{"id":3229,"date":"2013-07-02T02:33:01","date_gmt":"2013-07-02T02:33:01","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=3229"},"modified":"2022-09-12T09:46:34","modified_gmt":"2022-09-12T16:46:34","slug":"sbyp","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/sbyp\/","title":{"rendered":"Space Battleship Yamato<\/em> Movie Program"},"content":{"rendered":"

<\/p>\n

<\/p>\n

She must return in 365 days from the journey of 296,000 light years
\nThe mission was grave for Space Cruiser Yamato<\/em><\/p>\n

<\/p>\n

STAFF<\/h3>\n

Based on the original story by Yoshinobu Nishizaki
\nPresented and total supervision by: Yoshinobu Nishizaki
\nLayout planned by: Toshio Masuda and Yoshinobu Nishizaki
\nScreenplay written by: Keisuke Fujikawa and Eiichi Yamamoto
\nMusic composed by: Hiroshi Miyagawa
\nArt and design directed by: Leiji Matsumoto
\nDirected by: Toshio Masuda
\nAnimation director: Noboru Ishiguro
\nAnimation supervised by: Toyoo Ashida, Kenzo Koizumi, Takeshi Shirato, Kaoru Izumiguchi, Kazuhiko Udagawa, Nobuhiro Okaseko
\nBackground art: Hachiro Tsukima
\nSound director: Atsumi Tashiro
\nEffects by: Mitsuru Kashiwabara
\nEdited by: Masatoshi Tsurubuchi
\nAssistant director: Ichitoku Tanahashi
\nProduction assistants: Masaharu Nagashima, Kazuhiro Nomura, Takayuki Tsutsumi
\nRecording studio: AVACO Studio (Shohei Hayashi)
\nDevelopment: Tokyo Laboratory, Ltd.
\nDistributed by: Yoshinobu Nishizaki (Academy Co., Ltd.)
\nOriginal Soundtrack: Columbia Records<\/p>\n

CAST (Voice by:)<\/h3>\n

Jyuzo Okita: Goro Naya
\nSusumu Kodai: Kei Tomiyama
\nDaisuke Shima: Hideo Nakamura
\nYuki Mori: Yoko Asagami
\nMamoru Kodai: Taichiro Hirokawa
\nHikozaemon Tokugawa: Ichiro Nagai
\nShiro Sanada: Takeshi Aono
\nKenjiro Ohta:Yoshito Yasuhara
\nSaburo Kato: Akira Kamiya
\nAnalyzer: Kenichi Ogata
\nCommanding General of Earth Defense Forces: Masato Ibu
\nGeneralissimo Desular: Masato Ibu
\nDeputy Generalissimo Hiss: Keisuke Yamashita
\nGeneral Domel: Osamu Kobayashi
\nCommander Shultz: Satoshi Ohbayashi
\nStasha: Michiko Hirai
\nNarrator: Akira Kimura<\/p>\n

AIM OF PRODUCTION<\/h3>\n

A few years ago, American films Poseidon Adventure<\/em> and Towering Inferno<\/em> scored a considerable success in this country. The former dealt with a story about a luxurious liner capsizing while the latter featured an episode of an ultra-high rise building catching on fire. Both films attracted Japanese filmgoers because they took up a plot of miracle survival of human beings thanks to courage and wisdom after facing extremely difficult situations which were regarded impossible for any escape.<\/p>\n

The great success of the two films in Japan is derived from the fact that both of them satisfied the latent Japanese sentiments of making break-throughs when they confront situations symbolizing the end of the world.<\/p>\n

While we were working out schemes for this film Space Cruiser Yamato<\/em>, Sakyo Komatsu\u2019s SF novel Japan Sinks<\/em> became a smash hit in this country. The fiction became an immediate bestseller because it appealed strongly to the popular desire of starting a new life that has come to a standstill.<\/p>\n

Environmental pollution! Galloping inflation! Worldwide recession! The oil shock in 1973! The years following the oil shock have witnessed Japan\u2019s industrial and economic structures suffer from repeated distortions. The oil shock was enough to shake the roots of our social structure, too. That developed with the remarkable economic growth of post-war Japan. But today, we appear to be only serving as a gear of the gigantic industrial mechanism and are spiritually isolated.<\/p>\n

History, too, has seen mankind repeatedly confronted with serious crises in civilization. And history, too, has seen mankind find a successful breakthrough each time. Mankind should not act as a gear of a large mechanism. Mankind are humans who can think and dream.<\/p>\n

Space Cruiser Yamato<\/em> is not just another science-fiction. It offers viewers to seriously reconsider the basic theme of all human beings: \u201cwhat supports mankind and why?\u201d by demonstrating the actions of the young space fighters to serve the common purpose of saving the Earth from danger!<\/p>\n

This film is to appeal to young boys and girls as well as grownups the dream and understanding shared by all mankind.<\/p>\n

<\/p>\n

CHARACTERS<\/h3>\n

Jyuzo Okita (52)
\nSkipper of Space Cruiser Yamato<\/em><\/p>\n

Susumu Kodai (18)
\nFlight Leader of Yamato<\/em>\u2019s Deck Planes<\/p>\n

Daisuke Shima (18)
\nChief Navigator of Yamato<\/em><\/p>\n

Yuki Mori (18)
\nLeader of Life Group of Yamato<\/em><\/p>\n

Hikozaemon Tokugawa (57)
\nChief Engineer<\/p>\n

Sakezo Sado (47)
\nShip Doctor<\/p>\n

Analyzer
\nAn Omnipotence Robot for Surveying and Analyzing<\/p>\n

Shiro Sanada (28)
\nYamato<\/em> Plant Manager<\/p>\n

Mamoru Kodai
\nFomer Leader of Guardsmen of
\nEarth Defense Forces<\/p>\n

Stasha
\nThe Queen of Planet Iscandall<\/p>\n

Deslar
\nThe Imperial Generalissimo of Planet Gamilus<\/p>\n

Hiss
\nDeputy Generalissimo of Gamilus<\/p>\n

Domel
\nCommanding General of Gamilus Forces<\/p>\n

Schulz
\nCommanding Officer of Gamilus Forces, Pluto<\/p>\n

<\/p>\n

STORY PLOT<\/h3>\n

In 2199, Planet Earth is under heavy attack by persistent space invaders from Planet Gamilus.<\/p>\n

The Earth Defense Forces is helplessly facing the stubborn onslaught by Gamilus Forces supported by overwhelming firepower.<\/p>\n

By constructing underground strongholds, mankind on Earth is driven to the last ditch by holding up bold resistance. But death stares at each face of those remaining on Earth.<\/p>\n

To worsen the situation, indiscriminate space raids by asteroid bombs have already wiped out all living creatures from the surface of the Earth by radioactive contamination. And it is only a matter of time when the underground strongholds will eventually be subjected to deadly radioactive contamination. The time limit is only one year!<\/p>\n

Just then a message comes through from Planet Iskandall situated in a faintly remote distance in space.<\/p>\n

Although a twin planet of Gamilus, Iskandall is a peace-loving planet ruled by lovely Queen Stasha. The Cosmo Cleaner-D on Planet Iskandall is the only unit that can totally remove radioactive contamination to save mankind on Earth.<\/p>\n

The message reads: If mankind on Earth still dreams of the future, come to Iskandall and bring back Cosmo Cleaner-D with courage and wisdom.<\/p>\n

The message concludes: Enclosed blueprint of wave engine with this message to make your journey possible.<\/p>\n

Mankind on Earth decides to rely everything on this message. But Planet Iskandall is situated beyond the galaxy! 148,000 light years away! And it is located in the dangerous area heavily guarded by Gamilus troops!<\/p>\n

The time limit for human survival is only 365 days! Absolute return is mandatory! And challenging this extremely difficult mission is Space Cruiser Yamato<\/em>, shouldering the expectations of all mankind!!<\/p>\n

Without being given a single chance to participate in the Pacific War, ill-fated Yamato<\/em>, a tragic Japanese fighting ship, was sunk to the sea bottom.<\/p>\n

Preparing for the worst in the war with Gamilus, people on Earth secretly remodeled Yamato<\/em> as Noah\u2019s Ark to seek for another Earth in space. But mankind was inevitably forced to reconvert Yamato<\/em> again into a Space Cruiser to journey into space to Iskandall and back.<\/p>\n

Commander Shulz of the Gamilus Forces Pluto station finds out about Yamato<\/em> and orders his men to fire a super-large missile after granting permission from Generalissimo Desler.<\/p>\n

The missile closes in on Yamato<\/em>, which holds the card of fate of all mankind! And hanging by a hair, Yamato<\/em>\u2019s main armament bursts fire and directly hits the oncoming missile!<\/p>\n

Yamato<\/em> finally sets sail on a journey into the unknown space with 114 crew members on board, including Captain Jyuzo Okita, Space Fighter Commander Susumu Kodai, Chief Navigator Daisuke Shima, Ship Doctor Sakezo Sado and lovely Miss Yuki Mori.<\/p>\n

In this manner, Space Cruiser Yamato<\/em> quickly moves into space to begin the story.<\/p>\n

A GREAT DESCRIPTIVE POETRY depicting manliness and romance! An ADVENTUROUS story of an exciting journey into the unknown space of 296,000 light years!<\/p>\n

From the Solar System to the Galaxy!
\nThe Outer Aerospace!
\nAnd to the Magellanic Clouds!<\/p>\n

Storms of enemy armoured attack! Dark Nebula, the unforeseen trap lies ahead! Fear and frustration drive crew members crazy! Many crew members fall victim to danger and fatigue!<\/p>\n

FAR BEHIND SCHEDULE!! THE SHIP BADLY DAMAGED!! DESPERATE MOMENTS!!<\/p>\n

But despite all these, dauntlessly Captain Okita commandeers the able crew on Yamato<\/em> including Flight Commander Kodai, and others to fulfill their mission.<\/p>\n

And in the year 2200, greenery once again returned to Planet Earth.<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

<\/p>\n

Space Cruiser Yamato<\/em> Functions<\/h3>\n

Look How it Changed!<\/p>\n

Old Yamato<\/em><\/p>\n

Dimension:
\nLength 263 meters
\nWidth 38.9 meters
\nSpeed: 27.46 knots (50 kph)
\nTotal Cruise: 13,340 km (at 16 knots)
\nAllowance: 2500 men<\/p>\n

New Yamato<\/em><\/p>\n

Speed: 99% of light speed
\nExceeds light speed upon warping
\nTotal cruise: unlimited
\nAllowance: 114 men<\/p>\n

Speed:<\/em><\/p>\n

Exceeds light speed upon warping.
\nPossible to leap 100 light years in a single warp.<\/p>\n

Equipment:<\/em><\/p>\n

Rock Bed Apparatus
\nPebbles and stones and rocks mill around Yamato<\/em> to form a protective shield like Saturn\u2019s rings.<\/p>\n

Bow Wave Gun
\nEffective for long distance attack. Can also become an effective implement to drill away any obstacles, enemy, ships, and other objects to cut its way through the enemy. Since it consumes a considerable amount of Yamato<\/em>\u2019s energy, it is seldom used.<\/p>\n

Foreship Missiles
\nMammoth missiles are fired. Missiles are highly destructive for both attack and defense purposes. Manufacturing of missiles is possible at the ship\u2019s plant, thus there is no limit in the number of missiles to be used.<\/p>\n

Foreship Radar
\nTime radar is employed. The radar can also trace images of several hours back.<\/p>\n

Anchor
\nRocket anchor with chain is used. Also has a powered space anchor. Lightweight life-saving anchor traveling in space with magnet power is also equipped.<\/p>\n

Main Armament
\nTriple-turret shock guns are mounted. The shock guns are the most powerful of all heavy guns employed by both the enemy and ally. A direct hit can easily destroy heavy ships.<\/p>\n

Gunnery
\nShock gun turrets are mounted. Good for middle-distant battles in space. Auxiliary guns for middle-sized spaceship attacks. Can destroy mostly all enemy deck planes.<\/p>\n

Side Guns
\nSmall-caliber machine guns. Old-fashioned machine guns using pulse radars are used. Rapid firing is possible against oncoming enemy planes.<\/p>\n

Smokestack Missiles
\nThe old smokestack was converted into a launch pad for warheads similar to guided missiles for space defense. Also functions as a large gun.<\/p>\n

Deck Planes
\nThe multi-purpose, all-weather Space Zero fighters are employed for land, sea, air and space battles. They are not the same with the old Zero fighters.<\/p>\n

Space Bombers
\nAttack bombers mounted with missiles and laser guns. Can take off from Yamato<\/em> to destroy enemy vessels and ground troops on surface of planets.<\/p>\n

Transport Planes
\nBoth middle and large-class planes are available for cargo transportation.<\/p>\n

Other Equipment<\/em><\/p>\n

Cosmo radar
\nFully-integrated large-scale computer
\nOilhalton (metal) is used for gun turrets
\nHardened tektite is used for the transparent section of Yamato<\/em>
\nFacilities to enable Yamato<\/em> to loop in space and function properly<\/p>\n

<\/p>\n

<\/p>\n

Messages from the Staff<\/h3>\n

Toshio Masuda, Director<\/em><\/p>\n

I have lived for thirty years with respect for films that pursue realism, so the world of animation, one of free and unrestrained images, gave me very good inspiration. The unique thoughts and original ideas of animation artists constantly surprise me. Yamato<\/em> consists of such limitless scope, it was extremely hard to edit the story down to the given 2-hour time frame. There were many episodes I wanted to preserve in the film, but I can\u2019t do anything about the time restriction. My consideration for the passion of Producer Nishizaki, the father of the story, made my job of \u201ccutting and abandoning\u201d extremely painful. However, when my work was completed, I also had a feeling of enjoyment.<\/p>\n

Owing to the development of technology, our Earth is much smaller than when Magellan first travelled around it, so this project reminded me of concepts beyond this limited world of ours. I believe more and more films will be created using outer space as their theme.<\/p>\n

Keisuke Fujikawa, Scriptwriter<\/em><\/p>\n

The Yamato<\/em> scripts took twice as long as those of a regular program. My scripts were discussed at staff meetings, and I revised them using the technical ideas and others that were explored. This is why I suffered burn-out for half a year after I completed the final draft of the final episode. I wanted Yamato<\/em> not only to be entertaining but also to remain in the hearts of those who watch it. <\/p>\n

Hiroshi Miyagawa, Composer<\/em><\/p>\n

In every way, Yamato<\/em> is the best of the Japanese animated films. I have participated in many projects, but none of my other works excited me as much. I was very fascinated with the creation of Producer Nishizaki, and as a result, I put all of my creative energy into the music. Usually, producers don\u2019t get intimately involved in the speciality of each staff member, but he persistently requested detailed cooperation from all of us in order to accomplish what he envisioned, and I firmly believe that I completely met his expectation. I now miss the time when the two of us kept up heated discussions even long after we looked like ghosts, and spent almost twenty hours recording just one piece of the theme song and gave a toast in the early morning hours, swearing that we would get through it.<\/p>\n

One usually does not have many chances to exceed himself in his lifetime, but Yamato<\/em> taught me how to live as a man of passion. Those of you who are touched by the film will also learn this, whether you realize it or not. My words sound serious, but this work is, without doubt, beyond reproach. I absolutely want to recommend Yamato<\/em> not only to everyone in Japan, but all over the world as well.<\/p>\n

Leiji Matsumoto, Art Director & Conceptual Designer<\/em><\/p>\n

This was my first experience creating animation, and I am happy that I could dedicate myself this much. I became another self, walking around inside Yamato<\/em>, following one path to another. This experience was shared with the entire staff. Yamato<\/em> is the great ship which brought me to the world of animation, my lifelong dream.<\/p>\n

Noboru Ishiguro, Animation Director<\/em><\/p>\n

An animation director is a master overseer. I instruct and encourage the animators. This sounds cool, but the reality is that I was only able to do my work because of the assistance of hundreds of staff members. I am still attached to it, thinking that I should have done this scene or that scene differently. I wish I could redo it. And sometimes remembering the extraordinary workload makes me want to never see Yamato<\/em> again. My heart is still trembling.<\/p>\n

Moviemaking Data<\/h3>\n

Number of animation cels: 52,000
\nNumber of cel paint colors: 120
\nTotal staff: 890
\nProduction period: 2 years<\/p>\n

Color Design<\/h3>\n

Though most animated films use a limited range of colors that show easily on screen, we dispensed with this practice and ordered special paints to express the reality of Yamato<\/em>\u2019s metals, weight, and size. Yamato<\/em> is dark and space is dark. The difference of color between them is subtle. We tried dozens of combinations and decided on Yamato<\/em>\u2019s color palette only after extensive testing.<\/p>\n

Optical Compositing<\/h3>\n

One of the shortcomings of filming animation is that long, slow movements tend to make bumps and flaws more obvious. In this film, we shot separate footage of Yamato<\/em> and its background, then composited them during the developing stage. This enhances the real sense of perspective and mass when Yamato<\/em> flies through space.<\/p>\n

Explosion Effects<\/h3>\n

Since no one has actually seen an explosion in zero gravity, the effect was hard to create. The subsequent smoke cloud must spread forever outward, rather than hanging together. This was one of the most challenging effects for us to visualize.<\/p>\n

Mechanical Reality<\/h3>\n

In order to accurately represent movement for spaceships and aircraft, all the animators studied war movies. For reference of missiles firing, we borrowed film of the Apollo Program from a TV station. We made an effort to show physical effects after the launch in order to make the movement realistic. All of this attention to detail tripled the time and effort spent on other animated films, but this raised the standards to a much higher level.<\/p>\n

<\/br><\/p>\n

Bathing in the Spray of Galaxies<\/h3>\n

by Kosei Ono<\/em><\/p>\n

This is, so to speak, a story of a treasure hunt in the future, set in the grand universe.<\/p>\n

If the treasure can be obtained, the Earth, contaminated by radiation, can be saved from dying. But the treasure is 148,000 light-years away.<\/p>\n

The Space Cruiser Yamato<\/em>, like a giant castle floating in the sky, is on its way to the far reaches of the universe. The whispering voice of a woman leads us there, just like Ulysses was drawn by the beauty of the sirens. The image of moving toward a star with treasure is beautiful.<\/p>\n

Treasure hunting is not without its difficulties, but in the midst of the space war, Yamato<\/em> turns up its wave engine to full throttle, flashes its radar screen, and flies through space using its war navigation system to penetrate the asteroid belt. The battle mechanism is also depicted in the images of Andromeda, the Magellanic Galaxy, and the Rainbow Star Cluster, and the detailed movements of Yamato<\/em> are also highlights of the film.<\/p>\n

The giant ship, carrying a longing for Earth, travels through the depths of the universe, bathed in the sunlight of the Rainbow Star Cluster and the spray of galaxies.<\/p>\n

Before you know it, the universe of “the screen” will expand in your mind, and Yamato<\/em>, floating in the middle of that screen, slowly circles in a dream. <\/p>\n

<\/p>\n

GAMILUS AND ISKANDALL<\/h3>\n

Planet Gamilus<\/em><\/p>\n

Gamilus\u2019 diameter is 16,000 kilometers, a twin planet of Iskandall. The rockbed crust is 10 kilometers thick. The continents and seas inside the inner core are fast sulphurizing. The days of the planet are numbered.<\/p>\n

Planet Iskandall<\/em><\/p>\n

The 8th planet nearest Sanzar in the Solar System in the Magellanic Clouds. It is a planet of love and peace. One finds Cosmo Cleaner D on this planet.<\/p>\n

<\/p>\n

Message from the Producer<\/h3>\n

We produced this film version of Space Battleship Yamato<\/em> to show mens\u2019 lives as a powerful, action-filled drama. On the big screen you will see the vastness of the space on a magnificent scale, as great as the romance of adventure.<\/p>\n

Leiji Matsumoto was appointed to design Yamato<\/em> and the main characters of this film, as well as other mechanisms, concepts, and dreamlike women. With his aid, the film also presents original fight scenes and the realistic workings of mechanisms, thereby pursuing an expression of power and a sense of weight that were not possible in standard animated films. <\/p>\n

Director Toshio Masuda oversaw the visualization of the script by Eiichi Yamamoto and Keisuke Fujikawa. Mr. Masuda\u2019s excellent techniques combined drama with mystery and tension.<\/p>\n

But it was Hiroshi Miyagawa\u2019s music that gave the story its highest drama. No one but Mr. Miyagawa could be considered, with his heartfelt melodies and his modern sense of rhythm, which matched our story perfectly. His dreamlike minor-key compositions give a life to the cold universe.<\/p>\n

But it is always human beings who fly Space Battleship Yamato<\/em> wherever it travels, and their enemies are also people. The most important idea I wanted to present is that humans can live anywhere in space, either in the mass of iron called Yamato<\/em> or in the infinite universe. Music is the expression of people, and it is blended with our human drama to create the unique flavor of this film. <\/p>\n

And the adventure encompasses the whole universe with the creativity only animation can possess. This breaks past cultural limitations and creates a film that can be accepted internationally. As a producer, I would like to create films for the entire world. I believe Space Battleship Yamato<\/em> is the first step. <\/p>\n

The universal theme of films is love. There are many varieties, from the love among all human beings to the love between a man and a woman. Love is the theme the whole human race has in common. I consider this to be most important, so I hope to present films about love to boys and girls who are about to start their own lives.<\/p>\n

The Combined Effort of the Entire Staff<\/em><\/p>\n

Producing an animated film–compared to live-action movies–is a continuation of hand-crafted manufacturing, which is unthinkable in this age of automation. The process is divided and subdivided into many phases, each one an essential part of the whole production. I would like to list some of those who I gathered together to bring Space Battleship Yamato<\/em> to the big screen:<\/p>\n

Noboru Ishiguro, the animation director, who not only drew storyboards, but also maximized his talents as effects animator. While synthesizing the pictures, he set a higher standard.<\/p>\n

Toyoo Ashida, who drew characters with crisp lines and lively action. Kenzu Koizumi, who added facial expression to characters. His gentle sensitivity is somewhat contradicted by his big body. Takeshi Shirato, who was excellent at drawing powerful and dynamic scenes. Kaoru Izumiguchi, who is unsurpassed at drawing precise mechanical characters. The key animators, including Kazuhiko Udagawa, Hiromitsu Morita, and Masahiro Okasako, and nine others who followed their guidance. <\/p>\n

Camera operators who clicked shutters one frame at a time, replacing the cels one sheet at a time. Through patience and concentration, they created new filming techniques.The production managers, bound by the schedule, encouraged the staff at each phase.<\/p>\n

What is the sound of an explosion in space? What does a crew hear inside of Yamato<\/em> when it is on a voyage? The talented sound designer Mitsuru Kashiwabara and sound director Atsumi Tashiro created sounds that always kept our environments alive for the audience. It is no exaggeration to say that they brought the infinitely expanding universe to life.<\/p>\n

Assistant Director Kazunori Tanahashi and other staff members bridged across different units, fully understanding the intentions of the Director.<\/p>\n

Many more people were involved in producing this film, and I don\u2019t have the room to list all of them. Their tremendous effort and energy were condensed into this film. I can definitely say that this was the power that supported the work. As the producer, I wholeheartedly thank the entire crew.<\/p>\n

-Yoshinobu Nishizaki<\/em><\/p>\n

The Easter Egg<\/h3>\n

The kanji character under Nishizaki’s photo reads “Kazu,” which means “harmony.” Nishizaki claimed this was his favorite kanji, but it also carried another more personal meaning for him.<\/p>\n

From an interview in the first issue of the <\/em>Yamato fan club magazine (February 1978):<\/em><\/p>\n

My first love came in year one of junior high, and her name was Kazuko. She was in fifth year elementary. Because we were in the same school building, it was always fun to meet. It might have been said that we two would be in love forever. We experience many loves as we grow to adulthood, but that first love is the real thing. The reason I wrote \u201cKazu\u201d in the pamphlet is that it was my secret wish for her to see it and remember me from somewhere\u2026<\/p>\n

Read the entire interview here<\/a><\/p>\n

\n

\nReturn to Office Academy publications<\/a> <\/p>\n

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