Interview with producer Taku Matsuo of 'Heion Sedai no Ida Tenda', how was the overwhelming sense of speed 'Super Dark Pot Entertainment Work' born?



The anime 'Heion Sedai no Ida Tenda', which has been broadcast since July 2021, is based on Amahara, who is known for his works of piercing ideas such as 'Different Race Reviewers' and 'Coolkyousinnjing World', and 'Kobayashi' in charge of drawing. Coolkyousinnjyo who has multiple animated works such as 'Miss Kobayashi's Dragon Maid' and 'Peach Boy Riverside', and MAPPA who has worked on 'Jujutsu Kaisen', 'Dorohedoro', 'Dororo' etc. is in charge of animation production, just 'forbidden' It is a 'surprise box' work.

I have asked various questions to producer Hiromu Matsuo about how he realized the animation of this work.

TV anime 'Heion Sedai no Ida Tenda' official website

https://idaten-anime.com/

GIGAZINE (G):
This work is a great combination that I feel that it is not an exaggeration to say that 'the cutting-edge genius original author tag x the hottest studio MAPPA x Noitamina' on the introduction page of the official website. Originally, producer Matsuo learned of the existence of this work in the serialized version of Shintosha.

Fuji TV, Hiromu Matsuo Producer (Matsuo):
Yes. About five years ago, I saw something published on the web.

G:
In 2016, it's just before and after the serialization stops.

Matsuo:
I agree. I think the serialization had just stopped.

G:
What was the deciding factor in animating this work?

Matsuo:
Depending on the producer, I think there are things that you want to express and do in the animation that you plan. For example, 'I want to do a work that makes me cry' or 'I like something that has a cute girl.' In my case, I think the two important points are 'whether the image will look good when made into an animation' and 'whether the character is attractive'. As for 'Skanda', both were so packed that I definitely wanted to animate it.

G:
What kind of image does Mr. Matsuo think of as a 'comfortable image'?

Matsuo:
In a word, it is 'aragoto'. Do you say something that you can never do in live action? I really like action, even though people have different tastes. That's what I like about 'actions that make brain juice spill out.'

G:
Oh, I understand (laughs)

Matsuo:
When I read the original, I felt that 'this work is full of rough charm', and rather than 'visualizing it as it is', 'I got an interpretation unique to the studio and made it jump up wildly. I want you to visualize it. ' In that sense, I definitely wanted to ask MAPPA.



G:
As I thought, MAPPA received it.

Matsuo:
That's exactly what it is.

G:
In the summer of 2021, 'Miss Kobayashi's Dragon Maid' and 'Peach Boy Riverside' will also be broadcast as works by Coolkyousinnjitsu who is in charge of drawing the original. Was this the aim of trying to match all three together?

Matsuo:
No, I don't have that kind of power (laughs). It happens.

G:
When did you know that the three overlapped?

Matsuo:
The editor in charge of Hakusensha contacted me and asked, 'It seems that another work by a Coolkyousinnjitsu will be included in the same cool, but do you care?' I won't do it. ' Rather, I wondered what it was like, so when I answered that, I realized that there were two other books, and said, 'It's amazing!'

G:
No, that's amazing.

Matsuo:
After the late-night anime culture was created, I learned from the fans that it was the first time that three works by the same author's teacher were broadcast in the same cool. For me, it's like a festival and I think it's interesting.

G:
(Lol)

Matsuo:
In the first place, it's amazing that you can only create three works, but it's even more amazing that it is animated, and it's broadcast in the same cool way, so it's ridiculous. It's like picking up 1 million yen three times a day. I feel that I am lucky as a work to be able to get on the best timing for the original author.



G:
I thought it would be great if I was aiming for it, but it's also great by chance (laughs).

Right now, Coolkyousinnjitsu said in a dialogue with the original author that there are about 6 works being serialized and that he is also supervising even in the spin-off, but in this work, animation is cool with Mr. Amahara. How much do you have the followers supervise?

Matsuo:
Each of them is supervised by scenarios, storyboards, color settings, art boards and character settings.

G:
Did you receive any unexpected corrections in the supervision?

Matsuo:
It wasn't there at all. The character design this time puts the highest priority on 'a design that can be moved comfortably and comfortably as an animation', and it is a little mysterious feeling that Mr. Amahara and Mr. Coolkyousinnjyo made a good impression of their paintings. It is a picture of. In addition, the color settings have a unique feel. Depending on the original author, there is a good chance that 'I don't want you to do this', but both Amahara and Coolkyousinnjyo say 'Mochi is Mochiya' or 'Do what the anime staff wants to do.' I think it's the best, 'and I feel like I'm doing what I want to do.

G:
Oh.

Matsuo:
I am grateful that everyone was able to do it comfortably and hard because they entrusted me with it, and that they gave me a very good way of handing it over.

G:
The colors are quite unique, and the outline is colored instead of black, and from the first episode, if you go to the great glacier area in the north, it will be a completely different color combination, but how is this? Was it an idea that came out?



Matsuo:
This is the idea of the director of the castle. Director Kidokoro is the first director of the TV series, and he has packed a lot of things he wanted to do. Director Kidokoro also understood the ruggedness of this work and the charm of the storm, and he thought, 'In that case, it would be better to have a slightly edgy color sense.' is.

G:
Hmmmm.

Matsuo:
Regarding the colors,

the color sense of the image board drawn by illustrator Sky Emma is done in a deciding scene, or in Kabuki, a 'scene that makes a difference', and it feels like I'm addicted to it. I think it is.

G:
Sky Emma participated as a 'concept art', but you were thinking about color from an early stage.



Matsuo:
Yes, the work started early. It was the idea of the director of the castle to ask Sky Emma, so I think that these parts are the creative of the director of the castle as a whole.

G:
In the first place, how did you decide to make the director Mr. Shirosho?

Matsuo:
This time, when I was supposed to receive animation production at MAPPA, and when I was talking with Mr. Otsuka (President of Otsuka Manabu) of MAPPA, 'Who should I ask for the director?' It is a form that you have been assigned that there is an interesting director named Mr.

G:
What kind of person is Kidokoro? From the story of the sense of color, I feel that he has a sharp sense.

Matsuo:
He is a decent common sense person (laughs). It's quiet and shy, and listen to this story. That's why I couldn't imagine that such creatives would come up at the pre-production stage (laughs).

G:
Do you have such a gap? From the first episode, of course, it was a crazy original, but I thought that the director would be quite crazy to visualize it in this way.

TV Anime 'Heion Sedai no Ida Tenda' Non-credit Opening Movie --YouTube


Matsuo:
No (laughs) When you look at the work, it's safe to imagine a person who is even more unique. He's a really quiet person, and he's been messed with by the cast (laughs).

G:
The opening scene of the first episode of the animation in which Rin and Hayato run like a gale follows the first episode of the Shintosha serialization and the first episode of the Young Animal serialization. There was a feeling, but Avan had a new, picture scroll-like production. Is this also the work of the director of the castle?



Matsuo:
In the first episode, Director Kidokoro has cut all the storyboards, so that's what happens. Making a picture scroll is a conte of director Kidokoro, and the design of the scroll itself is designed by Mr. Yukita.



G:
It feels like Kidokoro has successfully realized the 'jump-up visualization' that came out earlier.

Matsuo:
Yes, you're right!

G:
On the other hand, the last episode was quite shocking.

Matsuo:
This was the story of the last story when we were working on a scenario together, including Director Kidokoro, series composition and screenplay Seko-san, and myself.

G:
In the second episode, the continuation was not drawn, and that point was also a shock, 'What happened to that !?' It was a development where battle action continued, so I think it seems that this work is not the only one.

Matsuo:
That's exactly what happened, and in the first episode, I put out the various aspects of this work properly, saying, 'This kind of thing comes out in this work.' I think it's better to tell early that it's not just a battle. Other than the last scene, there is a part that is quite aggressive in the depiction, but we did not think that the last scene was 'interesting and unavoidable', and the character Gil appeared in the work after this. In the process of coming, that scene had to be drawn, and when I thought about where to put it, I thought it would be sincere to have it seen early.



G:
In this work, the main character Hayato is Romi Park, Esuri is Megumi Ogata, Paula is Yui Horie, and Rin is Akemi Okamura. Furthermore, I have the impression that there are casts such as Shizuka Ito for Gil and Cho for Oobami, which are unlikely to be late-night anime broadcast in the summer of 2021. According to an interview with Mr. Park and Mr. Ogata, the role of this work

was not decided by the audition, but it seems that it was decided by the nomination.

Matsuo:
Basically, I think that there were many characters who spoke to me in a fixed manner. However, it was not decided from the beginning when it was decided to animate, but in the series of so-called scenario-making and making a storyboard, doing something like 'Cast-san's meeting' including the director. went. I remember that it was Mr. Otsuka of MAPPA who decided the guideline 'Let's make casting with this kind of texture'.

G:
So that's it.

Matsuo;
I think there are various ways to decide the cast depending on the producer, but I'm the type who hardly speaks. A few years ago, there was a time when we talked to popular cast members who appeared in various works and held package events, but I feel that the trend has disappeared. Also, for example, if it's a work in which unique handsome guys are lined up, or if various cute girls appear, I think there is a way to talk to both male and female casts. I think that customers are also asking for it, but this work is like a confused normal battle regardless of gender (laugh), so from the producer side, 'That character must be such a cast' The idea was that it would be best if the site could be motivated and matched with the work without being tied to the site. Both I and Mr. Otsuka had a common understanding that, as a basic idea, we do not want to impose restrictions and rules that 'must do this' on the site as much as possible.

G:
Oh.

Matsuo:
This work would be a rough image, so I thought it would be best to ask the cast, who has a powerful voice, so this time around. Thanks to that, it seems that the viewers are also feeling that 'this work seems to be a little different', and I am very happy to have the cast members join us.

G:
Isn't it a feeling that not imposing restrictions or rules on the site as much as possible means leaving it to us without saying something like 'Don't do this' even in production and drawing, for example?

Matsuo:
That's a bit annoying (laughs). While I'm a planning producer, I also have a position as a broadcasting station, so there is a 'line that can't be broadcast on TV'. For example ... I can't put out my nipples.

G:
(Lol)

Matsuo:
Of course, that's not all (laughs). Even in the last scene of the first episode that was mentioned earlier, it's very easy to scrape it. 'I will cut it because it is dangerous' is a safety measure, isn't it? I think there are pros and cons, but I want to adjust my creative work so that I can do what the site wants to do as much as possible. Of course, there is a possibility that we will not be able to do what we asked for the storyboard, but first we talked with Kidokoro with the stance of drawing and telling us what we want to do.

G:
How often do you come up with something like 'This is really tough' in the conte?

Matsuo:
There were quite a few. I had a lot of interaction with the director about the dialogue and direction. The viewers may be wondering, 'Is this okay?', But this is still the result of the interaction between me and the director (laughs).

G:
That's right, if you ask. I adjusted what was NG and broadcast the one on the OK line (laugh)



Matsuo:
That's right. The OK line is also quite unreasonable adjustment, but from the standpoint of the planning producer, if you make a plan for such a rough work and remove all the strict parts with safety measures. It hasn't been established. 'Let's stop making hot spicy food because chili peppers are spicy.' Therefore, I intend to prepare the environment so that I can do it as much as possible.

G:
It's a showcase of your power as a producer, or it feels like you're supporting the last minute of the work.

Matsuo:
I think that each person has their own ideas from various standpoints, so I don't know if this was the best, but I think it was done in a way that kept the motivation of the site as much as possible. I would be happy if Mr. Amahara and Coolkyousinnjyo thought, 'I'm going to do this far.'

G:
I think that one of the features of this work is that the official Twitter has a great amount of heat. I heard that Mr. Matsuo was in charge of this.

Matsuo:
I'm in charge of it, but I have the advertising team tweet about the information and information that should be done as the official Twitter of the work, but it's an unusual work (laugh), so it's a little rough. I think it's interesting even if it's there, and I'm trying to get involved with the viewers and related parties on the last-minute line that I might get a little angry.

G:
In an interview with 'Millionaire Detective Balance: UNLIMITED' at Animate Times, Mr. Matsuo said, 'I couldn't sleep at night just before the information ban was lifted and the broadcast started, and immediately after the information ban was lifted, it was about a week, 10 hours a day. I was doing egosearch for a long time (laughs) ', so I think I'm good at SNS or I'm used to it, but how about it?

Matsuo:
You can see how your project is seen in the world even if you are told not to see it, and you see Twitter all day long. I think Twitter is a culture of communicating with each other, so it's entwined to the extent that it doesn't make you uncomfortable. I think it makes sense to do it if you can have it. I'm attacking the last-minute line, but I'm not angry yet so I wonder if it's okay (laugh)

G:
(Lol)

Matsuo:
As with the regular official Tiwtter, I make a schedule to tweet such content on what day and what time of the month, but other than that, I will operate it like a guerrilla. I am.

G:
Because of the 'culture of communicating with each other,' when you look at tweets about your work, you will see not only positive things but also negative things. Still, is there something like a way to pass it off that you can keep checking all day long?

Matsuo:
Well ... There is a saying that it is neither a poison nor a medicine, but I think it is possible to create a work that does not raise the pros and cons of anyone. However, I was wondering who would remember the work that no one would say 'no'. For example, I think that some people are not good at smoking, cola, wasabi, or something that is addictive.

G:
Oh, sure.

Matsuo:
This work is not a work that is done in the morning, evening, or at the time when family members also watch it, but it is a late night animation, so I think it will be difficult to reach all viewers so easily. There may be various ways of thinking, but for me, I think that highly addictive ones increase the amount of heat. By first sticking to the core customers, I think that the core customers will be enthusiastic about 'interesting!' And that heat will eventually spread to a wide range of people. Even in a campfire, it is difficult to light a large firewood from the beginning, so first you light a rolled newspaper, then transfer the fire to the leaves and twigs, and then gradually increase the fire. So, rather than creating content that is neither poisonous nor medicinal, it would be better to create content that someone can be enthusiastic about. In that case, I think it is unavoidable to get negative opinions.

G:
In terms of officiality, the STORY page has a brief synopsis of the number of episodes that have been broadcast, but there is a separate 'spoiler' written in detail at the bottom. I thought it was unusual. How did you come up with 'spoilers'?

Matsuo:
I remember talking to Mr. Watanabe of the promotion team and talking about how kinder they were.

Mr. Watanabe, who is in charge of promotion (hereinafter referred to as Watanabe):
I agree. Regarding the number of stories that have ended broadcasting, we have added 'spoilers' by delivering the information that we want to the viewers later with the shortest information.

G:
In fact, if everything was written from the beginning, it would be 'I haven't seen it yet ...', while if it was only concise, 'I'm sure there was something like that or something like this in this number of stories. I wonder if it was different. ”And I am very grateful for this.

Matsuo:
I didn't think it was such an invention, but it may not have been.

Watanabe:
A synopsis of the next episode number and a spoiler of the broadcasted episode number will be added at 18:00 the day after the broadcast.

G:
I've seen various official websites, but it's very rare that they are divided in this way, and I can't remember if there were any others.

Matsuo:
I think this is a tribute to the hospitality of Mr. Watanabe and Mr. Kase. He really came up with various ideas and was helped by Pazzy Entertainment's promotion. Please write down here without cutting (laughs).

G:
It means that the producer side, the site, and the promotion are all working together. This time, an interview with MANTAN WEB was posted before the broadcast of 'Heion Sedai no Ida Tenda', and it was mentioned that MAPPA did a great job, but at the same time, the first episode was completed. There was a story that there was a voluntary offer to retake after the package was delivered. Of course, when I watched the main broadcast, I couldn't tell at all what was the rerun part, and I imagined that 'Gude's beam was too bright ...', but what kind of part is it actually? Was it?

Matsuo:
It was the opening. When broadcasting, there was a confirmation about flashing flash called Harding Check, but I felt that it would be mellow if I passed it. Of course, since it is a check for broadcasting, I think that it is a place that can not be helped to some extent, but after all I want people who watch on TV to see good things as much as possible, so I would like to ask MAPPA to try it. It is in the form of receiving from the team after delivery.

G:
How.

Matsuo:
MAPPA has a culture of 'doing troublesome things' as the studio's philosophy, 'searching for ways to realize whatever the creators say,' or 'to show the images to the customers better.' Even if the animator doesn't say what to do, the production department also thinks about it. ' That's why I've always felt that it's a very reliable team, and I've never been dissatisfied with the footage at my level, but rather I'm drawn to the awesome footage I made at MAPPA.

G:
When you receive a retake offer, do you know, 'Well, do you intend to do that part more thoroughly?'

Matsuo:
I didn't understand at all as much as I was told 'Opening, I want to try again' and said 'Oh, is that so?' When I received the offer, I just set up the redelivery setup, and the actual retake was completely untouched. So, when I saw the redelivered one, the TV broadcast version was even more appealing, and I just had the respect of 'It's really amazing ...'.

G:
If I have a chance, I'd like to compare them ... I'm sure MAPPA won't show you the previous version anymore.

Matsuo:
You can't show me (laughs).

G:
As I mentioned at the beginning, the original manga of this work was originally serialized by Mr. Amahara on the website Shintosha, and based on that, the one drawn by Coolkyousinnjyo It is in the form of being serialized in Young Animal. The update of the Shintosha serialization has stopped in 2016, so this time, about what happens if the serialization in Young Animal catches up with that part, Mr. Amahara of the original said, 'If the development catches up, continue since there is no choice but to draw, by all means to the readers in order to draw more I want to ask for your support! 'and had said in an interview for you, but do you a plan to be drawn up where the anime.

Matsuo:
I can't publish it in the article, but ... (Hereafter, off-record information)

G:
After looking at the number of episodes in the first half, I can only say 'Yes!? …… Yes !!?'. I'm surprised. Is it a feeling that you can do it because the tempo of the original is good?

Matsuo:
I think there is also that. Since the frame itself of 'Noitamina' is shorter than other frames, creators sometimes ask 'Why don't you make it a little longer?', But this work is interesting because it progresses at this pace. I think that is working positively.

G:
Certainly, one course is usually 12 or 13 episodes, but there is no 13 episodes in 'Noitamina'. What is the story structure this time?

Matsuo:
There are 11 episodes in total.

G:
Is the 11-episode composition long enough to make you feel 'if it's a little longer' when making an anime?

Matsuo:
I'm only doing Noitamina, and I'm not sure how many episodes are normal, so I can't say anything, but if you really need one more episode in the original, it's not impossible to adjust. ..

G:
Mr. Amahara replied that the core of the fun of this work is 'the difference in the values of Hidaten, humans, and demons', but this will be drawn more firmly toward the second half. Is it?

Matsuo:
Yes. I think it's very interesting to see that the ethics of Heion Sedai and I are different from human beings.

G:
The appearance is the same as a human being, and I think that it is a guy with high fighting power, but it is not a story of that level.

Matsuo:
I really feel that it's a work that has a lot of fun in it like a dark pot.

G:
When I interviewed Fuji TV's producer Akitoshi Mori about the frame 'Noitamina' in 2018, he said, 'In the old days, it was said to be a maverick in the frame of animation (laughs). In recent years, viewers have been cultivated to see anime, and the diversity of their works has been recognized, so I think we have come to the stage where we can take on the challenge of creating content for overseas anime fans. I thought. ' Three years have passed since then, and how about the position of Noitamina and the works that will be broadcast in that frame?

Matsuo:
The animation production department, which I and Mori belong to, has two series, 'Noitamina' which is broadcast every Thursday and '+ Ultra' which is broadcast every Wednesday. I've been in this department for 7 years, but I've never done '+ Ultra', which is why I'm really attached to the frame of 'Noitamina'. '+ Ultra' is making challenging works that are intended to be delivered to overseas fans, but what about 'Noitamina'? Thanks to its continued history, it has become one brand. think. For example, Weekly Shonen Jump is called 'Effort / Friendship / Victory', and Monthly Drama is called 'Love'. It feels like the work has a title.

G:
Certainly, I think that 'Noitamina' is well known to anime fans as well as the frame name.

Matsuo:
I'm not the general manager of Noitamina's frame, and there are other producers in charge of 'Noitamina', so it's just my personal opinion as one producer, but 'Noitamina' includes 'Honey and Clover'. I think the main image is a work of youth or a pure heart, such as 'We still don't know the name of the flower we saw that day.' However, if there is a main image, I think it's okay to have a work that is completely opposite from that.

G:
method.

Matsuo:
Speaking of jumps, while the works of 'Friendship / Effort / Victory' are the mainstream, it would be nice to have 'Wow Masaru-san' and 'Outer Zone'. On the premise of interesting things, if something that is far from the brand image and interesting is included in that frame, I think that the range that can be accepted in the frame and the field that can be played will expand. I don't know if 'Heion Sedai no Ida Tenda' is a Noitamina-like work or not, but I try not to think that 'because of this frame, we should plan and produce this kind of thing.'

G:
It seems that the 'do not impose restrictions as much as possible' that appeared in the first half is applied not only to the site but also to the planning.

Matsuo:
I try to think relatively freely, and I think it's better to think only about 'interesting or not interesting'. Of course, there is no producer who wants to plan an 'uninteresting project', but ... I think that we should do a work that is crazy but interesting rather than a work that is too focused on matching the image and has no enthusiasm for planning. .. When Mr. Otsuka of MAPPA decided to receive 'Skanda', he said, 'The most attractive thing is that I have no idea what will happen to' Skanda '.'

G:
(Lol)

Matsuo:
I think that can be said only because I am the representative of the hit maker studio that produces hit works, and I think that it is also the truth as a content work.

G:
People who know the original can be thrilled about how much they intend to animate, and those who do not know can be confused about what will happen after this.Finally, from the producer's point of view, to the viewer Please let me know if you have anything you would like to tell us about this.

Matsuo:
From the title 'Heion Sedai no Ikudaten', I think that Hidaten and his friends seem to be the main characters, but as the story goes on, we can see them fighting without ethics. And I think it will be a mess. I think it's a super dark pot entertainment work that is packed with interesting elements that are not good for morals, such as actions and violence that break common sense. As a dark horse, it will be cut off with a high amount of heat, so please enjoy it while drinking alcohol (laughs).

G:
thank you. If you look at this dark pot work while drinking, it seems that you will already be head-to-head (laughs).

Matsuo:
By all means, I think it's a good idea for your child to lie down and then see it.

G:
(Lol). Thank you for a long time today.

'Heion Sedai no Ida Tenda' is being broadcast every Thursday from 24:55 on Fuji TV's 'Noitamina' frame and others. Delivery is on FOD and Amazon Prime Video.

TV animation 'Heion Sedai no Ida Tenda' 3rd animation PV --YouTube

© Amahara / Coolkyousinnjuku / Hakusensha / 'Heion Sedai no Ida Tenda' Production Committee

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