From Web page to Display: DAN DA DAN Director Fūga Yamashiro and Voice Actor Shion Wakayama

Creator Yukinobu Tatsu‘S AND THEN AND manga is a fan favourite, deftly mixing a mishmash of supernatural parts with comedy, romance, and intense battle scenes. Director Fugue Yamashiro and studio SCIENCE SARU had the unenviable job of translating the collection for the display screen. Adapting a high-profile work comes with its personal particular sort of stress, however Yamashiro instructed us how he imbued the tv anime along with his personal ardour and imagery that may solely be achieved by way of animation.

Voice actor is current with him for the interview Shion Wakayama. Wakayama brings life to the reliable and psychically gifted Momo Ayase, one half of the collection’ twin protagonists. Followers will doubtless acknowledge Wakayama from her earlier roles, together with SSSS.Dynazenon‘s Yume Minami and Mushoku Tensei: Unemployed Reincarnation IIby Shizuka Nanahoshi.

Collectively they talk about their favourite scenes from the primary three episodes, the visible connection between tokusatsu and the collection, and whether or not they imagine in ghosts (or aliens).

AND THEN AND is a singular mix of horror, comedy and romance. What initially attracted you to this undertaking, each as a director and as a voice actor?

Fugue Yamashiro: I like comedy probably the most. And I consider all genres AND THEN AND is tagged with, it is the closest factor to a comedy. So I feel the connection between Momo and Okarun is essential. , they’re buddies, however there’s additionally romantic moments. I feel their banter actually provides to that comedic timing.

I feel the adjustments in the best way they converse, from comedy to romance to motion, is de facto enjoyable to observe as a viewer. Even after they get into uncommon or scary conditions, they hold that very same vibe collectively. After which (by way of that) banter, (they) sort of come out of it they usually can overcome (these conditions).

I feel that is the attraction of the AND THEN AND. Such as you stated, there are totally different genres on this title. So I feel with a view to emphasize a sure style, like, as an instance comedy, I wish to make it possible for the horror is thrown in there after which go all out with the horror, however then the motion after which the comedy. I feel the contrasting genres which might be proven and the pace at which they’re proven was actually vital to the creation of the anime. That is actually what I centered on.

Shion Wakayama: Yeah, I just like the comedy elements probably the most too. So in Japan, once we do the ADR recording, we do a take a look at first after which we truly document the strains. However I follow my strains at residence, then go to the studio and document the strains. After I follow at residence, in fact, I do it alone. After which, within the studio, we lastly get to see everybody within the forged, together with Okarun. After which, for the primary time, my dialogue turns into a dialog. Then, rapidly, the dialog is sensible and clicks.

That was actually enjoyable. I went to the studio each time, regarded ahead to it and had enjoyable. And of these instances, the comedy dialogue was probably the most enjoyable.

My subsequent query is a little bit humorous, however I used to be questioning for each of you personally, do you imagine in UFOs or ghosts? Have you ever had a supernatural expertise?

(Each giggle)

YAMASHIRO: I’ve no expertise in any respect, however I want to see one thing. Japan is so superstitious, particularly relating to curses or karma. So everybody stated to me, you recognize, “You are so concerned in a title that is about yokai and curses. Are you okay? Should not you be going to the temple and averting evil?” However my reply was at all times, “No, no, no. I am utterly centered and devoted to this undertaking, so it needs to be okay.” They agreed as a result of I am so devoted.

WAKAYAMA: So I imagine extra in UFOs and ghosts. I’ve by no means seen a UFO myself, however I’ve had mysterious experiences earlier than. Like once I suppose, “Oh, is there somebody behind me?” and there isn’t any one. Or once I’m in my room and I feel, “Wait, did somebody or one thing move by?” I haven’t got any religious powers or something, however I assume I hope for one thing.

YAMASHIRO: Yeah, I feel I’ve a sixth sense too. I’ve a sense that manufacturing will say one thing concerning the deadline quickly, after which they do. (laughs) However manufacturing may suppose I am the curse. (laughs)

You confirmed off your very spectacular reference pocket book within the behind-the-scenes video that got here with the primary three episodes. Have been there any movie composition references from that pocket book that had been used within the first three episodes of AND THEN AND?

YAMASHIRO: Usually, I don’t use any of the references in my initiatives. I can’t use them straight, that’s why. However I often learn the reference notes for mind workouts. So then I attempt to decide up the items, like, “Okay, if I wish to present one thing scary, there’s this instance, after which there’s this instance, after which there’s this instance.” I attempt to decide up the items after which put them collectively. Doing that mind train helps you provide you with new issues. So there’s nothing within the first three episodes that you could find straight from the reference pocket book.

I used to be additionally questioning in the event you may talk about the choice to do many of the struggle scene in episode two in black and white. I believed that was actually attention-grabbing.

YAMASHIRO: I feel the distinction between the totally different parts was actually vital in AND THEN AND. I actually needed to carry distinction into the anime. When the characters get into uncommon conditions, like preventing aliens or yokai and so forth, I believed, “What’s a simple option to see them get into a totally uncommon scenario?”

I believed, “Okay, then I can simply change the colours. Okay, so how do I alter the colours?” Then I sort of went again with every alien, ghost, or yokai and I had assigned these theme colours to every character, in order that when that alien or ghost takes over, I might flush the display screen with their colour (to point out) that they are taking management of the scenario. So if it is a black-based monster or enemy, (the display screen shall be) primarily black.

On this case, in episode two, black was assigned to the villain, nevertheless it’s additionally when Okarun has his first henshin (transformation) scene, proper? So, I learn someplace that (AND THEN AND) manga creator (Yukinobu) Tatsu-sensei is an Ultraman fan, nostalgic for the early Ultraman days. So I believed, “Effectively, if he’ll struggle aliens, Okarun can be Ultraman.” Ultraman is de facto identified for purple and silver, particularly the purple. I needed to make the purple half stand out. So (within the episode) there’s the alien’s designated colour, along with the entire composition being black and white. When Okarun transforms, that purple stands out.

YAMASHIRO: Going again to the assigned colours, in future episodes you will see somebody get assigned inexperienced, after which the display screen turns utterly inexperienced.

So the aliens in episode one had been presupposed to be blue?

YAMASHIRO: Yeah. Again to why episode two was largely in black and white. When Ultraman first got here out, they shot it in colour, however everybody had black and white TVs. So again then, individuals solely noticed Ultraman in black and white. So most individuals, I imply, there have been colour TVs again then, however most individuals, like most civilians or most common individuals, solely had black and white TVs. So, that was nearly all of how individuals. Ultraman. I needed to recreate that, decide up that similarity to Ultraman and work that into the episode.

Which scene from the primary three episodes did you discover most difficult and what are you particularly happy with?

YAMASHIRO: Yeah, I feel I’ve one scene that was actually profitable; that I preferred the very best. It is when Okarun Turbo finds Granny.

(Yamashiro turns to his producer)

Do not you suppose it was for the very best?

Producer: Okay, yeah, undoubtedly. (Everybody laughs)

YAMASHIRO: It is from episode one when Okarun finds Turbo Granny; from that scene to when it goes to business. It was probably the most profitable and greatest scene, in my view, within the first three episodes. Why? As a result of it was actually onerous. In spite of everything, there are cuts to Momo and Okarun, so there is a concentrate on each of them. There could not be one one who had extra focus than the opposite. I noticed them each as protagonists; each of them have to hold the emotional burden of the present. So I requested myself, “How do I make it possible for I give them each weight, however that they each overcome it?” They’re each at risk. However the stability, I used to be actually cautious about learn how to painting that. Within the manga, it is proven a little bit bit in a different way. It was actually like my thought for this animation, which was actually onerous. I actually suppose the animation (in that half) is divine.

That is why I am so devoted to the present, and that is why I do not let it curse me. (Laughs)

I can inform you’re very enthusiastic about it.

WAKAYAMA: I feel in episode three, I had quite a lot of firsts. I did quite a lot of new issues and had quite a lot of challenges, and I wish to discuss that. Episode three is a full 20-minute struggle, which was a primary for me. That was an enormous problem. However then once more in episode two, she’s thrown in opposition to the wall, and he or she’s so worn out and, like, torn. However she nonetheless has to talk this wonderful dialogue. In order that was a primary (for me). I used to be actually like, “Okay, so how do I be certain that I converse in a tremendous manner?” However then she was additionally worn out and torn. So I actually practiced at residence, like, “Is that proper? Is that proper?” I attempted various things, however I feel all the pieces was a problem. However I feel the struggle scenes or talking within the struggle scenes had been particularly difficult.

Effectively, I believed Momo was actually cool in that scene.

WAKAYAMA: Thanks very a lot!

The AND THEN AND workers held the U.S. premiere of the primary three episodes Anime New York. AND THEN AND: First assemblya theatrical screening of the primary three episodes, debuting in Asia on August 31, in Europe on September 7, and in North America from September 13-15.