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 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.) [00:03] 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.