“BNA BNA” directed by Yoshinari You and interview with Kazuki Nakajima, how did you describe “Society with Beastmen”?
By the way, the photo above is the hands of the two who created the work. Mr. Nakajima is on the left, and Mr. Yoshinari is on the right.
Anime 'BNA BNA'
https://bna-anime.com/
© 2020 TRIGGER・中島かずき／『BNA ビー・エヌ・エー』製作委員会
GIGAZINE (G):
'BNA BE ENA' started broadcasting in April 2020. When did the project start?
Director Yoshinari (Yoshinari):
I don't think it's long before, but it's definitely after Little Witch Academia. Did you broadcast 'Little Witch Academia' in 2017?
G:
2017.
Yoshinari:
'Little Witch Academia' will be a sequel and will be planned for about a year, so it will be impossible to end up with it, so it is from there ... Maybe from around 2018.
G:
So that's it. Mr. Nakajima is a script this time, when did you come in?
Series composition and screenplay Kazuki Nakajima (Nakajima):
May or July 2019 ...?
Yoshinari:
That's about it.
Nakajima:
That's right. When I went, the rough settings for Michi Kagemori and Shiro Ogami were decided. Two men and women are the main beastmen, and young women are the main players and enter the beastman world for the first time. A man is like a representative of the beastman world, and it is a buddy that is a position to teach women the beastman world.
G:
It was already decided. Was it the director's request to write the script to Mr. Nakajima this time?
Yoshinari:
Of course I would like to ask if I could do it, but what happened ...
Nakajima:
I think it's from me. When I talked with
G:
What is Nakajima's image from the perspective of Director Yoshinari?
Yoshinari:
It will do anything ...
(Laughs)
G:
'I'll do anything' !? (laughs)
Nakajima:
Who speaks well?
Yoshinari:
It's like 'I'll give you 10 if I hear it'.
G:
So that's it.
Yoshinari:
That's why I feel comfortable and independent.
G:
How did you write the script?
Yoshinari:
First of all, the girl is the main character. Would you say that if you did something that Nakajima was not doing with Hiroyuki Ishi, you could differentiate it? Even if I run in the same direction as Imaishi, maybe I can't make something like Imaishi. However, I like relatively serious things, but Mr. Nakajima thinks that if she shakes seriously, she will be super serious, so it is not good to mix serious and serious with each other. I think that 'a girl is the main character' was a brake on seriousness.
G:
Earlier, you mentioned that the character settings were decided to some extent when Mr. Nakajima entered, but what about the ease of writing and the difficulty of writing when the settings are decided when Mr. Nakajima writes the script? Also, did you pay special attention to this work?
Nakajima:
In that sense, it was really a challenge. The first project that Yoshinari and his colleagues were working on was that they wanted to do something like a protagonist girl hitting society and searching for her place in society. I thought, 'I shouldn't shake myself because I got in, I shouldn't take it to someone I'm good at,' and I was thinking how much I could help myself with the intention of the director There is no doubt that.
G:
At the time of the production announcement, two comments were posted on the official website, `` Please tell us the feelings and thoughts you put in the title 'BNA BNA' which the anime viewers are most concerned about Yoshinari said, 'BNA has BRAND NEW ANIMAL in the title, but it can be BEAST NEW AGE, BEING NEO ANIMAL, or a combination of BEAST and DNA. It's common in the sense of a new being that can change.The biggest thought of the title is to release from various captives, and if the people who watch the main part feel their own I think it's good. ' Where did the theme of this answer, 'release from various captives' come from?
Yoshinari:
Mr. Nakajima also said, 'Beastmen are people who say,' I want to be like this. ''
Nakajima:
However, because Yoshinari said, 'I want to see the liberation from the captives,' I prepared it as an answer.
G:
Hoho.
Yoshinari:
Something like 'Egg or chicken first' (laughs)
G:
(Lol)
Nakajima:
(Laughs) I think he replied, 'Why do you want to do that kind of thing and you want to do something for the beast?' If you have a lot of different parts and want to make sense in the direction that the director says, 'I'd like to do this kind of thing,' I wonder if I should think about it, or maybe I should do something like this. There was an event, and I felt that there was some reason.
G:
When I saw the first episode, I was surprised to see, 'This is the kind of development'.
Nakajima:
What is it?
G:
From the appearance of Michiru, if you think, 'It's not a story in that serious direction. Is it easy to show a serious beast in a PV, but is a beast coming out?' … The mystery in front of me was not solved at all and I was watching while thinking, 'What's going on !?'
Nakajima:
I see (laughs) I wanted to make it with the touch of an American serial drama.
G:
I'm convinced. It's cool if the opening is ridiculous, but is this ...?
Nakajima:
That's 'Yoshinari Anime'! (Lol)
G:
What is going to make such an amazing anime? How can I draw that kind of thing?
Nakajima:
That's because Yoshinari! Can't help it!
G:
Did that come to mind after listening to the song? Or did you tune to the song?
Yoshinari:
I didn't think that song would come, so I had no image at all. That's why I gave priority to songs.
Nakajima:
Well, did you make it after listening to the song first?
Yoshinari:
That's it.
G:
That's how it fits. When I saw it, I thought it was amazing.
Nakajima:
It's cool. The first opening of 'Kill la Kill' was also Yoshinari Conte.
G:
The ending has changed quite a bit, but what is the intention? Isn't concept art more cartoon-like?
Yoshinari:
There is it. For my part, I'm trying to make a catchy picture, but I don't have any catchy elements, so I'll try to do something.
Nakajima:
I'm asking overseas people to do that, so I wanted to do that, right?
Yoshinari:
That's right.
G:
'There is no catchy element' ...?
Yoshinari:
Producers always say 'no flower'.
(Laughs)
Nakajima:
I don't think so.
G:
'There is no flower'! ?
Nakajima:
Right. I can't see it.
G:
There aren't many people who can draw like Yoshinari.
Nakajima:
Really, it is strange for me.
G:
Yoshinari-san, do you always think that there is no flower?
Nakajima:
I guess the picture will be real.
Yoshinari:
I think that 'good and bad' and 'attract people' are completely different. Mr. Imaishi knows what is like `` the limit of his paintings '' well, and he always thinks about what elements to take in, but I also have to think about it properly without taking care of that point .
Nakajima:
Yoshinari can draw.
G:
That's what it is. In another interview, in reflection on `` Little Witch Academia '', he said something like `` I thought it would be useless if I did not look at the storyboard properly, it was over '', but this time the director Is it difficult to do this around the storyboard outside of the storyboard?
Yoshinari:
That's right ... because it's just a serious thing ...
G:
(Lol)
Yoshinari:
It's hard for me to talk to people every day.
Nakajima:
I see (laughs)
Yoshinari:
The director is not a real work, but almost a meeting, that is, 'I have to convey it in words.' You have to explain in words that you only need to draw a line yourself. That is pretty tough. It's nice to have people who continue to work from 'Little Witch Academia', but there are some people who are 'Nice to meet you', so it's quite a bit of a pleasure to start from there again.
Nakajima:
However, I think that I became able to talk compared to the time of 'Gurren Lagann'.
G:
Really?
Nakajima:
Occasionally, Mr. Yoshinari was sometimes involved in the “Gren Lagann” scenario meeting, but it seemed like I was going through a word or two, passing through the right sword and leaving. Compared to ourselves who only uselessly, I was remorseful that 'men shouldn't just uselessly use it' (laughs).
Yoshinari:
What kind of person are you (laughs)
Nakajima:
It is already cool.
(Laughs)
G:
Mr. Nakajima continued to work with Director Imaishi for TRIGGER. Did you find any new discoveries while working with Director Yoshinari?
Nakajima:
After all, the approach is completely different, and I intend to be different from my attitude. I was trying to do something like how to support the project created by Yoshinari and others not from the project I created from scratch, so I can think of the difficulty of balancing the position in various ways There was a place.
G:
Even on the official website, Mr. Nakajima commented, 'Everyone is well aware of the great animation of Director Yoshinari. This time, I am working with a stance of how much I can add to what he wants to do.' How much do you feel that you can help?
Nakajima:
I just don't know this, including whether I really helped.
G:
From the perspective of Director Yoshinari, how is it?
Yoshinari:
I feel like I'm having Mr. Nakajima do it.
(Laughs)
Yoshinari:
Because nothing went on.
G:
Did not proceed?
Yoshinari:
It was just a while ago that 'BNA BE ENA' really started moving, and without Nakajima-san, you might still be scrambling to write.
Nakajima:
I'm not in time (laughs)
(Laughs)
G:
That leads to the point of 'I will return 10 if I hear it'.
Yoshinari:
They will always give you something.
G:
That's amazing.
Yoshinari:
It is a hundred battles.
Nakajima:
No, of course, there was a choice (laughs). As I remembered, for example, if you said 'How about these settings?' `` I want Anima City to have a more cosmopolitan feel and want the beastmen from all over the world to be there, '' he said. Then there's no setting like 'Beastmen were created by a military organization in some country,' so we'll consider the following settings. '
G:
So that's it. It's like crushing one by one.
Nakajima:
When something comes out, the request comes by reaction. In response to that request, I felt like I was going to the next step.
G:
Awesome ... really hard.
Yoshinari:
It almost starts with a round throw (laugh)
G:
Round throw (laugh)
Nakajima:
However, I really feel that `` I want to talk about Michiru and Shiro '' and `` I want to draw Michiru '' are the best among Yoshinari's, and that is a part that a man too much like 60 can not do on his own. I thought That's why Nazuchi Michiru is trying to solidify with producers Naoko Tsutsumi, Kimiko on screenplay, and Nanami Higuchi.
G:
So that's it.
Nakajima:
I think about the social structure of 'What is the world where there is a beastman?' And the part of what a beastman is in society, so the movement of the protagonists put in it is Yoshinari Do what they want to do. For that purpose, I thought about how much I could do without blurring.
G:
Hahaa ... I was wondering how I could create a world like this.
Nakajima:
If anything, the skills of the editors may have been helpful.
G:
So that's it!
Nakajima:
I was a manga editor for seven years when I was young.
G:
Do you feel like you were assembling what came out of the manga artist at that time?
Nakajima:
That's it. Actually, Mr. Imaishi grinned about this job and said, 'You're a kanji.' In Kanji, 'one' is the face of a company employee, and 'one editor, Nakajima'. Hiragana's `` Kazuki '' is a scriptwriter, and Imaishi-san is a hiragana who says `` Yay !! '', but `` BNA BNA '' is one of the kanji characters There are places where I used skills a lot.
G:
According to Yoshinari, if you throw the image in your head like this, Nakajima will throw you back like this. Is the visual image solidified by the exchange?
Yoshinari:
I agree. In the first place, we started with the idea of “making a city”, and when it came to character, Nazuna and Alan came out as Nakajima-san's idea in comparison with the two main characters.
Nazuna
Alan
G:
So that's it. Mr. Imaishi's name appears from a while ago, but in fact, in the first episode, Director Yoshinari and Imaishi are in charge of the storyboard. How did they share the work?
Yoshinari:
It's usually difficult to share, but it's a connected story, but it seems like you can do whatever you want.
G:
“I like it” (laughs). Imaishi is right.
Yoshinari:
For some reason, I have been working with Imaishi all the time, so I know things like `` What can Imaishi do '', so I do not ask for impossible things (laugh)
Nakajima:
That's true. 'Please do a scene where men and women meet and calmly exchange feelings.'
(Laughs)
Yoshinari:
I feel like I'm waving a part that doesn't have to worry about the main story so much. Some animators do things like 'do the part you got, don't know anything else'.
Nakajima:
Even if you don't get credit, you can actually split it up. You just put it out proudly.
G:
It seems that there are people who are good at storyboards and people who are not good at it, how about Director Yoshinari?
Yoshinari:
Feeling almost like an amateur.
(Laughs)
Nakajima:
No, no (laughs)
G:
I don't think it's a word, but in what sense is it just like an amateur?
Yoshinari:
With a solid scenario, anyone can draw the basics and storyboards.
G:
Huh ... (laughs)
Nakajima:
Not really. Yoshinari, the pizzeria scene in Promare, right?
Yoshinari:
Yes.
Nakajima:
After all, when I enter that part, I think, 'Oh, Yoshinari part.' Looking at the storyboards, how do you take the space and say the 'serious feeling' of the screen ... I can't do without Yoshinari, including the perspective where the person exists, the camera work, and the perspective. It's an animation, but some kind of realistic feeling is the power of Yoshinari.
G:
Hoho.
Nakajima:
In this work, I think that it is a material that suits Yoshinari very much, including the concept of 'a society where there is a beast person'. Since I'm a beast, I like Mr. Imaishi where he fights with a low intelligence index and I think he would do that. Not that Imaishi's intelligence index (laughs)
G:
Along with the release of the movie `` Little Witch Academia Magical Parade '' , an interview with Director Yoshinari was published at Akiba Research Institute in October 2015, but among them, `` If you become a director, you will draw yourself It's the job of having people draw rather than drawing, so I think it's important to have the right staff and the right people in the right places. I guess it's more like searching for what the person can do, rather than doing this, because if you don't think so, you'll be stressed. Instead, you have to change your mind how to make the most of it. ' Did you proceed with the staff work like this again?
Yoshinari:
Did you say such a fine thing ...
(Laughs)
Yoshinari:
That's right ... I need to know that person to make the most of it, and to that end, I need to work together to some extent, but if you're a nice guy, you have to finish the series I don't know.
Nakajima:
That's right.
Yoshinari:
In the anime industry, quite a few people are replaced. So I'm thinking, 'Would you like the people who did Little Witch Academia to do a little more important work this time?'
G:
How do you identify a new person?
Yoshinari:
If you are a painter, you can usually see what you can draw by looking at the picture. What is difficult is directing and storyboards. Nakajima-san was, in a sense, 'How do you do?'
Nakajima:
That's right (laugh)
Yoshinari:
Throw it in various ways (laughs), and it's like 'Oh, did you give me this kind of thing?' There are some places that you cannot understand unless you do something quite tough. This is easy to say, because you only have to judge what comes back.
G:
So that's it. Do you think that 'director's work' is an image of assigning work from scratch?
Yoshinari:
I agree. Just throw it and if you can't, say, 'Oh, I can't.'
G:
I see (laughs) Then, after the TV anime version of 'Little Witch Academia' ended broadcasting, in an interview with the Animate Times in 2017, Director Yoshinari said, 'I really wanted to study a little more directing. I haven't done much directing since I came here. 'What kind of' directing 'does this mean?
Yoshinari:
'Is it different from directing in the first place?' 'Direction' in animation refers to each story production. Looking at the whole thing, it is not the whole series but one whole story, but it is a person who assembles to realize the elements required in the storyboard with that number of stories. Some people draw their own storyboards and direct them, but there is a huge amount of material to say 'assembly', so controlling and controlling the entire episode is a very difficult and demanding task. I ran away quite a bit, or I didn't have much chance to do it.
G:
Hoho.
Yoshinari:
I really want to do it, but I haven't experienced the hardest part, so I have a problem, or I don't feel I have enough basic physical strength.
Nakajima:
Are you doing Imaishi?
Yoshinari:
Imaishi is a storyboard and directing artist himself, and has considerable experience. I haven't done much.
Nakajima:
You're drawing, but you're not directing?
Yoshinari:
Well, I'm just doing storyboards, not directing. In fact, you have to train as a director for each story before you do the director. So I guess the director should do more after getting more experience ... I can't really understand what kind of power distribution to use. Can you say that you can't make a very detailed strategy?
G:
It's that kind of thing ...
Nakajima:
I understand that the director is a general judge, but I didn't do it. I just thought it was selfish, but I was too good at painting and I was always painting. I was asked to do that, so I guess it became a form specializing in painting.
Yoshinari:
Actually, there are steps that go up properly, but there is a feeling that I have skipped halfway.
Nakajima:
But what? ... It seems that this kind of picture is animated, so you can see it from the outside.
G:
When you look at it, you can't tell that there is a part that hasn't been done ...
Nakajima:
I'm overwhelmed by the imagery.
Yoshinari:
There are a lot of things that are missing, and the details are pointed out to Mr. Otsuka (Masahiko), and it looks like 'I don't care about that at all.'
Nakajima:
Conversely, there are parts that you can do even if you can't draw.
Yoshinari:
I agree. 'I didn't care as a painter.'
Nakajima:
Yoshinari-san, do you really need to paint all the time? Or do you still want to be a director?
Yoshinari:
I want to draw a picture.
(Laughs)
Nakajima:
If you can draw, do you want to keep doing that?
Yoshinari:
I want to keep doing that.
G:
When did you start painting?
Yoshinari:
Are all children drawing? (Laughs)
Nakajima:
It sure did (laughs).
Yoshinari:
It didn't work out. Everyone paints, right?
Nakajima:
I'll draw. When did Yoshinari think, 'I just want to paint and eat?'
Yoshinari:
When I was in elementary school, it was a little different from eating.
Nakajima:
Like 'I want to keep drawing'?
Yoshinari:
I wanted to do animation. Even if it's not a business, if you can move the picture.
Nakajima:
After all, when you are about to be in elementary school, do you flip manga?
Yoshinari:
I've been doing all my manga.
G:
From there.
Yoshinari:
That's why there was something like 'I want to move the frame properly instead of flipping manga.' I think Gundam was the starting point. The picture of Yoshikazu Yasuhiko is good at all.
Nakajima:
Yes Yes.
Yoshinari:
When I saw the original picture, 'There are people who are so good at painting' and when I saw the original picture, 'It was completely different from the film. It was such a great and good picture.' was.
G:
You didn't do it right from the start, but did you get better by continuing to draw? Or is it still an effort?
Nakajima:
You were drawing with your brother.
Yoshinari:
If I did it myself, I think it probably did not grow.
Nakajima:
Because he is a good brother.
G:
Yoshinari, don't you think your picture is good?
Yoshinari:
Because there are many good people. If you look at the top, there is always a person above.
(Laughs)
Nakajima:
But when you look down, you're full?
Yoshinari:
You don't have to look down.
G:
Indeed, certainly.
Nakajima:
Do you feel like you can draw something in your head here?
Yoshinari:
I don't think we can do 100%. If possible, I want to put out something in my head, but I don't want to go that far.
Nakajima:
I see.
G:
So that's it. This time, in 'BNA BNA,' Yoshinari is in a position to give instructions instead of drawing directly by himself. Is it well divisible?
Yoshinari:
That is unavoidable.
(Laughs)
G:
At the time of 'Little Witch Academia', I see many stories that I had to cut out a lot of the contents, but how about that at 'BNA BNA'?
Yoshinari:
I'm really shaving.
Nakajima:
I'm shaving.
Yoshinari:
It may be a characteristic of Mr. Nakajima, but each character has a motive or “justice”. If you draw all of it, it will be a group play, and it is quite a feeling that you have to capture it from the viewpoint of the main character Michiru, which shows the inside of the character. It was the part that Mr. Nakajima prepared.
Nakajima:
Of course, as such a work is drawn from the viewpoint seen from Michiru, there are parts that had to be dropped. But that's fine. If you are thinking about this, you should be able to say, 'Look at their actions. I'm savvy, so I won't give too much explanation.' This time, Shiro's relationship is the main axis.
G:
Even at the time of writing the script, are you selecting it just like you said?
Nakajima:
I agree. Even with the settings, there is something I need to say or explain, but there is a saying, 'Here it is, it's like this.
G:
Was there any difficult part in selecting the contents of 'BNA BE ENA'?
Nakajima:
After all it is Michiru. I guess it's 'Mizuna to Michiru'. Difficulty of drawing that Michiru. There were quite a few settings, so how do you get rid of them and converge on Shiro's story? The director told me to 'draw more of Michiru,' so I kept in mind that Michiru was always centered.
G:
So that's it. In the case of paintings, there are many animations with animal characters, whether it is a boom these days because it is a work where a lot of beast people characters come out, but where I am careful when drawing a beast man, I stick with drawing Is there any part that is?
Yoshinari:
There is something to stick with or 'Why did you do this?' A beastman transforms, but for that you have to make two different shapes. I think that it was simply difficult and difficult because there were various animals and there were no rules, but they had to be unified. However, I wanted to do something that was not a complete fantasy, but a connection between reality and the earth, or something like a 'foreign matter' in the real world, a parallel thing different from reality.
G:
In an interview after the end of 'Little Witch Academia', Director Yoshinari said, 'I wish I could do it with a lighter weight every day in the 5-minute frame of the obi. Morning if you want your children and family to see it It's an evening, isn't it? But is this 'BNA BNA' a work that leads to such an image?
Yoshinari:
Not at all (laughs)
Nakajima:
The opposite (laughs) It's pretty serious. There is a kind of thought experiment, 'If there is a 'beast person' in this society.' Because it is a way of drawing what would really be if there were a beastman, it was heavier from the beginning.
G:
As an assumption, is it the image of the world from 2019 to 2020 at the time of production?
Nakajima:
It's been about 50 years since it was clear that there was a beast, so it's branching, but if it's been about 50 years since I knew that there was a beast, it would look like this I guess there is. ' Even though there are so many things to draw there, there are some places that are a bit fantasy.
G:
This time, I had you set up an interview place at the post-recording studio, but what kind of instructions are given when you are present?
Yoshinari:
We do things like saying each place we care about individually.
Nakajima:
Sometimes I do things like the tone in making a piece of work, 'Isn't this better?' Or 'Let's play with the lines a bit.'
Yoshinari:
Due to the length of the shaku, there are times when my lines are not consistent due to various cuts, and I have Mr. Nakajima supervise such things each time.
G:
Mr. Nakajima also plays plays and the like, but is there a unique fix for anime?
Nakajima:
It's a matter of length. There is a big premise that 'it must fit within this scale', so 'something like this' comes up.
G:
This is the last question. What kind of people do you think will be the audience for 'BNA BE ENA' this time?
Yoshinari:
...... 'Everyone.'
Nakajima:
Well, everyone. Especially recommended for those who can be transformed into beasts. (Lol)
(Laughs)
Nakajima:
Looking at this animation, I think it would be nice to be a little better, so I hope you enjoy it.
G:
Finally, Manager Yoshinari, if there is something left to say 'I had to say this' ...
Yoshinari:
Speaking of 'I had to say', is it Nakajima's way of thinking about villains?
G:
Thinking about villains?
Nakajima:
What do you mean?
Yoshinari:
I still think that the anti-spiral of 'Gurren Lagann' is correct.
(Laughs)
Nakajima:
However, the theory of anti-spiral is a managed society, so Simon and others said, 'This is dangerous in a managed society.' In that sense, isn't 'BNA BNA' the same?
Yoshinari:
There is 'righteousness' in what the enemy says. There is a “reversal of right and wrong” in different positions.
Nakajima:
Well, there has always been a way to make 'theory' for the enemy as the backbone of the story. However, even if the enemy's 'reason' seems to be reasonable at a glance, it should be drawn to have a failure.
G:
'BNA BE ENA' may be an unexpected connection. Thank you for today.
The anime 'BNA BE ENA' will be broadcast on Fuji TV '+ Ultra' from 25:05 on April 8 (Wed.), Kansai TV, Tokai TV, TV Nishinihon, Aomori Asahi Broadcasting, Hokkaido Cultural Broadcasting started broadcasting on BS Fuji.
Prior to the broadcast, Netflix precedes the first episode to the sixth episode.
BNA | Netflix
https://www.netflix.com/jp/title/81220429
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