamoto-san.

1648 01:29:18,103 --> 01:29:20,813 It was unbelievable.

1649 01:29:20,897 --> 01:29:23,607 Was this Komori-san?

1650 01:29:23,692 --> 01:29:28,279 Yes, we had Komori-¤an look it over.

1651 01:29:28,363 --> 01:29:31,782 I asked Komori-san to do a certain amount,

1652 01:29:31,867 --> 01:29:34,743 but even I'm a bit afraid of Kawamoto-san,

1653 01:29:34,828 --> 01:29:38,205 so I thought I'd give him a little bit less,

1654 01:29:38,290 --> 01:29:41,834 but Kawamoto-san said, "But Komori-kun's doing this much, right?"

1655 01:29:41,918 --> 01:29:45,421 So, he showed us the willpower of a leader.

1656 01:29:45,505 --> 01:29:48,799 It turned into an incredible scene. That there was part of it, too.

1657 01:29:48,884 --> 01:29:52,219 --So cool. --Around here, the texture was tough and...

1658 01:29:52,304 --> 01:29:57,266 Also, later, we debated a bit whether to do the bullet holes or not.

1659 01:29:57,350 --> 01:29:59,602 But this was where the animation director, Tomioka-kun,

1660 01:29:59,686 --> 01:30:01,770 said he wanted to match everything and do it properly,

1661 01:30:01,855 --> 01:30:04,023 so he asked for it to be put back in.

1662 01:30:06,359 --> 01:30:07,818 This is great. And there's the ku¤iki.

1663 01:30:07,903 --> 01:30:09,695 The ku¤iki was so much work.

1664 01:30:09,779 --> 01:30:14,617 The ku¤iki synched to Eckart.

1665 01:30:14,701 --> 01:30:17,620 That was clearly moving there!

1666 01:30:19,998 --> 01:30:21,790 There's the profile.

1667 01:30:21,875 --> 01:30:26,170 And it's looking this way. It's looking even before Eckart is.

1668 01:30:26,254 --> 01:30:32,718 Nakayama-san had names for them, like Jirou and Saburou or something.

1669 01:30:32,802 --> 01:30:34,762 Seriously.

1670 01:30:39,726 --> 01:30:43,729 Starting around here is Tomioka-san...

1671 01:30:43,813 --> 01:30:46,732 It was originally done by a key animator named Mukouda-kun,

1672 01:30:46,816 --> 01:30:49,693 a really skilled, young kid.

1673 01:30:49,778 --> 01:30:55,074 And Tomioka kind of pulled his key animation together.

1674 01:30:55,158 --> 01:30:57,660 He served as an animation director over at Doga-Kobou all along

1675 01:30:57,744 --> 01:31:00,037 and someone who worked on the TV series.

1676 01:31:00,121 --> 01:31:02,623 He's very good at action.

1677 01:31:02,707 --> 01:31:06,877 He's also really good at layouts and things, too.

1678 01:31:09,839 --> 01:31:12,299 Kato-san's performance here is splendid, too.

1679 01:31:12,384 --> 01:31:14,134 Yes.

1680 01:31:20,475 --> 01:31:22,142 This is cool, too.

1681 01:31:25,188 --> 01:31:27,064 Here comes the action!

1682 01:31:30,652 --> 01:31:32,111 It's after this that...

1683 01:31:32,195 --> 01:31:36,240 ...it goes horizontal.

1684 01:31:36,324 --> 01:31:37,241 Right here.

1685 01:31:37,325 --> 01:31:40,494 Over 1 0 seconds of action in one scene.

1686 01:31:40,578 --> 01:31:45,082 This is the scene where Tomioka-kun said to me,

1687 01:31:45,166 --> 01:31:47,793 "¤ome on, don't make scenes like this at the very end!"

1688 01:31:47,877 --> 01:31:49,753 But I said, "But this is a highlight,

1689 01:31:49,838 --> 01:31:52,631 I want to go with one scene instead of splitting it."

1690 01:31:52,716 --> 01:31:55,551 And asked him to do it.

1691 01:31:58,096 --> 01:32:03,642 That part in the front was 3D, too, right?

1692 01:32:03,727 --> 01:32:07,438 --This part was Iwasaki-san, right? --Yes.

1693 01:32:07,522 --> 01:32:11,483 Eckart produces magic circles pretty frequently

1694 01:32:11,568 --> 01:32:14,653 and the performance is detailed.

1695 01:32:14,738 --> 01:32:20,159 It's supposed to be kind of confused and just going all-out.

1696 01:32:20,243 --> 01:32:23,120 When the movie opened, there were no ku¤iki.

1697 01:32:23,204 --> 01:32:25,414 Yes, it's a scene we reinserted.

1698 01:32:25,498 --> 01:32:28,333 It was the one scene that was a dismal failure.

1699 01:32:28,418 --> 01:32:34,131 The scene we forgot the ku¤iki in.

1700 01:32:34,215 --> 01:32:36,759 I couldn't quite remember if they were there or not,

1701 01:32:36,843 --> 01:32:38,302 but when we checked the materials, they weren't there.

1702 01:32:38,386 --> 01:32:40,304 There was a lot of data,

1703 01:32:40,388 --> 01:32:44,016 so during the layout check, we had them hidden,

1704 01:32:44,100 --> 01:32:48,270 and that ended up in the real thing.

1705 01:32:48,354 --> 01:32:50,814 It feels like the fighting is finally over now.

1706 01:32:50,899 --> 01:32:54,610 --We redid that part where it flew away quite a bit. --Yes, many times.

1707 01:32:54,694 --> 01:32:56,320 Like, it would seem oddly fast.

1708 01:32:56,404 --> 01:33:01,366 We discussed at length whether it was falling or not.

1709 01:33:01,451 --> 01:33:05,662 That one looks a¤ully graphic.

1710 01:33:05,747 --> 01:33:08,040 We used quite a bit of special effects here, too.

1711 01:33:08,124 --> 01:33:10,542 Including matching the effects...

1712 01:33:10,627 --> 01:33:14,046 This is where we did all sorts of things

1713 01:33:14,130 --> 01:33:18,092 to try to get it closer to the animated material.

1714 01:33:18,176 --> 01:33:19,426 This part is...

1715 01:33:19,511 --> 01:33:21,595 Yes, Yamaoka-san.

1716 01:33:21,679 --> 01:33:26,141 We had decided ahead of time to do this part in animation

1717 01:33:26,226 --> 01:33:31,980 and this scene got finished pretty far in advance,

1718 01:33:32,065 --> 01:33:33,107 but because of that,

1719 01:33:33,191 --> 01:33:37,402 we had to match Eckart's ¤G ku¤iki to this

1720 01:33:37,487 --> 01:33:43,325 and we ended up doing a massive overhaul halfway through.

1721 01:33:43,409 --> 01:33:47,704 --This part is great. --It's a great sequence.

1722 01:33:47,789 --> 01:33:50,624 There were an awful lot of revisions

1723 01:33:50,708 --> 01:33:55,462 to the ku¤iki by Kaneko-san, weren't there?

1724 01:33:58,842 --> 01:34:00,509 Boom.

1725 01:34:00,593 --> 01:34:02,219 Looks good.

1726 01:34:02,303 --> 01:34:04,721 --This was also where... --Something about what happened after they split.

1727 01:34:04,806 --> 01:34:09,601 Like the sizes were different and we didn't notice it until later.

1728 01:34:13,106 --> 01:34:14,731 Up to that point was the alchemic world

1729 01:34:14,816 --> 01:34:18,485 and from here is the real world.

1730 01:34:22,699 --> 01:34:25,450 I agonized over whether to make these stills or not,

1731 01:34:25,535 --> 01:34:27,327 but in the end, it was decided it was impossible

1732 01:34:27,412 --> 01:34:30,664 and we fixed it all.

1733 01:34:34,669 --> 01:34:36,753 Around here at the end,

1734 01:34:36,838 --> 01:34:40,591 we had young, energetic people like Komori-san and Koike-san.

1735 01:34:40,675 --> 01:34:44,636 --It was Saito-san up to this point. --Was it Saito-san? Oh, right.

1736 01:34:44,721 --> 01:34:48,473 When we came back to the real world, I did the directing myself

1737 01:34:48,558 --> 01:34:50,851 and I think it was Koike-kun from here.

1738 01:34:50,935 --> 01:34:52,644 Wait... Yeah, it was Koike-kun.

1739 01:34:52,729 --> 01:34:54,354 No, it was Komori-san.

1740 01:34:54,439 --> 01:34:55,856 Huh? Komori-kun? Oh, right.

1741 01:34:55,940 --> 01:34:58,775 Komori-kun did this part and Koike-kun was Takuranke.

1742 01:34:58,860 --> 01:35:01,862 --Yes. --Then this is Komori-kun.

1743 01:35:03,907 --> 01:35:06,950 Getting the layout down for this part was also hard,

1744 01:35:07,035 --> 01:35:10,204 because it's a pretty big space.

1745 01:35:10,288 --> 01:35:15,667 And we had Tomioka-kun put quite a bit of work into revising the layouts.

1746 01:35:15,752 --> 01:35:19,379 We also blurred the background to create a sense of distance.

1747 01:35:19,464 --> 01:35:22,382 This created a pretty interesting effect, didn't it?

1748 01:35:22,467 --> 01:35:25,052 Fukushi-san worked hard on this.

1749 01:35:25,136 --> 01:35:27,596 What did I give him as reference for this?

1750 01:35:27,680 --> 01:35:29,973 Did I give him ¤i¤¤ic¤ or something?

1751 01:35:30,058 --> 01:35:33,769 Oh, no, I know! It was ¤itch ¤lack.

1752 01:35:33,853 --> 01:35:36,647 I said I wanted it like this and...

1753 01:35:36,731 --> 01:35:38,690 Eckart's in a terrible state...

1754 01:35:38,775 --> 01:35:41,735 Yes, Eckart's in a really terrible state.

1755 01:35:41,819 --> 01:35:50,035 This is where Ishigaki-¤an worked hard on the monster design.

1756 01:35:50,119 --> 01:35:52,829 I think the designs turned out in such a way

1757 01:35:52,914 --> 01:35:55,707 that they took advantage of everyone's individual abilities.

1758 01:35:55,792 --> 01:35:57,125 --She looks really pathetic. --Her face looked a¤ul.

1759 01:35:57,210 --> 01:36:00,462 --Oh, well, for that, we couldn't have Eckart die prettily, so... --That's true.

1760 01:36:00,546 --> 01:36:04,591 I asked Tomioka-kun to draw it without pity.

1761 01:36:04,676 --> 01:36:06,385 Al's here in the corner, isn't he?

1762 01:36:06,469 --> 01:36:08,387 Yes, he is. He's inside.

1763 01:36:08,471 --> 01:36:10,555 He's plopped there, looking incredibly natural.

1764 01:36:10,640 --> 01:36:12,641 It's almost implausible.

1765 01:36:12,725 --> 01:36:15,686 I really agonized over it, like, "How would he have leapt out there?"

1766 01:36:15,770 --> 01:36:19,314 And we decided we'd just have to scatter them out there.

1767 01:36:19,399 --> 01:36:21,900 We agonized over so much.

1768 01:36:21,985 --> 01:36:27,823 --There was a big deal over if she'd get blood on her or not here, too. --And where the blood gets on her.

1769 01:36:31,744 --> 01:36:34,371 This area is already really...

1770 01:36:34,455 --> 01:36:42,713 Well, we had Ando Masahiro-san draw the storyboards for Part D.

1771 01:36:42,797 --> 01:36:46,633 It was the end, so it's where I touched things up the most,

1772 01:36:46,718 --> 01:36:50,762 but from around here, most of the storyboarding is mine.

1773 01:36:50,847 --> 01:36:53,515 The way the armor is removed and stuff was...

1774 01:36:53,599 --> 01:36:55,559 Right, we needed to add it in.

1775 01:36:55,643 --> 01:36:58,645 From here, it's off screen and he's rattling around.

1776 01:36:58,730 --> 01:37:03,108 We had sound effects pick up that continuity.

1777 01:37:08,448 --> 01:37:11,992 As I recall, it's around here that the music...

1778 01:37:12,076 --> 01:37:13,952 Yes.

1779 01:37:16,706 --> 01:37:20,876 Ah, here comes the strings.

1780 01:37:20,960 --> 01:37:22,878 This music was also extravagant.

1781 01:37:22,962 --> 01:37:28,800 We actually asked Ferenc-san to also compose a piece to match this part,

1782 01:37:28,885 --> 01:37:32,846 but we'd placed a little order to Oshima-san as well,

1783 01:37:32,930 --> 01:37:36,725 and we said we'd go with whichever brought things together neatly.

1784 01:37:36,809 --> 01:37:41,688 In the end, we decided Oshima-san's piece matched perfectly,

1785 01:37:41,773 --> 01:37:45,275 so we went with that one.

1786 01:37:51,282 --> 01:37:54,743 --This was just the totally bawling your eyes out part. --Is that so?

1787 01:37:54,827 --> 01:37:58,663 From here, it's the epilogue.

1788 01:37:58,748 --> 01:38:01,249 It's the part where the storyboards got finished at the very end.

1789 01:38:01,334 --> 01:38:05,295 --This was Otsuka-san. --Oh, right. Ken-kun...

1790 01:38:05,380 --> 01:38:09,591 We asked him to do it as a celebration, since it was the movie.

1791 01:38:09,675 --> 01:38:16,264 We called him and ¤hiba-kun, who did the part at the very end.

1792 01:38:16,349 --> 01:38:19,976 I was so nervous, because he was working on ¤u¤eka at the time.

1793 01:38:20,061 --> 01:38:21,603 I remember saying it was okay, because I'd asked for it.

1794 01:38:21,687 --> 01:38:25,941 I didn't know how I was going to apologize for it.

1795 01:38:26,025 --> 01:38:29,486 Well, it couldn't have been helped.

1796 01:38:29,570 --> 01:38:32,364 The animation here is just incredible.

1797 01:38:32,448 --> 01:38:36,493 We had Nishimura Hiroyuki-san from Megaten Studio do this part.

1798 01:38:36,577 --> 01:38:37,619 It's done unbelievably well.

1799 01:38:37,703 --> 01:38:41,540 At the storyboard stage, all it says is, "She's dancing."

1800 01:38:41,624 --> 01:38:43,500 I can't draw that much, so...

1801 01:38:43,584 --> 01:38:46,128 But he picked it up nicely from there

1802 01:38:46,212 --> 01:38:50,882 and the way she's stepping and stuff turned out really great.

1803 01:38:50,967 --> 01:38:52,759 Man, that was cool.

1804 01:38:52,844 --> 01:38:55,554 I wanted her to dance in a white dress.

1805 01:38:55,638 --> 01:38:57,597 I had them design a black one, too,

1806 01:38:57,682 --> 01:39:00,350 but after agonizing over it, I went with the white.

1807 01:39:02,520 --> 01:39:06,940 Oh, it feels like it's going to end soon.

1808 01:39:07,024 --> 01:39:11,570 This scene is long. About 20 whole seconds.

1809 01:39:11,654 --> 01:39:15,240 It's made to look like it's being shot from a distance.

1810 01:39:15,324 --> 01:39:18,326 In the theater, there were some shouts and screams after this.

1811 01:39:18,411 --> 01:39:19,953 Oh, the fan service.

1812 01:39:20,037 --> 01:39:25,375 We were just aiming for some snickers with this scene, but it actually...

1813 01:39:25,460 --> 01:39:27,461 Everyone actually enjoyed it quite a bit.

1814 01:39:27,545 --> 01:39:30,338 I heard that Okiayu-san watched this and said,

1815 01:39:30,423 --> 01:39:33,675 "You could've inserted some adlib in there!"

1816 01:39:33,759 --> 01:39:38,054 Like, "Why didn't you get me to come in? Kakazu-san got to go."

1817 01:39:38,139 --> 01:39:39,431 Like, "You had that, but you didn't do it here?"

1818 01:39:39,515 --> 01:39:43,977 Right, right, right. I feel bad about that.

1819 01:39:44,061 --> 01:39:48,190 --Was this element placed in, too? --Yes, it was... No... Yeah, was it?

1820 01:39:48,274 --> 01:39:50,734 --Was it animation? --It was special effects animation.

1821 01:39:50,818 --> 01:39:53,737 Because it flies away, even though there are special effects,

1822 01:39:53,821 --> 01:39:56,531 so it was hard.

1823 01:40:00,286 --> 01:40:02,746 There are detailed performances casually inserted here, too.

1824 01:40:02,830 --> 01:40:06,833 People are drinking in the back, too, even though it's all wrecked.

1825 01:40:09,462 --> 01:40:10,921 They look great.

1826 01:40:11,005 --> 01:40:16,051 Well, you know, we gotta really show their faces at the end.

1827 01:40:16,135 --> 01:40:19,137 At first, the bottom of the car was showing.

1828 01:40:19,222 --> 01:40:21,723 In the first take, it was like, "Whoops!"

1829 01:40:21,807 --> 01:40:23,892 From here are the scenes we had ¤hiba-kun do.

1830 01:40:23,976 --> 01:40:27,229 Up to that point was Nishimura-san.

1831 01:40:27,313 --> 01:40:30,106 Nishimura-san really worked on a massive number of scenes

1832 01:40:30,191 --> 01:40:32,400 in a short amount of time.

1833 01:40:32,485 --> 01:40:35,278 This was for the DVD extras.

1834 01:40:35,363 --> 01:40:37,405 Made just for that purpose.

1835 01:40:37,490 --> 01:40:38,865 Ah, finally, here's the ending.

1836 01:40:38,950 --> 01:40:40,283 The end credits.

1837 01:40:40,368 --> 01:40:41,868 The ending telop was a lot of work.

1838 01:40:41,953 --> 01:40:44,704 It took 2¤ hours.

1839 01:40:44,789 --> 01:40:47,374 We really underestimated it somehow, you know?

1840 01:40:47,458 --> 01:40:51,503 I originally said I wanted the designer, Kusano-san,

1841 01:40:51,587 --> 01:40:54,005 to work on the telop layout.

1842 01:40:54,090 --> 01:40:56,049 And we thought we'd have him design part of it

1843 01:40:56,133 --> 01:40:59,594 and then match the rest of it at IMAGI¤A,

1844 01:40:59,679 --> 01:41:03,932 but Kusano-kun said, "No, I'll do it!" Right, Oyabu-san?

1845 01:41:04,016 --> 01:41:06,685 --Yes. --That was the start of hell.

1846 01:41:06,769 --> 01:41:09,813 More like, I hadn't really heard the whole story from Mizushima-san

1847 01:41:09,897 --> 01:41:12,232 and I thought he was going to do all of it.

1848 01:41:12,316 --> 01:41:15,735 So I got us into trouble when I backed him up.

1849 01:41:15,820 --> 01:41:19,614 A lot of attention went into how it's put together, though.

1850 01:41:19,699 --> 01:41:21,658 I remember, every time we went to IMAGI¤A,

1851 01:41:21,742 --> 01:41:29,249 they told us over and over that you needed 7 seconds for legibility.

1852 01:41:29,333 --> 01:41:31,751 So how many seconds did we end up with?

1853 01:41:31,836 --> 01:41:34,504 6.¤ or something. A bit over 6 seconds.

1854 01:41:34,589 --> 01:41:39,175 Kusano-kun and I got particular and picked a Mincho typeface,

1855 01:41:39,260 --> 01:41:41,720 but in Mincho, the horizontal bars get really thin

1856 01:41:41,804 --> 01:41:42,887 and it's hard to read.

1857 01:41:42,972 --> 01:41:48,226 Minami-san told me, "I swear, you always prioritize what's cool.

1858 01:41:48,311 --> 01:41:50,604 It's no good if you can't read the names of the staff!"

1859 01:41:50,688 --> 01:41:53,732 And I said, "It'll be fine, it'll be legible."

1860 01:41:53,816 --> 01:41:57,444 Various issues with the speed and typeface.

1861 01:41:57,528 --> 01:41:59,696 We were like, "Mincho gets used a lot elsewhere, too!"

1862 01:41:59,780 --> 01:42:03,908 And we got told, "That's not the issue here!"

1863 01:42:03,993 --> 01:42:07,621 But in the end, we got it made so it was legible

1864 01:42:07,705 --> 01:42:11,666 and got to keep the things we were particular about.

1865 01:42:11,751 --> 01:42:13,460 I have to be grateful for this telop.

1866 01:42:13,544 --> 01:42:16,504 And all the way to the end, Oyabu-kun kept on going

1867 01:42:16,589 --> 01:42:21,009 about how some person or another's name was wrong or missing.

1868 01:42:21,093 --> 01:42:22,385 Oh, I remember that.

1869 01:42:22,470 --> 01:42:23,720 --There were a lot. --All at the eleventh hour.

1870 01:42:23,804 --> 01:42:30,101 There were several cases we had to apologize for.

1871 01:42:30,186 --> 01:42:32,937 Well, the person was from Kantou,

1872 01:42:33,022 --> 01:42:35,565 so we tried doing things like

1873 01:42:35,650 --> 01:42:40,236 asking IMAGI¤A to run it in a theater away from Tokyo.

1874 01:42:40,321 --> 01:42:42,864 It was truly "darkest beneath the lamp."

1875 01:42:42,948 --> 01:42:47,619 Yes, I'm sorry. Of course, it's been fixed on the DVD.

1876 01:42:47,703 --> 01:42:50,455 --Really. --I've never seen it take that long.

1877 01:42:50,539 --> 01:42:53,792 It was incredible. We all got together...

1878 01:42:53,876 --> 01:42:57,170 All the producers of each part got together.

1879 01:42:57,254 --> 01:43:00,840 There were about 1 ¤ people looking at it.

1880 01:43:00,925 --> 01:43:03,468 But this is in its final form,

1881 01:43:03,552 --> 01:43:05,887 so there are definitely no mistakes in it, right?

1882 01:43:05,971 --> 01:43:10,600 It'll be a huge panic if we found something now.

1883 01:43:10,685 --> 01:43:15,605 If anyone notices anything now, just keep it to yourself.

1884 01:43:15,690 --> 01:43:20,735 Yes, it's like, please, don't say anything.

1885 01:43:20,820 --> 01:43:25,699 But towards the latter half, after the film was finished,

1886 01:43:25,783 --> 01:43:31,746 Oyabu-san was calculating the number of people in the telop

1887 01:43:31,831 --> 01:43:34,416 and agonizing over it the whole time.

1888 01:43:34,500 --> 01:43:36,918 "How many people a¤e there?!"

1889 01:43:37,002 --> 01:43:40,046 You were saying that like it was some kind of chant.

1890 01:43:45,094 --> 01:43:47,554 But you know, it's good that it ended up being legible.

1891 01:43:47,638 --> 01:43:50,557 --At first, it was really fast. --It was really fast!

1892 01:43:50,641 --> 01:43:52,809 So, we cut the spacing in the layout and fixed it,

1893 01:43:52,893 --> 01:43:54,602 and did some trial and error.

1894 01:43:54,687 --> 01:43:58,648 Ah, there's the German supervisor, Karsten-san.

1895 01:43:58,733 --> 01:44:01,276 For a while there, the setting producer, Anzai-kun,

1896 01:44:01,360 --> 01:44:04,279 was chanting Karsten-san's name.

1897 01:44:04,363 --> 01:44:07,657 Oh, the production officer went by already!

1898 01:44:07,742 --> 01:44:08,783 Sorry about that.

1899 01:44:08,868 --> 01:44:12,787 --Tezuka-san, right? --Tezuka-san. I'm really sorry.

1900 01:44:14,832 --> 01:44:21,463 She's supposed to be Oyabu-san's right hand, and yet...

1901 01:44:21,547 --> 01:44:22,589 It's poor treatment, isn't it?

1902 01:44:22,673 --> 01:44:27,427 BONES here is nice. With two people, it stands out.

1903 01:44:27,511 --> 01:44:31,806 Perhaps we shouldn't touch on that too much.

1904 01:44:31,891 --> 01:44:32,932 Really?

1905 01:44:33,017 --> 01:44:34,601 From what I heard earlier,

1906 01:44:34,685 --> 01:44:37,604 I didn't see Minami-san during the project much,

1907 01:44:37,688 --> 01:44:41,232 but there were quite a lot of digs being taken at you.

1908 01:44:41,317 --> 01:44:44,944 Well, I've met up with them here and there.

1909 01:44:45,029 --> 01:44:46,988 This is Minami-san's thing,

1910 01:44:47,072 --> 01:44:49,991 where it shows up after all the rest have gone by.

1911 01:44:50,075 --> 01:44:51,701 Ah, it's over.

1912 01:44:51,786 --> 01:44:54,454 Thank you for your hard work!