Interview with Masao Maruyama "Animated version of Famous Wolf is the 50th Animation Life I wanted to do the most"
TV series made as the first animation of the "False
Yasuko Kobayashi who was in charge of the scriptFollowing the creative producer Mr. Masao Maruyama, who played a major role in animating this series, they have been talking about various stories, "Talking about animation," "About Director Hayashi" and "About making works" .
Theatrical version "Fragrance
http://garo-divineflame.jp/
MAPPA Corporation
http://www.mappa.co.jp/
GIGAZINE (hereinafter, G):
Thank you for having the opportunity to interview while I am busy.
MAPPA Masao Maruyama Chairman (Maruyama):
I am a person who is not exposed so much. It is because he thinks that we are going to take such interviews as director or painter, that something that people should do and basically we will face like the one we made under the edge.
Tohokushinsha Takahiro Suzuki Producer (Suzuki):
It is true that Mr. Maruyama is unusual to show her face even though his name is out.
Maruyama:
Producers and so on are just doing sloppy things and doing so, so I think that you can pick up people who are actually doing their best as a pillar of the site. Although I may come out, I always think that "What will become because I came out?" However, I strongly believe that this work is also epochal for me and I hope that success will be good, including that I am indebted to various circumstances.
G:
I showed the studio, but the box of the original picture used in the movie version was on the 2nd floor pile up, and I felt once again that making an animation is awesome work.
Maruyama:
Well, the great thing about this time is that we pull through this in a short period of time. In the ordinary theatrical movie, in a short period of time, especially when you look at the finish, it is not surprising that even if the production period is doubled from our common sense. I think that the density is dense and the staff worked hard.
G:
To such a work, Mr. Maruyama said "Creative producerIt is engaged in the title titled " What kind of work does a creative producer do?
Maruyama:
What kind of work is it, I want to ask you too (lol) Anyway, first of all I am going to talk long ago. I am the original author of the 'False
G:
Special existence.
Maruyama:
I"Astro boySince it began, I have been working for about 50 years and have encountered some such "special existence", including Tezuka Osamu. Among them, the person named Keimita Amemiya is very anxious. Have you ever been a group of Amamiya?Katsuya TeradaMr.,Katsura KatsuraAnd, he died this timeYasushi KisawaMr. Amemiya worked with those people, but I was not quite involved with Amamiya who is a "big boss". I think Amemiya - san is the first person who showed the world of dangerous and dirty evil in Japan in a beautiful and interesting way as an objective awesome thing.
When I worked with Akazawa-kun, I always listened to Mr. Amemiya's story and I also saw my work, I always thought that I would like to do it together. However, this time it was that the false wolf celebrates its 10th anniversary this timeFrom me, I raised my hand to Tohokushinsha "I want to get a warrior!", Asked me to do itIt is the beginning, is not it a creative producer with animation?
G:
I was thinking of how the first TV animation series was born, but it was the trigger that Mr. Maruyama raised his hand to do.
Maruyama:
Still, there was also anxiety about where we suddenly entered the work we were doing for ten years, whether we can do it in the world, whether we can properly understand the false wolves. However, if you are worried about it, those who do "Eei" are the first, and if you do not do it you will get angry. As I have always made things with that feeling, I just said "I want to do it!" (Laugh)
G:
I see. (Laugh)
Maruyama:
About animation I am doing it all the time from "Astro Boy", I think that "boy thing" is one area of Japanese animation and it is as lost anywhere in the world. However, even if it says "boy thing", it is different from boy's only to say that it is made, but in me "Tomorrow's Joe"Also"Hajime no IppoEven now, I'm doing "Together with youEven the field of boy things things. In short, there are people who like girls like adventure acting pure boy, interesting story to rage, and also in the girls, there is also in the uncle, even though I am also like that but I still like that There is a person called.
G:
Yes.
Maruyama:
There are some masterpieces, but as I was a child I saw "Golden Bat"is. I really wanted to do this with animation, but I had planned many times, but it did not go well well. Amemiya 's fang wolf came in there ... ... "Please do let me do", I have thought that I could do "my golden bat" in a completely different way. Fang wolf is a late-night frame work for adults, but one such transforming hero thing is established in the field of Japanese anime and special effects. Even within that, I think that this is terrible, that Fuma wrapped up arranging well for Amanomiya, making it a unique world, not lasting in a year but ten years as well is. To have them participate is starting from the thought that I wanted to do such a work very much. ...... Well, I told you to say "Shoze!" Without permission, but I was forgiven, but (laugh)
(All lol)
Maruyama:
In that sense,Anime version of Fang Wolf is the work I wanted to do most in my 50 year animated lifeIt can be said. After all, I think that it is fun to have a makeover thing and a lot of fans. And, if anything, it is on special effects. The thing itself of doing with animation is really a problem. When I planned this kind of hand, there was always a story that it was a little realistically difficult and "you are live action", "it is impossible with animation".
However, with the use of recent CG technology, we can manage to overcome the mountain somehow and repeatedly struggled, eventually the result was theatrical version. DirectorForestEverything like kun 's power in the TV series, power of Amamiya - san, the power of Tohokushinsha, all the power of voice actors were all gathered, it is very good to say that it made a strong thing in a good way I am lucky.
Actually, Hayashi-kunStudio LiveI belong. I belong to the drawing group, I am a painter and director, but I started a studio live thereToyoda AshidaI was working together forever with Mr. president. Ashida-kun unfortunatelyDiedAlthough it was somewhat strange to say "I was asked by Ashida-kun" there, I got a studio live affiliationNishimura SatoshiDirector and "TRIGUN"And" Hajime no Ippo ", now is doing" Together with Torino "Hiroshi God ShinataDirector and "RAINBOW two people Seiichi Seven peopleI did various things, doing it. Among them, Ashida-kun said "I will ask young people the next time" and when asked who it is "AokiIt's like forests. "
Hayashi and I made a short piece of American comic, and then started full-scale TV series. For Hayashi-kun, since the director of a theatrical movie is the first time, I thought ashita-kun would like to see it. I thought that "Hayashi-kun has done so far", so I guess it has become somewhat unforgettable. Amemiya's thought, the thought of Ninomiya of Tohokushinsha involved from planning, our thoughts including Hayashi, and that there might be things like Mr. Ashida's there, I think that it is a work that various people have supported. The power of the producers who worked hard at the back of the site is also big, of course, but it seems to want to think that there are 50 years of history of Japanese animation in this as various other powers are moving.
G:
It is a great story, is not it.
Suzuki:
There are various connections, and the thoughts of Mr. Ashida live in it too.
Maruyama:
I also had it and did a scriptYasuko KobayashiMr. and Ms. LeonNamikawa DaisukeBecause there are many other things with Kun, and it is the film that is all gathered together. I think that it was useful for this work in a way that the film does not hold with only one.
Suzuki:
Regarding the appointment of Director Hayashi, is it because there was a connection with Mr. Ashida?
Maruyama:
It is absolutely big, but even if there is no connection, I think that I thought that Mr. Hayashi would be better now.
G:
When Maruyama raised her hand "I want to do animation", what kind of work did you want to do?
Maruyama:
I was very interested in making things that can be used for adult viewing in the late night frame, with a boy's thing, a transformation thing, and adult.
G:
As a work, Mr. Yasuko Kobayashi prepared a medieval European style, golden knight Gallo and horror come out, but it was completely different in color from the drama.
Maruyama:
Amemiya-san was close to what he was doing, but different things, as to what is the new section, there were various kinds of where to place the stage. I think that a false wolf is a "blood story" that transcends time and crosses the place. There is blood to become the golden knight Garo, and the setting that the human being has a devastating part and there is a demon living by eating it is good even from the time of primitive. It is thought of Tezuka Osamu, "Although a fire bird can survive even in space, it is good even in the age of warring States, maybe the future, is not it?", He said that a fellow wolf could do anywhere. So, when I was thinking about the ambiance of where it would be cool, the story of how medieval Europe is good is out of the beginning.
G:
I see.
Maruyama:
I think that there was something like a vampire in my head but if this is a story of blood this medieval Europe,The second stage of animation (Kuren Nozuki)Even in Japan 's Heian era like you did it, you can make a talk no matter where you take it. I think that enemies live by eating human work, I think this is the most wonderful place of Amemiya 's setting. There is a solid foundation, so if it does not get shuffed, no matter where I take the stage, I am fine. The hero says that even if the name has changed or the face has changed from the previous work, if he inherits blood, it is a golden knight Garo. However, there are things that were told too manyly and without permission, "It is useless as a setting of a female woman".
G:
There is such a thing, too.
Maruyama:
Since there are original works that have been going on for ten years, there are rules that I should not do, and I am being told by saying "This is not a false wolf".
G:
Theatrical version "Fragrance
Maruyama:
I was in trouble when making theatrical version,Hellman, one of the main characters, has diedis. How can I make a story without Hermann, but I do not want to make it, but I want to put out an attractive character, how to put out the dead character .... "I can leave it to Yasuko-chan", (laugh)
(All lol)
Maruyama:
Since Herman is like the nucleus of the story of "fire marks" after all, it will not be said that it is a story without Hellman because it is dead. Then, how do you get involved in this story about Hermann? We said that even now, "There was a similar brother."
G:
My brother (haha)
Maruyama:
Actually, my younger brother who was alive was like Hermann, and it seems like she can make it just like Hermann. The story is funny because it is a lie, you only have to show a lie. It really is not fun to do the truth, so you should think that you are lying. As Hellman's twin brother,Kenio HoriuchiIf he plays to Mr. Hellman it will be Hellman (laugh) Even if the personality is exactly the same, even if it is a ruleful man who may not know a woman at all, perhaps it is interesting. As a result of various things, I settled in a like shape, but it is a part hesitated a bit when I make a movie version, because I really want him to get out Hellman. Whether or not you can do without Hellman, but since it was a work that took over a year as well, the actor became one team, so it was a bit difficult for the theater version after removing one of them. It is a part I am convinced that I think that I am also good as Yasuko made a very good use of Hermann as to how Kieu somehow to get out in Hermann.
G:
After seeing "stamp of fire", Hermann is there in the work, so I am very relieved.
Maruyama:
Is not it? After all, as a story teller, a strange warrior named Herman was one eyeball.
G:
Among the people of the staff, again, was Hellman's popularity high?
Round:
It's really expensive. It is said that the difference is not sticking to me .... But when I am cool it is cool and I think it is a very unique character. That is why Leon is tough for that extent, or because it is a man of modest type, Hermann's unconventional part contrasts, and it will come back to life. Without Leon, Hermann could only be bashful, but Hellman lived thanks to León. Leung also comes up because there is Hermann. It is as if the actors Mr. Ken and Namikawa-kun are also very breath-in, and it is such a feeling that they are private, so it reflects the character of the actor as it is in the work. There is often something I wonder if it is a guess. When drinking in the middle of the night, it seems like Hellman and Leon are drinking (laugh)
(All lol)
Maruyama:
Since we have hundreds and thousands of books so far, to be honest, there are works that I would like to go back to after drama, while others are not. There are good times and bad times in the picture at the time of putting the sound, but when you are with a team that will participate "When inserting sounds and voices into the picture, let's get interesting and fancy" It will be a work that works roughly. Regarding the fang wolf, I thought that it was a blossoming event, including a director and music, a great team, including from casting. There was trial and error, but after finishing I went drinking and I was able to do as a good team for one year.
Suzuki:
Acoustic director Kubo, sound effectKurahashi, ComposingMONACAIs also it?
Round:
Yes, I feel like I'm going to have fun next week. It is painful to get there, but one of the pleasure is pleasure. I am doing this for many years in this industry because it is comfortable, because it is fun, something fun, something fun, including the accomplishments that the team can do is fun and it keeps going on. There are times when I think that it is just stopping if it is just a tedious thought, but if a good thing like a fang wolf is made, I feel like trying hard a little more.
G:
Cast people, staff, everything you need to do is not a good team so easy to make.
Round:
There is not much to do with this. But, if you are doing this number of things in an awesome place in Japanese animation, of course there are many bad things, but sometimes good ones will come out. This is the case of that "Tama". It is really nice if this is "always", but it is not the world that the worst is 100, but the nice one is the world. Indeed, as this work is rarely a treasure, it is something that you can think of picking up from the mud and watching everyone. I think that it will become a mistake to this year's masterpiece work. That kind of thing to make time, or to pull, I feel that part after finishing watching. It is said that it is said that it is said that it is made by himself and praised by himself, but I do not make it, so I praise it (lol) I am making young people at the scene, I am complaining about seeing it from a distance Mr. Otsuka, president of MAPPA, the people in the field, director Hayashi and the voice actor did it well, sometimes saying "Oh, not good!" Returning to the first question, "What is not doing nothing is a creative producer" (laugh)
Suzuki:
There is not such a thing (laugh). I'd like you to make the root properly, throw it to the scene, and finish it up on the scene "Yoshi Yoshi".
G:
It seems like a major pillar of making a work, is standing and supporting it.
Maruyama:
When asked as "Can you really do it with anime?" When you are doing animated works with live-action movies, I do not know if I can do it or not, but I can not do it because I can do "You can! "(Laugh), but there is the result that said" Please let me do "this time.
G:
Amemiya said that he thought that it was good to do it on his own idea of the Heian era of "medieval Europe" and "red rhinoceron Moon" of "the stamp of fire".
Maruyama:
I am very concerned about Amamiya-san, but I do not know specifically, so I only have to ask "How about this kind of thing?" The "Amemiya wealth" that we have is not limited to false wolf, but to make ugly and scary things fun and beautiful. There are various cuts,Mizuki shigeruThere is one way like Mr. Amemiya, but the world that Amemiya has made is distinctive and it makes me think how to show it as a new visual, but ugly but beautiful, scary but amazing. That is one world including "Amemiya character". It was the theme of this time for me to wonder how far I could keep it close, without departing from it. Amanomiya gave me various advices as to how far I could be able to do so I worked hard so that I could bring it as close as possible. Director Hayashi, including Fang Wolf, originally liked special effects and other things, so he has "Fang loveThere is. I thought that it was a bit different after all, I felt "I know that".
G:
Although I talked about the connection with Mr. Ashida earlier, it was a work appropriate for Mr. Hayashi in other parts. In the story of "ugly but beautiful", the enemy appearing in "Fragile
Round:
That's right. This is disgusting because I like scary things,It is good place of animation to draw dirty things beautifullyThere is one place that I think that it is. I also draw dirty things, but "Do you feel dirty while showing it so as not to be dirty" or "Can you scare a scary thing, but you can clean it?MadhouseIt is an important element that has been since the era. There is a limitation of expression on television and there is a thing called "to vomit naked gelo". That's why "tomorrow's Joe" is a special effect, it has become a glittering shit, "Drawing a dirty gelro in a dirty and dirty manner" is what the documentary does, and in animation "It is dirty but it makes it dirty I always think about what to do. Because I think that animation should be beautiful only. The problem of "being too beautiful" comes out, but that is the story that I would like to try it as an experiment or as an adventure.
G:
A madhouse whose name came before MAPPA, moreMushi ProAnd, as long as it is in the industry for 50 years, I think that the change surrounds the environments surrounding animation and the environment of the production itself, but this should not change, it is believed not to change Do you have.
Maruyama:
You only have to change it, you do not have to change it unless it gets better. You can change how much, it does not have to change. Animation can not do anything with individuals. Writers can not draw pictures even if they can write scripts, and not everyone can paint scenarios. It is team play. It is the director and producer who will go in the direction as the consensus of the group, and its direction and direction, but in my case my personal will strongly work, but there are cases that are rare. Which choice is better depends on the work and the timing, and if you are a different team with the same manager you can have something completely different. Now that the digitization is steadily progressing, there are places inevitable to change as an environment, but then it is possible to do with the same taste in the future, it may be able to be different, perhaps the other one may be good. For those who would say "this way" there, I feel doubt a question. In that sense, it is a creative producer who is irresponsible with the chan and is not trying to decide anything .... But I definitely have decided. "Let's do this once at this time, is not it just you have to do with this?"
Maruyama:
I do not want to push the conclusion, but if I say "I am like this, because this world is ... ..." then there is a place where you may want to say that you can only do a graduation work by yourself. As I said earlier, which direction will you go with the consensus of the group, so. But, if you say "I want to do this!" "Hoooo, well then let's try it", the person who entered this year, even in the 20th year, won that person. So no matter what you say. If it is a good idea of a passing person, go on and on and on, do not listen if the person doing decades is not a good opinion, team play is not that kind of thing. There are some experiences and talents, so I hope people who can see good ones work as much as possible and eliminate it if something unnecessary is caught, I will surely do it.
Suzuki:
To make use of the opinions of various people or to kill them is to scoop up and put together.
Maruyama:
Well, there are times when I make it alive, and there are times when I kill it. Sometimes it goes well, sometimes it fails. It is almost impossible to decide on how to say it absolutely. The story changes slightly, but recently I do not play too much as old as I take years old, but I like mahjong. Mahjong is done with four people, but the flow changes when one changes. And something will change depending on the combination of places sitting on the same Menz. The situation changes slightly, and the world changes more and more. We grasp it quickly and make a prompt decision. It is a person who can not play Mahjong who thinks "Umm" by pulling a tile. It means that mahjong is good when judging and cutting it, judging the situation in a moment. What is interesting in mahjong is that something is absolutely different today and tomorrow. My tension is different, and the situation of three people except me changes every day. Since the flow of tiles is different every time, the same thing can not be done in the same way, doing that judgment instantly. That is the same as I do as long as I do. Although I like to work hard and play hard, I work hard for 50 years and I am doing it, but I also persuaded people who think that such a way is correct in 10 years There are also things that I could persuade you to work with me, and some people still can not persuade me. For example, after marrying and before marriage, before and after the child can do, work also changes, but both yours and your opponents change, so what you can make and what you can do, Actually I do not think seriously, but I have to figure out in an instant. And even if you do not understand, you have to do it. Whether you can convince your opponent, "If you think about it, do not do anything, let's do it for the time being!"
And there is no answer, there is only result. Speaking of whether it goes well, it is overwhelmingly more that things that do not go well. But that's why I can try my best next time. Because it is often the case that I think that this is fine with this person if it works. So, we leave something "part left behind". Things that human beings do, let alone teams, not alone, there is nothing perfection. Perfect for me, it may not be perfect for another person. There is no part left unhappy and unsatisfactory part because there is nothing that everyone can say that this is perfect.
So, one of the things I'm saying for a long time ago was "Let's make attractive defective products"about it. It is inevitable that there are defective products in the budget, time, people, each combination and further conditions, and there is no way that you can do things such as perfect works. But, I do not say such a thing as making a defective product by doing work by getting money and "not being perfect". I will make an effort to bring it close to perfection. However, what we need there is whether it seems to be "attractive" or not. "It's bad, but it's fun ... but it's funny." So "Let's make attractive defective products."Let's not be afraid of being a defective product, but sticking to whether there is charm or not,When. Whatever it is, whether it is serious or not quite serious, since I think about various things depending on the title, how do you make an attractive work? Of course, a perfect one that is not a defective product is good, but to make it an attractive defective product aiming there, even if it is a short animation or a two-hour feature, the way of thinking has not changed. That's true for insect production age, mad house era, even for MAPPA, and I think that maybe we are probably thinking about the same thing.
Suzuki:
At that time, 100% is difficult, but trying to pick out something close to 100%.
Maruyama:
That's what I am doing it all the time.
Suzuki:
That's not to say "this is the only one."
Maruyama:
I certainly said "Oh, why do not you do something a bit different?" And say that you are saying, "The previous one was better." Perhaps it might seem that there is no use "can not be helped this gijii" (laugh)
G:
That is why I was born as a "charming
Maruyama:
Because I am greedy,I want to do anythingis not it. There is a passive point about "I want to do something like this", and I will want to do anything when flying. There is something to say "I do not care if it is this way" to the story which I got, but we may consult with "we should be in such a direction" as usual but from the beginning "This is bad, this is bad There is nothing to say. I am interested in how I can do it. There are several things I have been making for several years and I have not been able to announce it yet, but I'd like to do this. To be honest, I am now 75 years old, so it's almost as if I am able to do my best as an active duty. Perhaps I think I will do it until I die, (laugh), maybe next year, maybe five years later, maybe ten years later. I will continue doing, but I do not think that I can do anything forever as I was when I was young. Therefore, I think that we must prioritize from the one that "this alone must be over".
With some titles, even if it takes five years to complete, it may be two years that I am involved. There is nothing guaranteed to be involved there for five years. Then, let's just do what I can do now. Even now I am still doing my job and I am living, and although I say this kind of things I can be bullied by everyone to see if I am 80 years old (laugh), but it does not matter if I do it if I can. But I feel that I am coming up to the point that I can not be helped even if I can not do it next year, so I think that time will come so that it will come. However, there is something I want to do only for this, but I am in trouble because it itself is too little, because I have a strong desire (lol)
(All lol)
Maruyama:
I want to do that, I also want to do this. If I can bring tomorrow "How about this", surely "Oh, I will do it" can not be done, it will not be able to do (laugh) Go to the company and talk with Otsuka-kun, will you manage somehow There is only (laugh)Studio mapofSaitoI am doing "Kashida and Togashi"Studio VOLNofMitaKun, I want to do what I can do inside such a group, but even if I want to do it, they will have their own circumstances. It is because it is the most unpleasant thing that someone is unpleasant because it is the most annoying thing to do it fun among friends, including that.
Another thing my favorite word is saying "Friendly fight". "Tom and JerryAlthough it comes out in the song of, it is a word of a wonderful masterpiece. Because we are bad, we are fighting, so what is "friends" there? But, certainly when you are watching Tom and Jerry, they are fighting friendly. In short, I enjoy fighting and feel like "playing and fighting." If it is not that two people, it will be very boring as a trekking, and it will be hard. The point I like about 'Uzio to Tora' is exactly from this 'getting along with each other'. Although Tora says "I will eat you" against Ushiro, she can not eat it for a long time, and if she does not have it, she can not live. That 's what you meant by youkai, like you "I like it so much that I love it and I like to work a lot. Because producers, directors, and paintings are different from their positions, there is a person who says, "I do not want you to do such a troublesome thing", I do not mind at all. Finally, it is only necessary to settle in each other, and although the position is different, "It is all right" or something that went well was not a good idea, and something more interesting than the team fighting comes into being The possibility is high. Beyond my job, I think that we should fight along if we have different positions. I do not want to say too much that "Do not get fight with each other".
But in that respect, I will think that I will not be able to do this because the team of this time will not fight at all, I will look at Hayashi-kun. In the era when we were young people, when there was energy, there seemed to be "growing up with people", but even though Hayashi has energy, she makes good things without fighting with people . I think that it has his personality, the existence of one human being, but I think that it is "amazing, I can not do it", is not it? He never fights with people in the field and will persuade properly or do it myself (laugh) This is certainly one way to not let people say anything, Hayashi-kun has that much power There is that. There is the ability to persuade people by giving out concretely that "I do not like this" or "I want to like this". Because I worked for a year in the TV series, the image was made properly in myself, there was also a presence in that team ... ... That is this theater version, no matter how much I thought it would be twice I think that it is connected to the place where I have finished it in half the time although it should have time.
G:
Maruyama also wants to see a lot of people to see the theatrical version of Daikage "False
· Continued
"Fragrance
◆ Staff & amp; Cast
Leon Lewis: Daisuke Namikawa
Hermann Lewis: Kenio Horiuchi
Emma · Guzman: Park Yumi
Alfonso São Valiante: Katsuto Nomura
Roberto: Miwa Tomida
Sarah: Arama Komiya
Dario Montoya: Saint Hagihara
Original: Keita Amemiya
Director: Yuichiro Hayashi
Screenplay: Yasuko Kobayashi
Directing: Yuichiro Hayashi, Atsushi Park
Character design cooperation: Hiroyuki Takei
Animation character design: Toshiyuki Kanno
Art director: Kudo However
Color design: Chikako Kamada
Photographer Director: Yusuke Awaka
CG Director: Rikikawa Onukawa
Edit: Kiyoshi Hirose
Music: MONACA
Acoustic effect: Kurahashi Yuji Acoustic director: Soichiro Kubo
Theme Song: JAM Project "Blade ~ The divine blade ~"
Production: MAPPA / Tohokushinsha
Distribution · Production: Tohokushinsha
2016 / Japan / animation / cinemascope / 78 minutes
© 2016 "DIVINE FLAME" Keimita Amemiya / Tohokushinsha
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