Neo-Tokyo 2099 Q&A Rewind (2009) featuring an interview with animator/director Ando Masahiro

The following interview was conducted by Dennis A. Amith

Ando Masahiro is known for his anime work with major titles such as “Jin-Roh”, “Cowboy Bebop: The Movie”, “Ghost in the Shell”, “Fullmetal Alchemist”, “Metropolis”, “Hanasaku Iroha”, “WOLF’s RAIN”, “CANAAN”, “Akagami no Shirayuki Hime”, “Sirius the Jaeger”, “Araburu Kisetsu no Otome-domo yo” to name a few.

And I happened to watch an anime series he worked on recently and made me wonder what other animated TV series and films he had worked since I last interviewed him back in 2009.

It was probably one of the coolest interviews I have done with anyone who worked in the anime industry, because of our mutual interest in jidaigeki and old samurai films but also for the fact that he worked on a lot of anime series which I grew up watching.

Back in 2007, Ando directed the animated film “Stranger~Mukoh Hadan” (aka “Sword of the Stranger”) which was shown in the US in Los Angeles and New York in the Summer of 2008.

The film known for its dramatic and action-packed sword fighting battles, beau-tiful painted backgrounds, and involving storyline with a screenplay by Takayama Fumihiko (“Patlabor WXIII”, “Mobile Suit Gundam 0080: War in the Pocket”), character designs by Saito Tsunenori (known for his works with “Blood: The Last Vampire”, “Escaflowne: The Movie”, “Eureka Seven: The Movie” and “RahX-ephon: Pluralitas Concentio”) and music by Sato Naoki (“Eureka Seven”, “Mouse”, “X”, and “H2: Kimi to Ita Hibi”).

With a talented staff behind the feature film, I was drawn in by the storyline, action-scenes and beautiful animation. But when I began my research, I realized that the original pilot for “Sword of the Stranger” was actually screened back in 2003 for the Tokyo Anime Festival” before being released theatrically in 2007.

So, needless to say that I had quite a few questions in regards to the film’s action scenes and also regarding the difference between the final cut in 2007 and the pilot created in 2003. I interview “Sword of the Stranger” director Ando Masahiro in regards to his film being shown in America and also his feelings of the Japanese animation industry.

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Before we discuss “Sword of the Stranger”, let’s get to know a little bit about you. What was your favorite anime and manga growing up?

MASAHIRO: When I was a child, I re-ally liked the sci-fi manga called “Babel Nisei” (Babel the 2nd) by Yokoyama Mitsuteru. The theme in the manga, the loneliness of one with telekinetic powers was written in a way that kids could understand. As for anime, I liked the pro-wrestling manga called “Tiger Mask”. In the story, Tiger Mask wants to save the orphanage that he grew up in so he uses the prize money he wins for that purpose and becomes a traitor who has to fight assassin wrestlers. Now that I think about it, there is a similarity in the relationship between Nanashi and Kotaro and the relation-ship between Tiger Mask (who starts out as a villain wrestler) and the boy from the orphanage.

Was it your dream and passion to work in the anime industry or did you expect yourself having an-other kind of career?

MASAHIRO: I vaguely remember when I was younger, I wanted to have a job where I make things or rather where I create things. I loved drawing and watching movies (anime or live action) and TV dramas. Around the time I was in junior high school, I found out that there were jobs in anime so I thought, “This (animation) is it”. Looking back, I never thought about working in an-other field.

A lot of anime fans are familiar with anime that you have been involved with such as “Cowboy Bebop: The Movie”, “Fullmetal Alchemist”, “Ghost and the Shell” and “RahXephon”. Of all the past anime series that you have worked on, is there a certain series that you have a special fondness for and would love to direct today?

MASAHIRO: I don’t think I’ve thought that about any existing series but I really liked how “Fullmetal Alchemist” balances out the heavy story with the light characters, and in my mind it is a very ideal film as a TV anime.

Let’s go ahead and talk about your film “Stranger~Mukoh Hadan” (Sword of the Stranger) which will be released in the US by Bandai Entertainment. In Japan, you have worked on a good number of films and televi-sion. What types of challenges did you encounter in the making of this animated film?

MASAHIRO: This was my first time as director in general so directing this movie, “Stranger”, was a very big challenge, and trying to figure out how to extract the jidaigeki (note: jidaigeki means “period piece”) style successfully to an animated film. Also pretty much everything involved with constructing this film: the directing style, the animation, the backgrounds, etc was difficult.

I’ve read that the original pilot was screened at Tokyo Anime Fair back in 2003. From the concept of the original pilot to the final cut in 2007, was there a big change on what was envisioned back in 2003 versus the final cut?

MASAHIRO: There was no change in the film’s direction, but the main character’s image changed quite a bit. In the 2003 version, the main character was an assassin with no memory so I had planned to start the film with a much more darker feel.

Was there an underlying theme or message that you wanted to convey to the viewers of “Sword of the Stranger”?

MASAHIRO: Within the genre of “jidaigeki”, the life and death of people is the core of the story. Greed is something that doesn’t ever change in any age. I wanted to write a story dealing with people who are driven by their greed to fight and the emptiness they feel. And in the center of that, I want-ed to write about a man who was only able to establish his existence by fighting and his redemption and the rebirth of his soul.

One of the first impressions that I had when watching this film, was that I don’t think I have seen an anime like this in a long time. A serious anime film that was well-planned for the storyline, the animation and possibly the best sword fighting scenes that I have ever seen in an anime. How challenging was it for you to direct these sword fighting action scenes?

MASAHIRO: In this movie, within the action scenes we drew the living and dying of people very realistically in the fabrication of animation. The action scenes should be enjoyable to not only anime fans, but any audience in general. We worked hard on the balance between drama and the action scenes in this film so people can enjoy this film while feeling for the characters without being bored and watching with excitement.

What was it like to work with Takayama Fumihiko (screenplay writer) for this film?

MASAHIRO: Takayama-san himself is a fan of jidaigeki, so with the quote “Jidaigeki’s royal road in animation!” we started working busily together on the project starting with the story writing. The scenario that was created was prepared very precisely. Having to then think about how to direct the scenario and how that would successfully translate to the fans was an obstacle, but it was a very stimulating and substantial time.

The film featured TOKIO vocalist Nagase Tomoya as the lead character as Nanashi. Although Nagase has appeared in many Japanese dramas, this was his first voice acting role. How was it like to work with him?

MASAHIRO: It’s hard to believe this was his first time voice acting. His understanding for the character was great and he portrayed Nanashi as if he was a real person. During the climax of the film where Nanashi draws his sword and yells, it went well beyond my expectations and I felt so moved that it felt like my soul was being grasped.

Because a lot of anime is distributed internationally and “Sword of the Stranger” has a storyline that would appeal to International audiences, especially of fans of feudal sword fighting films, were you ever concerned that international audiences might not understand “Sword of the Stranger” due to cultural differences between Japan and the rest of the world?

MASAHIRO: The setting for “Stranger” takes place in historical Japan, but the human story in the center of it goes beyond languages and country borders and concentrates on universal emotions, so I wasn’t worried at all.

Looking back at the film a year after it had been theatrically released in Japan, are you happy with the final version or do you wish there were some additions or cuts made?

MASAHIRO: When the film was done, that was the best that I could have done for that film so I am very satisfied about that. There are some things that could be worked on, but instead of changing anything on the film, I will use that as homework for myself and express that in my next project.

I have to ask this… Because of the final scene in the “Sword of the Stranger”. What is the probability of seeing more adventures of Nanashi ever again?

MASAHIRO: The story of the man, Nanashi, I believe has come to a close with “Stranger”. It has nothing to do if he is still alive or not, but more so I can’t imagine in my mind Nanashi ever holding a katana again.

Let’s get back to questions of getting to know you a little more. I read somewhere that you began key animation work at the age of 18. That is amazing! When you were younger, what kind of hobbies did you have or what kind of work did you do to get prepared in a career in the anime industry?

MASAHIRO: I had no intention of going to professional school, so I studied basic sketching a bit on my own. Because I was going into work in animation, I tried to absorb as much as I could outside of that genre.

What other influences do you have – such as manga, TV, movies or novels?

MASAHIRO: From mangas: Otomo Katsuhiro and Sakaguchi Hisashi. From novels: J. Irving and Ikenami Shoutaro. From Movies: Films by S. Peckinpah, R. Scott, S. Kubrick, Fukasaku Kinji and Chiba Shinichi. The things I read and watched when I was in my teens, despite the genre, they all are in my heart and very precious to me.

Is there a director that in-spires you?

MASAHIRO: Because he’s an artist who became a director and because I admire him, James Cameron.

With a film like “Sword of the Stranger”, I’m curious… What is your favorite feudal sword fighting movie ever? And also, what is your favorite “sakuga” anime?

MASAHIRO: Naming one is a bit hard, so I’ll name at least three. Out of Jidaigeki films, there’s “Jyusannin no Shikaku (The 13 Assassins)” (Direc-tor: Kudou Eiichi), “Zatoichi” (Director: Katsu Shintarou), and “Yagyu Ichizoku no Inbou (Shogun’s Samurai/Yagyu Clan Conspiracy)” (Director: Fukasaku Kinji). Not just going by an anime with good sakuga, but going for a film that combined sakuga and drama very well making it an excellent anime: “Kamui no Ken (The Sword of Kamui)” (Director: Rintaro).

What is your feeling of the state of Japanese animation right now?

MASAHIRO: It seems that a lot of anime out right now only caters to specific fans and anime that anyone can en-joy seems to be the ones made for kids and that’s a bit lonely to me. I think it would be a great idea if more anime that was accessible to larger audiences were made.

If you have one word to describe yourself, what word would that be and why?

MASAHIRO: Contrary. I’m a contrary person.

In every interview we do, we have a word play which we give you five words, you give us your definition for each word:

a. LOVE

MASAHIRO: Self devotion

b. SUCCESS

MASAHIRO: Future

c. CREATIVITY

MASAHIRO: The ability to imagined.

d. PEACE

MASAHIRO: Consideration

e. Sword of the Stranger

MASAHIRO: A great duel movie

Are you working on any current projects at this time?

MASAHIRO: I am currently directing a TV anime series due to air early next summer.

What final message would you like to give to the fans of your work?

MASAHIRO: Working on this film, “Stranger”, I was able to understand the power and possibilities of hand-drawn animation again. I also came to the conclusion that “I like handdrawn animation” and I would like to keep supporting hand-drawn animation.

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