BONES 25: DREAMING FORWARD
BONES 25: DREAMING FORWARD explores the creation of Studio BONES and its most legendary series. From its high quality adaptation of beloved manga series to unique and original animated stories, this anime storyteller's history will enthrall fans of the long-standing studio. This four part series was shot entirely in Japan and features interviews with more than 30 staff and creators from their most beloved works, such as Full Metal Alchemist: Brotherhood, My Hero Academia, Mob Psycho 100, Bungo Stray Dogs, Eureka Seven, and their 25th Anniversary original anime Metallic Rouge.
Season 1
1 - The History of BONES
Source: Crunchyroll
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[00:03] NA
It's been 25 years since Bones first made
its mark on the Japanese animation industry.
[00:08] NA
Breaking through the limits
of traditional animation,
[00:13] NA
Bones has created numerous
original and adapted series
[00:16] NA
full of breathtaking action scenes,
creativity, and dynamism.
[00:23] OTSUKA
Since before I entered the industry,
Bones was known for its cool action sequences.
[00:29] MIMA
Especially the sound effects,
like blood spray or wailing.
[00:32] MATSUKURA
I suppose I'd describe it
as stylish and powerful.
[00:35] NA
Bones has produced over 80
movies, TV series, and OVA
[00:39] NA
including* Cowboy Bebop: Knockin'
on Heaven's Door*,* RahXephon*,
[00:47] NA
Fullmetal Alchemist,* Space Dandy*,
Eureka Seven, and* My Hero Academia*.
[00:54] NATSUME
They take everything seriously.
[00:55] NATSUME
Every series is handled with
a straightforward approach.
[00:59] ITO
They produce very detailed art
and high quality works.
[01:07] NA
Bones' high technical skills has
produced a wide variety of works,
[01:12] NA
which is achieved by providing creators
with a place to think and create freely.
[01:18] WATANABE
If I told another studio
I wanted to create freely,
[01:22] WATANABE
I doubt anyone else would let me do it.
[01:27] MORI
Bones' willingness to boldly produce original
series is one of their best qualities.
[01:35] MORI
You can feel the philosophy behind it.
[01:36] MONJI
Bones is powerful.
[01:41] MATSUZAKI
Bones has worked on a lot of series
with a large core fan base.
[01:49] HONMA
FMA. I can't believe they got FMA.
[01:53] MINAMI
They must like it.
No, that doesn't do it justice.
[01:57] NA
Bones is constantly pursuing
works that transcend genres.
[02:04] NA
Metallic Rouge, the series commemorating
the studio's 25th anniversary...
[02:14] NA
is a tech-noir science fiction series
[02:16] NA
filled with spectacular and innovative
action scenes featuring androids.
[02:23] SPEAKER
It began with us talking
about making a proper sci-fi series.
[02:28] NA
This four-part program will feature interviews
with founder Masahiko Minami,
[02:32] NA
as well as industry members and creators
with deep connections to Bones,
[02:37] NA
and stories that get to
the heart of the studio.
[02:46] MINAMI
We've been asked to resurrect
memories from decades ago.
[02:51] NA
Get to know the creators who have been
providing the world with dreams for 25 years.
[02:56] SPEAKER
Here we go!
[03:38] NA
The relationship of the core members of Bones
[03:41] NA
dates back to the days
they worked at Sunrise,
[03:44] NA
one of Japan's leading
anime production companies.
[03:46] NA
Sunrise, creator of the popular
series* Mobile Suit Gundam*,
[03:51] NA
was known as one of the primary
producers of robot anime,
[03:55] NA
but they were also popular
for their works from other genres
[03:58] NA
such as* City Hunter and Dirty Pair*.
[04:02] NA
Masahiko Minami got involved in anime
production at the historic Sunrise company,
[04:07] NA
where his talents as a producer blossomed.
[04:11] NA
Eventually he would meet Hiroshi
Osaka and Toshihiro Kawamoto,
[04:17] NA
creators with a strong desire
to create, and together
[04:21] NA
they produced* City Hunter*,
Escaflowne, and* G Gundam*.
[04:24] NA
They would also go on to create
the groundbreaking* Cowboy Bebop*.
[04:30] MINAMI
When I joined the Japanese animation industry,
there were only TV shows and movies.
[04:41] MINAMI
A lot of TV shows in particular were
created to sell toys or plastic models.
[04:53] MINAMI
When I started, the role of producers
was primarily to talk to toy makers
[05:04] MINAMI
and handle project planning.
[05:13] MINAMI
While working as a producer,
[05:16] MINAMI
I frequently had thoughts about
the type of series I wanted to create
[05:19] MINAMI
or what I wanted to create
with certain staff,
[05:24] MINAMI
so Kawamoto, Osaka,
and I left to make a place
[05:30] MINAMI
where we could create in a way
we couldn't at Sunrise.
[05:39] MINAMI
It was around this time
that we started thinking
[05:42] MINAMI
about making animation to be seen
and not just to sell toys.
[05:48] MINAMI
We wanted to make a place where we
could find new forms of expression,
[05:56] MINAMI
new genres, and new themes through creation.
[06:02] NA
In 1998, during production on* Cowboy Bebop*,
[06:06] NA
Minami founded Bones
with Osaka and Kawamoto.
[06:11] NA
However, their goal wasn't
to produce anime in order to sell toys.
[06:18] JULIA
I'm glad we met.
[06:19] FAYE
Me, too.
[06:21] MINAMI
We happened to quit while
we were working on Bebop.
[06:29] MINAMI
We were constantly working on something,
so there wasn't a perfect time to quit.
[06:37] JET
See you later.
[06:39] WATANABE
I heard about Bones being founded during the
final stages of production on Cowboy Bebop.
[06:49] WATANABE
It was mostly the same group
that had been working at Sunrise.
[06:57] WATANABE
It felt like that group had simply
become a new studio called Bones.
[07:03] WATANABE
Even Mr. Minami said not much would change.
[07:09] WATANABE
Nobody was anxious about
Bones being a new studio.
[07:16] WATANABE
Bones' first studio was just a room.
It was a tiny one-room rental.
[07:27] WATANABE
We were worried it wouldn't be enough.
[07:31] WATANABE
Nobody thought we'd become a huge
internationally famous company.
[07:37] JET
Look at all of this.
[07:40] JET
Who do they think is gonna fix this?
[07:44] AMANO
I love the Cowboy Bebop TV series.
It was one of the reasons I pursued this job.
[07:50] AMANO
Even while watching the TV show,
there was something about it that felt really cinematic.
[07:57] AMANO
When I learned we'd be making
a movie for theatrical release,
[08:02] AMANO
I was excited to come to work.
[08:08] NA
Bones was established to produce anime
with an emphasis on creativity.
[08:14] NA
After they left Sunrise,
Minami, Osaka, and Kawamoto
[08:18] NA
completed the series with Shinichiro Watanabe
and began production on the movie.
[08:25] NA
Yoko Kanno composed the music.
[08:27] NA
The smooth animation
was uncommon for the time.
[08:34] MINAMI
On the Bebop movie, all the staff,
[08:37] MINAMI
including Director Shinichiro Watanabe
and Toshihiro Kawamoto,
[08:43] MINAMI
continuously pursued a high level.
[08:50] MINAMI
They refused to compromise on anything.
[08:53] MINAMI
This scene will look like this.
This shot in this scene will look like that.
[08:59] MINAMI
The movie is an aggregation of the tremendous
effort they put into every single frame.
[09:12] WATANABE
Compared to a TV series,
you have more time and money available.
[09:17] ALL
Three hundred million?
[09:20] WATANABE
You might only get two minutes
for an action scene in a TV show,
[09:27] WATANABE
but you get ten minutes in a movie.
[09:29] WATANABE
We ended up with more shots
than originally planned,
[09:33] WATANABE
which meant we didn't have enough animators.
[09:37] WATANABE
Even while working on the TV series,
[09:39] WATANABE
we'd end up being off by a minute
or two in each episode.
[09:42] WATANABE
We were producing about five episodes
worth at once, which quintupled the error.
[09:49] WATANABE
It became difficult to control.
[09:53] AMANO
There were about a dozen or so
main staff working out of the studio.
[10:02] AMANO
Things were quite harmonious
when production began.
[10:07] AMANO
In the latter half, as the schedule got worse
and worse, things became strained.
[10:11] JET
It's an emergency. Can't you do something?
[10:14] AMANO
But we had plenty of staff
focused on the movie,
[10:20] AMANO
so I'm glad I got to experience all of that.
[10:24] SPIKE
Hey.
[10:25] ED
Found you.
[10:27] WATANABE
The staff were passionate.
That definitely helped.
[10:33] WATANABE
People who wanted to animate
the movie had showed up.
[10:40] VINCENT
I'm glad I got to see you at the end.
[10:45] NA
Both the TV series and movie
were hugely successful,
[10:48] NA
and* Cowboy Bebop and its unique atmosphere
established a new trend in anime production.
[10:54] NA
Bones also became a beacon for rising
production companies in the anime industry.
[11:00] NA
The Vision of Escaflowne was the second
work Bones inherited from Sunrise.
[11:06] NA
With the aim of creating a robot
series approachable to women,
[11:09] NA
Bones began production on a movie.
[11:12] AKANE
People were starting to say
[11:14] AKANE
you couldn't produce a hit live action movie
or drama without a female audience.
[11:22] AKANE
I didn't understand why anime was the only
medium producing media just for men.
[11:29] AKANE
I wanted to create something women would
watch if I had the opportunity to direct.
[11:39] AKANE
When we got Escaflowne,
it was planned for a male audience.
[11:46] AKANE
I suggested to Mr. Minami
that going forward,
[11:50] AKANE
anime would have to tell stories
for women, too.
[11:58] AKANE
I convinced him to let me try making
something like that with Escaflowne.
[12:08] AKANE
As it turned out, it was watched
overwhelmingly by women.
[12:12] AKANE
I personally was really glad about that.
[12:17] NA
Abandoning the stereotype
that robot anime are for men
[12:22] NA
and leaving production up to the creators
allows a greater variety of stories to be told.
[12:27] NA
Bones proved that idea with Escaflowne.
[12:30] NA
The robot genre was changing,
breaking away from merchandising
[12:37] NA
and bringing in new settings
and compositions.
[12:41] AKANE
Drawing mecha requires special skills.
[12:45] AKANE
Not every animator can draw them.
[12:50] HORI
Only a limited number
of studios can produce them.
[12:55] HORI
It takes a veteran animator to get the
action scenes right or express their weight.
[13:04] HORI
It has to be expressed carefully.
[13:09] OHYAMA
One of Bones' roots—their identity—
can be found in their robot series.
[13:25] MINAMI
I really like robot series.
[13:31] MINAMI
The robots themselves are interesting
[13:36] MINAMI
because they're simultaneously
fantastical and realistic.
[13:44] MINAMI
They're massive objects operated
by flesh and blood pilots.
[13:50] MINAMI
They're simultaneously weapons and vehicles.
[13:55] MINAMI
They're a space and
an extension of your body.
[14:04] MINAMI
The appeal of robot anime is that all
these things can be expressed by a robot.
[14:12] NA
Yutaka Izubuchi was appointed as director,
and the original series RahXephon was born.
[14:20] NA
With credits on Mobile Police Patlabor*,
Kagaku Sentai Dynaman,
[14:26] NA
Dengeki Sentai Changeman,
and* Kamen Rider Agito*,
[14:31] NA
this lover of tokusatsu
and robots is a legendary figure.
[14:32] IZUBUCHI
Minami asked if I wanted to
work on an original series.
[14:40] IZUBUCHI
He said I should make something myself
since I'm so quick to comment on others' work.
[14:49] IZUBUCHI
That said, I did want to try making
something different from Gundam.
[15:00] IZUBUCHI
Something more like Reideen.
[15:05] IZUBUCHI
I wanted to take a more occult
or mystical approach.
[15:16] IZUBUCHI
I wanted to create a mystical robot series
[15:20] IZUBUCHI
that incorporated sci-fi elements
like quantum mechanics.
[15:29] AYATO
RahXephon.
[15:41] IZUBUCHI
I was inspired by that sort of thing.
[15:43] IZUBUCHI
The fossil beasts of Reideen
were like golems.
[15:48] IZUBUCHI
Reideen itself seemed
to be made of stone at first,
[15:55] IZUBUCHI
but by the third or fourth one,
it had turned into a kaiju.
[16:02] IZUBUCHI
It stops feeling like a fossil beast, but that
made it easy for children to understand.
[16:12] IZUBUCHI
In that regard, it was doll-shaped.
[16:17] IZUBUCHI
The fossil beasts were like kaiju made
of stone, but this felt like a doll.
[16:26] IZUBUCHI
An unmoving solid chunk.
[16:31] IZUBUCHI
They were treating it like a clay figure.
[16:41] IZUBUCHI
It was the Reideen I wanted to see.
It's a little childish, isn't it?
[16:47] IZUBUCHI
But surprisingly, sometimes that childish desire
is what drives you to create something.
[17:07] KYODA
The series is about what Mr. Izubuchi
had inside him at the time.
[17:16] KYODA
I'd known him since we were children,
[17:20] KYODA
so I had a good sense of what he
wanted to do and his nuance.
[17:27] KYODA
It didn't feel new to me,
but that wasn't a bad thing.
[17:34] KYODA
I felt like it clearly expressed
what he wanted to do.
[17:43] AMANO
The first key frame system
we first used during RahXephon
[17:48] AMANO
was unusual for our company
and the industry as a whole.
[17:54] AMANO
In simple terms, the first key frame
is like a rough drawing.
[17:59] AMANO
The idea was that our internal animators
would film a bunch of shots,
[18:04] AMANO
and a select few would improve the quality.
[18:09] AMANO
Then they'd hand it off
to the second key frame group
[18:15] AMANO
to proactively ensure a high level of quality.
[18:17] AYATO
It's done.
[18:21] NA
Later, the staff who received high praise
for* Ouran High School Host Club*
[18:26] NA
would suggest the idea that lead to the
production of* STAR DRIVER: Shining Takuto*,
[18:31] NA
a high school series
with robot anime elements.
[18:38] OYABU
Star Driver is a high school robot series.
[18:43] OYABU
Mr. Minami's stance is, "I don't
understand it, but it must be entertaining."
[18:52] OYABU
"If you insist that it's
interesting, then it must be."
[18:59] MINAMI
At first, I asked what the point
was of robots fighting
[19:04] MINAMI
in a setting as small and limited as a school.
[19:12] MINAMI
Robots should express something
by fighting somewhere bigger,
[19:18] MINAMI
so why would they have these
nonsense fights in such a small place?
[19:24] MINAMI
As the story progresses, it moves into
outer space and the rest of the world.
[19:35] TAKEDA
Mr. Enokido and Director
Igarashi worked together
[19:40] TAKEDA
to create the high school
series they wanted to make,
[19:45] TAKEDA
with shaman-like shrine maidens,
a mysterious and fantastical world,
[19:54] TAKEDA
and giant robots.
[19:58] TAKEDA
Mr. Minami is a very interesting man
for letting them do that.
[20:07] NAGASAKI
I was a storyboard artist.
[20:10] NAGASAKI
Robot series typically feature
a lot of war, battles, and people.
[20:17] NAGASAKI
I thought I'd be drawing those heavy themes,
but it wasn't like that at all.
[20:24] NAGASAKI
I heard they wanted to make it
a cheerful high school anime.
[20:29] NAGASAKI
I thought it sounded positive and fun.
[20:34] GODA
Let's ride, Tetrioht!
[20:39] OYABU
There are battles, of course,
[20:42] OYABU
but it's a robot series that makes you
want to attend that school,
[20:49] OYABU
visit that island, and be
the protagonist of that world.
[20:55] OHYAMA
The original title was Ginga Bishonen.
[21:04] OHYAMA
Star Driver is a unique combination
of male idols and robots.
[21:16] OHYAMA
That may have been the reason
it entered the world
[21:19] OHYAMA
as a new kind of robot series
for women, as well.
[21:32] HORI
Bones is a studio that carries
on the traditions of Sunrise.
[21:39] HORI
They've made traditional mecha anime,
[21:44] HORI
but I believe they create works
that feel inspired less by anime culture
[21:51] HORI
and more by other cultures,
especially Eureka Seven.
[21:54] NA
In 2005, Bones produced* Eureka Seven*,
[21:59] NA
directed by Tomoki Kyoda and
screenplay written by Dai Sato.
[22:04] NA
Inspired by seemingly unrelated pop culture,
[22:09] NA
a unique anime about robot,
surfing, and techno music was born.
[22:16] KYODA
Club culture was really taking
off in Japan at the time.
[22:20] KYODA
I was in college when Japanese artists
like Denki Groove and Ken Ishii
[22:27] KYODA
started selling records internationally.
[22:33] KYODA
With that background, I started thinking
about what it meant to surf.
[22:40] KYODA
When I realized I had to draw a confrontation
between mainstream culture and subculture,
[22:47] KYODA
I asked myself what subcultures meant to me.
[22:53] RENTON
Yes!
[22:54] AMANO
Mr. Kyoda is seven or eight years older
than me, but they were subcultures I liked.
[23:01] AMANO
Not all of them,
but take techno, for example.
[23:05] AMANO
I thought the use of Denki
Groove was really cool.
[23:09] AMANO
He must have a keen ear, since I didn't
think they'd be a good fit for anime.
[23:14] AMANO
When he added robots on top of that,
[23:16] AMANO
I thought it was unusual,
like nothing I'd ever seen.
[23:21] AMANO
Not only that, but they're surfing.
[23:27] SATO
For Eureka, we mixed in music from
techno artists alongside my music.
[23:36] SATO
I avoided electronic sounds and opted
for orchestral and acoustic music
[23:42] SATO
to create a sound that would contrast
with the electronic music of techno.
[23:52] SATO
I think sound director Mr.
Wakabayashi did a fantastic job
[23:55] SATO
applying the music to the animation.
[24:00] WAKABAYASHI
The music everyone liked so much was the
product of me supporting the director's vision.
[24:09] WAKABAYASHI
I handled the music for the Seven Swell,
[24:11] WAKABAYASHI
the protagonist's sadness,
and his embrace with Eureka,
[24:16] WAKABAYASHI
but the director handled
everything else, like the battle music.
[24:20] TAKEDA
Mr. Kyoda and Mr. Sato got to do exactly
what they wanted to do on Eureka Seven.
[24:34] TAKEDA
It's a painful thing, but it's also fulfilling.
[24:40] TAKEDA
Not many producers are like
Masahiko Minami of Bones,
[24:48] TAKEDA
who lenient enough to let them do that.
[25:00] NA
Minami's studio Bones preserved
the traditions of Sunrise
[25:06] NA
while drawing out the talents of
creators with groundbreaking ideas
[25:12] NA
to create novel works.
[25:16] NA
In just a few years, they were
providing broadcasting stations
[25:21] NA
with unique original anime.
2 - Style and Originality
Source: Crunchyroll
Translator:
Editor:
Timer:
QC:
(Please feel free to edit the speaker names if incomplete or inaccurate. Names are handled on a best-effort basis depending on the info on the source file. Dialogue is left as is.)
[00:02] NA
Bones established its exceptional qualities
and outstanding production techniques.
[00:07] NA
Minami and his colleagues set themselves
apart from other anime production companies
[00:11] NA
by continuing to create original anime series.
[00:15] ANDO
Many people say they see Bones as a company
that produces a lot of original anime.
[00:23] NA
Unlike adaptations,
creating an original anime from nothing
[00:29] NA
is not only difficult, but risky, as well.
[00:33] MATSUKURA
For an anime production company,
producing an original anime is a dream.
[00:39] MATSUKURA
At the same time, it's very difficult.
[00:43] MATSUKURA
Planning is difficult.
Securing funding is difficult.
[00:46] NA
However, Bones trusted its
creators with everything,
[00:49] NA
including the direction,
composition, and screenplay,
[00:53] NA
leading to the creation of new and unique
series that revolutionized the robot genre.
[01:02] NA
Bones' success with original anime
was not limited to robots.
[01:07] NA
Shinichiro Watanabe, the acutely sensitive
scriptwriter Keiko Nobumoto, and others
[01:13] NA
would challenge the limits of anime.
[01:16] WATANABE
There was a desire to create
something brand new
[01:19] WATANABE
that wasn't a copy of an
existing successful series.
[01:22] WATANABE
I loved that.
[01:25] OYABU
It takes a studio that provides
a space to create freely.
[01:35] WATANABE
Bones is closer to Sunrise at its peak
than current Sunrise itself.
[01:40] WATANABE
I'll probably get in trouble
again for saying that.
[01:45] NA
Bones stuck to their style with TV series
such as* Wolf's Rain*,* Space Dandy*,
[01:50] NA
and* Carole & Tuesday and feature
films such as Sword of the Stranger*.
[01:57] MINAMI
For the directors, scriptwriters,
production staff, and producers,
[02:03] MINAMI
creating something new for an
original anime is the expectation.
[02:09] KAWASAKI
I think that's rooted in Bones' history.
[02:17] ANDO
For me personally, every time
I work on an original series
[02:21] ANDO
it feels like a fresh experience.
[02:25] MINAMI
Producing an original series
is appealing for the creators.
[02:32] MINAMI
It also entertains the audience
with new surprises.
[02:39] NA
The creative studio's foray began
with a story about a boy named Hiwou.
[03:25] NA
In 1998, the newly-established Bones
followed production on* Cowboy Bebop*
[03:33] NA
with their first original
series* Hiwou War Chronicles*.
[03:39] MINAMI
It was the Hiwou War Chronicles TV series.
[03:44] MINAMI
We were just starting out and had no money,
[03:48] MINAMI
but right out the gate, we produced an original
series that wasn't sci-fi but had robots.
[03:57] NARRATION
Created by Sho Aikawa and
directed by Tetsuro Amino,
[04:03] NARRATION
the series began airing in 1999.
[04:07] NARRATION
Set during the Meiji period,
the protagonist Hiwou and his friends
[04:12] NARRATION
controlled a giant clockwork doll against
their enemies in this adventure series.
[04:20] NARRATION
It was a challenging setting for
a recently-established anime studio.
[04:27] MINAMI
The schedule and budget
situation were brutal.
[04:35] MINAMI
Our small company put together a studio.
[04:40] MINAMI
We received a lot of help from Sunrise,
but it was still difficult to produce.
[04:51] MINAMI
The budget was really tight.
[04:55] ISHIKAWA
The difficulty of producing
an original series
[04:59] ISHIKAWA
will remain the same in past,
present, and future.
[05:06] ISHIKAWA
It's hard to make a hit.
[05:10] ISHIKAWA
An original series doesn't have the
recognition of an adaptation or a sequel.
[05:20] ISHIKAWA
Gaining recognition is as difficult
now as it was in the past.
[05:32] NA
Bones moved away from
robot series for a while
[05:35] NA
to break new ground with original anime.
[05:39] NA
Wolf's Rain follows the story of wolves
surviving in human forms in a desolate future.
[05:47] NA
Its creator Keiko Nobumoto wrote scripts
for numerous series, including Cowboy Bebop.
[05:54] NA
Wolf's Rain poetically depicts the search
for paradise amidst an apocalyptic outlook.
[06:01] MINAMI
A story about wolves seeking paradise
sounds like it would be hopeful.
[06:07] SASAKI
Or active.
[06:08] MINAMI
But it's not like that at all.
[06:12] SASAKI
It's a paradise shrouded in
sadness, which is unusual.
[06:15] SASAKI
Normally a paradise is joyful and hopeful.
[06:21] SASAKI
It's very much in Nobumoto's style,
[06:24] SASAKI
and that produced a chemical
reaction with Ms. Kanno.
[06:30] NA
Despite its complex
and revolutionary themes,
[06:35] NA
Bones placed their full trust
in Nobumoto's screenplay
[06:38] NA
and Director Tensai Okamura's
abilities, leading to the creation
[06:43] NA
of a masterpiece full of
lyricism and originality.
[06:48] WATANABE
Nobumoto Keiko, a scriptwriter I frequently
worked with, passed away recently.
[06:57] WATANABE
A screening was held after her passing.
[07:02] WATANABE
The first three episodes of Wolf's Rain
were shown at the screening.
[07:10] WATANABE
I was amazed by the emotion
the scriptwriter put into Wolf's Rain.
[07:21] WATANABE
A lot of anime these days are adaptations,
[07:27] WATANABE
and I don't think you can say
the scriptwriter and director
[07:30] WATANABE
pour their souls into adaptations.
[07:34] SPEAKER
But the scriptwriter poured
her soul into Wolf's Rain,
[07:41] SPEAKER
and I think that's incredible.
[07:46] NA
In 2014, Shinichiro Watanabe
and Keiko Nobumoto
[07:51] NA
presented Minami with an innovative proposal:
a laid-back and unbelievable space adventure
[07:57] NA
about Dandy, an alien hunter,
and his eccentric crew.
[08:05] DANDY
The name's Dandy. Space Dandy.
[08:09] MINAMI
In some ways, Director Watanabe
and I wanted to create
[08:12] MINAMI
something counter to current culture.
[08:14] MINAMI
We wanted to make something
completely different
[08:18] MINAMI
from what current anime and the industry
were expressing that was still animation.
[08:28] DANDY
Go with the flow.
[08:31] DANDY
That's me, baby.
[08:34] WATANABE
We were unhappy with the anime industry
and the anime being produced at the time.
[08:47] AKANE
In the early 2000s, a lot of companies
were producing bishojo anime for core fans,
[09:03] AKANE
but Mr. Minami never engaged with those.
[09:08] DANDY
You really wanna know? That's K-E-T-S-U.
[09:13] DANDY
That's right. It's butts.
[09:16] WATANABE
Creators were told to create works
that would sell, so they did.
[09:26] WATANABE
But chasing success by copying
successful series isn't good.
[09:34] WATANABE
We wanted to produce works that would
allow creators to create more freely.
[09:39] WATANABE
Mr. Minami was also unhappy about that,
[09:43] WATANABE
and we shared a desire to break out of that thinking
[09:47] WATANABE
and create the situation we have now.
[09:50] WATANABE
If I told another studio
I wanted to create freely,
[09:54] WATANABE
I doubt anyone else would've let me do it.
[09:58] MINAMI
In that way, Space Dandy was created
in the freest place in the industry.
[10:06] NA
Bones began challenging the limits
of anime production once again.
[10:10] NA
They expanded the boundaries of the genre
[10:14] NA
through the wild adventures
of Dandy and his friends.
[10:17] WATANABE
The desire to create a more creative,
free, and anarchical series came first.
[10:26] WATANABE
Producing a comedy
was our excuse to do that.
[10:29] WATANABE
Some of the episodes have
no comedic elements at all,
[10:33] WATANABE
but we could include them for the
simple reason that it was a comedy.
[10:41] ITO
I assume it was Mr. Minami
and Director Watanabe's decision,
[10:47] ITO
but I remember them saying they wanted
[10:50] ITO
to make a serious effort
to create something stupid.
[10:53] ITO
At first, I wasn't sure what they meant.
[10:59] ITO
It's certainly a comedy, but there are
a lot of other elements, as well.
[11:07] WATANABE
It's an avant-garde or experimental series.
[11:13] WATANABE
Normally it would be difficult
to air episodes with that content.
[11:22] WATANABE
It's very surreal.
[11:24] WATANABE
Truly amazing films should express things
that can't be put into words.
[11:32] WATANABE
I feel we were able to effectively
incorporate that into entertainment.
[11:40] DANDY
Dandy...
[11:44] NA
Bones and Watanabe's deep relationship
created a series in a new genre once again.
[11:50] NA
In 2019, for Bones' 20th anniversary
and the 10th anniversary of FlyingDog,
[11:56] NA
Bones announced Carole & Tuesday,
[11:58] NA
a music-themed series
celebrating these milestones.
[12:03] NA
Cowboy Bebop,* Samurai Champloo*,
and* Space Dandy*.
[12:08] NA
Music plays an important role in
all of Shinichiro Watanabe's works.
[12:15] NA
Carole & Tuesday, which began
with an invitation from Shiro Sasaki,
[12:20] NA
was a series about music, so it was only
natural that Watanabe would be involved.
[12:26] MINAMI
It was proposed that we make
a series about music.
[12:29] MINAMI
Unlike existing music anime,
we thought it would be interesting
[12:34] MINAMI
to produce something
that would create music.
[12:42] WATANABE
We talked about how to make the series
approachable to first-time watchers
[12:48] WATANABE
and settled on a story about two girls
who start making music after they meet.
[13:06] NA
In the world of* Carole & Tuesday*,
art is created by advanced AI technology,
[13:13] NA
and people simply enjoy their creations.
[13:15] NA
Two girls meet and begin to change
the world with the music they create.
[13:21] NA
With its modern and forward-looking themes,
[13:25] NA
the series took a hard look
at how we engage with creativity.
[13:30] SASAKI
During college, I really liked
American music from the late 60s.
[13:37] SASAKI
At the time, young people were
fighting or protesting with music.
[13:45] CATHERINE
Your determination to fight with
only your music made you unique.
[13:53] CATHERINE
It's been a while since I last listened
to music made without AI.
[13:57] CATHERINE
I look forward to hearing your next work.
[13:59] NA
The series was directed by Motonobu Hori.
[14:02] NA
The concert that serves
as the climax of the series
[14:05] NA
features musicians performing a variety
of genres with varied musical expressions.
[14:09] NA
Innovative images and
a broad range of direction
[14:12] NA
were necessary to breathe life
into the scenes and story.
[14:18] HORI
We were working off of
Mr. Kubonouchi's character designs,
[14:22] HORI
which were actually pretty
difficult to animate.
[14:27] HORI
Animating those characters performing
was pretty difficult in an of itself,
[14:38] HORI
and animating that as part of
a series was a challenge, as well.
[14:42] HORI
Also, Watanabe-san's musical taste
is incredibly refined.
[14:49] HORI
He always chooses whatever's
cutting edge at the time,
[14:54] HORI
so matching that was a challenge, as well.
[15:00] SKIP
Not bad. Only 52 takes with Tobe.
[15:06] HORI
We left the vocalists' movements
up to the animators.
[15:12] HORI
For example, the movements of
a hip hop rapper or an R&B singer
[15:21] HORI
are influenced by their musical culture.
[15:28] HORI
No one had captured that yet,
[15:34] HORI
so we did our best to
express that with animation.
[15:40] WATANABE
There's no action.
[15:42] WATANABE
Almost all of Bones' works had been
action up until that point,
[15:50] WATANABE
so I think it was challenging for Bones.
[15:55] MINAMI
The scale was enormous.
[15:57] MINAMI
Some of the artists involved were
internationally renowned artists.
[16:08] MINAMI
We were aiming to create something
unachievable at a normal scale.
[16:18] NA
Carole & Tuesday,* Wolf's Rain*,* Space Dandy*,
RahXephon, and* Hiwou War Chronicles*
[16:25] NA
all have an underlying Bones-like quality,
[16:29] NA
but it's difficult to succinctly
describe what that is.
[16:33] NA
Creativity, originality, risk taking,
and freedom all fit the bill.
[16:41] NA
Creativity and freedom can be found throughout
their 2007 film* Sword of the Stranger*,
[16:51] NA
the story of an orphan named
Kotaro who is rescued by Nanashi,
[16:55] NA
a warrior who has sworn to never fight again.
[16:58] NA
A sense of nihilism hangs about
this jidaigeki-inspired chanbara film.
[17:03] NA
The brutal and bloody battles of the Sengoku
period demonstrate the horrors of war.
[17:10] NA
Sword of the Stranger,
directed by Masahiro Ando,
[17:13] NA
drew international attention
for the quality of its story and action
[17:19] NA
and for pushing the limits
of animation technology.
[17:22] WATANABE
Stranger's action scenes are
really well made. I was impressed.
[17:30] ANDO
I'd watched jidaigeki since I was a child.
[17:34] ANDO
I liked them all individually, but there were
also certain elements within them I liked
[17:43] ANDO
that had stayed with me.
[17:57] AMANO
Preserving the original ideas of the
creators at the center of a project,
[18:07] AMANO
such as the directors, the scriptwriters,
and the designers, is essential.
[18:15] AMANO
Otherwise you lose sight of what's important,
[18:19] AMANO
since you're writing the story
throughout production.
[18:22] AMANO
It's important to pause
and carefully consider
[18:25] AMANO
the ideas the initial creators came up with.
[18:30] ANDO
Little by little, I described the ideas
I had for the film to the designers,
[18:41] ANDO
which they turned into art.
[18:44] ANDO
I wanted to create something
manga-like rather than realistic.
[18:51] ANDO
I wanted elements of reality
without becoming realistic.
[18:54] ANDO
Manga-like, but not too manga-like.
[19:01] ANDO
Together we searched for the answer
[19:05] ANDO
by comparing the images in my head
and the art they drew.
[19:21] ANDO
It was less that I wanted
Mr. Sato's jidaigeki music
[19:24] ANDO
and more that I was a fan
of his music in general.
[19:28] ANDO
I was curious to know what kind of music
Mr. Sato would compose for a jidaigeki.
[19:36] SATO
During the fight scenes,
I kept the music stoic.
[19:43] SATO
Percussion only, for example.
[19:46] SATO
Rather than having the music
speak too much, I kept it stoic.
[19:55] SATO
On the other hand, I composed heartfelt
music for Nanashi and Kotaro's scenes.
[20:04] NANASHI
If you stand over there, you'll catch a cold.
[20:10] SATO
I wanted to expand the breadth
of the animation and setting
[20:18] SATO
by using instruments used in Arabic
and African music for a Japanese jidaigeki.
[20:28] SPEAKER
If the foundation of music is solid,
you can try all kinds of things
[20:33] SPEAKER
and create even more interesting music.
[20:37] SPEAKER
That foundation is Bones.
[20:39] SPEAKER
The quality of the animation
and how interesting the script is.
[20:46] SPEAKER
When those are solid, it's easy
to compose music for them.
[20:50] SPEAKER
You'll create something interesting
no matter what you do.
[20:53] NA
Under Masahiko Minami's leadership,
[20:55] NA
Bones demonstrates its strength when the
right team is put together for a project.
[20:59] NA
For a studio like Bones that is
constantly working on something,
[21:03] NA
it means staff move from one project
to the next without interruption.
[21:09] MINAMI
Being a producer comes down to whether
or not you can imagine the completed product.
[21:19] MINAMI
Whether it's music, effects,
or sound direction,
[21:26] MINAMI
when creating a show, we think about
how who is assigned to what work
[21:32] MINAMI
will lead to what the final product looks like.
[21:36] MINAMI
It's an interpersonal relationship.
[21:39] MINAMI
We value the way many people are involved
in the creation of a single product.
[21:48] KATSUMATA
Mangaka sometimes create by
themselves, but an original anime
[21:54] KATSUMATA
is the product of the combination of
multiple creators' or staff members' skills.
[22:03] AKANE
The best thing about Bones
is their skilled animators.
[22:12] AKANE
They've gathered some
of the best animators in Japan,
[22:17] AKANE
and it was Mr. Minami
who brought them together.
[22:21] AKANE
He has an exceptional eye for art.
[22:25] AKANE
He saw the work of new artists
[22:27] AKANE
and found artists with potential
at a relatively early stage.
[22:35] TAKEDA
He's exceptional at identifying star talent.
[22:40] TAKEDA
Not only that, but he knows what to combine
to create the right chemical reaction
[22:51] TAKEDA
to improve their talents even more.
[22:54] NATSUME
I wouldn't call it Minamism,
but there's a unified will.
[23:00] NATSUME
You can really see it in Bones' work.
[23:03] NATSUME
Mr. Minami puts a lot of effort
into Bones' original series in particular.
[23:11] NATSUME
He faces directors and writers
directly when working with them,
[23:17] NATSUME
which is how they create works
with such presence and solid bones.
[23:25] NA
Creating original anime is difficult,
but it is worthwhile.
[23:31] NA
The satisfaction of creating beautiful
high-level works pushes creators forward.
[23:38] NA
That feeling forms the skeleton of
bones which Minami builds on top of.
[23:44] MINAMI
It's literally bones, a collection of bones.
[23:51] MINAMI
We broke away from Sunrise
and started as a very small company.
[24:02] MINAMI
We were starting from the bones
and building up the flesh on top of that.
[24:11] MINAMI
In Japanese, there are
a lot of expressions about bones,
[24:16] MINAMI
like "he's got a strong backbone"
or "love me until I'm only bones."
[24:22] MINAMI
That's why we're bones.
[24:25] NA
Their creative and original anime
are undoubtedly the foundation of bones,
[24:31] NA
but the strengths they cultivated
producing original anime
[24:35] NA
became the source of their success
with manga adaptations
[24:40] NA
that are mainstream in Japanese animation,
such as* My Hero Academia and Mob Psycho 100*.
3 - Successful Adaptation
Source: Crunchyroll
Translator:
Editor:
Timer:
QC:
(Please feel free to edit the speaker names if incomplete or inaccurate. Names are handled on a best-effort basis depending on the info on the source file. Dialogue is left as is.)
[00:02] NA
Like its original anime,
Bones puts great effort
[00:06] NA
into producing high-quality
anime adapted from manga.
[00:11] OHYAMA
One of the most amazing things about Bones
is their ability to balance creating both.
[00:21] NA
From the planning stage,
they proceed with great care.
[00:27] NEMOTO
Grammar and how things are expressed differ
between novels or manga and animation.
[00:33] NEMOTO
My job is to figure out how to capture
and rewrite that for animation.
[00:41] MATSUZAKI
When we're trusted with someone else's
work, there's no point in us adapting it
[00:47] MATSUZAKI
if we don't create something
greater than the manga.
[00:49] MINAMI
Our experience creating
original series makes it easier
[00:56] MINAMI
for us to understand
the intentions of authors.
[01:01] NA
Shortly after its founding,
Bones began production on a series
[01:07] NA
based on manga artist
group CLAMP's* Angelic Layer*.
[01:11] NA
Announced in 2001, it was
Bones' first manga adaptation,
[01:18] NA
but it faithfully recreated
the world of CLAMP.
[01:23] MINAMI
We were told CLAMP's
Angelic Layer would become a hit
[01:29] MINAMI
and asked if we'd like to animate it.
[01:33] KAWASAKI
I think a story like Angelic Layer's
[01:38] KAWASAKI
was perfect for Bones' first
adaptation after their founding.
[01:49] NA
Following the light novel* Scrapped Princess*,
they adapted* Fullmetal Alchemist*.
[01:56] NA
This series was a major
turning point for Bones.
[02:40] NA
For many adaptations,
the publisher reaches out
[02:44] NA
to an animation production studio
during the planning stage.
[02:47] NA
In the case of* Fullmetal Alchemist*,
only a few manga volumes had been published,
[02:52] NA
but Bones' staff were drawn to
Hiromu Arakawa's unique world and style
[02:58] NA
and brought an adaptation
proposal to the publisher.
[03:03] NA
This unconventional act started
production on the series.
[03:08] MINAMI
It has the power to break people's
hearts and stir their emotions.
[03:17] MINAMI
When I read the manga,
I knew I wanted to animate it.
[03:24] NA
As usual, Bones chose the
right staff for the right roles
[03:29] NA
and began production on a
high-quality and exciting work,
[03:33] NA
but adapting an anime with a story
that had not progressed very far
[03:38] NA
was a challenge for a brand new studio.
[03:41] OHYAMA
Only two or three comic
volumes had been published
[03:47] OHYAMA
when we decided to adapt Fullmetal Alchemist,
[03:52] OHYAMA
but our Mainichi Broadcasting slot required us
to provide episodes for a whole year.
[04:00] MIZUSHIMA
MBS didn't want to stop
partway through the manga.
[04:05] MIZUSHIMA
They wanted to finish the story properly.
[04:08] MINAMI
The manga was published monthly,
[04:11] MINAMI
so there simply wasn't enough content
to follow the manga exactly.
[04:20] MINAMI
We incorporated original elements and
departed from the manga in the latter half,
[04:26] MINAMI
essentially creating an original anime.
[04:30] MIZUSHIMA
I'm the only one who met
with the original author,
[04:34] MIZUSHIMA
but the publisher and creator backed
everything we presented to them.
[04:41] MINAMI
Some fans complained about parts
that were different from the manga,
[04:48] MINAMI
but a lot of people praised it as the
animated version of Fullmetal Alchemist.
[04:57] NA
At the center of* Fullmetal Alchemist
are brothers Edward and Alphonse Elric,
[05:03] NA
whose bond deepens through their adventures.
[05:08] MIZUSHIMA
The brothers' relationship
is richly depicted in the manga.
[05:14] MIZUSHIMA
I spoke with Aikawa about depicting
their relationship more carefully
[05:23] MIZUSHIMA
or deeply at the start of the anime.
[05:28] ED
If you do that again,
I'm leaving you behind.
[05:30] AL
But...
[05:31] ED
No buts!
[05:33] MIZUSHIMA
We reduced their starting ages
by a couple of years.
[05:38] MIZUSHIMA
The younger brother Al loses his body
in their mother's forbidden transmutation,
[05:44] MIZUSHIMA
and Ed wants to help him get it back.
[05:47] MIZUSHIMA
Ed himself loses an arm and a leg, too.
[05:50] MIZUSHIMA
How would kids that age feel being
burdened by something like that?
[05:58] MIZUSHIMA
What is their relationship like?
[06:02] MIZUSHIMA
In the manga, the brothers have
already steeled their resolve,
[06:05] MIZUSHIMA
so we wanted to show how they reached
that point in the anime.
[06:09] MIZUSHIMA
By showing what led to them
becoming dogs of the State Alchemists
[06:14] MIZUSHIMA
and then following the adventures
they have in the manga,
[06:21] MIZUSHIMA
you get a more detailed story.
[06:24] AL
Are you really going to
become a State Alchemist?
[06:28] ED
I don't know if I can, but I'm
going to meet with that Roy guy.
[06:33] AL
Don't do it.
[06:34] ED
I've already made my decision.
[06:36] AL
Then I'll become one.
[06:38] NA
For Minami, the quality
of the music and sound effects
[06:42] NA
are just as important as the animation.
[06:46] NA
The world of sound that gives color to
the series is constructed with great care.
[06:52] NA
Since its founding,
Bones has worked hand in hand
[06:54] NA
with some of the best
creators across all fields.
[06:58] NA
The accumulation of those experiences
has led to their current production system.
[07:04] MIMA
We knew people of all ages were watching it.
[07:09] MIMA
People lose limbs or entire bodies.
It's pretty shocking.
[07:16] DOG
Brother?
[07:21] MIMA
Mr. Mizushima was directing.
[07:23] MIMA
We discussed leaving the kids
with memories, not scars.
[07:32] MIMA
So we created memorable moments using
realistic blood sounds or just striking imagery,
[07:38] MIMA
or removed sound effects entirely
and used only music.
[07:44] MIMA
Finding the right balance
while talking to the director
[07:47] MIMA
is my greatest memory of working on FMA.
[07:51] MIMA
Because I worked on FMA, the idea
of "leaving memories, not scars"
[08:00] MIMA
has become the root of my work since then.
[08:06] NA
Fullmetal Alchemist became a massive hit,
gaining popularity throughout the world.
[08:10] NA
When the exceptional manga met Bones'
high-level production techniques,
[08:15] NA
an unparalleled anime was born,
[08:17] NA
raising the standard for the Japanese anime world.
[08:21] TAKEDA
Nobody expected it to receive
international recognition the way it did.
[08:30] KATSUMATA
It was well-received overseas
because its theme of life is universal.
[08:40] KATSUMATA
But despite that heavy theme,
the character interactions are light and fun.
[08:46] KATSUMATA
The characters are very well written.
[08:49] AL
What's your plan?
[08:51] ED
Hit 'em with my fist!
[08:53] NA
After that, Bones produced a feature-length
Fullmetal Alchemist film,
[08:58] NA
as well as Fullmetal Alchemist: Brotherhood,
[09:02] NA
a series faithfully depicting
the original series.
[09:06] MINAMI
I think that became part of Bones' color.
[09:13] MINAMI
I was glad have the opportunity
to animate FMA once again,
[09:23] MINAMI
this time all the way through to the end
as an adaptation of the original manga.
[09:31] NA
After the success of Fullmetal Alchemist,
adaptation offers came pouring into Bones.
[09:38] NA
They produced adaptation after adaptation,
[09:40] NA
including Ouran High School Host Club*,
Jyu-Oh-Sei,* Skull Man*,
[09:44] NA
Soul Eater, and* Blood Blockade Battlefront*.
[09:49] NA
Their high-level technique and careful
screenwriting attracted many fans.
[09:55] NA
Their second turning point came in 2016.
[10:00] NA
Utilizing their extensive
experiencing handling original works,
[10:04] NA
Bones produced three adaptations
long-awaited by fans of the series.
[10:09] NA
My Hero Academia, written by Kohei
Horikoshi, is a school action series
[10:13] NA
about boys and girls studying to
become heroes by fighting villains.
[10:21] NA
Instantly achieving popularity
upon its serialization in Jump,
[10:24] NA
fans eagerly awaited an adaptation.
[10:28] NAGASAKI
It's a hero story, but what
I really like about it
[10:35] NAGASAKI
is how there's one story about the adults
and another story about the kids.
[10:39] NAGASAKI
One story is about friendly
competition within the school.
[10:45] NAGASAKI
Meanwhile, villains and heroes
perform deeds in the outside world.
[10:53] NAGASAKI
As an action series, it's built on
a continuous line or current of emotion.
[11:00] NAGASAKI
It's important not to miss any
of the character's emotions
[11:04] NAGASAKI
when pumping up the action.
[11:08] MIDORIYA
It's your power!
[11:12] MIMA
With MHA, I'm precise and deliberate
about how I remove or add sound.
[11:20] CHILD
Deku!
[11:22] MIMA
I'm actually a bit mean
to MHA fans with sound.
[11:27] MIMA
I give the audience
a moment to take a breath,
[11:32] MIMA
and then the moment the protagonist says,
"Let's go," the music suddenly starts playing.
[11:37] MIMA
I'm very particular about my work on MHA.
[11:43] NAGASAKI
The most difficult thing was that I felt
simply recreating the manga wasn't enough.
[11:54] NAGASAKI
I've enjoyed original works like Dragon Ball
[11:58] NAGASAKI
and been excited to see
how they'd be animated.
[12:03] NAGASAKI
I'm always most careful about how I apply
that excitement and enthusiasm to film.
[12:13] URARAKA
Are you crying, Deku?
[12:15] NAGASAKI
The scene in which All Might fights
All For One and ultimately retires
[12:20] NAGASAKI
turned out even better than I imagined.
[12:24] ALL MIGHT
Goodbye, All For One.
[12:28] NAGASAKI
It made me feel tremendously sad.
[12:32] NAGASAKI
In part because I directed it,
I feel a deep attachment to it.
[12:38] MIDORIYA
"I've given everything I had."
[12:43] NAGASAKI
I've heard from the author Mr. Horikoshi
how the series will end.
[12:50] NAGASAKI
It's interesting, so I'm already excited
to see how it'll be animated.
[12:57] OYABU
The original author is pouring their life
into creating their work,
[13:03] OYABU
so it's important that we face it in our own way
and don't shy away from expression.
[13:09] NA
Bones' deep respect and
understanding for original works
[13:15] NA
has built a strong relationship of trust
with publishers and creators.
[13:20] NA
This can be said of Asagiri Kafka's
Bungo Stray Dogs, as well
[13:25] ASAGIRI
90% of mangaka want to see
their manga turned into an anime.
[13:29] ASAGIRI
Ambitious mangaka will imagine
how scenes might look animated
[13:34] ASAGIRI
while working on their manga.
[13:37] ASAGIRI
Naturally, I created my manga
with the intention of having it animated.
[13:42] ASAGIRI
I simultaneously experience the joy of the
animation turning out exactly as I imagined
[13:46] ASAGIRI
and the joy of it exceeding my imagination.
[13:50] ASAGIRI
It's an amazing feeling,
and probably a rare one.
[13:55] NA
The high-quality performances of voice
actors sometimes influence the creator.
[14:03] DAZAI
There's nothing worth pursuing at
the cost of prolonging a life of suffering.
[14:09] ASAGIRI
All the voice actors for
Bungo Stray Dogs are fantastic.
[14:13] ASAGIRI
When I write dialogue, I hear it in
Mr. Miyano or Mr. Hosoya's voices.
[14:20] ASAGIRI
I hear the characters' voices
in the voice actors' voices.
[14:24] DAZAI
I am Dazai Osamu.
[14:26] ASAGIRI
One major change is I've starting thinking
[14:30] ASAGIRI
hearing this line spoken in this
voice would make me happy.
[14:33] GIDE
Sakunosuke, even your last shot was perfect.
[14:42] ASAGIRI
The good protagonist fights evil
and wins at the end of an intense battle.
[14:48] ASAGIRI
It's a totally normal story
we've seen hundreds of times,
[14:53] SPEAKER
but we want to watch that and feel like
we've never seen anything like that before.
[14:59] SPEAKER
We create to fulfill that demand.
[15:04] SPEAKER
Studio Bones and Director Igarashi created
that animation, created those backgrounds,
[15:12] SPEAKER
created that music, and created
that performance to meet that demand.
[15:17] SPEAKER
It's the reason those
professionals created that.
[15:22] SPEAKER
They created a Yokohama that
doesn't exist. Impossible sights.
[15:28] SPEAKER
Use of color that can't be achieved
filming live action with a camera.
[15:32] SPEAKER
That is what first-rate anime,
first-rate professional staff,
[15:38] SPEAKER
and Bones' anime production are creating.
[15:45] NA
TV anime* Mob Psycho 100 is based on
a manga written by popular author ONE
[15:51] NA
published on Shogakukan's web comic site.
[15:54] REIGEN
Could it be?
[15:55] ONE
I never thought Bones
would animate Mob Psycho.
[16:01] ONE
I doubted it was true
when I first heard about it.
[16:06] MINAMI
These days, a lot of creators
check the animation.
[16:12] MINAMI
They'll check the movements
to tell us do this, not that.
[16:24] MOB
I have supernatural powers.
[16:27] ONE
In an anime-only original scene,
[16:31] ONE
Dimple fights a horde
of enemy broccoli monsters.
[16:38] ONE
The entire fight is cut from the manga,
starting right after the end of the fight.
[16:44] ONE
But they animated the entire thing.
[16:48] ONE
It's captivating and intense.
[16:56] ITO
I'm not sure whether to call it the action,
the destruction, or their ideas.
[17:02] ITO
Whatever it is, it's totally out of control.
[17:07] ITO
The works themselves are out of control,
[17:09] ITO
but Bones takes it to the next level
with their animation.
[17:14] RITSU
He's going to explode.
[17:17] RITSU
Run, everyone! Run!
[17:20] TACHIKAWA
Until now, Bones has produced
a lot of beautiful art,
[17:28] TACHIKAWA
so it was surprising that
they picked up Mob Psycho.
[17:32] TACHIKAWA
The manga is drawn
with relatively simple lines,
[17:37] TACHIKAWA
with a style closer to that of a gag series.
[17:45] TACHIKAWA
When Bones first took on the project,
I wasn't sure if it would match Bones' flavor.
[17:52] TACHIKAWA
Once production actually started, a tremendous
amount of effort went into the animation.
[17:58] TACHIKAWA
Because of that, all the production staff
are proud to have animated it,
[18:05] TACHIKAWA
and they're all very skilled animators.
[18:15] ONE
The energy level in Mob starts low
and builds as the story progresses.
[18:24] ONE
When the protagonist's emotions
reach 100%, things get intense.
[18:39] ONE
Looking back, that left a strong impression.
[18:43] ONE
There was a lot about the anime
that impressed me.
[18:46] ONE
I also feel lucky that a series
I worked on is popular overseas.
[18:56] ONE
I have nothing but gratitude.
[19:00] NA
Bones has devoted great effort
to their original anime.
[19:03] NA
Meanwhile, their high-quality and
varied adaptations expanded their fan base.
[19:15] NA
Bones' global perspective is
yet another one of their strengths.
[19:19] NA
Minami's enthusiasm for
distributing anime to the world
[19:22] NA
is reflected in his early partnerships
with streaming platforms.
[19:28] MINAMI
Bebop was the first time we
directly met with our audience.
[19:36] MINAMI
We still enjoy going to overseas events.
[19:41] MINAMI
They have a lot to say about what
they like about our animation.
[19:46] MINAMI
It makes us really happy to hear
how much people enjoy our work.
[19:51] NA
In order to develop markets
and distribution channels,
[19:54] NA
with the launch of the PlayStation
Network in 2008, Minami actively worked
[20:02] NA
on the production of Xam'd: Lost Memories*,
a web anime targeting streaming.
[20:07] ITO
Xam'd: Lost Memories was the first
series they produced for PS3 streaming.
[20:16] ITO
They're a company that continuously
takes on novel challenges.
[20:24] NA
Breaking away from stereotypes led
to the creation of new types of series.
[20:31] NA
International artists contributed
to* Carole & Tuesday*.
[20:35] NA
Anime was rapidly delivered
throughout the world
[20:38] NA
through collaboration with Sony PlayStation,
Crunchyroll, and Netflix.
[20:43] NA
They produced numerous works including
Dragon Pilot: Hisone and Masotan,
[20:47] NA
Godzilla Singular Point, and* Super Crooks*.
[20:49] NA
Bones opened the doors to the global market
[20:53] NA
and established their position as a
key provider of Japanese animation.
[20:57] KAWASAKI
Japan's population is roughly 120 million,
which is an adequate size for business.
[21:07] KAWASAKI
Serving only Japanese fans
is certainly viable,
[21:15] KAWASAKI
but it's not enough maintain or expand
the current Japanese anime industry.
[21:21] KAWASAKI
To do that, we need to create more
animation for an international audience.
[21:27] NA
The Japanese anime industry that had a
tendency to focus only on the domestic market
[21:32] NA
is starting to look at the rest of the world
and create with the global market in mind.
[21:39] KATSUMATA
Depending on the genre, streaming allows us
to produce eight 50-minute episodes,
[21:48] KATSUMATA
or if it's a gag series,
we can create short episodes.
[21:56] KATSUMATA
The diversity of formats is expanding
the genres that can be created.
[22:03] OTSUKA
MAPPA has grown as much as it has
thanks to platforms such as Crunchyroll.
[22:11] OTSUKA
It's become much easier
to understand how a studio's works
[22:15] OTSUKA
are distributed to
audiences all over the world.
[22:23] OTSUKA
Working directly with platforms
[22:26] OTSUKA
has made it easier to engage
in both creativity and business.
[22:32] TAKEDA
In the case of TV animation,
there's an upper limit on production costs.
[22:38] TAKEDA
Compared to that, companies like
Netflix have enormous budgets,
[22:46] TAKEDA
which makes things interesting.
[22:50] MIMA
In some ways, it's scary.
[22:54] MIMA
For example, we can immediately see the
international audience's reaction to a TV series.
[23:02] ED
Seven, eight, nine, hello.
[23:06] KYODA
It's fantastic that people around the world
can now watch something simultaneously,
[23:16] KYODA
but what should we be showing
that international audience?
[23:23] KYODA
As the scale grows, the number of works
that can't afford to fail increases, too.
[23:36] KYODA
That makes it more and more difficult
to create original series.
[23:44] KATSUMATA
One of the best things
about Japanese anime is how they create
[23:49] KATSUMATA
without considering how the product
will be received by the rest of the world.
[23:55] KAWASAKI
We need not just adaptations,
but impactful original series, as well,
[24:06] KAWASAKI
and it's Bones who can deliver that.
[24:09] NA
Bones' numerous popular series
and global perspective
[24:13] NA
have propelled them into becoming
a global anime production company.
[24:21] NA
Now let's turn our attention
to* Metallic Rouge*,
[24:25] NA
the series released on the 25th anniversary
of the company's founding.
4 - Metallic Rouge - The Future of BONES
Source: Crunchyroll
Translator:
Editor:
Timer:
QC:
(Please feel free to edit the speaker names if incomplete or inaccurate. Names are handled on a best-effort basis depending on the info on the source file. Dialogue is left as is.)
[00:02] NA
For 25 years, Bones has been
providing the world with dreams.
[00:06] NA
Returning to their roots,
Bones began production
[00:10] NA
on their ambitious original
anime* Metallic Rouge*.
[00:13] HORI
It's long been my dream
to create mecha or SF series.
[00:17] HORI
When I mentioned wanting
to work on a mecha series,
[00:19] HORI
I was told we had the perfect proposal
on hand, which was Metallic Rouge.
[00:25] MORI
It's emblematic of Bones.
A true Bones-like original.
[00:30] NEMOTO
We can't spoil anything since it hasn't
aired yet, right? I almost spoiled something.
[00:33] NA
Androids fight for their destiny in this
menacing tech-noir sci-fi battle action series.
[00:36] NA
An all-star staff with deep connections
to Bones were brought together for the series.
[00:45] NA
Top-class members gathered around
Producer Minami, who designed the project.
[00:51] NA
It was like the whole family
had returned home.
[00:55] MINAMI
I personally think sci-fi
is suited to animation.
[01:08] MINAMI
It's one of the genres I like to work on.
[01:13] IZUBUCHI
I joined the project to work
with Minami again.
[01:18] IZUBUCHI
It's a story I've been thinking about
since the very beginning.
[01:22] IZUBUCHI
If I were to work with Minami on
something, then it would be this.
[02:03] NA
For Bones' 25th anniversary,
Minami drafted the proposal for* Metallic Rouge*
[02:07] NA
based on Izubuchi's idea.
[02:10] NA
The project featured an expansive setting
that would become an ambitious endeavor.
[02:16] IZUBUCHI
Rather than simply creating a series,
Bones creates a historical timeline,
[02:29] IZUBUCHI
and one specific part of that
becomes Metallic Rouge.
[02:35] IZUBUCHI
While working on Metallic Rouge, I began to
wonder if it might've been more interesting
[02:41] IZUBUCHI
to continue the current story instead of
focusing on a protagonist from another section.
[02:47] NA
Metallic Rouge depicts a drama
focused around two heroines.
[02:51] NA
Rouge is a type of android known as a Nean
[02:55] NA
who transforms into
the battle form Metal Rouge.
[02:59] NA
Rouge's partner Naomi
is a special investigator
[03:02] NA
for a government agency known
as the Ministry of Truth.
[03:04] NA
Their mission is to kill a group
of nine androids hostile to the world.
[03:10] IZUBUCHI
They defeat the various sibling robots
they meet by making themselves targets.
[03:25] IZUBUCHI
There's an overall noir feel to the series.
It has a tech-noir impression.
[03:43] MORI
In current society, Metallic Rouge is
a very orthodox science fiction series
[03:50] MORI
with a fairly complex story.
[03:54] MORI
But having two women for the main characters
instead of men is very modern and iconic.
[04:05] MORI
Rather than relying on someone else,
together they create their own destiny.
[04:12] MORI
That's a modern story.
[04:16] IZUBUCHI
There are quite a few other animated
series featuring female duos,
[04:20] IZUBUCHI
but I wanted to trying
putting my own spin on it.
[04:30] NA
At first glance it seems like
a battle-centric sci-fi action series,
[04:34] NA
but the story also depicts Rouge
and Naomi's deepening relationship
[04:38] NA
and the strange bonds that form
between them and their enemies.
[04:43] YAMADA
The story is complex,
but it's the simple struggle
[04:50] YAMADA
to understand human relationships
within that complexity that's charming.
[04:59] HORI
We made sure the dramatic scenes would
function to produce emotional action scenes.
[05:12] HORI
We wanted people to feel
emotions in the action scenes.
[05:21] CHARACTER
Hold on tight!
[05:25] HORI
This character's name is Rouge.
[05:28] HORI
This is how she looks after transformation.
[05:31] HORI
The protagonist transforms into this form.
[05:37] HORI
Metallic Rouge is based on Mr. Izubuchi's
simple core idea of a transforming girl.
[05:49] HORI
There's probably a tokusatsu element to it.
[05:52] NA
Izubuchi referenced not only
robot series such as RahXephon,
[05:56] NA
but also tokusatsu to create
Metallic Rouge's setting.
[06:02] NA
Tokusatsu, which makes heavy use
of special effects technology,
[06:06] NA
includes numerous live action series
with transforming heroes
[06:10] NA
including* Kamen Rider*,* Super Sentai*,
and* Android Kikaider*,
[06:15] NA
which are well-known in the West.
[06:19] TAKEYA
Kikaider and Metallic Rouge feature
characters who have to fight similar enemies.
[06:27] TAKEYA
Kikaider has to fight his own siblings
even though he doesn't want to.
[06:37] TAKEYA
There's some foundational overlap there.
[06:42] NA
Extraordinary sculptor Takayuki Takeya
[06:46] NA
incorporated Izubuchi's love
for tokusatsu into* Metallic Rouge*.
[06:51] NA
Takeya achieved international fame
for his work on Hideaki Anno's* Shin Godzilla*.
[06:56] NA
For* Metallic Rouge*, he designed
the Gladiator battle forms
[07:01] NA
for Rouge and the Immortal Nine.
[07:04] TAKEYA
I decided to incorporate
the essence of medieval armor.
[07:10] TAKEYA
Mr. Izubuchi loves armor, and so do I.
[07:14] TAKEYA
They're moving objects with joints,
[07:23] TAKEYA
so Mr. Izubuchi asked
to include armor-like elements.
[07:31] TAKEYA
We created something based on these
rough sketches Mr. Izubuchi gave me,
[07:44] TAKEYA
but they had too many three-dimensional
curves and complex shapes for animation,
[07:51] TAKEYA
so we simplified them into these forms.
[07:56] HORI
They create one half
and then mirror it. Interesting, right?
[08:00] HORI
Kikaider is melancholic. There's a
certain sadness to his transformations.
[08:08] HORI
This design is cool,
but it's also a bit grotesque.
[08:14] HORI
That's the tradition
of Japanese transformation.
[08:22] NA
While the Gladiators were being developed,
[08:25] NA
Toshihiro Kawamoto worked on designs
for the protagonist Rouge and other characters.
[08:32] NA
As one of the founding members
of Bones alongside Minami and Osaka,
[08:36] NA
he has worked on numerous series
as a legendary character designer.
[08:42] NA
Among his most significant works
[08:43] NA
are the* Mobile Suit Gundam OVA,
Cowboy Bebop, and Wolf's Rain*.
[08:50] HORI
Mr. Kawamoto is the embodiment
of the art of Japanese anime.
[08:59] HORI
His designs satisfy our desire to watch anime.
[09:09] HORI
We guided him towards creating designs
[09:13] HORI
that were different from
anything he'd created before
[09:21] HORI
while also following Bones' traditions
and fitting a modern aesthetic.
[09:26] KAWAMOTO
Rouge has the appearance
of a slender 17-year-old.
[09:30] KAWAMOTO
Her hair is brown with red highlights.
[09:35] KAWAMOTO
This is the first design I drew for Rouge.
[09:43] KAWAMOTO
These designs were still more realistic,
and these are the finished designs.
[09:54] KAWAMOTO
We started work on the
final draft in 2021 or 2022.
[10:03] KAWAMOTO
It took a little less than half a year.
[10:06] CHARACTER
Good girl.
[10:08] CHARACTER
I'm gonna go buy some.
[10:09] CHARACTER
Don't you dare.
[10:10] NA
Motonobu Hori, who directed
ambitious Bones projects
[10:13] NA
including* Carole & Tuesday and Super Crooks*,
[10:18] NA
would direct this series
written by Izubuchi.
[10:19] HORI
I'm doing a lot of things this time.
[10:23] HORI
I'm checking the designs,
the characters, and the robots.
[10:32] HORI
I also give the action scenes a once-over.
[10:40] HORI
I check the props, the art, and the designs.
[10:44] HORI
Right now I'm drawing storyboards
for the opening sequence.
[10:47] HORI
This is the music track.
[10:53] HORI
The most important thing
is communicating through the art.
[10:57] HORI
This is what's drawn on paper,
then the character is animated,
[11:04] HORI
and then a copy is sent to the background
artists who draw backgrounds matching this.
[11:12] HORI
That's what's known as layout design.
[11:14] NA
Hand-drawn animation is
the captivating product
[11:18] NA
of detailed work and specialized knowledge,
requiring great patience and focus.
[11:25] KAWAMOTO
This is an image of someone floating
on a swimming ring in a pool.
[11:32] KAWAMOTO
The hair is too bunched
to be floating in water,
[11:45] KAWAMOTO
so I'm fixing it so it looks
like it's spreading in the water.
[12:03] NA
Expressing a grand and complex setting
requires sophisticated music and sound.
[12:10] NA
Taisei Iwasaki, who was
the music director for Belle,
[12:15] NA
worked with yuma yamaguchi
and TOWA TEI to provide music
[12:18] NA
that would breathe life into
the world of* Metallic Rouge*
[12:23] NA
while following Director Hori's vision.
[12:26] IWASAKI
The director loves what we
call Macaroni Westerns in Japan.
[12:34] IWASAKI
He wanted to transform a single phrase
into many different forms.
[12:41] IWASAKI
We referenced old Macaroni Westerns
and updated them for modern phrasing.
[12:54] IWASAKI
This is why the same phrase appears
numerous times throughout the series.
[13:04] HORI
Tarantino creates a brand new style by
applying music from old movies to new films.
[13:15] HORI
I think we achieved
something similar to that.
[13:20] HORI
It's an action anime with
a vintage feel in a good way.
[13:26] CHARACTER
Purgatory Viola.
[13:31] IWASAKI
A harmonica might sound out of place in
science fiction, but that makes it interesting.
[13:41] IWASAKI
Since the protagonists are two women,
[13:43] IWASAKI
the director requested
a masculine old-fashioned sound.
[13:52] IWASAKI
I decided to really go for it
by using sounds from that era,
[13:57] IWASAKI
like guitars and that sort of thing.
[13:59] CHARACTER
What is the true self,
[14:08] CHARACTER
Viola Keane?
[14:09] MORI
I requested guitars and trumpets.
[14:14] MORI
In the old tokusatsu series Kikaider,
[14:19] MORI
the protagonist actually played
the guitar and trumpet.
[14:25] NA
Yamada of Studio Don Juan
was the sound director.
[14:30] NA
From casting and sound effects
to music selection and mixing,
[14:34] NA
he oversees everything related to sound.
[14:37] YAMADA
The first major consideration is casting.
It starts with the voice actors.
[14:44] YAMADA
I worked with Director Hori and the
producers on the production committee
[14:52] YAMADA
to determine who we wanted.
[14:55] YAMADA
Then we auditioned individuals
who had what the director wanted,
[15:01] YAMADA
what the production committee wanted,
and the people I felt were right.
[15:08] YAMADA
That's where we began.
[15:10] SPEAKER
Good morning.
[15:11] SPEAKER
Good morning.
[15:13] MORI
I also have to communicate
with the voice actors.
[15:19] MORI
Directors of Japanese animated
series have too many responsibilities.
[15:25] MORI
The smallest thing can change
the direction of a performance,
[15:29] MORI
and I'm careful about whether it's better to mention
that to the voice actors or not.
[15:36] SPEAKER
Okay, go ahead.
[15:38] SPEAKER
Okay.
[15:40] SPEAKER
I didn't think it'd be inside...
[15:42] SPEAKER
Is your memory broken or something?
[15:45] SPEAKER
Why, thank you.
[15:50] SPEAKER
Excuse me.
[15:51] SPEAKER
Could I get an extra large fried rice,
twice-cooked pork,
[15:53] SPEAKER
mapo tofu, and two jaja-men?
[15:57] SPEAKER
What happened to Kotori?
[15:59] SPEAKER
They died.
[16:01] SPEAKER
I'm sorry to hear that.
[16:03] SPEAKER
Okay, thank you.
[16:05] MORI
The line "They died"
at 190 sounded sad just now,
[16:13] MORI
but I think it'd be better
if it were spoken more plainly.
[16:18] SPEAKER
Okay.
[16:19] MORI
Everything else was great.
I was fine with that.
[16:22] MORI
Mr. Izubuchi, any thoughts?
[16:24] IZUBUCHI
You've got it down from the first episode.
[16:30] SPEAKER
Both of you were great.
[16:31] IZUBUCHI
It makes me wonder if you
practiced before coming here.
[16:36] SPEAKER
I imagine they must have quite a bit.
[16:37] IZUBUCHI
Seriously? That's some
serious professionalism.
[16:41] SPEAKER
Okay, let's try that one more time.
[16:44] SPEAKER
Okay.
[16:53] SPEAKER
Stop dodging.
[16:54] SPEAKER
Naomi.
[16:55] SPEAKER
A few more hits, and I'll
be able to analyze them.
[17:00] SPEAKER
Are you ready yet, Naomi?
[17:01] SPEAKER
I just sent it.
[17:03] SPEAKER
Once we finish recording the dialogue,
next we work on mixing and applying music.
[17:13] SPEAKER
For the most part, Director Hori can
apply his own music, so he does it himself.
[17:20] SPEAKER
Next we need effects, so we look
for someone to handle that.
[17:27] MORI
From around 84, let's add
the sound of metal creaking.
[17:37] SPEAKER
Okay.
[17:37] MORI
Thank you.
[17:39] SPEAKER
Afdal.
[17:43] SPEAKER
Electromagnetic interference.
[17:44] NA
Once the animators' work is finished,
[17:47] NA
production moves onto
coloring and photography.
[17:50] NA
Additionally, adjustments are made using
special effects as the product is refined.
[17:57] IKEGAMI
I'm Masataka Ikegami.
I do photography for Bones.
[18:02] IKEGAMI
What we create is almost exactly
what ends up on TV or streaming sites,
[18:11] IKEGAMI
so photography is known
as the last stand of animation.
[18:14] IKEGAMI
In this scene, Metallic Rouge is blocking
a blast of fire from an enemy.
[18:21] IKEGAMI
I'll make the eyes glow and apply
an air current effect on top of that.
[18:28] IKEGAMI
This alone doesn't make it look
like she's being set on fire,
[18:33] IKEGAMI
so I'll add these flames, as well.
[18:38] IKEGAMI
Now it feels more like she's being
blasted with fire from the front.
[18:44] IKEGAMI
Depending on the shot,
we might use 50 or 100 layers.
[18:49] IKEGAMI
Now this shot is done.
[18:53] NA
Metallic Rouge is produced through
months of effort and numerous stages.
[19:00] NA
Finally, Rouge and Naomi's
gorgeous battle and action sequences
[19:04] NA
and adventures in the near future
are ready to be enjoyed.
[19:22] IZUBUCHI
It's written so what comes next
can be created in the future.
[19:27] IZUBUCHI
It'll come down to the fan response.
[19:30] IWASAKI
You can feel Bones' desire to create what
they really want to create in this series.
[19:36] IWASAKI
I hope the audience can feel that, too.
[19:38] MORI
Our greatest goal is for people not just
in Japan but all around the world to see it,
[19:47] MORI
which is a major advantage
of our partnership with Crunchyroll.
[19:52] NA
25 years after their founding, Bones has
produced anime for a quarter century.
[19:58] NA
Creative original anime
and high quality adaptations.
[20:04] NA
Challenging the limits of production technology
and changes in the global market.
[20:10] NA
Minami and his colleagues devote their efforts
to developing new forms of expression
[20:16] NA
while striving to create exceptional works.
[20:21] KAWAMOTO
I truly appreciate everyone watching
and supporting Bones' works for 25 years.
[20:26] KAWAMOTO
I'm grateful. Thank you.
[20:31] ASAGIRI
This will make it interesting.
[20:33] ASAGIRI
This is how I want people
to think of this work.
[20:37] ASAGIRI
This moment will move the audience.
[20:38] ASAGIRI
This is the best part of this work.
[20:41] ASAGIRI
These types of creative statements
aren't backed up by anything,
[20:45] ASAGIRI
nor are they visible to the human eye.
[20:46] ASAGIRI
But I believe Bones' animation
sees these invisible things.
[20:52] ASAGIRI
Since working with them,
I've started thinking about that a lot.
[20:56] NEMOTO
Bones has its own unique flavor.
[20:59] MATSUZAKI
He is love.
[21:01] KATSUMATA
In Japanese, we have the word
"suukou" (sublime, lofty).
[21:08] KATSUMATA
It's respect combined
with something like fear.
[21:13] KATSUMATA
That fear is key to how I feel about Bones.
[21:17] KAWASAKI
My impression of Bones is
strength and kindness together.
[21:24] ANDO
It's a powerful studio.
[21:26] WATANABE
I believe Mr. Minami's
emotionalness is a good thing.
[21:34] OTSUKA
I'll always respect him
as a president and producer.
[21:40] NA
For 25 years, the anime industry
has been booming.
[21:45] NA
How does Minami perceive those changes,
and how does he see the next 25 years?
[21:55] MINAMI
This documentary is being filmed
for Bones' 25th anniversary,
[22:00] MINAMI
but I and the people I work with
have gotten up there in years.
[22:07] MINAMI
So the next generation of producers and
young staff will have to take over production,
[22:23] MINAMI
and that will become Bones' new flavor.
[22:27] AKANE
I think we lacked cooperativeness.
[22:30] AKANE
I think it's important for meek young kids
[22:33] AKANE
not to follow the tracks
laid by adults too much.
[22:40] NATSUME
That's the future outlook.
[22:42] NATSUME
I kind of hope Mr. Minami doesn't
retire and keeps creating instead.
[22:48] SATO
I hope they continue producing great work.
[22:51] OHYAMA
I'm looking forward to
whatever Bones produces next.
[22:53] MATSUKURA
Mr. Minami is getting old,
[22:55] MATSUKURA
so I believe the newer younger generation
will work to support Bones next.
[23:01] MATSUKURA
I hope they make
a few mistakes here and there.
[23:03] ISHIKAWA
I'm looking forward to the next 25 years.
[23:09] NA
The generation that grew up
watching Bones' works
[23:13] NA
is about to accept the baton from the
generation that broke off from Sunrise.
[23:19] NA
As the concept of creation becomes
ambiguous with the rise of AI technology,
[23:26] NA
we hope that Bones will continue to push
the limits of technology and creativity
[23:32] NA
and deliver many more dreams to the world
for the next 25 years—no, for even longer.
[23:42] HONMA
Mr. Minami and Bones production staff,
congratulations on your 25th anniversary.
[23:51] HONMA
Let us continue to do our best together.
[23:53] ONE
Congratulations on your
25th anniversary, Bones.
[23:56] ONE
Thank you for creating Mob Psycho.
[23:59] MIZUSHIMA
Bones, congratulations
on your 25th anniversary.
[24:02] ITO
Bones, congratulations
on your 25th anniversary.
[24:05] TACHIKAWA
Congratulations.
[24:06] SASAKI
Twenty-five years?
[24:07] MINAMI
Twenty-five years?
[24:08] MINAMI
I'm amazed we lasted this long.
[24:44] WATANABE
Mr. Minami has said this isn't
a documentary about him.
[24:49] WATANABE
It's a documentary about Bones,
so he told me to talk about Bones.
[24:57] WATANABE
But to us, Mr. Minami is Bones.