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[37th Tokyo International Film Festival] Ryota Fujitsu Talks About the Charm of Totto-chan: The Window at the Corner: "The Key Element to Watch is the ‘Window Glass’ as a Directorial Device"

On November 1, as part of the ongoing 37th Tokyo International Film Festival, a screening of the animated film Totto-chan: The Window at the Corner—based on the autobiographical novel by Tetsuko Kuroyanagi—was held. Anime critic and Tokyo International Film Festival programming advisor Ryota Fujitsu led a talk show discussing the film.

The original Totto-chan: The Window at the Corner was first published in 1981 and became a massive bestseller, with over 8 million copies sold. Despite receiving offers for adaptation early on, Kuroyanagi had repeatedly declined them, citing the lack of an actor who could properly play the important character of Kobayashi, the principal of Tomoe Gakuen, a key figure in the story. However, in 2016, Shinji Ohmori, the director of Doraemon the Movie: New Nobita’s Birth of Japan, picked up the book, and this marked the beginning of the film adaptation process.

At the time, Ohmori, now a parent, was deeply affected by the news of wars and disasters around the world, especially the suffering of children. He wanted to create a work that was linked to current events but still carried a sense of hope. Totto-chan was the perfect fit. After presenting the idea, Ohmori continued close communication with Kuroyanagi and moved forward with pre-production, which culminated in the film’s release seven years later.

The character design and animation direction were handled by Shizue Kaneko. The design was influenced by illustrations from children’s magazines published in the early Shōwa period, while also incorporating the three-dimensional quality of sculptor Katsura Funakoshi’s works. An unusual detail in Japanese animation, the addition of red coloring on the characters’ lips, was inspired by these children’s magazines.

Fujitsu also highlighted the contribution of Kyoko Yanai, who was responsible for the background art. Drawing from her knowledge of early Shōwa-era architecture, along with location scouting and materials provided by Kuroyanagi, Yanai meticulously designed the various spaces. Art director Tatsuya Kushida then added color to create the sense of light and atmosphere.

Fujitsu encouraged the audience to pay special attention to the “window glass,” calling it a key element in the film. He explained that the attention to detail in the windows helped convey the changing landscapes of the city as it moved from the wartime era to the end of the war. The realistic portrayal of these transitions makes the scenery feel very immediate and impactful for the viewer.

In Totto-chan, the story is told through the eyes of a child, and while major societal changes occur in the adult world, these changes often feel like small, subtle differences or discomforts to a child. Fujitsu pointed out that the way the film balances this perspective is particularly well done. For example, scenes that offer glimpses into the adult world are deliberately shown through glass windows, emphasizing the child’s sense of separation and distance from these changes. This balance in perspective is one of the highlights of the film.

At the same time, the film features scenes where the childlike imagination is expressed through the freedom and creativity that animation allows. Fujitsu noted that the combination of realistic scenes and the more imaginative, fantastical sequences gives the film a unique charm. This ability to blend realism with the whimsical nature of animation is one of the film’s greatest strengths.

©Kuroyanagi Tetsuko/2023 Totto-chan the Movie: The Little Girl at the Window Committee

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[37th Tokyo International Film Festival] Director Shigeyoshi Tsukahara Reflects on Casting Kanda Hakuzan as the Lead in Kurayukaba" I Hate Explanatory Dialogue, I Wanted the Lines to Flow Like a Koudan Performance"

On November 2, a talk show for Kurayukaba was held at Kadokawa Cinema Yurakucho, with director, writer, and screenwriter Shigeyoshi Tsukahara in attendance.

Tsukahara, who has worked on stage design for the band SEKAI NO OWARI and has been involved in anime production, has been an independent filmmaker for many years. Kurayukaba marks his debut as a director of a full-length animated feature. The film, which follows a private detective as he delves into the underground world of Kuragari to uncover the mystery of a mass disappearance, showcases a unique retro world. It won both the Audience Award and Gold Prize in the feature animation category at the Fantasia International Film Festival last year.

The story is set in the retro underground world of Kuragari. Tsukahara explained, “I’m from Tokyo, and there was a time when I became interested in the history of the city. This film is inspired by the area around Oji in the northern part of Tokyo. It’s very much influenced by the fictional Tokyo I imagined." He also mentioned, “I love Tokyo’s subway system. The subway is like a nearby, accessible otherworld. Places like Bakurocho Station are fascinating. There’s always underground water, and water drips everywhere. It’s amazing that such a place exists in central Tokyo. I think the underground is the best representation of an accessible otherworld.”

He continued, “The story is about an adventure in the underground, which was the foundation of the concept. From there, I looked into other works with similar themes, like the Japanese myth of Yomotsu Hirasaka, where people search for the dead or those who have disappeared. That became one of the motifs for the story.” Tsukahara also shared that the film’s development was a long process, saying, “The concept took a long time to come together, and the project wasn’t easily accepted. Whenever I brought the project proposal to others, it was rejected. I wanted to incorporate that feeling of stagnation into the protagonist, which led to the creation of Sotarou.”

Sotarou, the protagonist, is voiced by the famous and highly sought-after storyteller Kanda Hakuzan, known as the "most difficult-to-book koudan (storytelling) performer." Tsukahara reflected on the casting decision, saying, “I was unsure about Sotarou’s voice. Given the story, Sotarou speaks a lot. As a detective, he often delivers explanatory lines, which I personally dislike. It feels like the flow of time in the story halts in those moments. But I thought if it was delivered in a koudan-style, it could flow more naturally.” Tsukahara also mentioned that Sotarou’s character was not part of the original concept. “Initially, the character of Tanne (the commander of the black armored train) was the one intended for a full-length film. Sotarou’s role was added later, and initially, he was more of a passive character, but over the course of production, we decided to make him a stronger protagonist."

Asked about the production process, Tsukahara revealed, “We started by finalizing the main plot, and then jumped straight into storyboarding. During that stage, we made adjustments to the script, adding more dialogue and interactions where we felt the scenes needed them. Usually, in animation, you finish the storyboard first before starting production, but this time we worked on the storyboard and production simultaneously. This led to some issues as the production team was trying to catch up with the storyboard, which was not completed. It’s not the best method, so don’t try to copy it,” Tsukahara joked. “But for this project, I think it worked out fine.”

The film features a unique credit for an "animation director" (so-called "Sousetsu"), a term Tsukahara coined. He explained, “It’s a term I created to describe a role similar to flash animation. It’s not fully automatic in-betweening, but it’s a process that uses fewer staff to handle the workload. The animation industry is short on personnel, so this approach, where we made do with the small team we had, seemed like the only viable option.”

Tsukahara also reflected on the mystery elements in the film, saying, “Initially, I wanted to make it a more fantastical, literary work, but to make it commercially viable, I decided to add mystery elements.”

Finally, when asked about his next project, Tsukahara shared, “After making my first full-length film, I now understand the things that get communicated to the audience and the things that don’t. I’d like to create another film, building on that understanding. I still want to explore the concept of traveling through other worlds, but this time, I want to make something more entertainment-focused."

The event concluded with Tsukahara expressing his enthusiasm for his future work.

Check out the details of the stage greeting event here (with interpretation).

©Shigeyoshi Tsukahara/KURAGARI Production Committee

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37th Tokyo International Film Festival Film Look Back Talk Event

November 2nd, “Look Back” was screened in the Animation section of the ongoing 37th Tokyo International Film Festival. Appearing on stage were director, scriptwriter, storyboard artist, character designer, and animation director Kiyotaka Oshiyama, along with voice actress Yuumi Kawai, who played the role of Fujino, and Mizuki Yoshida, who voiced Kyomoto.

This film has become a major hit, surpassing 2 billion yen in box office revenue. When asked about the reactions from those around her, Kawai shared that she felt a different kind of response compared to her previous films, noting that the audience reach has expanded. She also mentioned the screenings abroad, expressing her joy by saying that she received messages from acquaintances in the United States and could personally feel the tremendous response.

Yoshida shared her joy at receiving various comments from overseas on her social media and mentioned that when the film was recently released in China, her father, who happened to be in China at the time, went to see it there. She expressed her excitement about how the film is spreading globally, noting that word of mouth is reaching international audiences and that she felt the potential of Japanese animation.

Director Oshiyama recounted his recent experience when he visited Los Angeles and attended a preview screening for members of the anime industry. He shared how, after the screening, many people lined up to express how much they enjoyed the film, giving him a tangible sense that the film had reached American creators.

Director Oshiyama, who also served as the character designer, was asked how much he had envisioned the voices while drawing. He responded that he hadn’t imagined the voices so vividly that they were playing in his head. However, when he heard the voices of Kawai and Yoshida during the auditions, he felt that they perfectly matched his vision and even exceeded his expectations with their voices and performances. He shared his thoughts at the moment he chose the two actors.

This was the first time for both Kawai and Yoshida to take on voice acting. When asked about their impressions of each other, Kawai shared that during the recording sessions in the same booth, she was inspired by the determination, passion, and earnestness that she could feel from Yoshida’s presence as she stood at the microphone. Yoshida, on the other hand, mentioned that despite it being Kawai’s first experience as a voice actress as well, Kawai displayed versatility and adaptability, making it seem as though she and the character Fujino were in perfect sync. Yoshida further expressed that the “earnestness” Kawai saw in her was a trait she shared with the character Kyomoto. Both actresses felt it was fate that Kawai and Yoshida were chosen to portray these characters.

When asked about adapting the heartfelt original work into a film, Director Oshiyama shared that since the original author, Tatsuki Fujimoto, wrote the story for himself, Oshiyama aimed to create a film that he, too, made for himself. He expressed his passion by saying that he poured that sentiment into the movie.

To commemorate the film’s success, a bouquet of flowers was presented to the director. Kawai expressed that this work had become a major source of motivation for her and conveyed her gratitude for being part of it. Yoshida shared that when she was losing confidence in her voice, this film helped her feel validated. She also expressed her appreciation for encountering this project and the team involved.

Check out the details of the stage greeting event here (with interpretation).

©TATSUKI FUJIMOTO/SHUEISHA ©2024 Look Back Film Partners

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[37th Tokyo International Film Festival] "A Few Minutes of Cheers" Talk Show / Director Poplica: "I made it with the feeling of consuming 30 years of my life!"

November 3rd, “A Few Minutes of Cheers” was screened in the Animation section of the ongoing 37th Tokyo International Film Festival. Appearing on stage were director Poplica and anime critic Ryota Fujitsu as the interviewer.

This film is the debut feature directed by Poplica, Ohajiki, and Magotsuki, a creative team from Hurray!, a video production group known for creating music videos for the band Yorushika. The story follows Kanata Asaya, a high school student who is passionate about making music videos. One day, he meets Yu Orishige during a street performance and becomes determined to create a music video for her song.

When Fujitsu asked Poplica if there was any concern about creating a feature film with an illustrative design style, Poplica responded, "I had a lot of concerns." He explained that the storyboard was very simple, only showing the character's expressions and rough framing, saying, "It’s the opposite of something like Studio Ghibli’s detailed storyboards." He continued, "We made everything based on the storyboard and then made adjustments to the layout at the very end."

Poplica also shared that the approach to creating storyboards for a music video and a feature film is "exactly the same." He added, "Scenes are just connected one after the other, so to put it bluntly, it felt like making 20 music videos and stringing them together."

When discussing the use of light and shadow for dramatic effect, Poplica revealed that they tried to always depict the teacher (Yu Orishige) in backlight and Kanata in front light as much as possible. For instance, "In the teacher's office, I made sure the teacher was always in backlight when seated. Another thing I wanted to express was the sense of moving toward the future when facing right, and toward the past when facing left. Kanata always faces right, while the teacher faces left." He also explained the scene with Kanata’s friend, Daisuke Sotozaki, where his sketchbook is placed in shadow, saying, "It’s not visible to the audience, but I wanted to convey that effort was made out of sight."

In this film, which deals with the theme of "creating things," Poplica admitted that he considered focusing on other aspects of creation, such as writers, but he felt that just hearing their stories would not be sufficient. Therefore, he decided to base the film on his own experiences, despite feeling embarrassed about it.

Regarding the use of voice in the film, Poplica shared that during the tape audition, "The voice I had in my mind from the beginning fit perfectly." He also mentioned that he felt like he was making music while working on the dialogue, as he could decide when the music and lines would come in, which added to the joy of making a feature film.

Finally, when asked if making a feature film gave him more confidence, Poplica said, "I made it with the feeling of consuming 30 years of my life! So, I wonder if I could make something similar next time." However, he added with conviction, "If someone tells me to do it and I think it would be interesting, I think I can do it. And I’m confident I can create something with the same kind of direction as this."

Check out the details of the stage greeting event here (with interpretation).

©「A Few Moments of Cheers」Production Committee

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At the 37th Tokyo International Film Festival, Yoko Asagami, the voice actress for Yuki Mori, reflected on her role in Space Battleship Yamato "For me, Yuki Mori is a very significant presence."

November 4th, at the 37th Tokyo International Film Festival, the animated film Space Battleship Yamato was screened as part of the animation section. First aired on TV in 1974, Space Battleship Yamato is considered a landmark in Japanese sci-fi animation and is said to have changed the very nature of anime. On this day, the 4K remastered version of the 1977 theatrical film, which is a compilation of the TV series, was shown. Prior to the screening, Yōko Asagami, who voiced the heroine Yuki Mori, took the stage for a greeting.

As Asagami stepped onto the stage, she addressed the audience with the same voice she used 50 years ago, calling out, “Kodai-kun” to the crowd. "To all the Yamato fans, and everyone who has supported Yuki Mori, my heart’s Kodai-kuns, thank you so much. I am Yōko Asagami, the original voice of Yuki Mori," she said, which was met with a loud round of applause from the audience.

Asagami is often described as part of the “first generation” of voice actors who aspired to the profession. She has loved anime since she was a child, watching shows like Astro Boy and Moomin.

"I thought that if I became a voice actor, I might get to meet Mari Shimizu, who voiced Astro Boy," Asagami recalled. "I tried speaking myself and thought, 'I can do this!' But I didn’t know how to become a voice actor..." She went on to explain the turning point: "When I graduated from high school, Japan’s first voice acting training school was established. People from the anime industry came to teach there. Right after I graduated, I was cast as the voice of Lisa in Zero Tester (1973). While recording, I ran into Mari Shimizu coming out of another studio, and it was so exciting to meet my idol!" she laughed as she shared the story.

■The Newcomer Voice Actor Playing the Heroine Yuki Mori
Soon after, Asagami won the role of Yuki Mori in Space Battleship Yamato through an audition. Asagami's portrayal of Yuki Mori, the heroine who falls in love with the protagonist Susumu Kodai, was significant for her. In the first series, Yuki Mori was set to be 18 years old, the same age as Asagami at the time. “I was really happy. I wanted to voice an anime character, and I especially wanted to play a main role,” Asagami said. “The studio was full of older voice actors, so I was constantly nervous. Later, Ichirō Nagai (who voiced Sanada) said to me, ‘Back then, Yoko, you couldn’t even sit down. You were pressed up against the wall, just staring at the seniors.’ (laughs) I was so nervous that even the sound of my chair creaking felt like I was doing something wrong, so I tried to make myself disappear.”

Reflecting on her early days, Asagami continued, “At that time, there were hardly any voice actors of my generation. So, I thought I shouldn’t be doing it at all. But I thought, if I could just put my feelings into it, it would be okay to use my own voice. Then Director Tashiro told me, ‘Just do it as you are, it’s fine.’ That gave me the courage to stick with it and go all the way.”

While Asagami was nervous in the Space Battleship Yamato recording studio, she recalled an episode with Kodai’s voice actor, Kei Tomiyama: “Kei-san was so kind. As I mentioned before, I couldn’t even sit down, but he would always say, ‘Yoko, here’s a seat for you. Sit down.’ Kei-san was always giving me a place to sit. On the other hand, Kō Kimura (who voiced Hijikata) was strict, telling me, ‘Yoko, when you stand in front of the microphone, you must act like an actress before you sit down.’ (laughs)”

Fifty years later, Asagami reflected, “Of course, it wasn’t an easy job, but when I think back, I realize that in my mind, Yuki Mori only said ‘Kodai-kun’ (laughs). I thought it was probably because I wasn’t very skilled back then. But now, seeing the re-screening, I’m surprised at how much she actually spoke. The movie we’re screening today is a 4K remaster, where they re-recorded the lines from the TV series, and when I watch it again, I can tell that it’s a little different from the original TV series. But I honestly don’t remember doing those re-recordings at all (laughs). So, when I hear my own voice, it surprises me.”

■The Role of Yuki Mori in Yōko Asagami’s Career
So, what has the character of Yuki Mori, the heroine of Space Battleship Yamato, meant to Yōko Asagami in her career? “I was really happy to receive so many fan letters. But they weren’t addressed to me; they were addressed to Yuki-chan. Back then, I was confused by that difference. I’m me, and I want to play many different roles, so I had times when I struggled with that," Asagami revealed, sharing a voice actor's unique perspective on voicing a popular heroine. She then added, “But at the same time, Yuki Mori is a very important character to me. Especially in recent years, I’ve come to realize how much she means to me. To have been a part of such a beloved work that has been celebrated for 40, 50 years, I feel incredibly fortunate. There were so many talented, unique senior actors, and the depth of their performances really enriched this work. Being in that studio with them was such a big deal for me.”

She continued, “I’m really happy to be here today and to connect with all of you. It makes me feel that we’re still connected, and because of that, I think I’ll keep going for a little longer (laughs). Many of my senior colleagues have passed on, but there are still so many of us who are healthy and active. With the upcoming screenings of Space Battleship Yamato, there is a new ‘Yamato’ for future generations. I hope that, at some point, I might be able to contribute my voice again in some way to that new ‘Yamato.’ I would be happy if everyone continues to support Yamato with the same love. Thank you so much for today,” she concluded the stage greeting.

Check out the details of the stage greeting event here (with interpretation).

©TFC/S.NISHIZAKI

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[37th Tokyo International Film Festival] Movie "Make a Girl" Talk Event / Director Gensho Yasuda: "It started from the question of whether it would really be completed."

At the 37th Tokyo International Film Festival, the world premiere screening of the animated film Make a Girl took place on November 5th in the animation section. Director Gensho Yasuda and voice actress Atsumi Tanezaki held a talk event before the screening.

This film marks the first theatrical animation project by Gensho Yasuda, a renowned anime creator with over 6 million total followers on social media. Yasuda took on almost all the roles in the film, including original concept, script, and direction. Set in the near future, where robots that assist people’s daily lives have become commonplace, the story centers on the conflict between a genius named Akira Mizutame and his creation, an android girl known as "0." The film is a groundbreaking cyber-love suspense story.

Before the film was shown to the audience, Tanezaki, who voices the character "0," said, "The dubbing was done quite some time ago, so it’s finally the day when the audience can see the movie. I’m happy that people can watch a film that is filled with the director’s feelings. I’m sure many have been waiting for it, so I want them to see it as soon as possible," she said with a smile. Director Yasuda, on the other hand, reflected, "Even though I say we made it as a team, it was really just four animators and three modelers who worked on a 90-minute film, so we started with the question of whether it would really be completed. But I’m honestly surprised it turned out to be something we could finish. Now, just before the screening, I feel a sense of relief and relaxation."

When asked about the origins of the film, Yasuda explained, "I usually start with the concept. This time, it came from a period when I was a NEET (Not in Education, Employment, or Training) and had a contradictory desire to connect with others, even though I didn’t want to interact with people directly. This led to some thought experiments and wordplay, and when the idea of 'What if we made friends scientifically?' came up, I thought it could evolve into something bigger. This eventually became the short animation Make Love, which is the origin of this project. For the film version, I modified the short film to explore the aspects I wanted to focus on in a longer format."

Tanezaki, who played the android character, shared her thoughts on approaching the role: "Although the data and records are inputted, the experiences after being activated are like a blank slate, so I imagined it was like a newborn child. I thought about how the character would grow by interacting with people and observing them. Since she starts from a blank state and grows over time, I wanted to approach it in a way that reflected her development, just like how I would grow alongside other actors during the dubbing process."

Tanezaki also recalled an episode during the dubbing sessions where she asked Yasuda about her character. After responding to her question, Yasuda thanked her by saying, "I’ve learned so much from this production," which left a lasting impression on her. She said that Yasuda’s attitude of always staying alert and eagerly absorbing everything for the sake of his work was very inspiring. Yasuda, in turn, reflected on how Tanezaki’s questions were stimulating, explaining, "Seeing how you approached the character was a great source of inspiration. I realized that expression could be developed from the perspective of voice and acting, and I think this will be valuable for future short films and other projects," before thanking Tanezaki once again on stage.

Check out the details of the stage greeting event here (with interpretation).

©Yasuda GenshoXenotoon・MAKE A GIRL PROJECT

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[37th Tokyo International Film Festival] "Ghost Cat Anzu-chan" Talk Show / Director Yamashita: "I Enjoyed the Sense of Distance from the Work"

On October 30th, the anime Ghost Cat Anzu-chan, a Japan-France co-production, was screened in the animation section of the 37th Tokyo International Film Festival. Following the screening, a talk show took place with directors Haruko Kuno and Atsuhiro Yamashita, along with Akiko Takahashi, who was responsible for the Japan-France co-production.

The film is based on the manga of the same name by Takashi Iwashiro and tells the story of a kitten named Anzu, who is found by a temple priest. Anzu lives for decades, never aging or dying, and by the time 30 years have passed, she has transformed into a ghost cat.

The movie was created using a technique called "rotoscoping," where animation is traced from live-action footage. Director Yamashita oversaw the live-action filming, while director Kuno handled the animation. Actor Mirai Moriyama provided the voice and motion for the ghost cat. The film was officially screened at the Directors' Fortnight at the 77th Cannes Film Festival and has been officially selected for the 2024 Annecy International Animation Film Festival’s Feature Film Competition, drawing attention from around the world.

Director Yamashita, who took on the challenge of filming with rotoscoping, said, “It was purely fun. Even though it’s a film I directed, the final product is an animation, so there was a sense of distance from the work, and I found that really enjoyable.”

On the other hand, Director Kuno shared the challenges of adapting the live-action film into animation: “The shape of Anzu-chan and the sleek form of Moriyama-san were quite different, so there were moments when Anzu seemed to stretch vertically (laughs).” She also explained, “We filmed in a way similar to a real movie set, and the energy from the actors’ interactions was amazing. We were shooting in a location that really felt like the countryside, so bugs would come to our feet, but we ended up incorporating that into the animation, which was fun and interesting.”

Regarding the Japan-France co-production, when asked about France’s involvement in the film’s art direction, Takahashi said, “Personally, I was concerned whether the humor of Anzu-chan would resonate with the French audience. But surprisingly, they understood it very well. I also wondered if the French could capture the essence of Japanese landscapes, and at first, I had some doubts. But the French team really enjoyed depicting the Japanese scenery, and they worked closely with Director Kuno, which made for a truly refreshing experience.”

Check out the details of the stage greeting event here (with interpretation).

©Takashi Iwashiro, Kodansha / Ghost Cat Anzu-chan Production Committee