An interview with Tomoyuki Kurokawa, animation director of the movie 'Dead Dead Demons Dedededede Destruction', how did Asano's first animation take shape?
The first chapter of the anime movie ' Dead Dead Demons Dedededede Destruction ', based on the manga by Inio Asano, known for works such as 'Solanin' and 'Oyasumi Punpun', will be released on Friday, March 22, 2024. Ta. Mr. Asano's works 'Solanin' and 'Reiraku' have been made into movies, but this is the first time that he has made them into anime. We spoke to Tomoyuki Kurokawa, the animation director, about how he turned the 12-volume story into an animated film with a two-part structure.
Movie “Dead Dead Demons Dedededede Destruction” Official Site
GIGAZINE (hereinafter referred to as G):
This is the first screening of the high-quality video that was already completed at the time of the preview screening, and about 100 cuts have been replaced to further improve the quality. There are some cuts where the play has been changed from the storyboard and new cuts have been made from the original picture, so those who saw the preview of the completed work will definitely be on their toes... https://t.co/RRaocktcL6
— Fuminori Honda (@hondasidasi) March 3, 2024
Animation director Tomoyuki Kurokawa (hereinafter referred to as Kurokawa):
This time, we have tried to incorporate as much of Inio Asano's attention to detail, the content he pointed out, and his advice as possible. I made it in time for the premiere screening in Ikebukuro, but I was just barely able to make it in time for the final screening before that.
G:
The original author, Mr. Asano, has been working on this work for the past five to six years, and he has carefully checked the dubbing audio. Regarding replacement, was there a tendency that ``there were many points about this area''?
Kurokawa:
As expected, the main shots were important shots of the characters, cuts that showed their expressions, and cuts that showed their movements, but I think this was the part that Mr. Asano felt was a bit worrisome.
G:
According to what was said at the preview screening, Mr. Asano retouched some of the animation data himself, which he described as ``taking more than one foot in.''
Inio Asano emphasizes her thoughts as a manga artist: ``The relationship between the original author and the film version is very difficult.'' - Anime - News | Crank In!
https://www.crank-in.net/news/142097/1
Kurokawa:
In the completely analog era, I think it would have been difficult for the manga artist to manually modify the work, but now the original drawings are also digital data, so of course Mr. Asano created all the cuts. Although I did not receive any corrections from Mr. Asano, I feel that there are some cuts that were directly corrected by Mr. Asano.
G:
According to the story at the premiere screening held at Grand Cinema Sunshine Ikebukuro, the project started around the time the 11th volume of the book came out, and in the end, the 12-volume work was compiled into two films with a front and back structure. That's what happened.
'Dead Dead Demons Dedededede Destruction Previous Chapter' Screening with stage greeting - Movie information dotcom
https://eigajoho.com/archives/264805
G:
When Mr. Kurokawa asked Mr. Asano what was the most important part of the work, Mr. Asano replied, ``It is absolutely a story about Ontan (Oran) and his departure.'' You said that you assembled the scenario, but were there any parts that you were able to make a good decision on once you decided that it would be a story about Monde and Ohran?
Kurokawa:
As expected, when consolidating this work into two movies, approximately four hours long, when deciding which episodes to keep and which to cut, Asano-sensei's words, ``I wish Momide and Oran were as lively'' It became a guideline. While I kept the episodes that had a fair influence on Monde and Oran, such as their friends Ai-chan, Rin-chan, Kiho-chan, as well as Ohba-kun and Makoto, I thinned out the episodes that were a little further away from them. It really feels like I created it based on Mr. Asano's words.
G:
During the script meeting, which included Reiko Yoshida and others, there was talk that it took a long time to figure out where to cut the script because it couldn't fit everything in. In the original story, they brought episodes that were a little further back in the story to the front. You said that you made a bold arrangement, but how much time did you spend on these script meetings?
Kurokawa:
Well...it was a long time ago, so I don't know exactly how long it took, but I get the impression that it took a lot of time to complete the script. At first, we had many meetings with Asano-sensei to decide what to make the most of and what to cut, and once we realized that we could change the format to a certain extent and still have the same volume, we decided to use the original work as a guide and keep the tempo up. As things progressed, I think things went smoothly overall. I think it took us a while to solidify our initial idea of ``putting this together in two movies.''
G:
In addition to Yoshida-san and Asano-san, who will discuss the script at the script meeting?
Kurokawa:
It feels like the main staff members are all together, including Mr. Honda from Production Plus H, of course, Gaga's producer, and Takaaki Suzuki, who is in charge of setting the world. Although it didn't happen every time, Mr. Asano would come to the studio and have a discussion when the people on set said, ``We're thinking of doing this, but what do you think?''
G:
I've also heard that storyboarding this work was more difficult than expected. Since it's based on a manga, I thought it might be easier if I could use the original illustrations, but in reality, manga and video are completely different, and even if you line up the panels, it won't become a storyboard. What was difficult about it?
Kurokawa:
This can be said not only for 'Dededede' but for manga in general, but there is a passage of time between the frames, and readers read while complementing that, so it doesn't feel strange, but the visuals In that case, real time will occur as a cut. For example, even if a character's standing position changes between the first and second frames, you can read the manga without any discomfort, but if you do this in an anime, the fundamental problem arises that the cuts themselves don't connect. Yes.
G:
But it is certainly so.
Kurokawa:
In that case, if you read the original work and think, ``I want to use this picture and this picture, and this frame and this frame,'' you have to think about how to connect them. In the original work, it is obvious that the characters are moving between two frames, but in the video, we conducted various simulations to find out how to omit that step, or what would happen if they remained in their original position without moving. Again, I tried to include as many impressive frames from the original work as possible, and tried to make sure they were connected without breaking. This was a much more difficult task than I had imagined.
Oran's older brother Hiroshi and Kadode, Oran
G:
Did you start storyboarding after the entire script was completed?
Kurokawa:
Well...I started working on it one by one after I had finalized the draft and gathered all the materials necessary to actually draw the picture, including the settings.
G:
It turned out to be more difficult than you expected, so did it take a long time to storyboard?
Kurokawa:
It took more time than the scenario. However, if you don't plan things out properly in the storyboards, no matter how good the animation is, you won't be able to do anything with the editing...
G:
Ah, I see.
Kurokawa:
I was very particular about this, but I regret that I ended up spending more time on it than I had originally planned.
G:
There were multiple people in charge of the storyboards for this work, but how was the work divided?
Kurokawa:
It seems that the production staff at Production Plus H gathered together the people who would be asked to do the work and decided on it.
G:
The dialogue scene between Kadode and Oran when they were in elementary school was so impressive even on the test alone that it wasn't something that would have been recorded over and over again, so it was actually drawn to match the voices. Did you decide on this Presco-style approach at the time of storyboarding?
Kurokawa:
As for this scene, it was a very difficult scene, so the production staff had a hard time deciding on the animator in charge. Anyway, around the time I was able to adjust the schedule to see if Ikuta-san, who played the role of Momide, and Ano-san, who played the role of Oran, could record together, I also decided on the animator in charge.
G:
oh.
Kurokawa:
Then, if the dubbing period was near, I received a suggestion from Mr. Toshiro Fujii, an animator and a mutual acquaintance of Mr. Honda, that I would listen to their play and draw the animation accordingly.
G:
From an animator.
Kurokawa:
In terms of timing, once the animators started drawing, there was a risk that the dubbing and drawing would be done at the same time, and it might be difficult to get them to match, so we decided to wait a little while for the drawing to match the voice acting. I decided that it would be better, so I decided to do it.
G:
I see, that's why the scenes in particular have been created in which the emotions seem to have been transferred to the paintings. Also, President Honda mentioned that the background art for this work was also difficult, and since the original work's backgrounds are based on actual scenery, it was created based on the photos that were actually used when writing the original work. , the local area was identified and incorporated into the anime's illustrations.
Kurokawa:
When Asano-sensei draws his manga, his style is to use photographs as the basis for the backgrounds, so when I borrowed the manuscript data, it contained an actual photograph of Asano-sensei. So, I used Google Street View to identify the area, referring to the store signs and address displays in the photo.
G:
He's already a detective.
Kurokawa:
However, as I gradually realized that the setting was likely to be in Shimokitazawa and Nishi-Eifuku along the Keio Line, my efficiency improved. At first I didn't understand it at all, but gradually the production staff said, ``I've seen this before'' (lol)
G:
(lol)
Kurokawa:
So I think I was able to work relatively efficiently in the second half.
G:
This is a slightly off-topic question, but in an interview for ``Bokura no Yoake,'' which he previously worked on, Mr. Kurokawa said, ``I was a boy who loved science fiction so much that I could say that 80% of my life was made of science fiction movies.'' I saw this statement.
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G:
Also, when he appeared on stage at the Tokyo International Film Festival, he said, ``When I was a student, I studied live action, and from there I entered the anime industry without knowing anything.'' Mr. Kurokawa, how did you get into the anime industry?
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Kurokawa:
When I was a kid, I was really immersed in the movies of the 1980s by Steven Spielberg and George Lucas, and I was strongly influenced by ``Close Encounters of the Third Kind,'' ``Star Wars,'' and ``Indiana Jones.'' When it came to anime, most boys at the time were watching things like ``Saint Seiya'' and ``Kinnikuman.''
G:
I see, it feels like it's right in the middle.
Kurokawa:
Then, when I got to the upper grades of elementary school and junior high school, I started thinking, ``I don't care about anime anymore'' (lol)
G:
(lol)
Kurokawa:
Since then, I have been watching Hollywood movies all the time. I love watching the making of SFX techniques, compositing, miniature explosions, and such things, and I had a vague dream of becoming a craftsman or staff member for such science fiction films. Evangelion” and “Ghost in the Shell” have arrived.
G:
I see.
Kurokawa:
I thought anime was this cool. At that time, the word ``Japanimation'' was often used, and there was a movement that believed that Japanese anime could be used all over the world. When I thought about making an elaborate video like a science fiction movie, I sometimes thought that it would be difficult to create something on the same level as a Hollywood movie in Japan. I felt a culture shock and started to go back and watch anime again.
G:
If it's Eva and Ghost in the Shell, it's no wonder they're affected.
Kurokawa:
From there, I started thinking, ``Animation is really interesting, but if anything, I'd rather do live action,'' so I decided to pursue live action in college, but when I was looking for a job, in addition to working at a film production company, I realized that I also like games. So I worked extensively in all aspects of video work, including game companies and animation companies, and eventually ended up joining an animation production company. So, even though I had never made an anime that far, I decided to try it out and said, ``I'd like to try it once,'' and they just let me do the anime.
G:
That's how it happened, and it makes a lot of sense to me. If that's the case, does this work have the taste you like?
Kurokawa:
Well, it's a science fiction story that unfolds with the big lie of 'invaders,' and there are expressions of the mother ship that are unique to anime...Just as 'Godzilla-1.0' won the Academy Award for Best Visual Effects, Japan's The live-action film industry has reached a level that is recognized around the world, but anime also has a long history of science fiction works, so there is a strong affinity with them! (lol)
G:
(Laughs) Lastly, do you have any words of encouragement for people who are thinking about whether or not to see the movie?
Kurokawa:
The first chapter, released on March 22nd, is of course well done, but the second chapter ends in a different way from the original manga.
G:
eh!
Kurokawa:
Asano-sensei has drawn an original ending, so even those who have already read the original work and know the ending will be able to enjoy this work. I hope you enjoy the previous chapters at the movie theater in preparation for the later chapters that depict the ending.
G:
I didn't know that it was such a gimmick...Thank you for the incredible bomb at the end!
Kurokawa:
thank you very much.
The first chapter of the movie 'Dead Dead Demons Dededede Destruction' will be released on March 22, 2024, and the second chapter will be released on May 24, 2024.
The trailer for the movie “Dead Dead Demons Dedededede Destruction” has been released! [The first chapter will be released nationwide on March 22nd (Friday) and the second chapter will be released nationwide on May 24th (Friday)] - YouTube
◆“Dead Dead Demons Dedededede Destruction” work information
·cast
Rira Ikuta that
Atsumi Tanezaki Miyuri Shimabukuro Saki Oki Azumi Waki Ryoko Shiraishi
Miyu Irino Koki Uchiyama Yasuto Saka Junichi Suwabe Kenjiro Tsuda
·staff
Original work: Inio Asano “Dead Dead Demons Dedededede Destruction” (published by Shogakukan “Big Spirits Comics”)
Animation director: Tomoyuki Kurokawa
Series composition/screenplay: Reiko Yoshida
World setting: Takaaki Suzuki
Character design/chief animation director: Nobutaka Ito
Color design: Satoshi Takezawa
Art director: Mika Nishimura
CG director: Akira Inami
Director of Photography: Takuma Morooka
Editing: Masayuki Kurosawa
Sound director: Takeshi Takadera
Music: Taro Umebayashi
Animation production: Production +h.
Production: DeDeDeDe Committee
Distribution: Gaga
©浅野いにお／小学館／DeDeDeDe Committee
Previous chapter theme song “Zetsuzetsu Zettai Sankyo” ano feat. Rira Ikuta
Later chapter theme song “Seishun Uka” Rira Ikuta feat. ano
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