AISubs v3.5
Two creators who continue to create works in their own styles.
What does this world look like to them?
What kind of world is under this sky that they can see?
"First Letter" was really interesting.
- Thank you. - Thank you very much.
I sometimes go to the theater to watch my own movies in secret.
How do you get answers like that, Iwai-san?
For me, it's more like...
When I'm delivering a product, I'm like, "This is what it looks like."
It's not a rating, but I'm like, "This is what it looks like."
Once I get it, that's about it.
Oh, is that so? You don't care about it that much anymore?
I try not to care about it that much.
I try not to be swayed by it.
Shinkai Makoto
Detailed scenery descriptions and beautiful colors...
And "shinkai world" that is woven with delicate words...
It is supported by many people, both in and out of Japan.
Since "kimi no na wa" became a big hit...
The latest work released in about three years...
Tenki no ko
As the balance of the sky goes crazy...
A young man and a girl who are tormented by fate...
Choose their own way of life...
It was released last year...
The number of viewership is more than 10 million...
It's a big hit.
Iwai Shunji
Since 1988...
Dramas and music videos, etc.
Continue to act in the video world of other aspects...
Its unique images...
It is called "Iwai aesthetics" and attracts attention.
Movie director
Authors, novelists, musicians, etc. continue their activities that are not trapped in frames.
In January 2020, the latest work "Last Letter" was released, depicting the love of two generations of men and women who started the difference in life and death of letters on the stage of Miyagi, their first home.
In addition, a Chinese movie directed by Dogen himself, "Letter of Sifa" is waiting for Japanese public in autumn 2020.
What do you think? After the work is finished and you go on to the next work, you still have "Last Letter" left.
That's right.
The work you've just made is all erased, or in Mahjong, it's "jara jara jara" and you have to do it all over again.
It's tough, isn't it?
I think it's different for each live-action anime, but it's been about three years for us, so we've been thinking about it for three years, and when it's released, it's all "jara jara" and it's all blank.
I feel like I want to forget it and move on to the next one, but it's not easy.
There are a lot of events from movie companies around you, and you can hear about your grades and awards.
As of this time, it's been going on for about half a year, and I'm trying to forget it and think about it recently.
But once it's out of stock, it's tough.
That's right.
I have to make sure it's not mine anymore.
I can't spend my time in peace.
I can't do anything about my work anymore.
I can't even touch the fact that I should have done it a little more.
I think it's not mentally good to be in a daze like that.
I've been surprised at myself for meeting like that since I was a love letter boy.
I thought I'd go to a bunch of theaters and see what they were like, but there was someone who wasn't shy about it and someone who wasn't awkward about it.
When it was released, I was kind of nervous.
I think it's true that you can't do anything about what you see, but there are times when you can't help but see it.
For example, at a movie festival or at an event, if you say you don't watch it, you may not be allowed to miss it, but you can watch it with your customers for the time being.
The other day, I was asked if we would like to watch it together because the screening of "Nana Mori" was about to end, and we watched it together at the theater.
She loves very straightforward works and looks at me like, "How interesting it is," but when I'm next to her, I'm like, "Oh, this isn't going well," or "This should have been done a little more like this," but I can't take a note next to her, so I take a note in my heart and say, "No, but I'm just reflecting."
You can't say it to her, but you never watch it with the actor, do you?
No, I don't think I have much experience with it.
I want to avoid that kind of thing as much as possible, and I want to see it once before that so that I can be with other people as much as possible.
It's like a torture and I can't bear it mentally.
I have a music clip and short ones, but do you have a commercial?
Don't you like short ones and repeat them over and over again?
Yes, I do. Short ones are easy to watch and I like them.
Movies have a deep meaning, don't they?
There are some parts that you can't laugh about, don't you think?
That's right. It's a relationship between the director and the work that you don't know about.
It's quite painful, isn't it?
That's also the case for you, Iwai.
But on the other hand, when customers watch it over and over again, whether it's a delivery or a package, I also watch Iwai's movies many times.
So I think people other than me can watch it quite a bit.
That's a relief, isn't it?
It seems that the producers and staff around you are watching it quite often.
I get that kind of report, but I feel like I've grown up like that.
So you've completely handed over the last data to the customers?
That's right.
What is the animation that you two are seeing?
In the case of anime, unlike in real life, I also have experience with fireworks and murder cases.
It's not like we're just making it up or it just happens to be in the frame.
We're shooting it with a camera and it just happens to be in the frame.
But in anime, everything is layered and added up.
It's not like we're just making it up or it just happens to be in the frame.
It's true that it's hard to do it because of the location or because of something.
It's all about your intentions.
But when I saw your case of fireworks and murder cases,
you showed me the script first.
It was shot in real life.
But it was still very interesting and it was already finished.
It's exactly like making an anime script.
Was it because it was an animation and not a photo shoot,
that you were able to write something like an anime content?
Or did you always do it like that in the first place?
I was very curious about that.
That's right.
"Mania" and "Vampire" are still in production.
There are about two works that haven't been released yet.
You can do it in an anime, you can do it in real life.
In real life, it's just a guideline.
You can do it freely unless you change the angle during shooting.
I'd like to give you a reference for content creation, but in the case of anime, it's a guideline for making it exactly as it is.
It's obvious that everyone is concentrating on making it, but it's actually designed like that.
That's right. Of course, it's a good thing about anime, but it's also a disadvantage. It's overwhelmingly disadvantageous.
So when I saw the photos, it was a shock.
Anime doesn't necessarily have a physical quality or a character like that of a character other than the person who draws the storyboard, but it happens by chance in the cast's voice actors' plays, or
it's rare for an animator to be able to put something in there by chance, but it's basically not the case.
So whether it's good or bad, the whole thing is dyed in content creators' tastes.
Especially I thought that if you made an animation like Iwai's flower bouquet photo incident, you wouldn't be able to do it normally.
The gestures of each character, or when the characters are facing each other and talking, or when girls are talking while stepping on girls' feet when they're facing each other since the sports day,
I don't know what you're talking about.
There's not much inevitability in the script.
It's an ad-lib, isn't it?
That's right.
It's like an ad-lib, like an actor's ad-lib just turned into a movie.
That's right.
But it's full of scenes where the actor's ad-lib just turned into an animation.
That was the biggest shock for me.
Do you have any know-how on how to get that ad- lib?
That's the strength of live-action films.
In the case of "Hanataresu no Satsujin Jigen" ("Hanataresu Murder Case"),
we had a screenplay and had an actor play it for us.
Then we'd finish it up.
We'd communicate with the actor and decide whether we should do it or not.
I think it's a little different from live-action films.
But since it's an animation, you have to move your mouth a little to make it work.
That was a little special.
But as we worked on it, the actor would make strange movements and we'd say, "Oh, that's good. Let's put it in."
If you don't do that, you won't be able to show your strength.
That's what I was trying to do.
So in your films, you already have an ad-lib for the actors at some point in the screenplay?
For example, in "The Last Letter", Nana says she got a letter and runs over.
She slides across the floor.
I wonder if you can do that in animation.
You can't do it unless you feel like you're completely her.
How is that possible?
Do you do interviews with actors every time you watch a movie? Is it in the script? Or do you do interviews with actors until something like that comes out?
I think there is a way. Actually, it's a weird story. I used to aim to be a manga artist.
After I started directing live-action films, I'm better at drawing.
I get a lot of information. I can predict how people will move.
Surprisingly, while we were talking about the design of the set, I could draw a perspective.
There was such a thing, and in terms of reproducibility, it seemed like my live-action experience had helped me draw well.
I feel like it was reflected in the anime a little.
It's just that I'm conscious of it somewhere.
When I saw Isao Takahata's "Uncle Horace of the Sun",
I thought, "Oh, it's not an anime idea, it's someone else's performance."
It was an anime-like shock. I wanted to do something like that.
I wonder if that's how you absorb people's movements.
I think "motion capture" is a little different idea than I thought it would be.
When I saw your photo incident, I was struck by how diverse your ad-libs make the movie interesting.
When I'm watching a live-action film, of course I'm watching a live-action film, but I don't notice it and I'm just watching it because it's a matter of course.
The movements that don't go with the scenario or that are out of logic make the movie interesting.
I saw you doing that in the anime and I was reminded of it again and I felt like "I have to do something like this, I want to do something like this".
But I thought it was quite difficult and I thought that only in the accumulation of the live-action film that the actor was in would something like that come out.
If I went in that direction, it would be quite difficult and I thought I wouldn't be able to achieve it.
With "Kimi no Naa" and "Tenki no Ko" I wanted to control everything, whether it's good or bad, like music or timing.
I wanted to make an animation that would deliver the story to the audience.
The character of the actor gets closer to what it's supposed to be, but once you throw it away and improve the performance as a vessel for telling the story, I thought I'd make an animation with it.
When I read the last letter, I still yearn for it.
I think some people have done animation with that kind of gesture, but I want to do it, but it's hard to try to do it.
"Tenki no Ko" also has a lot of everyday conversations like, "Oh, this is what you talk about in anime," or "Honda Tsubasa-san Moon" in the office.
It's not like "punk" in the area of "Honda Tsubasa-san Moon", but it has a characteristic line like "accept it".
Natsumi-san, are you from this office?
Huh? Are you related to me and Kei-chan?
Yes.
Haha, that's funny.
Hmm, it's exactly what you think it is.
If it's just a line, you can add something like that at the last minute.
Or you can use "Honda Tsubasa-san Moon", which you can't even think of at the time of dubbing, and you can get the words you didn't think of at the time of intonation.
I think the line is the only part that is close to the ad-lib that can be expanded in animation.
Which one do you do first?
That one...
Is it this one?
No, it's "picture first".
It's close to "you first" incident, but I also made the video content first, and I put my own voice in it for the time being, and I put it in the timesheet at the tempo of my voice, and the character's acting is a little like "presco".
The character's mouth is in my voice.
Oh, my God! I got a serious request! Eh, have you already uploaded it? No, I want you to make the flea market flashy! Even tomorrow! Eh, wait a minute! Do I really do it?
After that, the actor does it for me, so it's a little mixed up.
What do you see in each other?
Sometimes, for example, there is a scene where I put a blanket on Hirose and Nana-chan, and I have the impression that they are suddenly pinched from a low position or from close up.
That kind of thing doesn't come up much in anime either, and I think it's hard to get that kind of cut if you draw the content in terms of logic.
But when that kind of thing comes in, it makes my heart pound. I'd like to know what kind of logic makes it possible.
In the past and now, things have been a little different.
I'm shooting this with a single lens now, but in the past, I couldn't get a good picture with a wide-angle lens or a fish eye lens if I wanted it to be like a drama.
But now, on the contrary, when I get closer, I can still blur the background and get a picture with a great atmosphere.
I've been able to do that recently, or I've been able to do it for about ten years now.
If you want to blur the background, the idea of being away from the camera is now reversed, and you can take great close-ups of actors at close range.
It's a little different from the idea of taking it a little away, packing it in, and trimming it.
It's clearly a different picture, isn't it?
That's right. It's been a technology I've been waiting for for a long time, so I've been dreaming about whether I could make a movie like "one-eyed ref" or "steel camera".
It's come a long way, and there's been a lot of expression.
On the contrary, when it comes to animation, it's because you can draw anything that you tend to organize it into a picture, but I tend to think about taking an action scene from a distance, but when there's an insert like that in real life, I feel like I need to think about it a little more.
That kind of shot was also very interesting.
In manga, there's a way of cutting the angle of the picture, isn't there?
That's right. In manga, it's even more free. There are a lot of people who can draw quite freely from a distance.
I was shocked when I first saw the wide-angle angle coming out of Mr. Kamijo Atsushi's area.
If you don't have a lot of power, you can't draw such a picture, but it feels good.
I like the original work of Yamiken C. McQueen. I've talked to the original author, Manabe-san, and I'm sure you're particular about that kind of thing.
Does Manabe-san himself set up the camera and cut out the layout?
I don't know about that.
It's quite a difficult picture if it's not like that.
I'm surprised that there are so many things like rotoscoping in comics about how to incorporate it from the real thing.
There's also a way of using large frames when you open it up. Manabe-san is good at that.
Open it up and take a picture.
It's already art.
I really think so.
Just by looking at the intrusion of the name "Yamikin C. McQueen", it's like looking at a picture book.
The more you go into the second half of the story, the more dense it gets.
There are no more lines.
It's so beautiful.
I want to read it again.
I have to talk about something else.
Movies and music that look like them.
When we were auditioning for "Tenki no Ko" and we were struggling with female cast,
producer Genki Kawamura told me that there is a girl in Iwai-san's movie.
Iwai-san said that she is really good.
So I said I would like to hear her voice.
She asked me to audition for her.
As I auditioned for "Tenki no Ko", I ended up becoming "Morina Nacha".
Kawamura-san said that Iwai-san is good.
She said that many times.
What kind of girl is she?
Iwai-san found her.
She had that kind of tone.
I was really worried about what kind of girl she would be.
As a result, "Tenki no Ko" was released first in Japan.
By that time, "Morina Nacha" was almost finished filming.
How was "Morina Nacha"?
It was wonderful.
She was just there.
If you divide women into moon and sun types,
I think she was like the dazzling sun during the day.
Her character's name was also "sun".
In that sense, "Morina Nacha" was perfect.
I thought that she poured something like light into the movie.
However, when I saw the last data after that, I felt a little strange.
Before we met and worked together, she was...
It's obvious, but she was very good even before we knew each other.
I thought, "Oh, Iwai-san was ahead of me."
Director Yukisada was first, wasn't he?
Oh, is that so?
It was an audition for a short film or something like that, and it was adopted at that point.
Next, director Kumazawa of "Rainbow Goddess" was also ahead of me.
Everyone was connected, so it was the third person among my friends.
Oh, is that so?
Even though it was promised, everyone chose it, so I thought, "He's got it."
Did you get chosen normally at the audition?
At first, there was a video audition, and about 100 people saw what was filmed in the video.
Normally, it's normal to narrow it down and actually meet, but it was already decided in the video.
Oh, really? You didn't need to meet?
It was like, "Isn't this girl good enough?"
To be honest, among the main cast, you have the shortest career, don't you?
To get in there...
That's right.
But when I saw you, you seemed like you were entering normally and acting lightly.
But for you, it might have been quite nerve- wracking.
That's right.
Normally, if you're a normal human being, you'd be nervous and feel like you're going to get stuck.
But you didn't have any of that.
You didn't have any control over it.
I thought you were a professional.
You were supposed to be a rookie, but you were already a professional.
That's right. I've been a first-year or second- year student for about that long.
"What kind of work did you do with Mr. Iwai?" I sometimes talked about it when I was working under the weather, but it's a secret, but we went to karaoke together. I was talking like that, and I was surprised to go to karaoke, but when I saw the last letter, I was singing the ending, so I was surprised, but I didn't expect you to sing it, but it was really good.
That's right. I didn't say I wanted to sing karaoke, but I wanted to hear her voice. I didn't think there would be a karaoke song for the ending song, but I wanted to record it for a first-year or second-year student, so I had that plan in my heart.
I think I sent the recorded song to Mr. Kamura and Mr. Takeshi Kobayashi, but once Mr. Kobayashi made a demo and recorded it in the studio.
When I heard that, I was surprised that everyone was singing it properly, and there were a lot of nuances in it, so I thought it would be okay.
I thought it was an actress' song, but it's a clear expression. Even when I look at the last letter, I wonder how you set up the music sheet.
I always worry about it myself, so it's difficult. I've been doing it with RATIMS for a few years now.
If it's an animation, you can't say, "When the video is finished, please attach it there."
I'm talking about where to attach it to the content of the picture.
It's a form of asking you to attach it to the video content.
There must be something like that tightness on RAT's side, and on this side.
It's not finished yet, but I think there's a tightness that you don't attach it to the finished video.
For example, when you first come out of the temple and the first music board comes in.
Is it such a plan? Or do you attach it to the finished one?
I think there are various ways of doing it.
In that case, I'd like you to attach a classic or something like that to the finished one, and I'd like you to tell Kobayashi-san that music seems to be coming in this area.
I'd like you to do it freely for now, and I'd like you to talk about how you want it to be excited and whether you need to do it that much or if you want more.
It seems that Kobayashi-san was also doing music himself.
There seems to be quite a few things in music.
It's a pretty dense discussion.
I like Kobayashi-san, but...
There are times when Kawamura-san says "no" and there are times when there are songs that say "yes" or "no" and it's pretty tough.
It's tough. You two are good and I'm not good and you're not good. I think Kobayashi-san is having the most trouble this time.
But we might be pretty much the same. Me and Yojiro-san.
Also, it's just the three of us talking. Even if me and Yojiro-san are good, there are times when Kawamura-san says "no" and it's pretty tough.
But looking back, I think we can't help it.
At the beginning of the content, you said you might bring in something classic from the rough editing stage, didn't you?
I also did the same thing at first, and even now I think "this is really easy to use" because it's a song by Hanata Alice.
Oh, really?
It's Hanata Alice's "saint" regardless of the weather, so there are a few songs like that.
That makes me happy.
But I think Yojiro-san will have a hard time doing it, but you can't just leave it like that.
But it was good, this song "saint" in this weather. "Your Name" was also wonderful, but I think it's something that not every rock band can do.
I think you can do it at all if you listen to Illion and other units, but I'm surprised if you actually do it.
I think it's amazing and amazing power to write a score at night while doing a tour or something like that.
Rad, you have a lot of weight in the world of words, don't you?
That's right.
So I'm wondering what an instrument will be like, but it's a great expressive power, isn't it?
That's right.
At first, when I was singing, I didn't just sing, but I asked for an instrument.
But at first it was a little too trusting.
I thought you were skeptical.
I understand that.
I think Mr. Kawamura was probably the backman and had him do all the music for the fish action, with the work of Mr. One.
I think Mr. Kawamura had the feeling that he could do something about it.
Mr. Kawamura said something like, "If you're Yojiro, you can do it."
I thought I shouldn't say irresponsible things again.
I was very anxious until the production of the instrument started for a while.
Now he's pulling me so hard that I can't rely on him anymore.
There are places where you can't see it.
There are.
What is the other side of the story that you two can see?
I think everyone recognizes "the weather" and "the sky" as "Shinkai World".
When you look up "the sky" on Instagram, you often see it like "Shinkai Makoto".
That kind of expression...
That's right.
But that's strange.
When I saw the last data, I saw customers who said it looked like "Shinkai".
But that's not the case.
When I started making "seconds, seconds, centimeters"...
I've been trying to incorporate Iwai-san's style of drawing into the animation, and how to incorporate that feeling of shooting into the animation.
I'm sure Sora's expression is one of them, but I wanted a picture like Iwai-san's.
At the time, I was often called "Iwai-san-like".
Young people say "last letter" and "shinkai-like" these days.
It's going around.
That's right.
There are customers who say "If I made Iwai-san into an animation, would it be like this?"
That's something I'm very happy about.
I'm happy about that too.
I was imitating it on my own.
I didn't notice much of "weather boy" when I saw it for the first time, but when I saw it for the second time and understood what it was about,
you can't basically draw what happened and why he's there.
Instead of that, the book he's holding is caught in a thunderstorm field.
I was wondering if there was a message behind that novel's "Holden Coldfield", "tequila" or something like that.
How about you?
He's a boy who can't stand being in that place and goes outside.
I think he's a boy like that who might be immersed in "Holden".
By giving that book to him...
I put it in there as a supplement to the information.
That's right.
But surprisingly...
I'm starting to look at it in your own atmosphere...
Surprisingly, "Wait a minute."
In a good way...
Daimugi put it there.
That's right.
Surprisingly...
This time it's bitter.
Oh, I see. If you don't look at it a little bitterly...
I thought it might be hard to synchronize with his behavior principles.
It's a story about an outsider...
Somewhere...
That's right.
Is it bitter?
In a way...
Well, Hodaka is the protagonist...
Well, what he's doing is a minor crime.
Because he keeps repeating it...
There's also police interference.
Sometimes you run along the line.
That's right.
If you draw it in animation...
You can see it easily.
But if you did it in real life...
It might have been a pretty bad scene.
At first, I saw it with a sense of beauty and fantasy...
But when I saw it for the second time...
Surprisingly, it's not just pleasant...
It's like a burden...
Actually, it's included in it.
If you look at it like that...
It's going to happen one after another...
I felt like the second time was a lot heavier.
No, but I'm happy.
There are also customers who see it that way.
I wanted to make it a bitter story of either one of them.
It's called "Diamond Field".
What I remember is...
The man who killed John Lennon.
All of the releases come out at the beginning of my work.
A guy named Mark David Chapman killed John Lennon, and at the time he had a rye wheat field with him.
There were some Chapman reporters about him.
He was in Hawaii at the time. He came out of an island and spent a week or two in front of a Dakota House in New York.
Finally, he committed suicide.
His strange behavior for a week or two was like something out of a movie.
There was a time when I wanted to make something like this into a movie.
At first, I thought about it from that idea, and while I was doing various simulations, I thought about making it a normal Sunday story, not a murder case.
And I came up with "The April Story".
Oh, really?
The model was Chapman.
Oh, really?
The girl who played Matt's role.
The original model was actually a guy who was trying to kill John Lennon.
If you don't tell me about it, it's not going to work.
Still, it remained as a remnant idea.
I said I was interested in Lillie Shushy.
Lillie Shushy's base story is a completely different story.
The story of Chaplin, who went to kill Joanet with a lime tree bush, is being told in the story.
I see. Speaking of continuous motifs...
When was "Love Letter" released?
It's been 25 years.
Yes, 25 years.
It's been 25 years.
It makes me nervous.
But when I first heard of "Last Letter", I thought of "Love Letter" first.
Isn't the first story a little similar?
It's like a letter based on misunderstanding.
Yes, it is.
I thought, "What does Yuai-san have here?"
Did something like a misunderstanding in the letter somehow change it?
The motif of "Love Letter" reaching someone you don't love...
I wondered why it was used again 25 years later.
I wonder, too.
It's strange to say that the pattern grew in me.
Looking back, there may have been various factors.
One thing I remember is a short short story I read when I was a student.
It's called "Love Letter".
It's written by an S.F. writer named Jack Finney.
He bought some old furniture and there was a letter in it.
He wrote a response to it and put it in the drawer, and the response came back again.
It's connected to space-time more than a hundred years ago, and it's like an exchange of those sentences.
I don't know if I liked it or not, but it's called "Love Letter".
It's a Japanese-made movie called "Love Letter".
When I was in high school and college, it was in the Roman Polnon category, and it was directed by Shioichi Higashi.
The actress was Keiko Takahashi, and it's about a woman who lives with a poet.
There were many elements like that, and I wanted to do it under the title "Love Letter" with letters like that, and I think it was connected to "Love Letter" in that way.
It wasn't your own experience of writing letters, was it?
I don't know if it was my own personal experience of writing letters, but at that time, I received a letter from a person at Dante's Night Scoop, and I don't know why it arrived, but it was probably a confession.
When I went to the sender, it was a high school or junior high school girl, but there was something like "Would you like to communicate with me?" behind an old magazine that my mother had.
So I sent it over there.
That's where space-time became a letter exchange beyond space-time in the real world.
That was one of the reasons. I saw it and wrote "LOVE LETTERS" right after I saw it.
Masaki's "Dante's Night School".
That's right.
I see.
That's one of the reasons. I guess I didn't realize it until then, but "LOVE LETTERS" and I have been together for a long time since then.
Thanks to "LOVE LETTERS" being very popular in Asia, I made a lot of Korean and Chinese acquaintances and friends, and I got a lot of unexpected things in my life.
It's the same for Japanese fans, but I made something like a sister version of "LOVE LETTERS" and I don't feel grateful for it, but I think I had a desire to deliver it to fans.
In terms of "last letter".
So, if I could deliver it to Japan, China and each of my fans, it would be a little motivation for me.
Koreans sometimes know the word "how are you?"
That's right.
I think it's interesting.
Is it a letter from Chifa? There is a prototype of "last letter".
That's right.
Originally, there was a short story called "Chang's letter", and I took it in Korea and thought it was interesting, so I thought about trying it out.
I showed this to a Chinese producer friend and a Japanese producer friend, Genki Kaneda, and we talked about doing it in each country, and it felt like we were going and shooting in two countries, so it didn't feel like a lot of horsepower was needed.
It really started in Korea and started in China and went around Japan, China, and Kanto. In the sense of being able to travel to three countries with one movie, I've always thought it would be nice to make a movie like that, so I wish I could go out of the country and travel to various countries like a backpacker with one arm and shoot a movie.
I wish that dream came true a little. I don't know if it's going to happen from now on, but I use up a lot of physical strength, so I think there are travelers who are okay and those who are not okay.
You look okay.
No, I'm surprisingly weak. Especially the first draft was... I broke it a lot.
There are Chinese and Korean versions of "Last Letter". I want to see it. I'm really looking forward to it.
The Chinese version has a different setting for my little brother. He's a character who pulls until the second half of the movie. He's the son of a deceased woman. He's not the son of Yuri, but the son of a deceased woman.
In China, there is a one-man policy, and if there is a brother in the protagonist, there may be a little discomfort, and from such a place, corrections have been carried out, but on the contrary, it has become an interesting development.
In Japan, it was the first setting, but the novel version was either set in China as it was or created as it was.
The novel version was like this, the Chinese version was like this, and the Japanese version was like this. Moreover, the appearance and arrangement of the characters are complicated.
Is the novel version a little different from the Japanese "last letter"?
It's different. There are also developments that are not found in the Chinese version.
There are episodes where the boy falls in love with Ms. Kokkuri and goes a little spiritual.
I wish I had time to put it in, but in the case of a movie, you have to put it in in two hours, and you have to cut off a lot of things.
What do you see under this sky that you two can see?
Do you have a next work in mind?
It's that time of year right now, so I just have to come up with a plan and I'm just worried about it, and it's almost like I'm trapped.
I read science fiction every day, read fantasy, read manga, and now I've read Takahashi Yumiko's "Inuyasha" and I've never read it.
Have you ever not read it?
I read it when it was first serialized.
Oh, really?
I just watched a few TV anime, and when I read it again now, it was so well done and interesting that I thought so.
When the story starts to move in an instant, the speed of the setup is amazing, and I think that Miko Takahashi is really wonderful and good at it, but I only read such things every day.
I have to go next.
I see.
Is Iwai-san already in?
Well, we're on our next project right now.
Some of them are already stocked, and we're like, "Which one are we going with next?"
Speaking of which, there's a new novel I wrote at the end of last year, and I'm trying to move it now.
And there's a sequel to "The Last Letter" that came out in the theater, and I thought I'd like to take that content.
Oh, really?
It's already written.
Oh, I see.
Are you going to put the tools in there?
Not yet.
Some of them are already printed.
It's a detailed story, but in fact, I was able to print them out in whole.
Oh, really?
You already had them?
Yes, but it's going to be a lot of work if you put them all together.
I see.
I'd like you to deceive me for a moment and put only "Lippanwinkel's novel Kanagi" in the middle.
Oh, really?
There are a few pages of the original novel in the first few pages.
I used my college years as a motif.
It's a surprisingly cheerful youth story.
Oh, is that so?
However, in the second half, there are many tragedies that lead to "Illustrator".
It's surprisingly voluminous, and I'm wondering how I can put it in a two-hour film again.
No, but I want to see it.
I'm thinking of making it into a movie.
The scene at the izakaya was wonderful, wasn't it?
Even though it's only that one scene, it feels like you're carrying something really heavy behind it.
I see, it's because there's a novel.
That's right, that's where I'm playing.
Fukuyama-san reads it whole and plays it while carrying it in that mood.
In that sense, I was very relieved that I had written a 200-page novel there.
If it was empty, I think I would have wanted to put it in the back of my mind, but I'm glad I wrote it.
I was confident that I could get that poem out of it.
That's a pretty terrible story, isn't it?
Fukuyama-san read it and played it out.
I read it while thinking that the presence and way of speaking were similar to Iwai-san's.
Maybe it's a novel I've read.
Maybe you were able to convey that kind of feeling to Fukuyama-san.
It wasn't me, but there was a film research conference and it was a setting that made me look like a model.
Maybe I imagined something like me in Fukuyama- san's acting plan.
Maybe you were able to convey that kind of feeling to Fukuyama-san.
I'm still here. Is there still love that can be done?
I know what you want to say, but I ended up asking you.
It was okay. We always had a lot of interesting conversations.
I was most surprised that that novel actually existed.
This is a story about the world's secrets that only you and I know about.
This is a story that starts with your death.
You must have loved me so much, and I'm sure I loved you too.
It's also a summer story about the people you love around you.
I want to continue watching the story that you and I are weaving under this sky.