Interview on screenwriter · Yasuko Kobayashi on theatrical version "Fragrance <GARO> -DIVINE FLAME-"
Published on 21st May 2016Theatrical version "Fragrance
Theatrical version "Fragrance
http://garo-divineflame.jp/
The main visual of the work is like this.
◆Until Mr. Kobayashi becomes a screenwriter
GIGAZINE (hereinafter, G):
First of all, until I meet Mr. Kobayashi and my fellow wolf
Yasuko Kobayashi (hereinafter referred to as Kobayashi):
It was a child that was mixed with boys and playing with a war outside.
G:
Does it play a rider?
Kobayashi:
No, the kick base that was in fashion and "CadroI was doing something. Since there was no game machine yet, it was playing around outside anyhow. And at night, I went home and watched TV. At that time I was also broadcasting programs for children such as animation at 7 o'clock in the evening.
G:
Do you remember the impression of the beginning of Kamen Rider or GoRanger?
Kobayashi:
There is not much impression that "started" each, but there is a memory saying "I was watching". Masked Rider does not remember anything about No. 1 at all, and No. 2 ... ... I thought that the actor is not very much liked (laugh)
G:
Is it a period drama or a criminal drama since this time?
Kobayashi:
It's been a while since my age has gone up, it is about an elementary school high school age. In the case of a historical drama I was addicted to thinking ninja and samurai obediently "cool".
G:
When he was in elementary school to junior high school, he seems to have written a dialogue of "science ninja troops gatchan man"'s speech, but do you still keep the contents?
Kobayashi:
I think that it is not left, as it was written in the corner of the textbook during the class (laugh)
G:
Around this time, I talked about receiving a course of communication education scenario "Takaneda Noriki's monster radio"I heard it.
Kobayashi:
I knew that there was a scriptwriter 's work, I think that it was time for middle school students, but I asked my parents to do it.
G:
That is why he has fulfilled his dream beautifully like this, but he has not kept aiming at script writers.
Kobayashi:
What I had as a dream gradually got lost in my everyday life ... (laugh) There was not a time when I gave up "clearly" clearly, but when I realized I was fading out.
G:
I am playing basketball in junior high school, softball in high school, and I go to a sports-oriented system direction rather than that, is there also that?
Kobayashi:
Although I have not seen much of the normal drama, I often watched historical dramas and animation in junior high school. Also, I was reading "Weekly Shonen Jump" all the time, it was about "everybody is reading".
G:
I thought what was touched when it was a book or manga, is still "jump" strong?
Kobayashi:
I had a younger brother down, but as for the jump I bought it even if it overlapped my younger brother and became a state like one person (laugh) But my parents seemed not to like such things so much .
G:
However, while fading out once, once becoming a social worker "Special police winspector」(The 25th episode broadcast on July 22, 1990" Robot to cry in the rain "), it came back to the place called" screenwriter ". This episode is quite widely known among special effects fans, but did you first hear the name of the work, for example, as a trigger for you to see, did you have anything like that?
Kobayashi:
That is not at all. It happened just by chance that "I went on a TV on Sunday morning when I turned on the TV".
G:
"Special Search Exceed Raft"Although it is said that he sent out the scenario and sent it, was not that" still aiming at the screenwriter "still at this point?
Kobayashi:
When I sent it, I would not have thought until "I want to be a script writer, that's it." However, as I got to contact you after I sent it, it came to think that "Can you do it, perhaps?"
G:
If this scenario isHori NagatakeTaking the producer's eyes, the following year's "Special search Robo jumper songI decided to debut as a screenwriter.
Kobayashi:
There is a memory that it was a debut with "Jumper song" that there was a feeling that a little time had opened, whether it was the next year or a bit earlier.
(Editorial note: Mr. Kobayashi was responsible for the screenplay was the 40th episode "5 seconds before the base bombing", broadcast on October 31, 1993)
G:
Mr. Kobayashi had been named as the drama he was watching "G Men '75"It seems like the episode is a drama like being discovered by Hori Producer who was in charge of 13 directors ....
Kobayashi:
That's right .... This was a very strange feeling for me too.
G:
When you were watching Exceed Raft etc, did you know about Hori Producer?
Kobayashi:
On the contrary, I did not know what kind of job a producer is a producer, so when I first contacted you, I thought that "I am being cheated?" (Laugh)
G:
What (lol) the producerNori TakajiMade with "Electromagnetic Squadron Megaranger'S broadcasting was 1997, but I heard that he became a specialist of screenwriters at this time.
Kobayashi:
I can not remember until the concrete time because it was a long time ago, but I think that it was about halfway through the mega ranger.
G:
Just this year "Hell Teacher Netsu ~I'm making an animated screenplay debut with.
Kobayashi:
It was animation broadcasted on TV Asahi series, but was responsible for special effects at TV AsahiKaji JunBecause the producer called Mr. is supposed to be in charge of animation, that's the edge.
G:
Is this a specialized effect? For example, if you are a professional, you can spend a lot of time, so you can also animate not only special effects ... ....
Kobayashi:
No problem There is not such a thing at all. Rather, I can not do anything until a voice is heard.
G:
Writing a screenplay is the difference between special effects and animation big?
Kobayashi:
Although it is not so now, in many years the content has changed with a storyboard often, and I was surprised that it is such a thing that changes so much with animation. In the case of special effects, since the scene moves based on one script, it does not change much. On the other hand, in the case of animation, the site does not move based on the script, but the Container cuts the container and the site moves according to it, so there is a difference that there is such a thing.
G:
I see.
Kobayashi:
Regarding the anime scene, the story of the past is the past story to the last, now the production committee system is taken, so the emphasis is placed on the decision-making manuscript. So, how to make it based on the decided manuscript, to put effort on where to produce it, less changewise the script.
G:
Mr. Kobayashi, in the Super Sentai series "Samurai Sentai Shinken"5 works, such as" Masked Rider Series "Kamen Rider Den-O"It is one of the screenwriters representing the special effects world, who is in charge of three main writers, and at the same time it is a screenwriter who is doing great success in the animation circle. "JoJo's Bizarre AdventureSeries and "Attack on TitanThere are several names of works that are popular, such as the original, and also hit big animations, but are there any pressures etc. in charge of these works?
Kobayashi:
Well ... nothing particular. It seems that "being animated is a popular original," but as for any work, there is an original if you have to do it unless you do not read it from the head (laugh), that kind of point Then, it may be said that the work named and the work which is not the same are the same. Actually, I do not read so much comics, so I do not have much details. Shamefully, "JoJo's Bizarre Adventure" was also to be read after hearing stories ... .... "I was truly amusing" I was convinced.
G:
It was said that it happened to be read about "the advancing giant".
Kobayashi:
Tokugawa Sentai Go-BustersIt was a work that I started to read by being told at the time, but I also had a story about anime coincidentally.
G:
Well, it was a coincidental overlap.
◆Mr. Kobayashi and False Warrior
G:
Relationship with Mr. Kobayashi and False warrior
Kobayashi:
Well, why was that ... .... I think that it was not directly from Amemiya-san, so probably was it from some of the producers?
G:
For example, maybe you received an introduction from a screenwriter?
Kobayashi:
Writer'sToshiki InoueBecause I am on good terms with Amemiya-san, maybe that kind of connection was there.
G:
After "MAKAISENKI", it was made again by director Keimi Amamiya, "2000 years screening · Broadcast" Absolute
Kobayashi:
Yes, I made a series composition and a total of 6 scripts.
G:
As for the series composition, it is a position to order each story towards the script.
Kobayashi:
Although I do not need a separate series composition when I do everything by myself (laugh), since in the case of the original work we need to tell you the direction, so the first story is like this and the second story is like this So we will allocate according to the length of the broadcast. However, this is a story in the case of animation, and it is not done much if it is a live action.
G:
When the series configuration tells allocation, how much content do you communicate?
Kobayashi:
I will inform you about two or three lines with an overview, but I think that this is a part of each person. Also, as it is a work with an original, it can be conveyed in the form "from the original book here to here", so there is also a little difference.
G:
The TV anime "Fragrance
Kobayashi:
"I want to do this with animation, so I can really do anything, so let me think freely." Then, if I write about the world view of about two A4 sheets and something like a story's story and say "Let's go with this" It was. Then, Mr. Hayashi was decided as a director, and everyone else stuffed up the series composition, talking about how to develop the story ... ... It is like feeling.
G:
Indeed, Mr. Kobayashi has created "medieval European-style female
Kobayashi:
It was a skeleton that it is a medieval European style and the story of a baby born and a father of a pseudonym.
Leon as a child of destiny (appearance at DIVINE FLAME)
G:
The scene where Anna births Leon off at the beginning of the first episode and helps Hermann helps from this stage ...! Well, did you see a picture that became an anime?
Kobayashi:
It is not a picture, but it is such an image that "it is born in flames ... ...".
Even in the first visual of "DIVINE FLAME", the appearance of Anna which is put on fire is used.
G:
A very serious story is developed, including the witch hunt that "An engraved flame" dropped his mother Anna, the mother of Leon. On the other hand, Hermann became a mood maker of the work, especially in the eighth episode "Naked - FULL MONTY -" (Screenplay: Shigeru Murakoshi) running around nude as the subtitle, but there are places to decide coolly, but Hermann I fully enjoyed the likeness. How much is the range given by allocation?
Leon's father, Hermann.
Kobayashi:
As a composition, it is decided that it is a single episode and that of Hermann, and while you make it, you think that everyone is to "make it naked" (laugh) Probably, I think it's an idea.
G:
Especially, it was a story to receive the impression of being "shaken", but it was not decided so far in advance.
Kobayashi:
It was a feeling like "Please do it in Hellman."
G:
This seventh episode "People Wolf - SORROW BEAST -" (Screenplay: Sayayuki Murai) is talking about Leon and it is in a relationship like the one in the eighth story, is that about that point?
Kobayashi:
Well, I have decided that it is a story of Hellmann and important points in advancing the story, for example, to put out Jimaena, but I did other things freely. That would be easier to write. However, in reality, I am an anime and there is not much that entered outside of the series composition ... ... (laughs) Although it is a sub-entertainment when it is a special effects, there is no series composition there.
G:
As I mentioned earlier, there was a story saying "I do not allocate the series composition so much if it is a live-action picture."
Kobayashi:
Even so, special effects are rather free.
G:
As I went through the story of the entire series, I heard that Alfonso was not in the initial plan as director Hayashi's information.
Of course Alfonso that also appears in DIVINE FLAME
Kobayashi:
I see ... ... was it? (Lol)
G:
"Fragrance
Kobayashi:
What a lazy person, if you are past your throat, forget it. When making, I camped with the director and the producers, I made it all at once in one night ... ....
G:
So it may be that I have gotten out of my suits. However, as the story starts from the place Leon is banished in the flames, there is a story where Hermann becomes naked, and it is a thick deployment that seems to be a work with two courses that the Garo 's armor is deprived at the return point .
Kobayashi:
Regarding the development that armor is deprived, I think that "There is something in one cool milestone" is the usual way, so I think that it was an idea that came out thinking about what to do with it.
G:
After the story of two strokes of fighting and fighting, the theater version "DIVINE FLAME" of this time is the stage four years from there. Where did you decide to make this around TV series production?
Kobayashi:
Was it certainly over? I think that I did not hear the story of the movie version while I was making it.
G:
How was your first impression when you heard the story of making a movie version?
Kobayashi:
That's what I'm going to do "(laugh) But since I was listening to the story that I want to put out Hermann from the beginning, I also considered the form of 1 episode in the middle of the series, but as a result I It is a place that calmed down. What I did in 4 years was to think about the age of Roberto (a child of Hermann and Jimena), not too much adults and not too children.
Leon and Roberto.
G:
When I went to see the official website, Hellman was mixed in the main visual, and it came out also in the trailer, so I was surprised and surprised as "Hellman, there!", But it was decided from the beginning that I should go out Right.
Kobayashi:
After all this world view, there is something about "parent and child" and that is also an intense character so there is "there is no Hermann". I think that it was good to come out.
Hermann who appeared in the 2nd visual
G:
In Herman entanglement in the movie version, a comical scene that makes you feel deja vu with the TV series appeared. Is this what was introduced by saying "Hellman?"
Kobayashi:
I think that this was done because Director Hayashi remembered as a picture.
G:
Do you have any difficulties in writing this script's script?
Kobayashi:
If it is long, it is too tight if there is only one streak, so it was hard for me how to assemble it.
G:
Looking at the completed movie, is there anything here that it was getting better than I imagined when I wrote it?
Kobayashi:
This is already "overall" already (laugh) Director directed by Hayashi, and there were also a lot of additions, I thought that it was really amazing.
G:
In the battle scene, Emma showed the excitement of the action of the wire action, but is that written in the script "this wire action"?
A magical teacher Emma who is involved with Leon's
Kobayashi:
I write a flow and a dialogue such as "Emma fighting" or "receiving an attack". For example, if you do not do it here, you will not get the next line, so it's like "getting emma done" or "hurting your arm". However, I will write the actions necessary for the story, but regarding the details such as "tentacle attack" and "such action using threads", this is already the power of director Hayashi and the staff.
G:
Mr. Kobayashi also saw the picture and you know what happened for the first time.
Kobayashi:
I do not know if it will be a cool action or not because I do not understand it, so after watching what I can do it is just "amazing" I think.
◆Mr. Kobayashi's making script
G:
By the way, how does the script itself be made? In the interview at the time of publication "Absolute
Kobayashi:
Well, first, after creating the plot (= plot), we will create a scenario, that is, one containing visual expression. So, sometimes it does not follow the plot.
G:
Which part takes time to work?
Kobayashi:
Time .... It will take as much as anywhere. It is the time to think about, or the time when nothing comes up.
G:
Is it time to knead in the head?
Kobayashi:
No, there is nothing to try, so it's time for "to go out". Always playing with the net all the time ... (laugh) It is said that the producer will come soon as he / she does not proceed anyhow with feeling similar to that of elementary school student being forced to do homework.
G:
Do you have something like "letting the character move without permission" while writing a script? Because Hellman is a character with intense personality, the image that it seems like to do whatever you want is ... ....
Kobayashi:
Because Hellman is my favorite type, it is a type that I can write without bothering from the beginning. Characters arbitrarily ... ... are occasionally occasionally, but there are not many.
G:
In general, as you move within the control.
Kobayashi:
"Movement" is somewhat different, "It comes to nature" ... ....? This character does not react like this, you know that you do not say such things, so there is no such thing as "the character moves without permission and I can not do anything anymore" (laugh)
G:
Does efficiency rise when approaching the deadline?
Kobayashi:
As he gets cluttered down, as he feels that he can not do anything, he gains concentration. And sometimes deadlines come ... ....
G:
Oh, dont (laugh) There is something that makes me feel a bit stuffy in the word "deadline". We planned for the deadline and we decided "what we will do today" and we can proceed ... ...
Kobayashi:
Well, that is impossible right? (Laugh)
G:
When I do not get anything, I think that it will not come out whatever you do, but what happens in such cases? Whether switching to spat and doing different things, will it keep going on now?
Kobayashi:
When I have plenty of time I go for a walk. But, as there really is not enough time to do anything, I do not have time to do anything.
G:
In the past interview, there was a story that I can not go to the location or go to the interview, but are there still many times when I do not have the time?
Kobayashi:
There are times when the deadline approaches, there is no time to spare, and in the first place, you can not read even when you can go up, so it is difficult to schedule.
G:
To write a script you have to put it out of yourself, but is there any input that you are consciously doing?
Kobayashi:
I do not think so. Originally, I do not see movies too much ... ....
G:
Were you to be able to take a walk when there was time, is there something that is being done for hobbies?
Kobayashi:
Would you like to eat? I like pancakes and so I go to eat here and take pictures.
G:
To get inspiration from there, ...
Kobayashi:
It is not (laugh)
G:
Is not there (laugh) I'm glad I could see this in the past, is there anything good that I could do?
Kobayashi:
Was it that I was doing OL? Because it was a computer-related company, there are things that the knowledge gained at that time is useful for understanding.
G:
Do you feel that having touched many pieces of work when you were a child has become a great asset?
Kobayashi:
It is certain that the feeling "cool" I thought at that time will be the basis all the time. There is only a ruler as to whether or not I think it is "cool", so otherwise I do not think it is "cool".
G:
What do you use for writing the script itself? I think that it is not handwritten indeed ... ...
Kobayashi:
No, no, I can not write this unless I am a PC.
G:
Are you using a text editor? Please let me know if you do not mind.
Kobayashi:
"O's Editor 2"It is a shareware editor called" It is useless unless it is this. "
G:
Have you customized the settings for yourself?
Kobayashi:
Although there are aspects of setting, it is made for the scenario writer, so it is very easy to use. If it is not this, I can not write ...... If I run out of this software I will be out of business (lol)
G:
To be told so far (laugh), it's amazing software.
Kobayashi:
I used Ichitaro etc in the past, but it is another one since I found this. Actually I introduced it even in the scenario of "False War
G:
Everyone, there surely was software that can not be given to each one (lol) Do you have a good study, better to do when you want to become a script writer, better to read when you want to close down?
Kobayashi:
This ... ... I do not want to say that it is not good to be a maniac much. There are some people who just make a setting, but that is unnecessary.
G:
"First of all it's to write" is not it?
Kobayashi:
To the end mark in the scenario, until the end even in the synopsis. Anyhow, it is better to stop entering from the setting.
G:
Thank you very much for talking about things other than Falcon
Theatrical version "False
【Special feature ③】 Theatrical version "False
© 2016 "DIVINE FLAME" Keimita Amemiya / Tohokushinsha
In addition, Mr. Masao Maruyama who served as creative producer, and interview of Director Yuichiro Hayashi is also posted.
· Continued
"Anime version Fangoku is the 50th Animation Life I wanted to do most", Masao Maruyama interview - GIGAZINE
"Fragrance
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