'LUPIN THE Ⅲ RD Fujiko Mine's Lie' Interview with Takeshi Koike, making works that bring out the charm of Fujiko 'intelligence, beauty, and physical height'
The 'LUPIN THE IIIRD ' series shows a slightly different appearance of Lupine from the 'Lupin III' series. The latest work '
'LUPIN THE Ⅲ RD Fujiko Mine's Lie' Official Website
https://www.lupin-3rd.net/fujiko-mine/
GIGAZINE (G):
I heard from the Jyoen producer that the storyboards and setting materials drawn by Director Koike are amazing, and when I actually saw the materials, the soles of the shoes that almost did not appear on the screen were made in detail. Was there. Is there a reason for the director to draw so much?
Director Takeshi Koike (hereinafter referred to as Koike):
There is no such thing as 'terrible' (laughs), and it means that you have to draw the soles of your shoes as 'the premise that you can see through'. If various people participate in the original picture but set it to 'somehow', it will change depending on the person. Then, as the animation director, I have to work on unifying ... and I will come back to myself. If you draw it as a blueprint, it is easy to ask, 'Is there a setting for the sole of the shoe?' There is such a merit.
As for storyboards, I try to put the acting points and desired performances into the storyboards as much as possible. If you do not hold down the minimum point of 'this flow' in the action setup, the positional relationship may shift or the book tail may not match later, so let's hold down that part. This is the minimum part I'm drawing.
G:
As Director Koike, you drew this as the minimum line. I got the impression that even the parts of automobiles and guns were drawn closely, but it was 'at least this much'.
Koike:
Well, that is 'Tatakidai'.
G:
That is the starting point! It's terrible ...
Koike:
No, no. Everyone, there are many people who are better than me as painters, so I feel like they will say, 'Then I'll draw more.'
G:
According to the Jyoen producer, Mr. Koike said that he is more proficient than his previous reputation as 'I've done this kind of work.' Is it a place where you have to actually check it with your own eyes?
Koike:
If you have a name, you can understand how to assemble it technically, but if you are a first-timer, you may not know, so it is not a 'try', but first of all, in a short scene, the person himself I want to make sure that I enjoy my work. You can tell 'Is it done?' Including the design by looking at what comes up.
G:
Where does it appear?
Koike:
It's the number of original pictures and how to add a play. Depending on how you read the storyboard, how to attach it during the performance will change, and in this cut you can tell whether you are careful about moving it by drawing or not, once you do it. ...... It may feel awkward (laughs)
G:
Director Koike was married to 'REDLINE', and after his child was born, he took the attitude of 'I'm going home at 18:00 because I want to take a bath with my daughter,' and the producer of Jyoen said,
Koike:
(Laughs) I was originally a morning person, and when I was young, I spent a lot of time devoting myself to work, so maybe that's the impression I have.
G:
Mr. James Shimoji, who was in charge of the music, revealed that the origin of the title song 'Troy Melai' of 'LUPIN THE Ⅲ RD' was that the song that the director imagined during the drawing was Schumann's Troy Melai. Why was Schumann's Troimerai?
Koike:
I wanted the introductory part of the work to blend in in a flat state, so I asked him to create a clean and slow image with the image side suppressed more than ever. In line with that, I asked for the music to have an image like Troimerai, a beautiful classical music that doesn't get too much noise or get caught, so that you can slowly get into the work.
G:
Did the music that came up match the image of one-shot OK?
Koike:
While following the feeling of the work, it also has a nostalgic atmosphere of the 70's, and I think it became good music.
G:
In terms of music, I also felt at the time of 'REDLINE' that the atmosphere, movement, and music of the work all matched. Is this the result of the director's exact aim? Or is there a coincidence?
Koike:
Speaking of aiming, I'm aiming, but by chance it's also a coincidence (laughs) James is very imaginative, and he's a person who waits until the end of the video and doesn't make it until then. I think that there is little discrepancy between the video and the music because the length is decided by looking at the actual scene and the timing, and the atmosphere is incorporated into the music. I trust and leave it to you, but it will be exciting for production (laugh)
G:
I'll wait until the last minute (laughs)
Koike:
'The schedule is different from the schedule', but 'It was worth the wait!' Is coming up.
G:
Like the previous two works, this 'Fujiko Mine's Lie' is packed with action scenes including car chase like a rage. Did you have a policy of adding more actions from the beginning?
Koike:
I thought that 'intelligence,' 'beauty,' and 'physical height' cannot be excluded as the charms of Fujiko. At the show, I thought about how to emphasize and attract the physical, so I made the camera work longer so that the action cheating would not work. I think it made me cry, but I think that Fujiko's physical height could be expressed more than I had imagined because the drawing responded and raised more than the content.
G:
Fujiko's hairstyle has changed every time in the 'LUPIN THE IIIRD' series, and this time it's especially long. I think long hair is hard, but what is the reason for making it longer?
Koike:
I wonder if it's a taste (laughs) Even if I put aside my taste, it's a role of 'tutor and maid', so it creates a serious atmosphere, so I wear glasses and raise my hair to make it look like a career woman I have that hairstyle because I want to do it.
G:
That hair was untied in the battle.
Koike:
There was a desire to use Bandana, saying, 'I decided to fight.' I heard a story with Katsuhito Ishii, a creative adviser, that 'Mrs. Butterfly's ribbon seems to be unraveled,' and that atmosphere is cool. I thought, 'It's astringent, but how do you get it down?' (Laughs), but I think I did it well. Is it okay to connect with Tokyo Movie?
G:
In this work, a particularly intense car chase comes out. The car chase itself can be seen in other animations, but it seems to be particularly powerful in Koike's work. Do you have any directing skills?
Koike:
I think there is also the commitment of the original man who was in charge. I'm particular about how the suspension of supercars in the 70's is distorted, depending on the model.
G:
How to distort !?
Koike:
Is it possible to express softness by tilting and returning when cornering? Since it is a sports car type, I wonder if there is a depiction of such a place that it leans firmly and returns exactly. I put a cut in the car there and also draw a character that is swung around by G, so I think that it became a scene with a sense of reality.
G:
Looking at it, I wondered, 'Wow! ... What makes me feel so awesome?' Even if you are running on a motorcycle, it looks like you are 'running properly'.
Koike:
Motorcycles can express a sense of speed by setting the center of gravity. In the desert, you can express the sense of speed and the atmosphere when you stop by the way the smoke comes out, so I think that you can get a sense of reality by incorporating it in the image.
G:
Is such a scene OK immediately after checking what has come up? Or is the director working on it?
Koike:
It feels like 'It's perfect!' I am asking the animation director for the TV series PART 4 and PART 5, but since he is familiar with the mecha at that time and likes the action scene, he said, 'Only this person can draw.' At that point, it's a remark. 'If you have this person, you can make this scene.'
G:
Regarding character design, in an interview with Pia movie life when 'Daisuke Dimension's Tombstone' was released, there was a talk about creating an atmosphere of the early graphic novel touch of Monkey Punch, who was drawing around with a pencil. I felt that the enemies of the three movies were Yael Okuzaki, Hawk, and Binkham, all of whom had a 'like' design. What kind of points did you keep in mind when completing the design?
Koike:
I didn't take it from Mr. Monkey's painting, but I focused on how to create a character and a special feeling rather than the design. Yael Okuzaki is a planned sniper, and Hawk is a power system. Binkamu, the enemy of this work, is an innocent young man, but he seems to be a 'shaman', thinking about how to create a mysterious atmosphere like using a curse, and referring to the image rough given by Mr. Ishii. I made it.
G:
The enemy characters blend in with the Lupine crew without any discomfort.
Koike:
Even in First Lupine, I liked the composition that I liked attractive enemies like early Pycal and Poon, that is, 'Lupin gang vs. killer'. In incorporating that style into the work, it is not attractive because it will not be a drama unless Lupine and the others are fighting and it seems that they are not likely to be enemies. I expressed that with ideas on how to fight, and added habits to the characters. As a result, I think they have become familiar to us in the world of Lupine and others.
G:
Did you characterize and design on the premise of how to fight?
Koike:
It seems that I started from the point of what kind of character can be differentiated from the previous work and how to make the habit of this character.
G:
Director Koike has been involved in the character design of 'Woman named Fujiko Mine', but I heard that the first character I drew was more like 'REDLINE'.
Koike:
In 'LUPIN the Third Woman named Fujiko Mine', director Sayo Yamamoto said, 'I want to create the atmosphere of the character I like,' and at first, 'Please feel free to feel the atmosphere of Mr. Monkey, which Mr. Koike thinks.' At first, it was a character design with a perspective, partly because of my habits and the influence of my previous work, 'REDLINE'. When I was asked to see it, it was a request that 'it feels like a girl's manga', so I made it with a balance of heightening and lengthening limbs. In 'Woman named Fujiko Mine', the touch of a pencil was included in the shooting process on the character, and it had a unique appearance. In the 'LUPIN THE IIIRD' series, the image is followed while drawing in a slightly different atmosphere.
At the time of 'RED LINE', the intention was to 'make the character's angle of view fit like a picture taken with a wide-angle lens', so I took a little perspective to get an image at the stage of the character table. I made an emphasized setting. In addition to that, I used a technique to increase the contrast of the shadow itself and drop it in an American comic style. However, in Lupine, 'I want everyone to see and understand that it is Lupine', so I changed to a method that suppresses the black shadow with strong contrast and puts it only on the point, differentiate it within myself, and suppress my habits. I made it.
G:
Is Koike's 'hand habit' like wearing a perspective?
Koike:
There is always a tilt or 'an angle that makes it easy for me to draw', so I sealed it as much as possible and designed it so that the character can be seen in the standard.
G:
The first visual released in 'Fujiko Mine's Lie' gives Fujiko a more feminine impression than ever before.
Koike:
At the first Sendenkaigi, we discussed whether to make the visual a dynamic image or a static image, and since it was organized in the direction of a static image, I submitted some things with different angles. It was this pose that was chosen. At first, I tended to look down, I was looking away from the camera, and the costume was the main story, but the advertising team said, 'I want an elegant atmosphere,' and the costume is a soft feminine dress. became. Since it is a long dress, the back is summarized with the image of a flower.
G:
This visual wasn't created in one shot, but it was completed after some minor corrections, incorporating opinions. After reading the words 'Human Tsutomu Toru' spoken by the Jyoen producer and other interviews I received, I was wondering if he had a strong image in himself and would push forward.
Koike:
Surprisingly, there are also aspects like this (laughs) I also like it because I made something that I didn't have in my image by exchanging opinions several times.
G:
Do you get a correction image immediately when you get such an opinion? Are you worried about what to do?
Koike:
In this case, I didn't have to worry because I had a clear direction of 'I want women to see it, and how to make it a visual for that purpose.' I enjoyed the work of drawing new places that I had never had before by making use of what I had digested, and I was asked to choose from a variety of drawings.
G:
The storyboards are not shared, but Mr. Koike draws everything.
Koike:
that's right. Draw a rough sketch from the head, and once you go around, you will see a place that says 'This is a little different' from the beginning, so I will work on it to complete it. We will make a clean copy after the world view is unified.
G:
What kind of work is the unification of the world view?
Koike:
The stage of this work, 'Eastern Calisania,' is roughly imaged as an arid area in eastern California, but since there is no fixed place here, there are places where the image is blurred at first. When the contest goes around, the image is solidified, so it's a form of filling in the blurred parts. When I redrawn it, the restaurant scene appears twice, but since the situation is similar, I set the store as a holiday the first time to differentiate it from the latter half of the business.
G:
Do you feel that you are adding sharpness while eliminating blurring?
Koike:
I agree. Take a bird's-eye view through it and correct the parts that make you feel a little uncomfortable or that you feel physiologically unpleasant.
G:
Some people say that they are 'physiologically unpleasant.'
Koike:
I was a little worried about the expression of Vincam. A scene in which a female character named Carla removes the handcuffs of Vincam and removes it from the car appears in the early stages, but at the beginning, the description that 'Carla flickers nuts and raises Bincam' and 'Bincam hurt Carla with her nails' is described. I put it in. However, in order to create a more trained image, 'pressed down by overwhelming power' while creating the character of Binkham, it is better not to have a description that attacks the 'owner'. I thought it was good and cut it.
G:
Indeed, the lack of that depiction gives the impression that Vincam is obediently following. Like a tsume shogi, you pack them one by one in a coherent manner to eliminate blurring.
Koike:
At first, I really want to digest the character within myself, so I draw habits in a descriptive way. However, it doesn't matter what the flow of the story is, it's okay if you know it, and similar scenes will definitely come out, so if you distribute each scene as 'I'll show you this time', it's unnecessary. You can see the part naturally. That's how I scrape it to finish the storyboard. Sometimes, I add the part that is not enough.
G:
After repeating such corrections on the storyboard and completing it, the rest is OK if you make it exactly as it is. Are there any parts to be corrected even after the contest is completed?
Koike:
There is also a part where the situation changes and the dialogue changes. In such a case, I have
G:
What kind of reaction does Mr. Takahashi have in such a place?
Koike:
Rather than fixing the scene, it feels like you have to adjust the content of the lines according to the scene. It doesn't change the story itself, so it's 'adjusting the nuances'. As a concrete example ... There are some adjustments in the last scene.
G:
What! However, I can't write the ending as 'Last, it was like this' (laughs), so I would be grateful if there was an example of another scene.
Koike:
That's right (laughs) In other scenes, after Fujiko escaped in a car chase, Binkam muttered 'Fujiko Mine ...'. Initially, Binkham just stared at me without lines. It came to be understood that Binkham was interested in Fujiko just by adding this one word.
G:
The point of view when checking is whether you are the creator, or whether you stand in the position of how the audience feels, or whether you combine them.
Koike:
The first premise is that we want to be as objective as possible. However, since there is also myself, it naturally becomes a flow that I like, so I asked the scenario team to see and get their opinions, identify the correction points, and pick up the correction points. I have Mr. Takahashi rewrite it.
G:
As with the case of the image of 'Toru Hatsushi' earlier, I thought that it was made quite intuitively. It's a style of stacking according to reason. Is the style changing?
Koike:
That's right ... maybe (laughs) In the 'LUPIN THE Ⅲ RD' series, the production team itself has a feeling for the work and gives good advice, so I can brush up by incorporating my own opinions. I have a feeling that I am there.
G:
As with the car chase, it was a work that I felt was directed by Koike of 'REDLINE'. When you hear the story, you didn't aim for 'REDLINE-ishness'.
Koike:
Those who are not aiming at all, but rather trying to counteract it. However, there may be something that oozes out even if you try to erase it. Since the title is Lupine, I decided to make it as neutral as possible in a way different from the one I was making in the initiative.
G:
Is it because 'Lupin III' is the difference in the approach from the one that was made in the initiative?
Koike:
There is a saying that it is interesting to hear your opinions. New discoveries are born from the opinions of various people. As for the original picture, I am in a position to have another person draw it and make fine adjustments to it, regardless of myself, but I am able to create a scene that I can not do. As for the movement, I almost used the movement presented by the original man, and focused on 'how to make a sound on the raised object' and 'how to express it by dropping the' how the image looks '.'
G:
From the perspective, it's a work that can be said to be a highlight of the whole story, but as a director, where do you feel that this point was particularly well done?
Koike:
I think that Fujiko will be the focus of attention because of 'Fujiko Mine's lie,' but I had never been able to carefully pick up the emotional changes of a child named Jean who was at the mercy of Fujiko. It was a difficult point, and I think it was a point that I was able to sublimate well.
G:
So that's it. Thank you for your time today.
'LUPIN THE IIIRD Mine Fujiko no Uso' will be released in theaters at Shinjuku Wald 9 and others from May 31, 2019 (Friday).
'LUPIN THE IIIRD: Fujiko Mine's Lie' This PV will be released in limited theaters such as Shinjuku Wald 9 from May 31st (Friday) │ 'LUPIN THE IIIRD: Fujiko's Lie' --YouTube
Original: Monkey Punch © TMS
In addition, the latest series 'Lie of Fujiko Mine' will be on sale on Amazon from August 23, 2019, the limited edition Blu-ray has a reference price of 8580 yen, and the limited edition DVD has a reference price of 7480 yen.
Amazon | LUPIN THE IIIRD Fujiko Mine's Lie Limited Edition [Blu-ray] | Anime
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