'One Piece should be made by a young staff.'-
- Well
first of all, I wonder if you'd let me ask exactly why Mr. Shimizu appointed
Mr. Uda as the Series Director?
(Laughing
Together)
Uda: His
congratulatory speech was only 30 seconds long!!
(Laughing
Together)
- So after
a series of events like that which led to the decision of the Staff, Sensei and
Mr.
Oda: That was a
pretty wild one wasn't it (laughs)
Oda: I don't
know anything about the world of animation and I also had no idea about how to
go about putting out animation so back then, in the start, I was really nervous
too. First, I had no idea how far people were willing to think about the
project for me... So at first I just had an attitude like, "I'll just say what
I can.", and I was pretty nervous.
Actually,
everyone was really great and I'm so happy.
'So long as you love the
piece, I don't mind what you do.'- Oda
-With
respect to the animation's scenario, how do you arrange it working from the
original story and has Sensei been present for any of that?
Oda: For the
time being yes. But, in the manga I draw scenarios
which are agreed upon, after that in the animation I don't really mind how any
part is handled. So long as the people really think about the characters and
love One Piece, then I think they can do anything.
Oda: As
expected you wanna see Luffy.
You could say we want to have Luffy wow-em'first.
-For Oda Sensei, do you ever watch or check for parts [that make
you think], "This whole part was changed."
Oda: Hmmm, I guess,
for me, those are the times I truly enjoy the most. But beyond how this or that
part is, seeing a world where my own manga is moving
and talking is what I enjoy. When the animation begins, the words 'Original
Creator Eiichiro Oda' come
up right? When I saw that I gave myself a round of applause.
(Everyone Laughs)
Oda: Even more
than the construct of the tale, the production of it are what moved me. The
episodes that are directed by Uda are just fantastic.
Essentially, I believe that in manga and animation,
the importance lies not in the story, but in how it is directed.
'Episode 86 is the piece where Uda-kun's
strong will was born.'-
-Oda Sensei, as you actually viewed the animation,
what was, for you, the number one surprising or moving thing?
Oda: Yeah
that'd be hearing sound added to it, it's mortifying. Music
too. It's such an dirty trick. In manga, no matter what you do, [with respect to sound] it
just can't beat animation.
Uda: With
respect to the success of how we use the sound, I also worry about it a great
deal.
Oda: For the
parts that get used, to put it one way, they've got to use what they have to
work with. The higher your degree of freedom is as a creator, the more
difficult it gets, that's how it is right.
Oda: Talking
about using the hymn, I'd heard it beforehand but when I listened to it I just
shouted out, "Woah, is that what it sounded like!" That was a fantastic
expression of music. You might think that using a hymn at a time of death is an
obvious expression, but for a creator to actually use that is an amazing power.
When you sum it all up, I think it's that kind of thing which is the power in
beauty.
Uda: We've got
the creator's model so it's no problem. I think it must be such a hassle for
Mr. Oda! I mean, he's gotta
start from a pure white sheet of paper!
Oda: That's
because it's really nothing. You could go anywhere and have someone that could
put it out.
Oda: Oh well
that, that's because I'm so capricious. It's exhausting. An emotional story is
just tremendously tiring! Before I make people cry I'm the one who has to cry
alone. When I arrive at thinking about [the form] of the story and I think, "Wow
that's what I call a good story!", at that moment the tears just start pouring
out. So if I think about that moving story for as long as 30 minutes, it just
gets to be that I won't be able to do anything for a day. If I actually have to
draw one of those emotional stories all day, it's just impossible. It just all
hits at once. A bull's-eye.
Uda: Oh yeah
when it rains it pours. Even when just drawing the storyboards that happens. At
the time when Bellmere passed away (Episode 36) the
scene where she was shot was indeed right to the end, very difficult to draw.
Uda: Yeah, I put myself in there. [That part] Made me agonize two-fold, or three-fold・hould I show her getting shot to Nami and Nojiko, or maybe it would be best if I just tried to conceal it well・o:p>
Uda: I think
that real people about to be shot would think about many things. At the very
last moments, you would want to express your thoughts to someone of great
importance to you and meanwhile helplessly being seen the instant you池e shot
are all involved. I guess I just kind of thought, in this world at that period,
this is just another one of the many circumstances. The moment you're being
shot is cruel so considering the impact it would have on the mental health of
children like Nami and Nojiko
who were about ten years old, even if you break down your ego, it wouldn't be
unusual to be in shock, however, "Before even riding out beyond that, there's
something else.", is what I think Bellemere's true
message probably is. The instant she was thinking that is what I drew with all
my might.
Oda: Because this
is a world that's a little different from real present day. When thinking about
the tale, it's to move the characters along but actually one has to endlessly
be grasping for what each character would be thinking in each circumstance. Do
that and when you step into that character's emotions you play right into their
hands.
Uda: Frankly
giving the characters emotion, that is the most painful technique. To cry, to
laugh, to get angry, when you say so it is so, you think about why that person
is angry and you have to bring it out in yourself.
Oda: Right? [Uda is] Someone who does this and thinks on my behalf, it's
really great isn't it?
'Before you know it, the
characters just move about on their own'- Oda
- Speaking
of Mr. Uda, when you read the manga,
is there a certain point to pay special attention to?
Uda: For One
Piece, isn't there always something like a highlight in each chapter? First I
try to find that part.
Oda: As for my
storytelling method, I call to mind that highlight and so I can make it hit
home with the readers while creating it I think to myself, "What kind of story
is important [for this]", Then finally I make certain the highlight ends up as
a story, and after that I think about how it should move along best.
Oda: YEAH! So,
since they move about of their own will there are some who just end up popping
up without even being caused by my own thoughts! Man, it was around the time of
Drum, everyone was so moving about by themselves! Originally that whole
Drum part was in a fixed position linked to Alabasta
as an introduction. It was a symbol that showed the good king of Alabasta in contrast to an evil king. It proposes a
question, even in the same country, if only the king changes, can this or that
be different too?
Uda: I
generally think the theme of One Piece is teamwork, or perhaps that the meaning
of acting in a group carries some nuance doesn't it? How the Luffy Pirate Crew came to be, it's all about who Luffy selects or doesn't select as a member, that
evaluation process is all a part of it. After all, I think this was true in Alabasta, in Drum, a 'country' is the
personification of the concept of a group. That plus, including this so-called Luffy Pirate Crew, what really is this thing we call a
group? I have always thought that this is the biggest theme in One Piece.
Oda: A group is
influenced by the waves of the times. After all, if people swarm together, it
will bring birth to an unstoppable force... That is actually one big part of the
theme. I uh, I write in pretty minute detail when someone makes a certain
action, how the people around that individual will respond. Normally when
making a story move along it's fine to simply draw the
main characters. But rather than just that, I want to write about what the
townspeople think by putting all feelings in their place within a scene.
Uda: Well I
really like theater. When I go see a show, when the main character takes the
spotlight and performs, on the side where the spotlight isn't hitting, I love
to see in what way the supporting actors on the side respond. That response's
action is completely different depending on the actor, "Well ain't that something! Even though it's the same scenario it
can be this different I guess."
Oda: That's
just how it is isn't it. When you film a location on camera, you take the
biggest reaction which comes from the lead actor, but opposed to that is the response
of some kind of opinion, there's synchronization too. So if I don't gather
everything together and draw it out, I can't fully express the situation or the
background of the period.
Shimizu: Normally if we thought about doing
something like that ourselves, it would end up being either too simple or so
fake that it couldn't even come together, however, in the case of One Piece
each individual character stands up in the face of an emergency so there's a
need for that, you don't normally do that kind of thing.
Uda: I talk
with Character Designer Koizumi** about stuff like, "One Piece is really a
'Work of Characters' isn't it?" What I mean by 'Work of Characters' is that
each character [acts] as an individual. That is the absolute most important
point right?
- Even
though you're making an animation, have you ever felt the characters moving on their own?
Uda: Yes
definitely, of course. I think it's simply that the direction of the manga and animation are now naturally coming to be one in
the same.
Oda: In other
animation, if you take the original work and the animated one then look at them
side by side, there are so many that are polarized in
opposite directions. I think that among all of them, only this one consistently
moves along in that fashion and it is just fantastic.
'In just one piece of
work we slip in 3 themes.'- Uda
- Well
then, in conclusion, would each of you please give a message to the readers!
Uda: Ah
yes・hings like the messages or themes that we want to express, each time we
sneak them as is into the show. Within just one story we try to slip in at
least three themes. Of course you don't have to catch all of them, but I think
you can feel at least one of them.
Oda: I uh, I'm
enjoying making something with these wonderful people so I think if I can
express just that to everyone I'd be very happy. Yeah. (laughs)
*Mr.
Shimizu is referring to the Fuji Television Producer who at the time was Mr. Yoshihiro Suzuki. Mr. Shimizu is a Toei
Animation Producer.
** The
gentleman in charge of character design for the animation, Noboru Koizumi. He also creates the animation's original
characters.