Chemical reactions caused by the Netflix series “Moonrise” by Ubukata Toh, Arakawa Hiromu, and WIT STUDIO – Interview with Director Hizuka Masashi and Kawamura Kouma P
Welcome back to the I Am Anime website
The completely new science fiction anime “Moonrise” will be exclusively streamed on Netflix from April 10th.
The animation is produced by WIT STUDIO, known for Attack on Titan and SPY x FAMILY. It is a full-fledged sci-fi film directed by Hizuka Masashi, the story is based on the original story, and Arakawa Hiromu as the original character.
Set in an era when humanity has expanded beyond the globe, this is a space opera where the protagonist, whose family has been sacrificed, rises up for revenge, as the moon launches a war of independence against Earth due to economic disparities.
We spoke with Director Hizuka and producer Kawamura Kouma about the history of the project being made and highlights of this film.
[Interview and text by Sugimoto Hotaka]
■I want to show Space Opera in boys’ manga grammar
–This work is an original project, with a large-scale project with 18 episodes. Please tell us about how the project for this work was established.
Hizuka: Wada, president of WIT STUDIO, often interviews with people in the company about what kind of work he wants to create. So I was talking about the Star Wars series, which was released at the time, and I was talking about something that was really interesting, but later Wada came to me and said, “Shall we try Space Opera?”
Wada worked with Professor Ubukata on PSYCHO-PASS and “Chevalier D’Eon,” so that was what led him to come up with me and the project started moving forward. I think that was when I was the director of the second season of Attack on Titan. It’s been a long time since the concept began.
–Director Hizuka loved science fiction, right?
Hizuka: I’m not particularly focused on science fiction, but when we were kids, there were a lot of science fiction works. I especially liked space romances like Space Battleship Yamato. It’s getting less and less in recent anime, so when I said that it’s fine for me to do it, it felt like I’d really begun to move.
–This work has been exclusively distributed on Netflix, but does that mean it was difficult to make it a TV anime?
Hizuka: That’s right. Netflix raised his hand to help us do this original project together.
–What was the reason why Kawamura participated in this project?
Kawamura: There are actually few people who have been involved in the production of Netflix series on WIT STUDIO, and this time, the 18th episode has been longer than a season, and I’ve come to the point that I think I understand the best way to do it with Netflix.
–I thought it was an unexpected combination of the storyline, with the original storyline being by Ubukata Toh and the original character being Arakawa Hiromu from Fullmetal Alchemist. What was the reason why Arakawa decided to participate?
Hizuka: Professor Ubukata’s original idea was written mainly in the world of hard science fiction. There were some paths to go with that hard taste, but I was originally a person who likes grammar that is typical of boys’ manga, so I also had the hope that it would be a great work to make for both adults and children. So, who should I ask for the character design? During this discussion, Professor Arakawa’s name came up. Yamada Ayumu, who was supposed to be in charge of character design, also has great respect, and I think the set will be excited.
Arakawa-sensei brought out the goodness of the original work, using a comic adaptation of Tanaka Yoshiki’s The Heroic Legend of Arslan, using juvenile manga-like grammar. I was impressed by this, so when I thought about how to show “Moonrise,” it was actually Professor Arakawa. Professor Arakawa also said he has read Professor Ubukata’s novels, and the schedule was good, so I was able to ask for it.
–The concept of this work is to show space opera through the grammar of boys’ manga.
Hizuka: Yes. In terms of the history of Production IG, a group company, there are also tastes like Ghost in the Shell and PSYCHO-PASS, but there are people who can do that, and since I grew up in boys’ manga, I wanted to face it in that direction.
■Okukata’s vast research reflects the worldview
–This work has a worldview in which the AI network “Sapientia” has decided on global policies.
Hizuka: This is Professor Okada’s idea. Professor Obukata has done a huge amount of research into what will happen in the future, and is always looking into what skills are needed if he goes to the moon. During the planning stage, AI wasn’t as popular as it is now, but Professor Okada adopted this idea with an eye on the future era.
–So, is the worldview of the entire work being created under the leadership of Mr. Okada?
Hizuka: The creation of the worldview is centered around Okada. With Arakawa-sensei in the group, the character’s personality was greatly improved. I think that’s what makes a good chemical reaction throughout the work.
–This work features first-class action animators from WIT STUDIO. Is there anything you paid particular attention to in the action this time?
Hizuka: One of the main action animators who are participating this time is Ehara Yasuyuki. He is thinking about what kind of movements that follow Professor Ubukata’s science, with the condition that he fights on a moon with a different gravity from that of the Earth. I think the things that everyone spent time discussing and drawing in the beginning of episodes 1 to 3 were reflected in the young people who would later participate.
–The mechanic design is also nice.
Kawamura: The vehicle-related parts and art backgrounds were designed by Takahata Satoshi, a student of Otomo Katsuhiro, of AKIRA. The robotics are done by our company, Ko Takuma.
–I think the mecha is mainly CG, but are there any illustrations too?
Kawamura: The basic base is CG, but the key points are drawn by drawing. There are fewer animators in the industry who can draw mechas and robots, but there are several people at WIT STUDIO who like mechas. This is true for Hu, and Kadowaki Satoshi, the general animation director, actually likes mecha. You may imagine him being good at beautiful girls, but the people around his desk are full of Gunpla.
–The music also has a majestic atmosphere worthy of space opera. What direction did you talk about with Kawasaki Ryu?
Hizuka: Actually, we had a demo of the music be created once during the script and the storyboard stage at the beginning. When I heard this, I realized that he was more deeply involved in the world of the work than anyone else. I then expressed my desire to make it a grand orchestra-like thing, and left most of the rest to Kawasaki.
–Are you particular about casting?
Hizuka: I was happy that Netflix left it here this time. The voices of the members who were founded were well-established, so after listening to the demo tape, it was decided naturally. Among them, I wanted someone who is not a voice actor to play Marie, so I consulted with sound director Mima. Then, I received an opinion from Mima-san that Aina the End was the only option, so I asked her to do so. Aina is also in charge of the theme song, but in fact, she is offered as a cast member first (laughs).
■What are the benefits of different lengths in each episode?
–As a production desk, Kawamura also participated in the Netflix series “Vampire in the Garden.” Are there any differences between the Netflix series and traditional TV anime on the production side?
Kawamura: All episodes of Netflix will be streaming all at once, so we have to create something like an instantaneous explosive power. Therefore, I have made it with a lot of conscious effort to draw each episode that will make you want to watch it all at once. I also made sure that the director was aware of this from the storyboard stage.
— Director Hizuka himself is responsible for the series composition, but did you feel that this film, which has a different length for each episode, can do something that a TV series can’t do?
Hizuka: That was clear. On TV, there are also scenes of people giving up to put them in a fixed length, and on the other hand, there are times when they have extra time and flashback scenes are included, but this time I feel like I’m feeling good and I’ve been able to hold them in a way that is satisfying. If the length is different, producers will have more difficulties than directors.
Kawamura: The length of the TV series is fixed, so we can predict the approximate number of cuts. However, if the length is not constant, there will be variations in how many personnel are needed for each episode, so it takes quite a bit of skill to assemble the optimal number of people, and it was difficult, including the production process.
However, on the other hand, it was a pleasant look, and the director controlled the storyboard stage and the editing was carefully progressed, so I think I was able to proceed with every section without any discomfort. After all, the staff shares the idea of wanting to bring out good works, so it’s great to be able to emphasize that.
–By the way, the two will also be featured in their next film, THE ONE PIECE. Does that mean it’s a good match?
Kawamura: I’ve been working with Director Hizuka since the time of Attack on Titan, but since we can work together with each other after understanding each other’s individuality, so it’s easy for me to do it. My team is often made up of internal members, but it seems that the good balance is that Director Hizuka, who brings together the creators, is that I put together the production.
Hizuka: He’s excellent. I’m in my mid-40s, but there’s a difference in age from the young animators, and Kawamura-kun is in his early 30s, so he’s a good bridge between us. He’s old enough to talk to him both above and below. That’s why it makes your face look good on a wide range of people.
–Finally, please say something to fans who are about to watch this film.
Kawamura: Not only are sci-fi lovers, but also people who find it difficult to do sci-fi’s character designs are easy to understand, and it’s a work that anyone can see, so I started watching it with a carefree feeling. I’m happy.
Hizuka: As a creator, I would be the most happy if you could come in with a really casual attitude. This work has the best chemical reactions of Professor Ubukata, Professor Arakawa, and WIT STUDIO, and the best of each other, so I would definitely like you to take a look.
