Were "GODZILLA monster planet" happening along Route 246? What is the culmination of Japanese domestic 3D CG animation that Segushi challenged
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
It was Kyubuchi Gen who entrusted the draft of the story and screenplay. It is one of the best story tellers in the industry that draws on existing genres, including "Magical Girl Madoka ☆ Magica" with a new approach. A hard and serious SF world, an unpredictable story, the overwhelming power of Godzilla, the desperation of mankind to despair of feeling helpless. In the history of "Godzilla", "Angorge" drawn on an unprecedented scale, the SNS overflows with amazing comments.
This time, "Cinderella of Cydonia" "Ancestor" "BLAME! "An interview with Mr. Hiroyuki Sekashi who worked as a director with Mr. Shizuno Hayami in this work. How did you assemble and visualize the scenario of Mr. Kaede even knowing the weight of existence such as "Godzilla"? His words highlight the confidence in the staff who made the movie together, the deep consideration necessary for a precise stage design, and the desire for the domestic 3D CG animation.
In the coverage also, clarified hints leading to future, such as chapter 2 "GODZILLA decisive mobile mobility city" to be released in May 2018. I hope those who have already seen the work and those who will be watching from now will also use it as a clue to understand the animation version "Godzilla"
【Interview / composition = Ryosuke Komatsu】
■ Mr. Kazuyoshi Kuzuchi, planned for animation made because it was with Shizuno
, when I was asked about animation project of "Godzilla" for the first time, Director Seki says "Can you do it?" He heard that he had an impression. Why?
Hiroyuki Sakashita (hereinafter Sensei)
Godzilla "is a global character representing Japan. I know it since I was a child, and I'm going to understand the greatness of "Godzilla" as a professional who puts my life in the video industry. It would be quite difficult to animate "Japanese special effects style beauty" which is the backbone of "Godzilla", and the big wall that stands was easily imaginable.
- How can you express style beauty like special effects with animation?
Sega: If it is said that "Please make kabuki musical", it is difficult. However, if you are told those who do not know Kabuki, "If you are told to make musicals that will make you interested in the world of kabuki," you probably have a way to do it. The style beauty that "Godzilla" possesses is not something that can be converted to animation easily, but I thought that it might manage somehow depending on the approach, and received the request.
Even so, I think that I could not catch it if I was alone. Mr. Shizuno and Mr. Kagiuchi, I was able to challenge with these two premises in me. Thanks to somehow, I feel lost while worrying about the past 3 years, while thinking through, I have reached so far.
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD. |
- However, in order to complete this work, Mr. Sensei and Polygon · Pictures were indispensable.
Senjō: I am very happy if you say so (laugh). Polygon · Pictures is one of the oldest 3DCG studio in Japan called Founding 1983. It is a studio that was in the front line from the dawn period when the Japanese CG industry, CG started to be used as a commercial video, and it is one of Japan's leading powers that can make a certain sense of security with a lot of confidence have. Furthermore, I have the experience and experience I've been trying for celluloid animation from "Knight of Sydney".
That's why even if this is a very large masterpiece or a full-length work, there was such a sense of trust that it would do something about polygon · picture.
- Looking at Mr. Sega, what is the charm of Mr. Kenbuchi?
Iis a person who can enter a sense reflecting contemporary dramatic, age, based on the heavy and formal high stories and worlds that people have handed down, such as Szechi myths and traditions. It is designed to truly calculate what kind of emotions and words the young generation's deep animation fans are seeking.
I feel that it was because Mr. Fumiyoshi supported me the formal high brand of 'Godzilla' which was all tied up, such as the magnificent world sense and group image theater cultivated in the long history.
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
-So, how about Coaching Shizeno?
Sakashi: Again the overwhelming sense of majority ... Is it okay? I and Mr. Kakubuchi are also relatively maniac type, but when it comes to the filter of Mr. Shizuno, no matter how maniac motif it becomes "major". This is already a great talent.
It is really fun to interact with you this time. Thanks to you for letting me do my best and my favorite areas. For example, "This part is somewhat maniac making world view settings, it will surely be adjusted by Mr. Shizuno" It is a way to rely on it. Kamiya gives us a heavy formality, and under the huge trust that Mr. Shino gives us overwhelming major sense, I can also make a lot of various suggestions.
- In this work Mr. Sega was moved subjectively, mainly on the design of the world feeling and the stage mainly?
Segoshita: "Shin · Godzilla" and I was relieved with a masterpiece (laugh). Mr. Shizuno and Mr. Kamiuchi also agreed. "Shin Godzilla" inherited the mainstream of the sole and unique "Godzilla" brand that has been handed down generously in Japanese special effects culture. We can be one of the tributary to mainstream. It was a moment when I was convinced that I should confidently do what I came up to that point.
Sakashi: Again the overwhelming sense of majority ... Is it okay? I and Mr. Kakubuchi are also relatively maniac type, but when it comes to the filter of Mr. Shizuno, no matter how maniac motif it becomes "major". This is already a great talent.
It is really fun to interact with you this time. Thanks to you for letting me do my best and my favorite areas. For example, "This part is somewhat maniac making world view settings, it will surely be adjusted by Mr. Shizuno" It is a way to rely on it. Kamiya gives us a heavy formality, and under the huge trust that Mr. Shino gives us overwhelming major sense, I can also make a lot of various suggestions.
- In this work Mr. Sega was moved subjectively, mainly on the design of the world feeling and the stage mainly?
Mr. Senima: Basically, I did not share the work clearly, everyone shared ideas and progressed. However, it may be relatively biased about my own favorite thing about world setting, SF thinking feeling, flesh fleeting etc (laugh).
■ Godzilla's overwhelming presence in animation even when
it is not seen - When you watch this work, you can impress the presence of Godzilla with one bark like "Gao" even in situations where it does not appear on the screen yet, its brand power I marveled.
Sega: That's right. It's awesome as Godzilla as a symbol. We can feel Godzilla with silhouette and cry. We really respected the character of Godzilla, and in a sense it is like Godzilla's actor, "Is it okay to ask him to appear in a little animation?" (Laugh). I was doing with that feeling.
- Is it a story that the theme or spirituality of "What is Godzilla?" Is not changed even if it changes from gaze to scenery because the world view and the stage are animated for animating "Godzilla".
Mr. Sekami , that pertains to the comparison with other series so it's difficult. At least Godzilla of his work is overwhelming presence in the story world, it is subject of respect and awe. It is called by the name "monster", but it is not a simple "living thing" but a transcendent being closer to the gods. It is exactly "natural disaster" whether or not it should exist to fight fighting originally.
However, I decided the policy from the initial stage as to what kind of Godzilla as modeling should be made. I draw as such an existence that can be an object of faith like "Sacred tree".
it is not seen - When you watch this work, you can impress the presence of Godzilla with one bark like "Gao" even in situations where it does not appear on the screen yet, its brand power I marveled.
Sega: That's right. It's awesome as Godzilla as a symbol. We can feel Godzilla with silhouette and cry. We really respected the character of Godzilla, and in a sense it is like Godzilla's actor, "Is it okay to ask him to appear in a little animation?" (Laugh). I was doing with that feeling.
- Is it a story that the theme or spirituality of "What is Godzilla?" Is not changed even if it changes from gaze to scenery because the world view and the stage are animated for animating "Godzilla".
Mr. Sekami , that pertains to the comparison with other series so it's difficult. At least Godzilla of his work is overwhelming presence in the story world, it is subject of respect and awe. It is called by the name "monster", but it is not a simple "living thing" but a transcendent being closer to the gods. It is exactly "natural disaster" whether or not it should exist to fight fighting originally.
However, I decided the policy from the initial stage as to what kind of Godzilla as modeling should be made. I draw as such an existence that can be an object of faith like "Sacred tree".
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
- Such Godzilla suddenly appeared on the ground, bringing disaster to mankind. After all it is the subject of fear that human beings produced, also in "Godzilla" drawn by Honda Inoshiro in the first series of the series?
Senjō: It may be. There are also places to be told by chapter 2 and beyond. As mentioned in "Chronology" which has been published so far and the previous day written in the novel version, the mysterious creatures suddenly called "monsters" appear at the end of the 20th century in this story world. And that monster and mankind are all Godzilla's existence of allegedly destroying everything without distinction.
- According to the prehistory which was announced before the movie release, monsters of successive series such as Anguillas, Radon, Camakiras are also appearing. Does this have a sense that Godzilla's history of walking in the "VS series" is also inclusive?
Sensei: There is not much consciousness there. To the end Godzilla is at the top of life evolution of the earth, as the ultimate life selected by the earth, brings harmony to the whole earth, it is such an overwhelming presence. It might be a hint related to chapter two or later (laugh).
Senjō: It may be. There are also places to be told by chapter 2 and beyond. As mentioned in "Chronology" which has been published so far and the previous day written in the novel version, the mysterious creatures suddenly called "monsters" appear at the end of the 20th century in this story world. And that monster and mankind are all Godzilla's existence of allegedly destroying everything without distinction.
- According to the prehistory which was announced before the movie release, monsters of successive series such as Anguillas, Radon, Camakiras are also appearing. Does this have a sense that Godzilla's history of walking in the "VS series" is also inclusive?
Sensei: There is not much consciousness there. To the end Godzilla is at the top of life evolution of the earth, as the ultimate life selected by the earth, brings harmony to the whole earth, it is such an overwhelming presence. It might be a hint related to chapter two or later (laugh).
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
-Oh. By the way, although there was a keyword "mythical" in the charm of Scenario written by Kamiuchi san, you can feel the fantasy elements such as elves and dwarves somewhere if you look at the design of Exif or Bilsald of this work .
Sega: That's right. That's right. Although they are aliens or similar aliens, even if they fall into the ancient fantasy world where swords and magic appear temporarily, they can be established as it is. I am thinking about setting and character design while conscious of such things.
- It is already said that this work is already fantasy in that it is set in the world beyond human history in the first place after 20,000 years.
Senjō: The far future, far away ancient, both are mythical and there is symmetry. The only difference is when to grasp from the point of view and point of view. I think that its symmetry will lead to appeal and sympathy.
■ What is the real intention of making 3DCG animation in Japan?
- The battle scene with Godzilla using 3 DCG was truly wonderful force. I heard that staging (scene design) in 3DCG animation is very important, but this work actually went to a local interview such as Tanzawa (Kanagawa).
Sakita: Yes. It is to feel the scale feeling on the skin and to reflect it. By the way, the stage of this work is set in the Kanto where the sea level has risen by about 40 m and caused crustal deformation.
- Is the stage Japan to the last?
Sakashita: I can not say it specifically, but the stage of this work presupposes the events occurring in the next two chapters and three chapters from the back, and designs landing points and battle places with Godzilla from the back. Actually, this setting is mostly taking place along Route 246 (haha).
- Oh, sure! I am steadily descending (laugh).
Seta Shingo: Shibuya to former Tanzawa is the stage of this work. The meaning connects after the next work. It is about why Godzilla was in that area.
Sega: That's right. That's right. Although they are aliens or similar aliens, even if they fall into the ancient fantasy world where swords and magic appear temporarily, they can be established as it is. I am thinking about setting and character design while conscious of such things.
- It is already said that this work is already fantasy in that it is set in the world beyond human history in the first place after 20,000 years.
Senjō: The far future, far away ancient, both are mythical and there is symmetry. The only difference is when to grasp from the point of view and point of view. I think that its symmetry will lead to appeal and sympathy.
■ What is the real intention of making 3DCG animation in Japan?
- The battle scene with Godzilla using 3 DCG was truly wonderful force. I heard that staging (scene design) in 3DCG animation is very important, but this work actually went to a local interview such as Tanzawa (Kanagawa).
Sakita: Yes. It is to feel the scale feeling on the skin and to reflect it. By the way, the stage of this work is set in the Kanto where the sea level has risen by about 40 m and caused crustal deformation.
- Is the stage Japan to the last?
Sakashita: I can not say it specifically, but the stage of this work presupposes the events occurring in the next two chapters and three chapters from the back, and designs landing points and battle places with Godzilla from the back. Actually, this setting is mostly taking place along Route 246 (haha).
- Oh, sure! I am steadily descending (laugh).
Seta Shingo: Shibuya to former Tanzawa is the stage of this work. The meaning connects after the next work. It is about why Godzilla was in that area.
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
- In the case of 3D CG animation like this work, I hear that how far you can draw a detailed design drawing with pre-production (project ~ prototype) has a big impact on the work. This work has been about three years from planning to publication, but how about preprocessing and production?
Senjō: Since it overlaps between work steps, it can not be separated from clear, but for the first year and a half I have been doing story development, Godzilla's design and setting the world view. I think that it was around this past year that I entered production in earnest.
- Then, I saw "Shin · Godzilla" quite a bit when I was quite advanced. Did you influence the production? I saw
Senjō: Since it overlaps between work steps, it can not be separated from clear, but for the first year and a half I have been doing story development, Godzilla's design and setting the world view. I think that it was around this past year that I entered production in earnest.
- Then, I saw "Shin · Godzilla" quite a bit when I was quite advanced. Did you influence the production? I saw
Segoshita: "Shin · Godzilla" and I was relieved with a masterpiece (laugh). Mr. Shizuno and Mr. Kamiuchi also agreed. "Shin Godzilla" inherited the mainstream of the sole and unique "Godzilla" brand that has been handed down generously in Japanese special effects culture. We can be one of the tributary to mainstream. It was a moment when I was convinced that I should confidently do what I came up to that point.
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| GODZILLA Monster Planet (C) 2017 TOHO CO., LTD |
- Mr. Sekita has been involved in numerous 3DCG animations, including "Knight of Cydonia". For example, in "Animals", motion capture was introduced, and it was challenged for a new attempt, did anything new work have been done in this work?
Seiji : There are various things to say in detail, but I think that this work will be a culmination of so far. From 2014 "Knight of Cydonia" seriously, we have challenged Cellulque expression by 3DCG. This method is beginning to feel the kind of response that has been perceived though little by little in the world of Japanese commercial video.
Although it is a tool called 3DCG with many defects, I hope to establish it as a means and genre that can convey an impressive story to many customers by utilizing the advantages.
In that sense, it is our wish that more people will see "Godzilla monster planet".
"GODZILLA Monster Planet"
(C) 2017 TOHO CO., LTD.
Seiji : There are various things to say in detail, but I think that this work will be a culmination of so far. From 2014 "Knight of Cydonia" seriously, we have challenged Cellulque expression by 3DCG. This method is beginning to feel the kind of response that has been perceived though little by little in the world of Japanese commercial video.
Although it is a tool called 3DCG with many defects, I hope to establish it as a means and genre that can convey an impressive story to many customers by utilizing the advantages.
In that sense, it is our wish that more people will see "Godzilla monster planet".
"GODZILLA Monster Planet"
(C) 2017 TOHO CO., LTD.
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