# 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](https://www.crunchyroll.com/series/GXJHM3GN4/bones-25-dreaming-forward)
Translator:
Editor:
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(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.)
**[00:03] 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](https://www.crunchyroll.com/series/GXJHM3GN4/bones-25-dreaming-forward)
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](https://www.crunchyroll.com/series/GXJHM3GN4/bones-25-dreaming-forward)
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](https://www.crunchyroll.com/series/GXJHM3GN4/bones-25-dreaming-forward)
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.