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And there and is ready to return the expected streaming platforms with excitement in July. In front of the Yokai-Meets-Sci-Fi-anime series’ second seasonStudio Science Saru and Gkids have come together again with their strength And there and: evil eye, A theater premiere with the first three episodes of his upcoming season. They take off exactly where the first season of Cliffhanger drained from the adaptation of the Creator Yukinobu Tatsus Manga.
While the theater event contains an revealing interview video with its directors, IO9 drilled the veil even further and talked to Abel Gongora, the opening topic director of And there andThe first season and co-director for his coming season. During our conversation, Gongora thought about it The pop culture influences that inspired its creative process and its developing role together with long -term employees Fuga Yamashiro– and how their common creative vision and their occasional artistic differences of opinion contributed to this The Tag Team Ebbe and River of And there and Early production of the second season.
This interview was processed out of clarity.
Isaiah Colbert, IO9: The first season ended with an exciting cliffhanger that tried the fans after more. Was that always the plan from the start, or did the decision develop during production to build anticipation for the second season?
Abel Gongora: This was decided from the start – this is more like a turning book decision. You already have the manga so that you can see where you want to cut, and that was very early in production.
https://www.youtube.com/watch?v=cfpm7tarv0c
IO9: This time you enter into a co-directorate role instead of just taking over the opening of the show in which shady silhouettes and bold typography occurred in Kon -ichikawa style. What resulted in this shift from the opening director to the co-director for the second season?
Gongara: After the opening, I also started helping (Yamashiro). I got involved in the project and then had to understand important things that I should know how the history of the characters. It was somehow smooth because I was already a bit in the season (one). Production is really difficult – it is a lot of work to do one season. Production thought it would be good to have two directors, so working in the first season was not too difficult. I started with all the setting designs that we had at the end of the first season, then it was already decided, so I started slowly (directed) in the second season.
IO9: And there andThe opening topic of creepy nuts became an immediate fan favorite and even won a few anime prices. The sequence shows clear allusions to the iconography of pop culture, such as: UltramanMix courageous stylistic decisions with the unique energy of the show. What inspired this creative direction and do you have a personal favorite moment of its opening sequence?
Gongara: At that time I spoke to the director of the first season (and) he gave me full freedom because we worked together for a long time. He knows more or less, my style. He only asked me to use me Ultraman As a reference – this silhouette images. He would say: “As long as you use it, it’s okay. You can do what you want.” So I started looking at Ultraman And I started finding some ideas on how to use it, and I also added a little more to create a different kind of scenes in the opening. We agreed that we didn’t want the normal look of the show, so it looks a bit more like shiny, chic colors – a little bit of something special.
I showed the director all the ideas and concepts. He liked it. Then I started, I started the storyboard when I got the song. I found the song really cool, so it was exciting to make the storyboard because you have to feel the rhythm and find ideas about the rhythm of the song. Yamashiro was really open to everything. It was difficult, but it was fun.
https://www.youtube.com/watch?v=a1dnxxrpn-o
My favorite part is the silhouette that I did myself. And then some of the rough animation cuts made by a man in the team who is a really amazing animator. I was very happy because I asked him if he could make it on paper and pencil. The picture is like the grain of the paper on the screen. If you stop the frame, it has the real grain of the paper and then the real pencil. This is something that we no longer do in the animation. It’s like a lot of work and I am very happy that this animator did it. It turned out to be very nice. In the end I did the composing because I wanted to push this rough style. Yes, these parts are my favorite in the opening.
IO9: Want to follow the opening of the second season “On My Way” by Aina the End, follow a similar approach to use silhouettes like the first season, or can the audience expect something completely new with the Poppy Sound from Ainas Song?
Gongara: It will be completely different. I can’t say much, but it gets really different and I’m happy about it. I find it amazing. I wanted something else, otherwise it could look like trying to repeat something that was good, and I thought that would not be interesting. But yes, you will see.
IO9: In the Evil eye The director interpretation mentioned that they observe and draw strong inspiration of horror films and Hong Kong cinema to shape their approach to them Evil eye Bow. Which films have helped you And there and‘S Action Meets horror atmosphere in the second season?
Gongara: The main reference for And there and would be UltramanNaturally. I really liked Hideaki Anno made the new version of UltramanPresent Shin Ultraman. We also have Kaiju and such things, so I liked it very much Shin Godzilla And Shin came rider. There are also some common points with Kung Fu films. Sometimes they have a similar storytelling, one influences the other. For example, like a crush zoom in the face of a character, such things are often used in both media. We try to analyze these things.
I am also very influenced by the Foreigner Films. That also fits And there and‘S Science Fiction part and it is very scary. I think the original Foreigner is a really amazing film. I don’t think there is really a film that mixes all of this, but we try to get the ideas and the general influence by watching many films. I think Yamashiro-San would do that too.
IO9: The first season was a huge visual spectacle that effortlessly shifted between horror, action and romance with expressive animation that increased at any moment. Were there certain scenes from the manga that creatively advanced the studio in the second season? Moments when the animation made it possible for the series to bring things to a different level, but turned out to be a challenge to overcome the finish line?
Gongara: ((laughs) We are in the middle of (production) today. We sometimes try new things like mixing 3D to help the animators. Sometimes we have ideas that cannot be done by traditional animation, or it would be crazy to do. We try to find how to use 3D more creatively. There is a bit in it Evil eyeto. We experiment a little with the 3D. We also have a lot of new music in the season and experiment a little with the way we use them.
IO9: You mentioned that you and Yamashiro have already worked together in a collaborative environment. How did the mix of our two styles have to create? And there and Season two? Has it proven to be a tough feeling where you did not creatively agree, or was it a seamless transition for both?
Gongara: Of course, I think (Yamashiro) has a stronger commitment because he decided all the things you can see in the first season, and I tried to follow his direction. Of course we don’t agree on everything. But we shared half of the season. It’s not just like half and half. It is as if I had the first arc, then he gets the second sheet, and then I go back to the third sheet, and then he does something later. We share it that way, but we are still involved in both. Sometimes he helped me add some storyboard parts or some ideas that he had, and I would also (on) inquire with him. We have to decide such things because some designs could appear both in my episode and in its episode. We work together all the time.
We have this background in which we worked together in many projects. (We previously worked with Masaki Yuasa, and we learned a lot from him. So we have a similar view. We agree with many things and our view of animation and cinema is similar. We like to push the perspective and we want to push the expression of the characters, perhaps more than other directors. I hope it is not too difficult for both.
And there and The second season will be premiere in July in July on Netflix, Crunchyroll and Hulu. Evil eye the cinemas in the USA strikes on June 6th.
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