What is the intention of the layout correction in the interview with Kenichi Konishi, the chief animation director of 'Nikuko-chan at the fishing port'?



'Gyoko no Nikuko-chan ' is an animated movie produced by Sanma Akashiya, a novel by Kanako Nishi.

Following the interview with Ayumu Watanabe, we interviewed Kenichi Konishi, who was the chief animation director. We asked him about the details, such as what he intended to do with the layout modification.

The official website of the theatrical anime movie 'Fishing Port Meat Child'
https://29kochanmovie.com/

GIGAZINE (G):
Mr. Konishi himself tweeted about the French toast that appears in the main story, ' I want you to see it .' You mentioned the 'feat' of Ayako Hata and Miyuki Ito, but why does it look even more delicious than it really is?



General animation director Kenichi Konishi (hereinafter referred to as Konishi):
That's right (laughs). I think it's based on the real thing, but it doesn't mean that it's the same, and the feeling that 'you have to express it so that it looks delicious' works. People who draw, people who paint, people who process. Isn't it the result? I think it means that the deliciousness is expressed by 'pictures'.



G:
Do you often make corrections to the cooking scene as a general animation director?

Konishi:
There was little about the cooking scene. My main role was to 'give a key picture to make the character uniform', and basically the movement relied on the animators. There are instructions and orders at the design stage, but French toast is already done by a well-known animator, so I left it to you.

G:
As I asked Director Watanabe, Mr. pacific saury was in the position of 'we will send something interesting', and Mr. Konishi also said, 'We were able to concentrate on making good works without thinking.' I was tweeting.



Konishi:
Director Watanabe was in charge of all interactions with pacific saury-san, and the director reflected the results of the meeting in the storyboard. As we at the scene, we were able to concentrate on making Watanabe's work, following ' Children of the Sea'.

G:
Some images have been released as an online original painting exhibition on the site 'une nana cool'. Some of this image had correction instructions written on it. What kind of instructions are you giving?

Konishi:
This is called 'layout correction', and it is a correction of the original picture. The first picture is from the scene where Anpan pops and becomes a meat child. I am ordering things such as moving my hand when it pops. It means, 'Please move on after this.'



Konishi:
The second piece is a scene where Kikuko sheds tears. Since '

Spirited Away ', a way to express tears hugely has been born. It's an expression that big grains flow out. At first, the original picture suggested such a way of drawing, but I am making a correction saying 'I will not go that far.'



G:
Why do you say 'I don't go that far'?

Konishi:
It's my own physiological sensation, or something I thought of as a drawing production here. Although it is a characteristic of Studio Ghibli, huge tears tend to look sticky. I don't like the feeling of 'doro'. Besides, I don't want to make it similar because it's already an expression, so I'll try to make it flow a little more. I'm scared if it's too big. Rather than creating a catch as an exaggeration, I want to naturally get on with Kikuko's feelings here. Tears become smaller when you reach the ultimate in realism, so it's an order that says, 'The size can be reasonable, but I want you to make these tears.'

The third piece is where Ninomiya's face is reflected in the window. This is where I want the face reflected in the window to stand out, so I want it to be a separate layer.



G:
Ayako Hata, who was in charge of French toast, has been praised not only by Mr. Konishi but also by the producer of this work as 'really amazing'. Where is Mr. Hata's power particularly exerted?



Konishi:
It's already a play. Standing behavior as a comprehensive action. It is a place where you perform daily activities such as kitchen work while shaking your body while singing a humming song. Of course, that's not all, but it's a very difficult field to do such a play firmly by drawing, because it takes time and effort and requires skill and ideas. In this work, Mr. Hata asked me to do a lot of interaction between Meatko and Kikuko. It is the ace of this work that some plays have a real feeling, and some cartoon elements are mixed to make them laugh and cry, and they make exaggerated cuts in a long turn. Both Aoki P and I tweeted with respect as Mr. Hata was an animator who has been in the company for a long time and has been doing important work.

G:
'Please let me have a bag!' Broadcast on the TBS series. There was a close interview during the production of this work, and Mr. Konishi also appeared. It seems that it was a difficult time when there were only glasses and sweets in the paper bag and 'I don't have time to eat anymore'. What kind of part did you work on with the spirit that you had no choice but to do it?

Konishi:
Even when it was completed, it contained cuts that were not at the level that people would see, so there was a retake process that I continued to fix, and I was doing that. The director was most particular about 'Miu'. The cut that had already been raised also said, 'Because I'm a beautiful woman, make my face better,' so I fixed it. In the same way, I made changes to the cut of the hospital room.



G:
At this final stage, Mr. Konishi didn't have much time to go to the preview. You tweeted that you can't draw in a hurry, but what if you can't draw in a hurry but you have to draw?



Konishi:
This can't be helped anymore, even if I can't draw it, I have no choice but to continue drawing (laughs). You will be able to draw soon. When I have to draw but I can't draw, I'm really sick. When you can't draw what you normally can draw because of impatience, you become even more impatient and want to scream. After about 30 minutes, it will settle down a little, so I'll do something about it.

G:
What was the play of Shinobu Otake's voice, in which Mr. Konishi even said, 'I stopped writing involuntarily'?



Konishi:
This is the monologue part of the flashback scene. I don't think it's the same person's voice, but it's played by Meiko-chan's voice, but the direction is that kind of voice. There is also a production, but I think that the genius actress Shinobu Otake was able to show the very genius part in an easy-to-understand manner. It's different from the voice actors playing different roles. The voice of that part seems to be the personal 'core' of the flesh. This voice also appears in the 'Congratulations' part at the end. At first, when I heard 'Congratulations' without knowing anything, I was wondering 'Is it okay if my voice changes?' I was convinced. Actually, there is a sense of incongruity in the drawing. If you don't understand, the movement of your eyes is a little horror, isn't it? (Laughs) It has something to do with the story of tears, but I feel something is wrong here. I hope people who notice it will think about it. I think this story is also about the 'case' of 'people.' That voice of Mr. Otake expresses 'beauty'. It's just my personal interpretation.

G:
What kind of person is Director Watanabe from the perspective of Mr. Konishi?

Konishi:
It's a mysterious person ... 'The feeling of hiding the true nature is Ali Ali' (laughs)

G:
(Lol)

Konishi:
It's a person who is covered with 'Isn't the real intention different?' However, at the end of the work, at the time of retake, I usually do a rush check with a larger number of people, but since there is no time for everyone to gather, I checked with a small group of about 3 people, the director, myself and the producer. At that time, I was quite dissatisfied and said, 'This is my true nature' (laughs).

G:
So who is the art director Shinji Kimura?

Konishi:
I'm in the same company because the work place is different, but I don't have much direct contact with them. However, he is a very unique art director and one of the best in the industry. He is a person who has a unique view of the world because he gives a hand-drawn feeling while photoreal (a style like a photograph) is predominant. There is also a way to hold down the layout perfectly with my territory's drawing and say 'Mr. Art, please protect this', but it does not work for Mr. Kimura (laugh)

G:
(Lol)

Konishi:
After coming by myself, I also add to play. However, it is very fun and beautiful because it expands the world, and I feel that it has a personality. It's a one-of-a-kind existence, and for me it was the same with 'Children of the Sea', but I'm honored to be able to do it together, and I have no choice but to respect it.

G:
Mr. Konishi describes Mr. Kimura's art in this work as 'the' fun 'and' play 'that he originally possesses are in harmony with the work.' In particular, where did you feel like Mr. Kimura?



Konishi:
It's the Kotobuki Center where Ninomiya and Kikuko go. It felt like the play had already passed, and the director was pulling it (laughs).



G:
Eh (laughs)

Konishi:
It's designed as 'I don't think it's like this' (laughs). Mr. Kimura understands that, but he is still doing it intentionally for the work. This work is a visualization of a novel, and it is also a project that is said to be sober in animation, so I think that it is good in the sense that it will expand the world and give a unique view of the world. I'm glad Mr. Kimura.

G:
Lastly, please tell me if there is a point that 'I should go to see such a place!' For those who are wondering whether to see this work.

Konishi:
You may want to see what kind of work it is, but anyway, it means that you should definitely see it. Some people may be happy to see it, and some may be dissatisfied, but first of all, there is no loss in seeing it. It may not be in line with the current trends, but it is our way of making that we ask people to see and think about it, and conversely, it is absolutely necessary for universal things. think.

G:
Thank you very much.

Interview with the staff of 'Nikuko-chan at the fishing port', and finally the art director Shinji Kimura. looking forward to.

・ Continued

Interview with Shinji Kimura, art director of 'Nikuko-chan at the fishing port', where 'don't put in bad things' is important --GIGAZINE



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