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■ Featuring "Ice Cream," August 31 to September 29







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■ I guess it is very hard to remake “Doraemon” for its high quality. How did you do?

Y: We first get to find a drawback on the original for remaking. However, it was almost faultless, which made us worried a lot on the planning. Then, we found we could change a framework of the story a little as far as the core of the original was described. I almost traced the original story in the case of “New Nobita's Great Demon.” It looked a lack of freshness to the audience who have seen the old version. Some praised me for following the original reliably. But it didn’t make me satisfied because the responses were almost within my expectation.


■ You had to create something beyond expectations of the audience…

Y: So I had to try to weave my individuality into the original story. My personality is deforming its lyricism with describing human dramas of its characters.


■ What was supposed to become the core of the original?


"Doraemon: Nobita and the Birth of Japan 2016"
Released on March 5, 2016
Y: Running away means children’s independence and growth, I believe. In the original story, however, the theme vanished on the way and Nobita seldom changed at the ending. It is quietly important to describe changing of the main character in a tale of growth. I, therefore, decided to describe.


■ In other words, that is a story about growth of Nobita?

Y: Yes. That is also a story of a family. In this film, Nobita grows his pets and unfairly is forced to be separated. Nobita needs the process to understand the feelings of parents. There are two parent-child relationships in one story, namely, Nobita & his mother, Nobita & his pets. I desired to describe them well.


■ That explains why Nobita’s mother looked very human as I was about to fall in love with her in the film.

Y: I am so pleased to hear that. It includes reflection of real parent-child relationships among my friend's and mine. When a child runs away from home, the parents must be worried and feel some regrets. Some said parents had to be away from children's adventure at the screenplay meeting. I desired to describe deeper, however, because it was a film.



Yakuwa Shin-nosuke
(Animation Director)


Entered Shinei Animation in 2005.
Assigned to the department of
"Doraemon" production in that year.
In 2014, his virgin directed work
"Doraemon: New Nobita's Great Demon
-Peko and the Exploration Party of Five"
released.
■ How come you hardly focused on Nobita’s father, another parent?

Y: That is the result that I followed the original. His father is big-hearted and so more difficult to make a drama than his wife.


■ You described talking scenes of Nobita’s parents, which brought reality to the audience. For the inserts, we understood the extraordinary adventure was adjacent to our daily life.

Y: Important are the daily feelings. An essential element of “Doraemon” is considered that everyday life is described at the beginning and the ending. So it can be empathetic to the audience. No matter how much we stage unusualness with adventures, people are supposed to be never absorbed in the fictional world without usualness. Well, Doraemon himself is unusual already LOL.


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