What is the analysis of Doi-sensei’s opening scene in “Nintama the Movie”? The moon, rabbits, rivers… are cursed!? A report from staff talk that contains spoilers has arrived

Welcome back to the I Am Anime website

“Nintama Rantaro: The Strongest Strike of the Dokutaka Ninja Team” is currently on sale. On January 30th, 2025, the first staff talk was held, with director Fujimori Masaya, storyboard and director Murano Yuta, and Koike Hitomi, who also took the stage as a post-release event. . This article will introduce the details.

*This report contains spoilers for the main story.

When asked about the storyboard, director Fujimori explains, “it’s like a blueprint for a movie,” using the storyboards shown on the screen as an example. Furthermore, when asked about the role of the director, Murano said, “We instruct the animators to move and play, and the interpretation of the play and cuts is not inconsistent with the director’s intentions, but instead focuses on the film that was the target. Work” explained.

As a storyboard and direction, Koike plays the “Doctake Ninja Team dance scene of Love and Justice,” while Murano plays the scene in the middle where Kirimaru returns to the tenement house early in the morning and consults with everyone in the group, Shinbee and Happosai. He was in charge of the ending, starting with the height comparison.

Koike explains his job as a video inspection, “following the instructions in the original drawings and checking the videos that make the movements.” Specifically, pay attention to “they are divided in the middle as directed by the original drawing” and “they are in a quality that does not damage the performance of the cut”, and if there are any incorrect movements or pictures, they will be corrected. He said that sometimes, by adding a medium-sized version of the four original drawings, they check each video, which can be as many as 20, and in some cases they adjust the picture in increments of 1 mm. He also spoke vigorously about his commitment to improving quality, saying, “Unless the video is beautiful, the result will not be as planned, so as not to ruin the atmosphere of the cut.”

In response, Director Fujimori and Murano praised the group, saying, “I think they’re doing really careful work.” Koike, who said that the close-up cut of Tenki’s painful expression left an impression on him, said, “How the lines at the ends of her hair are pulled out, how wrinkles on her cheeks while she is holding her hands, and how the expression on Tenki’s face is. He praised the cut, which really shows the fine nuances when it came to the scene,” he said, “We tried our best to make it look beautiful even by having the deadline extended. I’m glad that we were really particular about it.”

Regarding the “Doctake Ninja Team dance scene,” which never stops laughing and excitement from the audience, director Fujimori, who knew Koike was originally an aspiring director, said, “Are you interested in trying out the music scene?” He revealed that calling out Koike was what led him to be in charge of this scene.
Koike initially accepts that it was “if it was the ending,” but confesses that he was confused because it was actually a dance scene. Director Fujimori said, “I thought Koike’s qualities would be the most intense as an animator, and I wanted him to do what he wanted. I thought the dance scene was a sensibility match, so I did it freely. I was hoping to have him do it and enjoy the way he plays it,” he recalled his hopes.

Regarding the direction of the scene where Kirimaru, who is in charge of Murano, is depressed, director Fujimori said, “Even in the same scene, it’s impressive that Kirimaru is in the shadows in the shots that were shot with a close-up shot, but When you get a close-up shot of Nikirimaru, you can see the light behind the shadow. Kirimaru is in that state of mind right now, and the stacking of two cuts and the construction of the light and darkness of the screen is clearly expressed. “There’s one,” he praised the film.

Furthermore, regarding Rikichi’s cut, which is upset when he learns that Dokutaka’s strategist is Doi-sensei, director Fujimori said, “The next cut suddenly becomes a plain composition, with a very personal look on his face, with a very personal look between his knees. This expresses Tokichi’s change of feelings. This is what has been beautifully calculated,” he praised the wonderfulness of the storyboard.

Furthermore, when they had a meeting about the ending, Murano laughed and said, “For example, when he wrote a request from Director Fujimori, he would portray the daily life of the school with the appearance of Fukuwari.” “I was really worried about my head, but I couldn’t think of how to depict my daily life with Fukuro, so I declared my present moment when I gave up and said, ‘I’d like to be a mini character,'” he recalled, eliciting laughter from the audience. .

Regarding director Fujimori’s storyboard, Koike praised the storyboard, saying, “It’s amazing that they write storyboards that stir up the expectations of the audience,” while Murano said, “The distance between the characters and the camera is extremely important. But the scene In some cases, it is necessary to “lewdness” to deliberately close the distance. I don’t think it would be a good movie unless such malicious intentions are introduced at key points. This time, we will also place the camera in a “lewd” position. It’s a storyboard with great enthusiasm and I love it,” he said with love.

Furthermore, Murano, who really wanted to talk about the scene at the beginning of Doi-sensei vs. Moroizumi Konamon, said, “Good direction and good storyboards follow the main story of the story that you should originally write, but also combines the way you cut it. There are many different ways to show off the scene. This scene was very skillfully calculated in that sense, and today I will be writing about “Nintama Rantaro: Fujimori Masaya and the Curse of the Moon.” Let me tell you a story with a name on it.”

“In the battle between Doi-sensei and Konamon in the Susuki field at the beginning, the area of ​​the Susuki field is very bright when the light of the full moon is exposed to the light of the Susuki field, but the mountains in the depths, which should have been exposed to the same light, are completely lit. I haven’t received this. Only the place where Doi-sensei and Konamon are is unnaturally bright, and yet another unnatural thing is that there are no characters in the shadows at all. Like a ninja, rocks and susuki are It hides in the shadows, but does not enter the shadows and is always exposed to the moonlight. This suggests that we are always being seen by the moon.”

“The Moon has long been treated as a symbol of things that change, frenzy, death, and so on in this scene, when Doi-sensei turns his back on that moon, he can’t help but feel the shadows until now. A shadow falls on Doi-sensei’s face, which he hasn’t entered. There was a rabbit and a skull in the moon, and in this cut he put Doi-sensei over the skull. This creates a structure in which the moon rabbit is looking at Doi-sensei. I think Doi-sensei was eyeing the moon at this moment.”

“Next, here’s a cut by Professor Doi looking down at the moon reflected in the river. What kind of symbols is that the river has been treated as a boundary that divides that side and this side. The moon, a symbol of death, is floating in the river, which is the boundary line of this world, and Doi-sensei stares at it. The next moment, Doi-sensei jumps towards the moon, which is the symbol of death. That’s where the curse of the moon will be fulfilled.”

“At that moment, you’ll notice Happosai’s smooth head coming from next to you, but take a closer look at the surface of the water. There’s a rabbit in the moon that had been shining in the sky just now. At the same time, there is another person who was cursed. It is Happosai. It can be assumed that some sort of moon was determined by the time I got there, and that he was lured in like Doi-sensei. Otherwise, there was no way we would have had a water practitioner in the middle of the night, when the mountains were falling in the cold season.”

“I think that these things are cleverly manipulated so that there are no contradictions in a different place than the story’s main plot and setting. It’s a scene I really like.” The event was filled with passionate thoughts, and the staff sent a message to the audience.

Koike said, “I am so happy that so many people have seen the work. All of our staff members put their hearts and heart into the end. We look forward to continuing to support Nintama Rantarou.”
Murano said, “The release date of the previous film was March 12, 2011, the day after the Great East Japan Earthquake. The film was released despite the fact that it was not very good. I’m not involved in that film, but Fujimori. Looking at the hearts of the director and those involved, I think this film was a mourning battle. I am truly grateful that so many people visited this time.”

Director Fujimori said, “I decided that I would definitely make this film into a family film.” My belief is that good family films are definitely interesting even for adults to watch. I don’t make that much effort. This will turn out to be a child-deceived version. With this in mind, I thought I’d created a rich video with the cooperation of everyone. I would be grateful if you could experience that kind of thing too.” Thus, the event came to an end with warm applause.