{"id":26926,"date":"2019-06-11T17:57:34","date_gmt":"2019-06-12T00:57:34","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=26926"},"modified":"2019-06-14T22:15:06","modified_gmt":"2019-06-15T05:15:06","slug":"400a","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/400a\/","title":{"rendered":"The Producer Speaks, May 2019"},"content":{"rendered":"
The Producer Speaks, May 2019<\/p>\n
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At the dawn of Yamato 2202<\/em>‘s production, Executive Producer Shoji Nishizaki spoke directly to fans through the pages of the fan club magazine. At the sunset of that long project, he spoke again to offer his personal reflections and a nod toward the future. <\/p>\n
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The first person we heard from at the dawn of Yamato 2202<\/em>‘s production was Executive Producer Shoji Nishizaki, who spoke directly to fans through the pages of the Premium Fan Club magazine, Ship’s Log<\/em>. At the sunset of that long project, he spoke again through the same publication to offer his personal reflections and a nod toward the future. <\/p>\n
Published in issue 3 of the Yamato\/Star Blazers<\/em> Fan Club magazine, May 27 2019.<\/p>\n
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Executive Producer Shoji Nishizaki: Talking about Yamato 2202<\/em><\/h2>\n
In the future, I want to seriously push the expression of the visuals<\/em><\/h3>\n
Shoji Nishizaki was the executive producer in charge of Space Battleship Yamato 2202, Soldiers of Love<\/em>. What was the goal of the work? And also, what direction will Yamato<\/em> take from here\u2026? We heard the passionate thoughts burning in his heart.<\/p>\n
Interviewer:<\/em><\/span> Yamato 2202<\/em> has been completed, and I heard that it was a commercial success. First, could you share your current feelings and response as the leader of it all?<\/p>\n
Nishizaki:<\/em><\/span> In recent years, sales of video media has been decreasing every year. In spite of that, 2202<\/em> is supported by the enthusiasm of all the fans, and I was able to finish it with a strong performance. By spreading the word of mouth, the number of viewers increased with each theatrical chapter. In that sense, I think we have closed the curtain successfully.<\/p>\n
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At the same time, we\u2019ve seen a number of issues that need improvement. There are parts where I myself am still not satisfied, and as we get feedback for the Space Battleship Yamato<\/em> series in the future, I want to aim at further evolution.<\/p>\n
Interviewer:<\/em><\/span> With Director Nobuyoshi Habara and Writer Harutoshi Fukui, the main staff changed greatly from 2199<\/em> to 2202<\/em>, didn\u2019t it?<\/p>\n
Nishizaki:<\/em><\/span> Mr. Habara supported us on Yamato Resurrection<\/em> as a member of Xebec studio. At that time, I was attracted by the power of his humanity, and I decided to ask him to direct. After Resurrection<\/em> we had several meals together, and that was when I first sounded him out on directing 2202<\/em>. He was very spirited, and our mutual admiration was what decided his appointment as director.<\/p>\n
As for the story, Mr. Fukui already had some great achievements. I\u2019ve always thought the story and visuals should complement each other, and I was looking for a storyteller that I could leave that to. On one occasion I heard his name and actually saw some of his works. They were full of fresh sensibilities and stuck to a solid core. After a couple of discussions with Mr. Fukui, we finally received his reply of consent.<\/p>\n
Interviewer:<\/em><\/span> What do you consider to be the differences between 2199<\/em> and 2202<\/em>?<\/p>\n
Nishizaki:<\/em><\/span> I would say that 2199<\/em> is Director Izubuchi\u2019s Yamato<\/em>. Mr. Izubuchi was originally a huge Yamato<\/em> fan, and his Yamato<\/em> was told from a fan\u2019s point of view, so to speak. 2199<\/em> was refined with modern creativity.<\/p>\n
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In contrast, 2202<\/em> is Harutoshi Fukui\u2019s Yamato<\/em>. Rather than emphasizing the integrity of gadgets like Izubuchi, he started by proposing a big theme for the whole series, then drew out the dramatic elements from there. As a result, he depicted the figure of Yamato<\/em> as something new and original. It converged on the original theme while acting as an antithesis against modern society. Such magnificent and detailed dramaturgy is the main appeal of Harutoshi Fukui\u2019s Yamato<\/em>.<\/p>\n
Interviewer:<\/em><\/span> Your vision of a director and writer making the series together was right.<\/p>\n
Nishizaki:<\/em><\/span> Staffing is the most important job. It may be second-guessing, but I don\u2019t think there was any mistake in that direction. Right now, my only response is relief.<\/p>\n
Of course, they had a lot of help from the production staff, including the drawing, and in the case of a series it\u2019s common to pour too much effort into the first half and then run out of steam in the second half. It\u2019s a fact that 2202<\/em> had to follow a schedule, but it was thanks to the effort of everyone at the site that it was able to land very close to the original image. They have my unconditional gratitude.<\/p>\n
Interviewer:<\/em><\/span> You mentioned the schedule, and we also got a very good impression of the 2202<\/em> scriptwriting. The system was that Hideki Oka wrote the scripts based on Mr. Fukui\u2019s plot, then Mr. Fukui reworked it. I\u2019d think that that would be a rather difficult system on a weekly TV series.<\/p>\n
Nishizaki:<\/em><\/span> Mr. Fukui is very quick on the mark, so it might be able to endure such a method. But speed is not his only characteristic, of course. He buries foreshadowing everywhere in the story and carefully pulls it together for the climax. He\u2019s a master storyteller, going beyond the boundaries of writer and screenwriter, with a sense of coordination approaching that of a director or producer.<\/p>\n
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Interviewer:<\/em><\/span> Also, 2202<\/em> left the impression of collaboration with various companies. I was particularly surprised by the Yamato<\/em> Jet, from the teamup with Skymark.<\/p>\n
Nishizaki:<\/em><\/span> Part of my vision for Yamato<\/em> is rebranding. Anyway, speaking of Yamato<\/em>, several decades have already passed since the first work. For today\u2019s young people, it is a work of their parents\u2019 generation. But Yamato<\/em> has an excellent format that can be utilized today. To that end I want it to have clear appeal power with various hooks that can be enjoyed by the younger generation. That\u2019s one of the skims that I take the lead in promoting, separate from the production work.<\/p>\n
\nAt the production presentation, Sept 2016<\/em><\/span><\/p>\n
Skymark was the first of a variety of collaborations, and fortunately all the companies I\u2019ve spoken to have voiced their support. To be honest, there were some situations that were puzzling at first, but I\u2019m glad that all the fans are pleased with the results.<\/p>\n
Interviewer:<\/em><\/span> You said that \u201cYamato<\/em> has an excellent format.\u201d From your point of view, where do you think the base is?<\/p>\n
Nishizaki:<\/em><\/span> There is no perfect human left in this world. Still, Susumu Kodai and the young crew overcame long hardships and continue fighting to protect their loved ones. Whether you win or lose in \u201cwar,\u201d only emptiness remains. But they are still entrusted with the future of the human race, and they throw their bodies into the battlefield at the risk of their own lives. Such a universal anti-war message is the appeal of Yamato<\/em>, and I think that\u2019s the driving force that continues to be loved across generations.<\/p>\n
\nAt the stage greeting for Chapter 5, May 2018. L to R: MC Osamu Kobayashi, Shoji Nishizaki, Eriko Nakamura, Harutoshi Fukui<\/em><\/p>\n
Interviewer:<\/em><\/span> A new work has already been announced, so are there any topics that you can disclose about future prospects?<\/p>\n
Nishizaki:<\/em><\/span> The first thing is that story and picture are \u201cthe two wings,\u201d and with 2202<\/em> Mr. Fukui achieved far more than I expected with the story. As for the picture, I want to seriously push the \u201cexpression of the visuals.\u201d In order to do that, we will gather together an anime staff with superior techniques and sensibilities. I want to start an animation studio that is centered on Yamato<\/em>, so first I have to set up the framework and guidelines of a studio, including the staffing. Next will be setting up a direction for a \u201cnew work,\u201d so I want to get a studio running as soon as possible.<\/p>\n
When I think about it, it starts with the plan of my late father, Yoshinobu Nishizaki. After a long hiatus, the Yamato<\/em> series literally went through a \u201cresurrection.\u201d This was not only my father\u2019s last wish, it was all the old and new fans who breathed life into Yamato<\/em>\u2019s new age. I\u2019d like to bring you an even more attractive and majestic figure of Yamato<\/em>.<\/p>\n
Thank you for your continued support and encouragement.<\/p>\n
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