Interview with director Keishi Otomo of 'Rurouni Kenshin Final Chapter The Final', how did you challenge the series complete two-part work?



The popular movie 'Rurouni Kenshin' series, which has a cumulative audience of over 9.8 million, will finally be completed with the release of two consecutive works , 'Rurouni Kenshin Final Chapter The Final / The Beginning'.

We asked director Keishi Otomo, who has been working on the series for about 10 years, to talk about 'Rurouni Kenshin Final Chapter The Final' released today, April 23, 2021 (Friday).

Movie 'Rurouni Kenshin Final Chapter The Final / The Beginning' Official Website
https://wwws.warnerbros.co.jp/rurouni-kenshin2020/

GIGAZINE (G):
During the second series 'Kyoto Daiki Hen' and the third work 'Legendary Final Hen', which were released consecutively in 2014, I saw a story that it was difficult because there was not much preparation period. How was the preparation period for this 'final chapter'?

Director Keishi Ohtomo (hereinafter referred to as Otomo):
It's from a question that is quite difficult (laughs). The story itself was loosely received from the producer around 2017. It was hard to shoot in 2014, so I wasn't able to get up, but after three years, I asked, 'Why don't you do it now?'

G:
So that's it.

Otomo:
After 'Kyoto Great Fire Edition / Legendary Final Edition', there are also circumstances in which my own projects were progressing in various ways. So, first of all, we had the staff take the lead and proceed. I started around the spring of 2018. Actually, I may have had to enter for a while. The script was quite difficult.

G:
Is that so.

Otomo:
The final chapter is a two-part work called 'The Final' and 'The Beginning', but for me, as long as I do the series 'Rurouni Kenshin', I would like to do 'The Beginning', which is an important story of Kenshin and Tomoe. I was there. It is a story of Kenshin's past, and it is also a love story of two people.

G:
Okay.

Otomo:
In order to do that, I thought that in 'The Final', I had to draw the tomoe firmly. On the other hand, in this 'The Final', the part called 'Hitotsu Hen' in the original, a doll that resembles Kaoru appears.

G:
It is said that human skin was put up ....

Otomo:
It makes Kaoru think he's dead and pushes Kenshin into despair. I think that it can be expressed without problems if it is a manga, but it is very difficult when it comes to live-action video.

G:
Ah ...

Otomo:
When I thought about it, I thought that Enishi Yukishiro and Kenshin Himura would fight for a woman named Tomoe, and that feeling was very strong. For Kenshin, Tomoe is a destined person and the only woman he loves. I have a past that I cut the woman with my own hands, and it also leads to the cross wound on that cheek. On the other hand, Tomoe is also an important sister for the relationship, and Kenshin killed that sister.

G:
Okay.

Otomo:
With such a part as the axis, a series of transcendental actions. It feels like I was writing the script while having the idea of 'let's compete with action as much as possible'.



G:
In this work, there is an impression that the symbolic things are destroyed, such as the Kamidana being destroyed in the battle at Maekawa Dojo, and the edge dropping the forehead of 'Katsushin Shinyo'.

Otomo:
I like the action team (laughs). That's because I even knocked down the octagonal roof 'Azumaya'. Breaking what you make may not always feel good, but I try to make it look convincing for the team as a whole. As for Azumaya, that is a sign of the power of the edge. The grudge, the emotions, and the swordsman take on.



Otomo:
I would like you to see and feel 'The Beginning' about your feelings for Tomoe, and that's why Kenshin also speaks to the edge.

G:
So that's it.

Otomo:
About that scene, when I played it on the spot, it was also the scene where Takeru Sato said, 'The sword of the edge is inevitable.' That's why it looks like that.

G:
Is that so. Do you sometimes make adjustments on-site in that way?

Otomo:
Of course, it may change in the field, and before that, it may be clearly decided that 'let's do this here'. It feels like everyone is thinking about what is important for 'Rurouni Kenshin' and building up.

G:
It is said that 43 locations in 12 prefectures were filmed in this work. How was this location selected?

Otomo:
I asked them to show me a picture of a candidate, 'How about a place like this with this image?', Pick up a place that looks good, and actually go there. On top of that, of course, you also need permission to shoot. The location of this series is genuine, so of course there are places like sightseeing spots, but many are still looking for places like old temples that are still integrated into our lives. Also, 'The Beginning' is the end of the Tokugawa shogunate, but 'The Final' has a Japanese-Western eclectic feel in the Meiji era, so the places with that atmosphere are a little limited. I wonder if there is a nice Western-style building.

G:
So that's it.

Otomo:
The rest is 'how to inherit the atmosphere of the previous series'. I want it to make people think that they are back when they see it. Kenshin, Kamiya, Sanosuke, Megumi, and Yahiko said, 'Oh, the usual five people.' That's why I wanted to enter from the sword of 'Oh?'



G:
That feeling was wonderful. The atmosphere is being inherited, but was there any difference from the previous three works during the production?

Otomo:
How about ... I don't think there is anything in particular. However, there are times when everyone has grown up from the time of the previous work. In that respect, 'Rurouni Kenshin' had everyone discover the greatness of Takeru Sato, saying 'The movement of Kenshin is amazing!' In the first work, so this time Mackenyu Nitta's I was thinking that I would like you to discover some amazing places.



Otomo:
When he first appeared, he would fight Saito Hajime on the train, but he also made that train properly. When fighting in the vehicle, I had the idea of reproducing the vehicle at that time on a full scale, but that's a bit narrow, so I made it a little larger.



G:
If you thought it was the real thing ...

Otomo:
When actions are subject to such spatial restrictions, on the contrary, unexpectedly good ideas may come out.

G:
That's right.

Otomo:
The battle between Kenshin and Himura is a sandy beach in the original story. However, from the point of view of action, sandy beaches are very difficult as a scaffolding. That's why I'm making changes by trying to do it in a good condition so that I can do my best. The action has to show the best part.

G:
So that's it.

Otomo:
After all, I like the place so that it will not be affected by the weather. In terms of the space design approach, the art staff and others will continue to produce what they can devise. In this area, the accumulation so far has been effective through the three works so far. The team 'Rurouni Kenshin' is a team that can move steadily on its own, not waiting for instructions. In the case of the previous work 'Kyoto Daiki Hen / Legendary Final Hen', the first part and the second part were in the same era, and the characters were almost the same, but this 'final chapter' two-part work is the location of the Meiji era and the location of the end of the Edo period. Was needed. It's a two-part work, but it's like two completely different works, so it wasn't just double the length. On the other hand, Tokyo is a mix of Japanese and Western styles illuminated by streetlights from the Meiji era. On the other hand, it's Kyoto in the late Tokugawa period and the Edo period.

G:
At the time of the release of 'Kyoto Daiki Hen / Legendary Final Hen', Director Otomo said, 'The

movie is a ridiculous action entertainment, and at the same time, a spectacular human drama. Anyway, I want to make the soul of the viewer rough. ' I was talking. Is this an emotional image of watching a movie? Or is it a different image?

Otomo:
Well ... I think you actually saw it in the preview, but did anything remain?

G:
I think there are some parts that have been shaken and roughened by various emotions.

Otomo:
It feels like I should leave something like that to the people who see it.

G:
Looking at the battle between Kenshin and Himura this time, the two face each other with almost no blinking. I think that the amount of garbage is increasing because of that, but how did you direct it?

Otomo:
Thank you very much. But you can't say 'don't blink' (laughs)

G:
(Lol)

Otomo:
I think this is the result of the actor's concentration and effort. That's what happens because you're focused.

G:
So that's it. With the release of 'The Final', we will enjoy the last of the series together with 'The Beginning' released in June. Thank you for today.

The movie 'Rurouni Kenshin Final Chapter The Final' will be released today from April 23, 2021 (Friday). And 'Rurouni Kenshin Final Chapter The Beginning' will be released on June 4, 2021 (Friday). This time, I had the opportunity to talk to staff members other than Director Otomo, so I will post more interview articles at a later date.





◆ 'Rurouni Kenshin Final Chapter The Final' work information
·cast
Takeru Sato
Takei Saki
Mackenyu Nitta
Munetaka Aoki
Aoi Yu
Yusuke Iseya
Tao Tsuchiya
Ryosuke Miura
Takuma Otoo
Shingo Tsurumi
Takeo Nakahara
Kazuki Kitamura
Kasumi Arimura
Yosuke Eguchi

·staff
Original: Nobuhiro Watsuki 'Rurouni Kenshin-Meiji Kenkaku Romantan-' (published by Shueisha Jump Comics)
Director / Screenplay: Keishi Otomo
Music: Naoki Sato
Theme song: ONE OK ROCK “Renegades”
Production: Movie 'Rurouni Kenshin Final Chapter The Final' Production Committee
Production / Distribution: Warner Brothers Films
© 和月伸宏／ 集英社 ©2020 映画「るろうに剣心 最終章 The Final」製作委員会

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