An interview with Reiko Yoshida, series composer and scriptwriter for the movie 'Dead Dead Demon's Dededede Destruction'
The film ' Dead Dead Demon's Dededede Destruction ,' the first animated film based on Inio Asano's manga, is being produced in two chapters, with the second chapter set to hit theaters tomorrow, Friday, May 24, 2024.
We had the opportunity to speak with Yoshida Reiko , who was in charge of series composition and scriptwriting, about how she created the script for this series, and how she deals with situations when she gets stuck in her work.
Official website for the movie 'Dead Dead Demons Dededede Destruction'
GIGAZINE (hereinafter, G):
When adapting a work based on a manga or other source material into a film, I imagine that you have to choose which episodes to include and which not when writing the script. Were there any parts in this film where you had trouble deciding which to include or not?
Series composition and scriptwriter Reiko Yoshida (hereinafter, Yoshida):
Basically, I based the story on Kadode and Ouran, and arranged the flow to the end around their changes and emotions, but the most difficult part was how to organize the world as seen from their perspective. The axis was decided, but how to organize the surroundings was a problem.
G:
Do you all discuss how to organize it? Or does Yoshida-san write it up to a certain extent and then bring it up at the meeting?
Yoshida:
In my case, I first create a rough structure. If it's a movie, I usually divide it into parts A, B, C, and D, and then I write the plot while being conscious of the flow and sense of time. Then I use that as a base to create the scenario.
G:
I see, so that's how you're proceeding.
Yoshida:
Before writing the scenario, I also organize the setting. I think, 'This setting could be made a little simpler like this,' or 'This would be easier to understand,' and organize the setting and timeline before I start writing the scenario.
G:
In a column you wrote for the 'Scenario Writers Relay Diary' on the website of the Japan Scenario Writers Association, you mentioned plot creation, saying, ' For long stories like those for the theater, I write out the outlines and then check the structure, tempo, and introduction of characters before I start on the script. ' But what does it mean to introduce or introduce characters?
Yoshida:
When multiple characters appear at once, it can become difficult to tell who is who, so it's important to make adjustments so that you can convey that 'this character has this kind of profile and this kind of personality.' On the other hand, if you try to delve too deeply into one character all at once, it can end up losing the balance.
G:
Ah, that's true.
Yoshida:
I'm trying to adjust it so that not only the world situation and story, but also the situation of the characters is conveyed as smoothly as possible to the viewer.
G:
Regarding this, in other interviews you've said that 'a script is writing what a character will do when they appear,' but 'what they will do' doesn't necessarily mean speaking lines.
Yoshida:
Sometimes it's dialogue, sometimes it's actions. It depends on the work.
G:
In the case of this film, I assume you read the original novel before starting work on it. What was your first impression?
Yoshida:
It's a story in which everything is shrouded in chaos and many things are heading towards their end, but I thought it was really interesting how the story also has a down-to-earth feel to it.
G:
When working on an original work, I've heard that even small details can be something that, if removed, will ruin the original feel, or if not included, will not bring out the original feel. While writing the script for this film, were there any parts that made you feel like 'this is what makes it original feel like it'?
Yoshida:
Besides the main characters, there are people with various positions, and there are scenes depicting various reactions to the abnormal situation of a mysterious mother ship floating in the sky. There are various opinions such as 'Quickly repel them' and 'Even if they are aliens, life is important', and even within the government, there are people who try to take advantage of the situation, people who try to make money, and people who are concerned about international relations... In this way, I thought that one of the points of this work is that various people think, react, and act in various ways in response to one event, so I tried to pick up on that as much as possible.
G:
As this work revolves around two girls, Kadode and Ouran, I researched what kind of person Yoshida was at this age, and found an interview with her that was published in Real Sound when she was in charge of the script for '17-Year-Old Empire.' In the interview, she said, ' I was a bit of a fluffy girl whose favorite books were the Complete Works of Hayakawa SF and the Complete Works of Ryotaro Shiba, ' to which the interviewer retorted, 'That's not fluffy at all (laughs).' What kind of reading background led you to love Hayakawa SF and Ryotaro Shiba?
Yoshida:
Ever since I was a child, I liked 'stories that are not of this world,' like juvenile stories, NHK's boys' drama series, and fantasy stories. That led me to read science fiction, and I feel that science fiction and historical novels have a lot in common. Science fiction often depicts the society and systems of the world within the work, and people of various classes, and I think historical novels have that in common too. Also, historical novels are about the past, a different time from the one I lived in, a world that is not here, and I feel that this is something that science fiction and I have in common.
G:
It's true that there may be some places like that.
Yoshida:
I also like science fiction and have read works by Shinichi Hoshi, Taku Mayumura, Yasutaka Tsutsui, Bradbury, and Asimov.
G:
I think this work contains exactly those kinds of science fiction elements, but what were your thoughts as a science fiction fan when you read it?
Yoshida:
Yes, it felt more like old science fiction than post-cyberpunk science fiction, and it gave me a certain sense of nostalgia.
G:
I see. Moving away from science fiction, in the same interview you mentioned that you were in a brass band. Did you also play music?
Yoshida:
I've loved music since I was a child, so I wanted to try playing an instrument and joined the brass band club.
G:
What instrument did you play?
Yoshida:
The clarinet. The clarinet is in the same position as the violin in an orchestra, and it is better to have more people, so beginners are usually assigned to the clarinet (laughs).
G:
(laughs) Now you're working as a scriptwriter, but in a past interview you said that you didn't intend to make it your profession, but rather that you had a desire to 'go out into the wider world.' Was there some trigger that made you feel that way? Or was it something you just had a vague desire to do?
Yoshida:
I wonder when it started... I think it was probably around middle school. Books depicted all kinds of worlds, so I think I was vaguely thinking, 'There must be so many more worlds out there that I don't know about.' So, I left Kure when I took the university entrance exam.
G:
Mr. Yoshida, you used to be an editor of practical books, and I've read that you like to do research when writing scripts. What was that like for this film?
Yoshida:
Since the story is set in Tokyo, I looked at Google Maps carefully. I always tried to keep a sense of distance and direction in mind; for example, 'The mother ship first appears around here, and it's moved from Odaiba towards Ota Ward, and Kadode, Ouran and the others are in the Kichijoji area.'
G:
When working on a script like this, I imagine there are times when your hands get stuck, but in your case, Yoshida-san, how do you deal with those times when your hands get stuck or you get stuck?
Yoshida:
When I get stuck, it's usually because the plot isn't going well or the character I'm trying to write isn't interesting, so I go back and rethink it.
G:
Think it over and then rewrite it from there.
Yoshida:
Yes. If everything is going well, you should be able to write with ease, but if you get stuck, it means something is not going well. Sometimes you may be worried about something like, 'I want to write this line, but I can't come up with it,' but if you get stuck overall, there must be a cause somewhere, so you should try to find that cause.
G:
I understand that you would rethink the situations where the plot isn't working, but what about when the characters are uninteresting? Is it because what they say becomes uninteresting, or their actions become uninteresting, or is it because there's something wrong with the characters?
Yoshida:
Yes, sometimes the words and actions themselves aren't interesting, sometimes they end up being similar to those of another character, and sometimes the relationship isn't interesting.
G:
To make it more interesting, you would probably have to change your perspective or the way you write, but are there any tips or techniques you can use?
Yoshida:
Is there a point or not?
G:
Is that the point?
Yoshida:
If you can grasp the point of 'what kind of person this character is' in one word, for example, is he passive or proactive, is he a very talkative type, or does he speak little and quietly? It's easier to fix it if you can grasp not only the way he speaks, but also something about the character's past, experiences, family, and relationships.
G:
When I hear that, it makes sense, but it seems like it would be difficult to actually do... I think it's because you're able to do that well that you've been able to work on so many projects, including this one, but how do you manage your schedule?
Yoshida:
At the beginning of each week, I make a schedule for my work for the week. If I'm not making much progress, I reorganize it and try to set little by little goals for myself, like 'I'll definitely finish by this date.'
G:
When I interviewed Yoshida-san in 2020 to coincide with the broadcast of 'Sorcerous Stabber Orphen,' I heard that he mostly works only at his workplace. Has that style changed at all?
How the original work, which is over 25 years old, was animated: An interview with director Takayuki Hamana and series composition Reiko Yoshida of 'Sorcerous Stabber Orphen Hagure Tabi' - GIGAZINE
Yoshida:
Yes, I try to work in a shared office about a 10-minute walk from my house.
G:
Do you go every day?
Yoshida:
It depends on how my work is progressing, but I usually wake up around noon, start writing in the afternoon, and stay at work until just before midnight.
G:
In an interview related to the anime 'Okko's Inn' Yoshida was asked about what she pays attention to when working on an original work, and she answered that she pays attention to what the writer values and how they are trying to portray it . In the case of this work, what kind of work did you feel it was?
Yoshida:
I felt that this was a work that really thought out how students and young people who can't even relate to the world can survive in this world, even when the world is about to end. Kadoide, Ouran and the others feel that the world is coming to an end, but they just try to live their daily lives. I was really touched by that, and I felt that this is what Asano-sensei wanted to portray.
G:
For this film, the original author, Inio Asano, was apparently sometimes present at script meetings. Were there any questions that Yoshida asked Asano directly?
Yoshida:
First of all, Mr. Asano told us 'What were your thoughts when you wrote this work?' and then he came to several scenario meetings to give us advice. Most of the advice was about the setting, and I asked questions like 'What is the intention behind this setting?' and 'Is it okay to simplify this setting like this?' We also consulted on the composition.
G:
At that time, did Asano have any requests as to how he wanted it to be done?
Yoshida:
Although the structure of this work has been changed a little, there were no major changes overall, so there was nothing in particular that I wanted to do. I was supervised by the director. In particular, Ou Ran's lines are quite unique, and there were parts where I got stuck on the way they were said, so I consulted with him, saying things like, 'Should I say it like this?' or 'I want him to say this, but do you know a good way to say it?'
G:
This film is split into two parts, but how long did it take you to write the script?
Yoshida:
We had regular meetings about once or twice a week, and it took about a year and a half to two years. With movies, I don't often have the experience of finishing work in less than a year, so there was nothing particularly long or short.
G:
Since we're running out of time, I'd like to jump ahead a bit and ask a question. Is it correct that the first anime script you were in charge of was episode 244 of 'Dragon Ball Z'? Also, how did you come to write the script for Dragon Ball Z?
Yoshida:
I was introduced to this job by an acquaintance, and it was my first job with an anime. I became a scriptwriter by winning a contest, so I usually get jobs through acquaintances. I was looking for someone suitable for this project, and someone introduced me to someone.
G:
I see, I see. So, is there anything else that Mr. Yoshida can introduce?
Yoshida:
Yes, occasionally.
G:
I apologize for asking such a strange question at the last minute. Thank you for your time.
Yoshida:
thank you very much.
The sequel to the movie 'Dead Dead Demon's Dededede Destruction' will be released on May 24, 2024. According to the original author, Inio Asano, the ending will be an original development that will differ from the manga, so whether you have read the original or not, please enjoy it until the end.
'Dead Dead Demons Dededede Destruction' Trailer - YouTube
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