John UM
Headed by General Supervisor Sakaguchi, the original animated film “Hisone and Masotan” which has assembled a group of top creators has been completed. “Febri” magazine interviewed the general supervisor, Sakaguchi Shinji and the series, which constitute the two core figures of Okada, and asked them to tell How do you construct the skeleton of this new work animation? .
When the two decided to make an animation together, the general manager of the Sakaguchi said to Okada that he wanted to do the film “Flower Ilyo”, which is the subject of the Self-Defense Force. Okada listened. He thought that what he wanted to do might be the refreshing story of the girls’ frustrations in the Self-Defense Forces because of work. If it was such a story, she would like to write and write. .
So, Okada returned to his home and began to work on the “self-defense theme.” At this time, the general supervisor of Sakaguchi gave her a problem: “Although the self-defense team is to be done, the base has raised a dragon since ancient times. This dragon can’t show up, afraid to expose its identity, so let it change. Installed as a fighter. You may feel like a mech, but not a mech, a dragon that plays cosplay.”
At this moment, Okada has already completed a draft of the composition according to the proposition of “Self Work of the Self-Defense Forces”. The general supervisor of Sakaguchi suddenly thrown a new proposition of “cosplay dragon”, and this new proposition is closely related to the basis of the plot. Okada couldn’t help but complain: “Can you say it early, don’t drag it to the present!”
The general supervisor of Qikou defended himself that he had the idea of playing cosplay in the first place, but he couldn’t say it in the face of Okada. The general supervisor of Sakaguchi believes that Okada’s impression is that people who rely on conflicts between characters to construct a plot. It is rare that Okada invites himself to do animation together. If he says his own thoughts, let her think, “Is this person sick, let me make a film with me, but want me to write mech?” What can I do? Therefore, the general supervisor of Sakaguchi was hesitant and repeated, and finally he had the courage to raise this request. .
Okada also believes that the idea of “cosplay dragon” is very difficult to write, but it will be very interesting. Next, they put forward the idea that “the dragon uses the character to choose a girl.” The girl who rides the dragon is a breeder in a certain sense. She thinks that the girl will also feel entangled in this. .
So, what kind of personality will be selected by the dragon? What the general supervisor of Sakaguchi wants is a quirky problem. The setting of “White Lovers” was born. The protagonists of the story have some common flaws, and the existence of the dragon can fill this flaw. The dragon also needs their defects. .
Next, we have to decide the respective defects of each role. .
At the beginning, the general supervisor of Sakaguchi proposed that the protagonists should all be set to lie. But if you write this, the story will become muddy and refreshed. So, Okada proposed: It is better to go against the other way, how about setting the protagonist into a person who can’t talk? Just because she is honest, it will make people feel annoyed and addicted. .
The general manager of the Sakaguchi said that this setting of Ogata was the invention of Okada. He likes this protagonist very much, especially if he doesn’t know what she will say. The scripts that Okada handed in, each episode would be beyond his expectations. Zeng Gen, who can’t talk, pokes the lies of the surrounding people, and the surrounding people are troubled by the fact that they are uncovered. Because people are living in a lie with each other. .
The reason why the protagonist should be set as a self-defense player is because the general manager of Sakaguchi wants to do work animation since he wants to cooperate with Okada. Moreover, at his age, he is more likely to resonate than students and social people. Instead of talking about learning friendship, he wants to describe the theme of how to deal with his own work and what he means to society. .
Okada also used to go to the Self-Defense Force Base. There are many young women in the base, but she does not think that these people are different from girls in other professions. However, those who have always wanted to be self-defense are trying to come up with different attitudes towards others. She wants to reflect this in the animation. .
In addition, there are people like the ones in the animation, as well as people like Zeng Gen. Not everyone has entered the Self-Defense Force with the same motivation. .
The dragon that appeared in “Hisone and Masotan” is very cute. But in fact, in the design of the original painting of Hesen Masaharu, the shape of the dragon is quite realistic.
The general supervisor of Sakaguchi did not intend to do the dragon to Meng. He just wants to make the shape of the dragon so that the self-defense players in the film have doubts: “Why do we have to protect and raise this thing according to the duties of the Self-Defense Force?” Therefore, the dragon he wants is different. People talk about the awesome look that the dragon would think of, and the opposite of the solid things like fighters and transport planes. The other founders wanted to make the dragons handsome, and the general supervisor of the mouth pulled them back. In this way, in the end, the dragon in the film became so cute. .
Okada said that the color of the eye of Tan Rent Tan is flat, and like Hello Kitty, it is the kind of cuteness that doesn’t know what it is thinking. If you want to interpret the feelings in those eyes, you can feel both horror and compassion. She also participated in the design meeting, and believed that what the general supervisor of the mouth wanted was perhaps to make the appearance of the dragons and the imagination of the audience coincide, so that the audience had room to interpret their feelings. Therefore, she also incorporates this in the script. .
In “Hisone and Masotan”, D drivers and dragons have different psychological distances, and their views on dragons will be different. Painted and Norma is an example: when she closes her heart to the dragon, she feels that the dragon behaves as if she intentionally tortured her; but once she opens her heart, she understands that it is the gentleness of the dragon. The meaning of the dragon to the D driver changes with his mentality, which is also in line with the relationship between the dragon and the D driver: the dragon will choose the girl who changes because of the oneself, and the girl will be complete because of the dragon. .
Unlike the cute characters, the Self-Defense Force machinery appearing in the film seems to be very realistic. However, the general supervisor of Sakaguchi said that he did not pursue a real mechanical design. Whether it is the background or the fighter, he consciously wants to simplify, but also to reduce the number of lines, but also to remove the shadows, a lot of work. If it looks real in the film, it is because the painting pays attention to the real shape. For example, if you cover the character’s face and look at the figure of the character, you will know that the wrinkles of the clothing are very realistic. This balance between labor and reality is the idea of the animator who set ito, very delicate. .
When designing animated characters, one of the problems that Ito was very annoyed was how to design the head to body ratio. Ito said: “Because the character is wearing the costume of the Self-Defense Force, there is a problem with the clothing being painted incorrectly.” But if the painting is too real, the head will appear small; the original figure of Aoki is straight, the head painting is small. It will seem unbalanced… In the end, he found the ingenious balance of infinity that is close to being funny. .
While the characters are still moving, they can maintain the balance between realism and comics, thanks to the supervision of Kobayashi. While pursuing realism, he can fully realize hilarity, and the expression of the character’s expression is just right. In the fourth episode of Lily, when she walked out of the room, she used the running method of Lei Leilei in “The Genius Stupid Peng”, completely out of the expectation of the general supervision of the mouth. .
Okada also said that during the recording, the funny expression in Kobayashi’s mirror was often in the middle of her smile, so she couldn’t help but laugh at the broadcast control: I didn’t expect her to write this sentence. The lines will be said with such expressions. .
At the time of the meeting, Aoki Junjo will draw a variety of expressions based on the opinions of other people. Okada is very impressed by Aoki to draw so many pictures on the spot, often yelling at the meeting. !”. Although Kobayashi’s supervision was quiet in the meeting, when he turned back, he painted these expressions of Aoki painting into the mirror. Kobayashi was able to grasp so many paintings of Aoki in the meeting in time, and applied it to the work in a clever time. This sensibility also made Okada admire. .
As mentioned in the recording, “Hisone and Masotan” is not a post-recording, but a pre-recording. The seiyuu can play their own maximum acting without having to worry about the movements and mouth shape of the screen. In this way, they can continue to make performances beyond the imagination of the producers, so that the energy of the works continues to increase. .
Okada felt at the recording site that the seiyuu made their greatest horsepower. She believes that the screen of the mirror also has credit. Aoki’s expressions and funny faces hide a memorable atmosphere, not the usual expressions of current animations. Therefore, seiyuu will not be pulled back by the management of “this expression will speak like this”, which also helps them to fully exert their imagination.
The general supervisor of Sakaguchi pointed out that another reason for using pre-recording is the production schedule of TV animation. If you use post-recording, after the recording is completed, there is no time to change the screen with the seiyuu’s acting. He does not want to waste good acting for this reason. The general supervisor of Sakaguchi believes that in the schedule of TV animation, seiyuu is not allowed to perform through the screen, but directly in the stage of sound, and then animation of their acting is the most efficient system. .
And the general manager of Sakaguchi is responsible for the “initial” and “final” processes in animation production. “Initial” refers to the job of replacing a script with a sound. He is only responsible for the interval and mood of directing seiyuu acting. The “final” part refers to the selection of songs. He did not entrust a special selection of songs, but he decided which scene to use which piece of music. In particular, the steps of putting music into the picture are all hands-on. .
The general manager of Sakaguchi said that the way TV animations are inserted into music needs to change and mind. If it’s a theatrical version, you can make an emergency in the whole work; but for each episode of TV animation, the available music assets will be reduced. If you let the audience perceive “this song, the previous episode was also used”, then it is over. .
Okada said that it is not just music, the general supervisor of Sakaguchi rarely repeats the same stalk, and does not like to make “fixed”. Even the details of the subtitles and the transitions in each episode must be revised repeatedly and refused to compromise. .
The general supervisor of Sakaguchi felt that he had made a “fix” for such a group of people to match this piece of music. However, his “fixed”, rather than the “person”, is more to the “atmosphere of the scene.” . When
Was asked about a scene that I particularly liked, the answer from the general supervisor of Sakaguchi was Episode 9, and Zeng Gen found that he liked Xiaomu, chaos and chaos. This scene was so interesting at the stage of the script that he sat in the tram and couldn’t help but laugh out and was almost regarded as a suspicious individual. The mirroring of Kobayashi’s supervision made Zeng Gen’s move even more ridiculous, and the seiyuu’s acting technique was further sublimated in this scene, making him feel that music could not be lost. .
Okada said that the moment that Zeng Gen knew how to fall in love was very difficult to describe. The characteristic of Zeng Gengen is that he is serious about what he says, and the lines are always very long, so it is difficult to control the emotional urgency of her lines. She feels that if she is allowed to say a long line in this scene, she may say that she is sorting out her emotions. Therefore, if this feature is broken, it will only make her become a human-organized car. Nothing can be said except “Yes–”. Ai and Han Mingzi, who are responsible for this set of scripts, also work very hard. .
The fresh combination of Sakaguchi Shinji and Okada Hiroshi gives Hisone and Masotan a unique charm. The general supervisor of Sakaguchi said that Okada gave him a lot of help. Okada’s script looks cruel and actually very gentle. Her cruelty is the kind of sharpness and coldness that is what to shape, but “reality is like this.” However, just because she wrote such cruelty, it will show her “gentleness” at the stage of “what the protagonists will do last.” The general supervisor of Sakaguchi said that if he came to do this work alone, the fate of the characters on the scene might be more cruel and become a plot that could not be saved. .
Okada said that the general supervisor of Sakaguchi firmly believes that “in order to create a rhythm of the series, I want to betray the audience’s expectations.” Although he claimed that “if I shoot this, I will scare off the audience, so I will be afraid of doing it in the middle of the center.” But when I say it, I am afraid, but my hands are not merciless. This kind of positive and daring attitude makes Okada very admired. The leaders have different attitudes, and the enthusiasm of those who work underneath will be completely different. If the leader is so active to the general supervisor of the mouth, then the production team will also make their own efforts. .
The general supervisor of Sakaguchi said that he is a very introverted person, so it is better to discuss it with everyone than to let him think alone. Although sometimes he cautiously put forward his own opinions, he was ignored by everyone; but sometimes, everyone will catch his ball and hit it back with 100 times the power. In this moment, he will feel the meaning of cooperation with others.
Okada felt that the general supervision of Sakaguchi not only accommodates the coexistence of various elements, but also actively pursues such coexistence. Compared with the picture that he wants to watch, he is more overlooking everything, adding attractive elements like a point. And because of his sensibility in making judgments, even if you have a lot of various elements, you won’t feel scattered. .
The general supervisor of Sakaguchi was also in the same time when he gave Okada a “problem”. On the one hand, she gave her a high degree of freedom, so that she can solve problems from any angle; on the other hand, these topics are very powerful. It is very fun to deal with. To put it strangely, she feels that as a general supervisor, she is an “adult”. .
At the same time, the general supervision of Okada in the eyes of Okada is still a “big man who can be a child”. He will say, “I am still a child, just rushing forward and rushing forward, although it is already an old man. “, take a strong step. She said that Sakaguchi is a rare general supervisor. .
Okada’s praise was so uncomfortable that the general supervisor of Sakaguchi was uncomfortable. Okada usually has no feelings for him, but now he has finished the script and changed his attitude. It seems that this is like a sincere heart. It’s like a bad student who hasn’t been good at the teacher. When he graduated, he came to give the teacher a thank you teacher’s grace, so he couldn’t help but cry. .
In the interview, “Hisone and Masotan” has not yet been completed. Regarding the ending of the work, General Manager of Sakaguchi said that the key to the outcome lies in how to accept the audience. Everyone wants to be happy when they watch animation, so he thinks about “what is happiness” and thinks about making the ending more comfortable and happy for the audience. Because Okada’s script has done this, his task is to make the best work, without regret. I hope the audience can witness how this story will end. .
Okada said that with regard to the climax of the story, the general supervisor of Sakaguchi suddenly gave her a strong problem, so it was the place where she hesitated the most in this work. But with everyone’s concerted efforts, this difficulty has been overcome. She believes that this has made a work worthy of love, a work that people want to be frankly loved, and hope that everyone can enjoy “Hisone and Masotan.” .
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Reference: Febri VOL.49