{"id":25475,"date":"2018-09-10T16:08:54","date_gmt":"2018-09-10T23:08:54","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=25475"},"modified":"2018-11-14T14:58:28","modified_gmt":"2018-11-14T22:58:28","slug":"334a","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/334a\/","title":{"rendered":"Yamato 2202<\/em> Producer Interview, May 2018"},"content":{"rendered":"

\"1809icon\"<\/p>\n

Gigazine<\/em> is an entertainment website that stands out for its lengthy, in-depth interviews with anime production staff members. On May 23, 2018, they sat down with 2202<\/em> producer Hiroki Komatsu to hear inside stories no one else could tell.<\/p>\n

<\/div>\n

<\/p>\n

Gigazine<\/em> is an entertainment website that stands out for its lengthy, in-depth interviews with anime production staff members. On May 23, 2018, they sat down with 2202<\/em> producer Hiroki Komatsu to hear inside stories no one else could tell.<\/p>\n

See the original article here<\/a><\/p>\n

Interview with Xebec Producer Hiroki Komatsu: Yamato<\/em> is \u201cfun\u201d<\/h2>\n

<\/span><\/p>\n

Yamato 2202, Soldiers of Love<\/em>, is the modern remake of Farewell to Yamato<\/em> and Yamato 2<\/em> in seven chapters, with Chapter 5 premiering on May 25. So far, Gigazine<\/em> has interviewed various staff members and posted articles. This time we talk with Xebec Producer Hiroki Komatsu, who is in charge of production at the animation production company Xebec. How do Director Nobuyoshi Habara and Assistant Director Makoto Kobayashi accomplish their work? We heard all about it.<\/p>\n

Gigazine:<\/em><\/span> We heard that you joined the project on Yamato 2202<\/em>. What parts are you in charge of?<\/p>\n

Komatsu:<\/em><\/span> My position is Animation Producer. I took over from someone else, and now I\u2019m mainly in charge.<\/p>\n

Gigazine:<\/em><\/span> What was the process for you to become a producer?<\/p>\n

Komatsu:<\/em><\/span> I\u2019ve been working for Xebec for about seven years. This is my first work as a producer.<\/p>\n

Gigazine:<\/em><\/span> What was your Yamato<\/em> experience? How did you encounter it as a child?<\/p>\n

Komatsu:<\/em><\/span> I think I first saw it in elementary school. I first saw it on NHK or BS, in an anime theater program. I saw it with my parents and it was an older work, but I remember watching it intently. My parents had watched Yamato<\/em> for a long time, and explained some parts, like what a certain scene meant. It seems my father had gone to see Farewell<\/em> in a theater and said, \u201cThis is a great work.\u201d<\/p>\n

Gigazine:<\/em><\/span> It\u2019s a wonderful turn that you could become involved on such a work yourself, isn\u2019t it?<\/p>\n

Komatsu:<\/em><\/span> Now I can tell my parents, \u201cI\u2019m making Yamato<\/em> now.\u201d And they say, \u201cIs that so? That\u2019s great!\u201d Up until now they would say, \u201cI haven\u2019t heard of that work.\u201d (Laughs) It\u2019s nice to finally get that reaction.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> How does production on 2202<\/em> move forward, specifically?<\/p>\n

Komatsu:<\/em><\/span> Basically, Mr. Habara is the main director, and Makoto Kobayashi supports him as the assistant director. Mr. Kobayashi oversees the art for mecha and for Gatlantis, and Mr. Habara handles everything else. Mr. Habara adjusts storyboards and Mr. Kobayashi brings up various opinions like, \u201cI\u2019d like to do it this way\u201d or \u201cLet\u2019s do it that way.\u201d<\/p>\n

Gigazine:<\/em><\/span> Is your work also adjusted?<\/p>\n

Komatsu:<\/em><\/span> Well, Mr. Kobayashi comes in and talks to me, so it has the form of a place where two people can discuss it.<\/p>\n

Gigazine:<\/em><\/span> I wonder what it feels like, with two people in that career\u2026<\/p>\n

Komatsu:<\/em><\/span> Mr. Habara believes it when he says, \u201cWhen I hear everyone\u2019s opinion, I can do something good.\u201d He hears opinions from Mr. Kobayashi and the series writer, Harutoshi Fukui. I think it\u2019s quite difficult to summarize everyone\u2019s opinions, but Mr. Habara keeps at it without giving up, so I believe in him too.<\/p>\n

Gigazine:<\/em><\/span> Isn\u2019t it hard to make it with unique individuals like Mr. Habara all gathered together?<\/p>\n

Komatsu:<\/em><\/span> Well, yeah. (Laughs) When I hear a lot of ideas I get uneasy and think, \u201cCan this really be done?\u201d but it feels like it comes into view when we all talk with each other directly.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> What was your impression when you were first told, \u201cYou\u2019re going to join Yamato 2202<\/em>\u201d?<\/p>\n

Komatsu:<\/em><\/span> It\u2019s a big title, so I thought, \u201cCan I really do it?\u201d I was worried about taking over from my superior, but when I actually got into it, it was really interesting. Because it\u2019s a big title, the voice of the fans is well-heard, so it\u2019s very rewarding.<\/p>\n

Gigazine:<\/em><\/span> Even looking in from the outside, you can see it as a big project in motion. What\u2019s your impression from the inside? Is it difficult? Or is it fun?<\/p>\n

Komatsu:<\/em><\/span> I\u2019m happy to be doing it. Various opinions come out, and with each one I can say, \u201cI certainly think so.\u201d I wonder how it will be gathered up.<\/p>\n

Gigazine:<\/em><\/span> Do you get the feeling that you\u2019re watching Mr. Habara bring it all together?<\/p>\n

Komatsu:<\/em><\/span> Well, basically I\u2019m the kind of person who doesn\u2019t say very much. Because Mr. Habara and Mr. Kobayashi are people who liked Yamato<\/em> from the early days, I think it\u2019s best for them to be creating this work.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> What sort of work do you do as an Animation Producer?<\/p>\n

Komatsu:<\/em><\/span> It\u2019s \u201coverseeing the general production of animation.\u201d Of course, I have to monitor the site as well, and it\u2019s my job to hire people. My current position is to be the main on-site supervisor. That means I consult with each level to decide, \u201cLet\u2019s adjust the schedule a little more this way.\u201d<\/p>\n

Gigazine:<\/em><\/span> The story goes that Mr. Habara and Mr. Kobayashi mainly perform the meetings and Mr. Habara compiles everything with Mr. Kobayashi\u2019s support. Mr. Fukui makes up the story first, but\u2026<\/p>\n

Komatsu:<\/em><\/span> A storyboard is created based on Mr. Fukui\u2019s script, and then the director checks it over and adjusts small parts based on, \u201cI\u2019d prefer it a little more like this.\u201d<\/p>\n

Gigazine:<\/em><\/span> Does the script specifically describe battle scenes, or are the intricate parts developed at that point?<\/p>\n

Komatsu:<\/em><\/span> We do that, but Mr. Fukui puts them in the script whenever possible, because some parts that don\u2019t fit into the overall scale can appear, too. There are such adjustments.<\/p>\n

Gigazine:<\/em><\/span> For example, could the part written by Mr. Fukui be sharpened if an interesting idea is developed?<\/p>\n

Komatsu:<\/em><\/span> There\u2019s also the part where \u201cWe have to depict this properly to make this mountain of a story,\u201d so we will put some weight on that.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> You mentioned that this is a big title and it\u2019s rewarding to hear the voice of the fans. How is it different from other works you\u2019ve handled?<\/p>\n

Komatsu:<\/em><\/span> When I see reactions on the net, Yamato<\/em> is treated well in blogs, and I\u2019ve seen people write comments by putting in stills from each shot. It\u2019s rewarding to know that there are such enthusiastic fans. There\u2019s a little pressure, too. (Laughs)<\/p>\n

Gigazine:<\/em><\/span> On the other hand, while there are good voices on the net I think some could also say, \u201cHey, this hurts my ears.\u201d How much can you take?<\/p>\n

Komatsu:<\/em><\/span> Naturally, I\u2019m happy when good things are written, but sometimes I\u2019ll get depressed when I read something nasty. However, when you see it properly every person has their opinion. Whether they\u2019re happy or having fun, it\u2019s good just to get a reaction, and it\u2019s worth it to find the details. I\u2019m happy to see it where I thought it wouldn\u2019t get noticed.<\/p>\n

Gigazine:<\/em><\/span> Is it something like, \u201cGood, someone noticed\u201d?<\/p>\n

Komatsu:<\/em><\/span> That\u2019s also true.<\/p>\n

Gigazine:<\/em><\/span> How is Yamato<\/em> different from other works on the production side?<\/p>\n

Komatsu:<\/em><\/span> Until now, I was in charge of works where there wasn\u2019t much 3D, but a lot of things in Yamato<\/em> are depicted in 3D and it makes the work process complicated. Until now, the flow was to draw layouts and characters first, then pass it on to the art director. In Yamato<\/em>, every shot has something difficult. Depending on the shot, sometimes you have to order the art after preparing 3D material. There are many interlocking places.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> Is there something particularly difficult for you in your position as a producer that takes you away from the site?<\/p>\n

Komatsu:<\/em><\/span> The job is to keep people moving, so that point is always a problem. Did someone get proper instructions, and did that person understand their instructions properly? When the thing gets done, you may get different results than you wanted, so what do I say to them when that happens? I would hate to be told that I\u2019m nagging to much\u2026<\/p>\n

Gigazine:<\/em><\/span> In your work as a producer, is there someone about whom you would say, \u201cThis person is helpful,\u201d or \u201cThis person has a good influence\u201d?<\/p>\n

Komatsu:<\/em><\/span> My superiors\u2026as you would expect. Mr. Habara also has experience as a producer. He seems to put special emphasis on how to motivate people, and we study it together. Sometimes we\u2019re motivated by his remarks. That\u2019s why I always feel like, \u201cI have to respond.\u201d<\/p>\n

Gigazine:<\/em><\/span> In terms of managing the schedule, I would think seven theatrical chapters is necessarily quite different from a TV series.<\/p>\n

Komatsu:<\/em><\/span> It is different from a TV series, but I think this work is blessed by the time it takes when compared with TV. For TV, it\u2019s necessary to deliver one a week once the broadcast starts.<\/p>\n

Gigazine:<\/em><\/span> Are there some tricks or techniques to managing the schedule?<\/p>\n

Komatsu:<\/em><\/span> It\u2019s important to be able to make sensible moves in advance. There are people who work fast and others who work slow, and the work itself is slow. If there\u2019s someone who doesn\u2019t put in the time and effort, I have to take in the balance of everything around that.<\/p>\n

Gigazine:<\/em><\/span> You understand each individual personality and adjust their work to it. For example, if something worked well in Chapter 1, could it be done the same way in Chapter 2?<\/p>\n

<\/span><\/p>\n

Komatsu:<\/em><\/span> As we accumulate it little by little, we can make predictions about the work and it gets easier. But there are changes in the timing or condition of people, and the quantity of work, so in the end it can be hard to move forward as predicted.<\/p>\n

Gigazine:<\/em><\/span> This interview will be published when Chapter 5 opens. Is there anything you can look back on in the \u201cvoyage\u201d of this production so far?<\/p>\n

Komatsu:<\/em><\/span> Well\u2026Chapter 5 will be shown, and even though there are still two chapters to go I have the feeling of, \u201cWe\u2019re finally here.\u201d At the first stage, I was groping around with interactions with the staff, and I was thinking about how to move the work forward. Now we\u2019re on track with that area, so I worry less about the interaction part.<\/p>\n

Gigazine:<\/em><\/span> Looking back at the chapters released so far, which one would you say was most difficult?<\/p>\n

Komatsu:<\/em><\/span> It was Chapter 3. I didn\u2019t understand it at first and it made me feel desperate, so Chapter 3 had various challenges.<\/p>\n

Gigazine:<\/em><\/span> Did you have a smoother feeling with Chapter 4 after you overcame them?<\/p>\n

Komatsu:<\/em><\/span> We made good use of our time while making Chapter 4. There\u2019s also the fact that we became more accustomed to the 3D and it picked up speed. The part that took the most time advanced smoothly from the start, and our troubles with the 3D work decreased. There were a lot of 3D shots, and it\u2019s very helpful when I can ask, \u201ccan this piggyback on the 3D?\u201d as we get closer to the shooting process.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> When you have a 3D model in stock and you don\u2019t have to create a new model, are there circumstances where hands start to free up?<\/p>\n

Komatsu:<\/em><\/span> I think modeling is the most time-consuming. Once it\u2019s all completed, what\u2019s left over is a little remodeling of the original, but once we have the shape down it can go pretty smoothly. This time the fleet battle is almost an explosion of 3D, but we can also make it with various patterns.<\/p>\n

Gigazine:<\/em><\/span> \u201cThe withdrawal will increase.\u201d<\/p>\n

Komatsu:<\/em><\/span> We face new trials with each chapter.<\/p>\n

Gigazine:<\/em><\/span> Right. And new mecha appears, one after the other.<\/p>\n

Komatsu:<\/em><\/span> For example, in Episode 12 we add effects by combining painting with 3D. The main gun batteries shoot in 3D\u2026things like that. Film is entirely different since the shape changes to match the surrounding drawings, but we did it so there would be no mismatch.<\/p>\n

Gigazine:<\/em><\/span> That\u2019s also true with splashing waves.<\/p>\n

Komatsu:<\/em><\/span> Like the shot of Yamato<\/em>\u2019s launch in Chapter 4. We added processing to what was originally drawn\u2026we put a lot of effort into improving the visuals in various ways.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> I\u2019d think there is a lot of hard work that we can\u2019t see in the finished images. Is there something uniquely difficult about Yamato<\/em>?<\/p>\n

Komatsu:<\/em><\/span> Do you get sufficient sense of Yamato<\/em>\u2019s \u201chugeness\u201d? That\u2019s something we worry about. However, with Mr. Habara and Mr. Kobayashi overseeing it, it\u2019s very solid when you see the final image. Director Habara also says, \u201cWe have to be careful about making it feel huge,\u201d so he does retakes in 3D and makes slight adjustments.<\/p>\n

Gigazine:<\/em><\/span> The \u201chuge feeling\u201d is a big factor in making a powerful image.<\/p>\n

Komatsu:<\/em><\/span> Actually, when you compare things in 3D they may not look that big, so we dare to make them look larger by expanding them up to three times bigger. (Laughs)<\/p>\n

Gigazine:<\/em><\/span> When you want something to look \u201cbigger,\u201d is there some form of correcting it?<\/p>\n

Komatsu:<\/em><\/span> \u201cTriple it!\u201d (All laugh) Sometimes things move too fast, so we make it about three times larger. If it\u2019s too quick, it looks small and light. We have to carefully adjust the timing because we have to determine the number of shots in an episode.<\/p>\n

Gigazine:<\/em><\/span> Everything in the film has weight.<\/p>\n

Komatsu:<\/em><\/span> Also, the character drawings. There are weaknesses in the characters depending on the artist, even the art director. Sometimes they drift from Nobuteru Yuuki\u2019s designs. When that happens, there are things to worry about.<\/p>\n

Gigazine:<\/em><\/span> There\u2019s an image of the characters that has accumulated for the viewers\u2026<\/p>\n

Komatsu:<\/em><\/span> Kodai, Yuki Mori, and Dessler seem to be the difficult ones.<\/p>\n

Gigazine:<\/em><\/span> People with a lot of moments. (Laughs) Is there a similar point to be careful of with all of them?<\/p>\n

Komatsu:<\/em><\/span> I can\u2019t say, but it\u2019s probably different for each artist. So in each case I work with the general director and respond accordingly each time.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> When you compare Yamato<\/em> with other works, is there are part that takes a lot of time?<\/p>\n

Komatsu:<\/em><\/span> I feel that the storyboard is very time-consuming. First, there are a lot of concepts, so there\u2019s a lot that needs to be understood, and when revisions are made to a storyboard that comes in and we might incorporate various opinions, we definitely need time. Also, people who can draw the character likenesses are limited, so it takes time on the drawing side. There is more linework compared to other productions, so the animation takes longer.<\/p>\n

Gigazine:<\/em><\/span> And not all of the mecha is CG, so I think some of it must be drawn. What about that area? I think there are some people who are good at mecha while others are good at character.<\/p>\n

Komatsu:<\/em><\/span> We occasionally draw mecha from scratch, but not very much of it. It\u2019s usually done with CG. The detail-up (hand drawn detail over CG models) is also reduced compared with 2199<\/em>. Mr. Kobayashi and about three other people are in charge of the mecha, so we don\u2019t have any trouble there.<\/p>\n

Gigazine:<\/em><\/span> I\u2019m sure there are a lot of difficult parts, but the images we actually see are wonderful, and I can tell that an excellent staff has gathered to make them.<\/p>\n

Komatsu:<\/em><\/span> The staff is excellent. I\u2019m thankful to have them even when they\u2019re crazy-making. Because of this, I put a lot of emphasis on how they can work comfortably. I\u2019m always thinking about that.<\/p>\n

Gigazine:<\/em><\/span> \u201cCrazy-making\u201d? Is that something you say, or is it from Mr. Habara?<\/p>\n

Komatsu:<\/em><\/span> It\u2019s from Mr. Habara. He comes up with a lot of things off the cuff while he\u2019s working. (Laughs) He says things like, \u201cI\u2019ll go with that\u201d or \u201cCould be a tough one.\u201d<\/p>\n

Gigazine:<\/em><\/span> Do you think about fine movement in battle scenes or detailing-up an explosion?<\/p>\n

Komatsu:<\/em><\/span> As an example of how that is realized, there\u2019s a shot in Episode 3 where we pan over Yamato<\/em> in the dock. When we checked that he said, \u201cI want to detail that up!\u201d (Laughs) But my response was, \u201cWe can\u2019t do that right away, you know.\u201d However, by actually doing the detail-up, we made a very cool Yamato<\/em>.<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> We only see it when it\u2019s finished, so we don\u2019t know what was planned at the beginning, but it\u2019s all there.<\/p>\n

Komatsu:<\/em><\/span> In accomplishing that, there are lots of behind the scenes stories like, \u201cWe should detail that up.\u201d (Laughs) But we definitely get a good visual, so I think we have to put up with the crazy-making to make the work better.<\/p>\n

Gigazine:<\/em><\/span> Is there a point where the criteria for \u201cwe can\u201d or \u201cwe can\u2019t\u201d becomes non-negotiable?<\/p>\n

Komatsu:<\/em><\/span> Whether it\u2019s effective or not. If you do it there you might have to do it everywhere else, so there are times when I have to suppress something that\u2019s impossible from the start. But my tendency is to basically do what I\u2019m told.<\/p>\n

Gigazine:<\/em><\/span> That\u2019s the \u201ccrazy-making\u201d part you mentioned. Are there other severe things?<\/p>\n

Komatsu:<\/em><\/span> The timing of a late opinion can do it. \u201cIf you\u2019d told me that from the beginning\u2026\u201d (Laughs)<\/p>\n

Gigazine:<\/em><\/span> That might have been possible if it had come in at the beginning\u2026?<\/p>\n

Komatsu:<\/em><\/span> If it comes after we\u2019ve checked the rushes, I have to say, \u201c\u2026there\u2019s not enough time for that.\u201d That happens sometimes.<\/p>\n

Gigazine:<\/em><\/span> You said earlier that you like to \u201cmake things comfortable,\u201d and Director Habara and everyone else is affected by the crazy-making\u2026<\/p>\n

Komatsu:<\/em><\/span> It seems to be so. In places where a picture can be improved, the creator\u2019s motivation is quite large, and motivation will drop if \u201cIt wasn\u2019t so good,\u201d so that\u2019s a place I have to be concerned about.<\/p>\n

Gigazine:<\/em><\/span> At a point where detailing-up arises, is the response from Director Habara different from Assistant Director Kobayashi?<\/p>\n

Komatsu:<\/em><\/span> Mr. Kobayashi will detail it up himself, so Mr. Habara will immediately say, \u201cLooks great!\u201d (Laughs) When it comes to Mr. Habara, people around him can get a good feeling from a positive reaction. I think I have to imitate him in areas like that. Although I might just say it either way. (Laughs)<\/p>\n

Gigazine:<\/em><\/span> I\u2019m speaking to you here in an interview, but it feels like we\u2019re on-site.<\/p>\n

Komatsu:<\/em><\/span> I\u2019m really just a service-minded person.<\/p>\n

Gigazine:<\/em><\/span> Assistant Director Makoto Kobayashi works behind the scenes in support of Director Habara. What kind of person would you say he is?<\/p>\n

Komatsu:<\/em><\/span> He\u2019s playful and easy to get along with.<\/p>\n

Gigazine:<\/em><\/span> Mr. Habara says he\u2019s the on-the-spot idea man.<\/p>\n

Komatsu:<\/em><\/span> More and more stories come out. He contributes more ideas than Mr. Habara, but sometimes it\u2019s too much and I worry about which ones will be picked up. (Laughs)<\/p>\n

<\/span><\/p>\n

Gigazine:<\/em><\/span> Finally, what are the highlights of Chapter 5? If there are things you want viewers to notice, please let us know.<\/p>\n

Komatsu:<\/em><\/span> Dessler, who appeared at the end of Chapter 4, is front and center in Chapter 5. I think he\u2019s really well depicted, including the pain of his past. The second half is a fleet battle, and we\u2019re doing a lot of fiddling with it. You\u2019re going to see some powerful images.<\/p>\n

Gigazine:<\/em><\/span> Thank you very much.<\/p>\n

See more <\/em>Gigazine interviews here:<\/em><\/p>\n

Writer Harutoshi Fukui, February 2017<\/a><\/p>\n

Director Nobuyoshi Habara, June 2017<\/a><\/p>\n

Scriptwriter Hideki Oka, October 2017<\/a><\/p>\n

Composer Akira Miyagawa, November 2017<\/a><\/p>\n

Sound Director Tomohiro Yoshida, January 2018<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25475","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/25475","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/comments?post=25475"}],"version-history":[{"count":4,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/25475\/revisions"}],"predecessor-version":[{"id":25485,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/25475\/revisions\/25485"}],"wp:attachment":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/media?parent=25475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/categories?post=25475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/tags?post=25475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}