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Director: Sakai Kazuo
Born in Kumamoto. An independent anime director and performer. In charge of various storyboards in TV Anime “LoveLive!” He took on the role of overall director in TV anime “LoveLive! Sunshine!!” His wife “Sakai Kasumi” took part in this project as an animator.
Sakai Kazuo, being appointed the director was at the very front directing the TV anime “LoveLive! Sunshine!!” Inheriting the 1st seasons and this project’s heavy emphasis on the “Feel of a concert” and “Belonging to that very instant, what further leaps forward is he pursuing?
It’s akin to how after a long night, the sun is finally shining again.
Every day would be a day of contemplating: “What does it mean to shine”, which is something without an answer, while still charging ahead.
Q: First of all, please do share with us your thoughts on how you felt after successfully completing the production work for the 2nd season of the TV anime.
Sakai Kazuo: I feel that myself, and all the other staff, the most important emotions that we felt was a sense of relief. For all the staff who took part in the production of the anime, the greatest reward is to have all the episodes broadcasted safely.
In the 2nd season we had scenes of Hakodate, and with Saint Snow in the center stage, along with other very active members as well. Although the production process was tough, but it was fun.
We accumulated scenes one by one in front of us till finally we reached the (promised) future….
I feel that this is exactly “LoveLive!”. Although next up in the movie I would continue to be the director while feeling the pressure, but I am very thankful that I am given the chance to produce it. Although any anime production would encounter problems, but “LoveLive! Sunshine!!” is in the end special – as they have to sing.
Besides having a story, we’ll have to produce songs as well. We have to do so in a limited production schedule, and we choose a task with high difficulty - making it into a TV anime series.
The 2nd season’s production workflow was the same as the 1st season. First we had to finish the script, and afterwards begin the storyboarding process, and asking Aki Hata-san to write the lyrics for the insert songs. …The production this time around focuses heavily on their mental journey as they face the reality of their school combining and closing down.
What left the biggest impression on me was that, the production team themselves understood (that) long before and didn’t need further elaboration. Thus we were able to finish the production while heading towards that end goal. It’s the same for Hata-san’s lyrics too, and the same for the series coordinator Hanada Juuki-san as well. We are truly blessed to be able to work hand in hand professionally with so many people.
Q: Next up I’ll ask some questions about the way the story progressed in season 2. For this round, was it made by having Hanada Juuki-sensei create the script, and afterwards using it as a base to craft the story?
Sakai Kazuo: That’s right. Including Hanada-sensei, the production team used it as the original draft of the story as the blueprint, and after discussing through, made the final product.
Q: How did all of you decide on how to describe the essence of the “shine” that Chika was searching for, along with the mental state for everyone facing Uranohoshi having to close down and be combined?
Sakai Kazuo: It’s not just me, but each staff member did contemplate “what was (this) shine” as well. But I feel that, the best method to express the style of “LoveLive!” is for it to be gradually become clear as the story develops. As “not knowing what’s waiting ahead” is truly youth, right? They are just at their teens, so I felt it’ll be fine to just have this particular feeling be recorded in film.
Thus, at the very beginning I decide to not give an opinion on whether the end result of the school having to merge and close down is good or bad. The fact that one’s alma mater is disappearing is naturally saddening, but the one to make that particular judgement is the 9 of them, along with the audiences that had been looking over their struggles.
Originally I had my doubts on the mindset of “that’s how the world is”, I felt that there won’t be just a single answer. Looking at it from another angle, one’s view would also change. As for whether the final ending is good or bad, I feel that this could be left to everyone to make their own judgement.
Q: I remember Director Kazuo mentioning that when trying to gather materials for season 1, you once mentioned that in reality, the number of students in schools located Uchiura were small as well. Then with this situation happening in the real Uchiura, did it affect the story as well?
Sakai Kazuo: Not just Uchiura, to all the students who are in schools in the rural areas, closing and combining schools is something that has become commonplace. Thus, this is a real world problem, and you can’t just ignore it. Although in the future it might not be the same, but unless Uchiura experiences a change like an increase in population or etc, it is not something easy to avoid.
So thinking about that, meeting head on the reality of the closure and the school combining, was destined to be the challenge of the 9 individuals— It is my opinion that, one major plot point of “LoveLive! Sunshine!!” would lie on the point of: “Searching for the shine while in this environment”.
Being unable to accept the results, to struggle, to struggle, and after the struggling – what should they do. This problem could explain how they themselves, simple 10 year olds, and where they shine. Thus I feel that if we are able to depict this, it’ll already be fine.
Q: What made left a deep impression for me was, although having to combine school is saddening, but it wasn’t depicted like it was a bad thing. Just like in episode 11 where it is represented by Ruby’s line of: “Not knowing what tomorrow will bring does make one look forward to it”. Among that, we can also feel the brand new possibilities of the future.
Sakai Kazuo: These are my thoughts: “After the confirmation of their school having to close and be combined, would Chika and the rest spend their days being depressed? Thinking about - they won’t right?
Rather, they should face the reality on one end, and in the other continue their school life looking forward while being uneasy about the future.
They would of course be saddened, but on the next day when the sun rises, it might be the birth of a different kind of hope/aspiration. This awkward but realistic incident does also contain hope within it- I feel that should be “LoveLive! Sunshine!!”. This project’s title is also “Sunshine!!”, it does contain the sun with it.
Q: Next up I’ll like to ask some questions about the members of Aqours. I feel that one of the special part of 2nd season was that it prominently depicted the bonds of the various members among the school years. What was your intent for each of those interactions?
Sakai Kazuo: The 9 members of Aqours lived in a world where School Idols are popularized, so it has a strong sense resonance with reality. School and School Idols have an inseparable relationship, thus I hope to be able to properly express that. In addition, if we are talking about the various school years, among the 2nd years, Chika and Riko both has an inferiority complex, and wish to change themselves. This resonance pulled You in to be among them too, and together lit up a fiery relationship.
At times won’t there be people who in one glance have their character and maturity being totally opposite, but would still be very similar. Through the meeting of Riko and Chika, You found a brand new aspect and possibility of herself too.
The charm of the 1st years would naturally still be their unique feel of going at their own pace. The 3 of them are the types that would decide what to do with their intuition, if we have to list it out, it’ll be that they are talented geniuses. I feel that, Yoshiko, Hanamaru and Ruby all of them has very strong personalities, and they do have traits of artistes, so it should end up being very entertaining for everyone to hear them chatting among themselves even at the sidelines.
And actually the 3 of them are good kids, telling them to “wait”, they would obediently follow. And their weaknesses are feeling negative due to being too mindful of others, or being too hung up on other’s moods. Through the story developments in season 1 and 2, they were able to gradually voice their own opinions. The biggest accomplishment of this, can be found in episode 8 and 9 (season 2).
Q: Then what about the three 3rd years? Mari, Kanan and Dia. Previously they did retire from being School Idols before, right? I feel that their mental state is the most complicated.
Sakai Kazuo: The current 3rd years knew about how μ’s and A-RISE ended, they would naturally know how after School Idols graduate, it’ll be drawing the curtains on their activities. So, for the 3 of them who wanted to save the school from the circumstances of being merged and closed down, they were at a loss of whether they wanted to be School idols, or did they wish to save the school.
So when this confusion were dispelled, what kind of choice would they make then? The unclear mindset of the 3 of them gradually converged into one, and we were able to express this through images in every moment of this entire process. To increase the realism, in some parts we used the thoughts of the performers for the 3rd years as reference, and incorporated them in the story.
The initial concept for the project was a story where one gets excited about what they were searching for,
Q: In the 2nd season it depicts the answer of “shining” that Aqours was searching for. This theme “shining”, was it the director yourself that suggested it?
Sakai Kazuo: No, everyone decided on it. In the April 2015 issue of Dengeki G’s magazine, what was serialized was an advertisement titled: “Help, LoveLive!”, the catchphrase for the TV anime CM was “We all wish to shine!!”, it was a theme that has always existed even before the start of the 1st TV anime. Although we wish to shine, but “here” isn’t Akihabara, but it’s a small town which didn’t have much.
So, they can’t shine - but everyone who had blamed the environment as the cause, took the initiative to actively try and change the current environment, and got to stand at a brand new perspective to observe the world.
This theme of: “a story of rousing oneself to start searching” has existed right from the very beginning. Although I myself might not be able to deliver something concrete/accurate, but the girls are indeed searching for things to drive themselves (forward)….
Q: That is to say, what is termed “shining” is actually an overall theme that everyone individually agreed on in general?
Sakai Kazuo: That’s right. What I imagined the story to be like, was a youthful trendy drama/drama serials where when 2nd year student Chika wanted to shine, a group of girls who are sympathetic to her cause joins her.
Q: In episode 13, Chika finally found the answer of the question “what is shining” that she has been chasing after all this time. She could have let everyone be aware of it through a performance as well, but Chika instead choose to make her thoughts into words, this part shocked me deeply.
Sakai Kazuo: That particular line was suggested around halfway through the production of the script. If we continued production with the initial plan, it is highly possible that we would not have shaped the answer in that way.
During the production process, the image of Chika seems to have been infused with the elements of Inami (Anju)-san. So I thought that, Inami-san would definitely have found the answer. This is also included in the lyrics of “WONDERFUL STORIES”, Hata-san added “we finally found it!/やっとみつけた！/yatto mitsuketa!”. Thus, I felt that the script should follow the same route as well.
Q: Indeed so, in my impression I feel that as compared to season 1, the members are more able to use their words to express their feelings in season 2.
Sakai Kazuo: That was intentional. When we are doing storyboarding, we are interested to let everyone express their feelings. But in actual practise, to express using words their own “shine” is very difficult. Honestly speaking, I feel that “I don’t know” would what the majority of people would answer. If someone asked me: “What is your shine”, I would answer truthfully that I don’t know.
As the shine could be a particular aspect, or it could be something that oneself wouldn’t know of… for Chika, although she saw the shine of μ’s, and wishes to approach that, but in season 1 episode 13, she reached out with her hands but didn’t grasp it. She originally thought that chasing the shine with all of her might and working hard would make the entire situation better, including the school merging and closing down. But reality isn’t that simple.
“And so that is to say, we didn’t have any shine worth mention at all?” She asked herself this while recounting all the activities that Aqours had done, and subsequently denied this train of thought. The way everyone worked hard all the way, bumping into things left and right, is exactly where the shine of the 9 individual lies.
Because they bore the shine of Mutsu and everyone else in Uranohoshi Girls Academy, they were able to showcase their shine. Not just depending on their own strength, but it is because of everyone could they shine brightly - this is Chika’s answer. It is my opinion that, understanding that: “It is everyone who gave their shine to me” is the greatest aspect of their growth.
Q: Although this project is about the 9 individuals in Aqours, but after watching to the end of season 2, I genuinely feel that the main character is indeed Chika.
Sakai Kazuo: It naturally developed into this (outcome). Of course, undoubtedly this is a story about everyone.
Q: At the final part of episode 13, there’s a scene where everyone was singing together at the gymnasium right? The image of 8 people stretching their hands towards Chika, it does feel kind of déjà vu.
Sakai Kazuo: What’s unbelievable was, that scene just resonates nicely with the OP of TV anime season 1.
When creating the 1st season’s OP, although there any special intent behind it, but wasn’t there a scene where Chika is chasing and running towards figures standing and shrouded by light by herself?
From the very beginning, that entire momentum were their own shadows. And this perfectly ties into and resonated together with the lead up to season 2’s episode 13 “WONDERFUL STORIES”.
Similar to how people are unaware of darkness under light*, Chika became aware that, the shine that she herself was searching for, could it have existed at that moment she saw that illusion in the streets of Akihabara? And this to her, could be the biggest discovery….
But, this is just my own thoughts, and just one way of explaining it, and isn’t the definite answer. I hope everyone would not pay attention to this, and freely see and freely feel what you wish to.
*TL Note: A chinese saying, that basically draws reference to how people wouldn’t realize that they are shadows below a lamp, and is fixated only with the light. You won’t notice something is there even when it really is present.
Trying to express the true emotions, using the method of a documentary to bring realism to a conversation
Q: In the production process of the 2nd season, what was the most difficult hurdle?
Sakai Kazuo: It’ll be in episode 12, the section in part B where we had to draw the “LoveLive!” finals was especially difficult. As it’s depicting feelings that had always been there, so I did not hope to copy it wholesale, but rather draw it out conversational style…especially so for the latter half.
I did not wish to have them simply only conversing, so I made some amendments matching to each individuals and their circumstances. Thus it changed to modes like visiting Kanda Shrine, looking over the sea etc.
According to the theory of a documentary, those (scenes) should be focused on Chika’s view point. As it’s in Chika’s perspective, so the imagery shouldn’t have Chika in it, but we bravely and purposely added it in.
So the audiences could take a step back and in that distance look at Chika and the rest. In adding another perspective like this, we’ll have the feel of scrutinizing the two’s conversations.
Q: I understand the reason why Chika appeared in the footage then, and I’m much happier about it as well. Then, besides episode 12, are there any other episodes which are harder to produce too?
Sakai Kazuo: Episode 9 I guess? Adding Saint Snow, and “Awaken the power” where 11 of them are performing together was very difficult.
Firstly, as the stage became Hakodate, which was a brand new area, the production of this anime - including the storyboard and scripts - took a long time.
And beyond that, we had to have the song with the most number of people dancing too.
Q: Then was Director Sakai doing the storyboarding for the songs in the 2nd season too?
Sakai Kazuo: That’s right. I draw them this time too. The dance itself would also reflect in reality the link between characters and their feelings, so only this I won’t leave it to anyone else. Each episodes’ performance we would have new members (at work) joining in, so it’ll be very very tough for someone who is working on this project for the first time.
As for me myself, there would be times when I can draw the storyboard in one go, but I would also have times when I would hit a bottleneck. As every character making an appearance are all important, so at times to ensure fairness, the movement of my hands would unconsciously slow down too.
And at the very end, it’s still because the 9 members of Aqours are too important. So I have to consider situations where I have to rest my pen a bit more.
In fact, my daughter’s birth coincide with the time when we were finishing work on the PV for “Koi ni Naritai AQUARIUM”. And it’s due to this experience, I have very strong feelings towards the 9 girls. When I am drawing, I would like to craft them to living, breathing individuals.
The usage of 3DCGI technology and how love of the project supported the creation of the song sections
CN TL note: 3DCGI: Three dimensional computer generated imagery. In simple terms it is the application of computer graphics to create or contribute to images in art and printed media. This technique is used primarily in the song segments in TV anime “LoveLive! Sunshine!!”. Director Kyogoku Takahiko-san who was in charge of TV anime “LoveLive!” specializes in mixing 3DCGI with hand drawn art and mixing both effects. In comparison, Director Sakai had always challenged the production team to raise the bar on special effects, to achieve beautiful dance sequences that aren’t doable by 3DCGI.
Q: Speaking of which, in the Live performance portions, the quality of the members that were drawn by 3DCGI has noticeably increased as compared to season 1. This greatly surprised me. Thus will close ups of facial features be introduced more readily now?
Sakai Kazuo: Thank you for your compliments. The company that took on the creation of the Live sections is “Sublimation”, they could be said to be beyond professionals and an organization filled with weirdos - this description is made totally out of respect (laughs).
When it is time for Lives(events), everyone in the production studio would go on site, and give their full burning enthusiastic support to the performers.
Most importantly they really love this project. Their feelings would definitely show themselves in the 3DCGI that they create, right?
Q: The 3DCGI seems to have gotten lots of changes and is more adorable now, could you raise examples that was changed has changed?
Sakai Kazuo: It mainly was due to the way we handled “shapes” as well as the work we did at the post-production stage? As for how much changes could be made on sections filled with CG… after stepping into this territory, the time spent on it is immense.
The adorable shape of the jaws, a facial model that’s filled with charm, that instant of adorableness when they look back… all of these didn’t happen by chance, rather it’s done by hand; frame by frame by those responsible for the 3DCGI to display the charm points.
And as it is a visual thing, so they did adjustments on every single frame on the portions that they needed to use.
Q: I didn’t know this at all!! I thought that after making a cute base model through CG, it’ll just be simply making it dance….
Sakai Kazuo: Although I do wish to say that to make 3DCGI cute does indeed need technique, but there isn’t any universally accepted single way to do so.
Using the things that were created as the base, adjusting it degree by degree frame by frame to make it even more charming - it is my belief that this is the special technique that was born from Sublimation and their perseverance.
It didn’t come from upgrading of the performance of computers or the version of the production software, all of them came from the “energy” of the creators.
Q: As expected it’s the strength of people right??
Sakai Kazuo: That’s right, it is completely due to the strength of people. The hard work as well as craftsmanship born out of actual experience, finally culminated in this technique. I feel that this really is amazing.
To produce anime in the past, with regards to the facial close-ups or to capture the motion of grabbing something with one’s hands, people would often say that the accuracy of drawing by hand is higher, so we shouldn’t use 3D.
But, this project we intentionally asked the other party to: “Please do the entire portions, including these parts as well!” To this request, the other party didn’t try to shirk away and say: “it’s too hard, we can’t do it…”, but rather responded by saying: “Let’s do some research and take up the challenge then.”
To have a production team like this, I really can’t think of another besides studio “Sublimation”. In my impression, through season 1 and 2 of the TV anime, the departments within “Sublimation” accumulated experience continuously, as if being worked on by an anvil.
And at the end it feels like we manage to forge out a legendary blade. And the sharpness of the blade increases as the days went by, until today…
Actually in episode 12’s “WATER BLUE NEW WORLD” was full of challenges too. If we are speaking of normal circumstances, within the limitations of animated 3D. Firstly: We can’t have long skirts. Secondly: Costumes and the hair style can’t have changes.
But, in order to shock everyone, we did all of these in season 2. Due to this, we are still considering what we are going to do in the movie version.
To create beautiful costumes we have the filming department paste patterns and sequins on them.*
*TL Warning - There’s LOTs of technical terms in this portion of the TL, I’m honestly not very confident in them. But if you have suggestions on how to improve them, please advise me. Thanks!
Q: For μ’s, at the time they change the 3D (model’s) hair only in the theatre version, right?
Sakai Kazuo: That’s right. One of the difficult parts of producing “LoveLive! Sunshine!!” was that, regardless of the design or the performance, all of them had been done by μ’s.
We can’t win fans with just novelty, this part is the hadest to manage.
So that is to say, I declared: “what was done before, we must still do it again”!
In terms of technique wise, the PV for “WATER NEW BLUE WORLD” is one of the biggest accomplishments that we had a hand in creating.
Q: The imagery for episode 13 of the 2nd season “WONDERFUL STORIES” was great too!
Sakai Kazuo: That song was a challenge too. I remember production team discussing: “Are we really doing this? Can we make the broadcast?!” while still managing to create it.
At the very beginning our plan was to make all the challenging scenes that use 3DCGI be shoved to episode 12, and in episode 13 have them dance strictly in their school uniforms.
But when we were drawing the storyboard, as it’s the final, I decided to make all the costumes that we had created before be added into it, so for the production team in charge of the song, I’m really sorry for that time!!
Q: Speaking of the portions of the songs, the costumes of Aqours is full of charm too. Was Director Sakai-san in charge of the designs too?
Sakai Kazuo: Basically it’s I who make proposals to the animators, but the contents wise are decided in discussion with the production team.
As at the start we already did lots of costumes, so there might not be any attractive or creative creations left… Although that was my thoughts, but it’s really true that by sitting down and discussing with everyone we would still manage to find a new direction forward.
Thinking back, that really is something incredible. I have a question here. In your opinion when it comes to the costumes during the song portions, where would the biggest bottleneck found?
Q: This is a difficult question…. The production cost?
Sakai Kazuo: That is a portion which can’t be mentioned (laughs).
The correct answer is the drawings, that is to say the portion where we draw the art. The reason for that, in the illustrations, the line count* along with the scale (size) of the costumes*, isn’t something to be done by one’s own whim.
As the scaling and quantity has to be set within the limit of people’s ability to draw. On the other hand when filming with real people, there’s a much larger range of clothes that can be made….
But on the flip side, 3D might seem to have no limits, but having the production team churn out many costumes does take lots of time and effort too. Among them, the patterns were especially hard. Even so, we still managed to stick the patterns of the costumes for “MY Mai☆TONIGHT” one by one onto the screens.
So for example if you have 150 different drawings, calculating them simply you’ll need 150 pieces. In addition. “WATER BLUE NEW WORLD” has a costume that was intentionally made with sequins, so the parts which are shiny would also require texture work- so we hope that this focus on detail would make everyone feel happy that: “This is the first time I’m seeing this!!”.
To ensure the beauty of the details, we obtained lots of assistance from many creators from many companies.
*TL Note: I was informed that the term “line count” refers to: The number of lines an animator has to draw per frame for a given character design, with higher line count taking longer and costing more. Thank you: redditor “csihar”.
Q: T-This is the power of people too?
Sakai Kazuo: That’s right. “Asahi Production” which was responsible for filming put in lots of effort. If the portions with the songs have 9 individuals, we’ll correspondingly need to map the textures of the 9 individual’s patterns piece by piece.
Q: The film department applied the patterns onto the costumes… that is to say that are very skilled in drawing by hand, this part is rather surprising.
Sakai Kazuo: Considering the time (needed) and workload, this is something that is very difficult to accomplish in the schedule of a TV anime series.
There’s many methods to apply patterns, for example masking all of them using chroma keying*, ignoring dimensions and sticking them piece by piece, or just sticking them on sleeves or the collars etc.
If you really wish to go into finer details when it comes to applying textures there’s always even more detailed/finer methods, if you really want to get technical, there’s really no end to it.
*TL Note - Green Screen tech in layman’s term.
Q: Then all of these have to be done with the original creator directing the textures of the scenes, and working on them one by one…. Is that right?
Sakai Kazuo: That’s right. For the portions with the songs it’s due to the highly technical support from “Asahi Production” and “Sublimation” that we were able to ensure its quality.
I really am very grateful to them. The production team members could imagine the happy expressions of the fans who would be watching, and put in their all in the production.
Thank you, Kato Tatsuya-san who was on hand to do the mixing on site along with creation of the background music
Q: Next up let’s talk about the background music work that uses “sound” to showcase the story. The person in charge of music in “LoveLive! Sunshine!!” is Kato Tatsuya-sensei. Please share with us a story with your work together with Tatsuya-san that left a deeper impression than most.
Sakai Kazuo: In my heart Kato-san is a very special individual. During the production of the anime, there’s a work process near the very end called “mixed recording” where one adds the BGM and sound effects into the finalized footage.
Once, I suggested that: “For this project, let’s have all the staff members working on it together!”, and afterwards Kato-san, no matter how busy he is, would take some time to join in, and it seems that he was present for all (the sessions)!
He made precise adjustments that non-music creators wouldn’t be able to identify, and matched the music to the footage, thus it’s definitely worth listening to it closely.
Q: Regarding the mixed recording process, who would usually be on site?
Sakai Kazuo: I guess its each episodes’ performers*, the director, the sound director, and the BGM/Sound effect mixer?
In a normal project, the mixed recording assignment would be helmed by the sound director, with the assistance of the production crew along with the base music score/source from the composers, to do the mixed recording assignment with the footage.
If the music’s original creator themselves would participate too, we could then consider the work site to be very luxurious and special.
*TL Note: The cast for each episode I believe.
Q: For the scores that Kato-san creates himself, if there are some incompatibility with the scene, would he do some arranging of the scores on site…
Sakai Kazuo: Indeed it did happen before. He even created a tune on the spot once to match the setting.
And he’ll also do adjustment work when the sounds of unneeded instruments are too loud, or when needed sounds are too soft, or when there are scenes when the sounds didn’t match the tone of the emotions.
In a normal mixed recording assignment it wouldn’t be possible to make such detailed adjustments. But because the composer, Kato-san himself was on hand thus we are able to make the proper changes immediately, so I would tell him specifically what the impression would be like, and asked for his help directly.
Q: That is to say, that the music that was played in the TV anime, would have portions which are different from the soundtracks that are available commercially??
Sakai Kazuo: We mentioned our requests and submitted our feedback to Kato-san on the music he created, and the other party would use it as the blueprint and make the deliberate amendments.
Afterwards he would deliberate on the site of the mixed recording itself. As the tunes would be created through repeated deliberation, the BGM in the footage itself would almost never come directly from commercial sources.
So from this angle, the creation methodology of this project could be said to be extremely luxurious. As the sound director Nagasaki Yukio-sensei is also in control, the degree of completeness of all the creations are very high. So when I am listening, I’ll feel that each scene’s music would match the scenario seamlessly, I can’t help but feel: “As expected of professionals huh?”
Q: Then this really is a special experience. So, what was the process did you commission for the 2nd season’s background music?
Sakai Kazuo: For the second season itself, after I had completed the script to a certain level, I left it in the hands of Nagasaki Yukio-sensei.
In the production of a normal TV anime, they’ll list/order tunes that would have higher versatility. For example, “Normal Days 1”, “Normal Days 2” are excited and calm respectively, “Normal Days 3” would be soft or by stringed instruments, or jazz etc… but Nagasaki-sensei wouldn’t do that.
He has his own unique method: Firstly he’ll read through the script, and from there filter through it and choose what background music are needed for the scenes. And afterwards have “Chika’s rising emotions”, “Riko’s entanglement”, “The two’s relationships”, he’ll pinpoint and match the music with existing scenes.
That is the reason why the music matches the story extremely well. Speaking of which, he’ll summarize the scenes that require music and summarize them in a sheet to hand it to Kato-sensei, for the two of them to collaborate. This is the perseverance of Nagasaki-sensei.
Due to the production process fitting the scenes, and the feelings of the characters starring in it very well, it’ll sound very comfortable.
(TL Note: Nagasaki Yukio, assigned as the sound director since 2013 on the TV anime “LoveLive!”. He is responsible for confirming the style of the background music, choosing the BGM to be played in each scene, with other assignments like post-recording the lines of the seiyuu etc. The person in charge of the category of “music” in the production of the anime.)
Thoughts towards the 9 performers who were able to individually express the charm points of the members.
Q: Next up, I would like to discuss with you the feelings of the performers who have supported this project. As the director, you’ve taken care of the various seiyuus. In which instance did you feel their growth?
Sakai Kazuo: I am the one that had grown. The work put in by the 9 of them would always give me courage and new discoveries.
Having the just resolve to take on the work on stage, that half-assed resolution isn’t enough.
They were able to make a name for themselves, they accepted criticism and judgment, and all along the way sincerely faced this project head on.
This filled me with respect as well. All along, compared to the things that the staff members had taught them, what they themselves taught me would number even more.
As, in all the hearts of the performers of “LoveLive! Sunshine!!” – the girls truly exists and lives (in this world), and they even helped us by expressing the individual charm points of all the members.
I feel that at the time when they participated in the auditions, they already had this power hidden among them.
Q: The way the performers for Aqours as well as the members synchronized, that is one of the charm points of this project, right?
Sakai Kazuo: That’s right. In my heart, the members and the performers could be said to be equal - for example Chika is Inami-san, Inami-san is Chika.
In a previous recording, when Inami-san was reading the lines her eyes started swelling with tears. I felt that in this scene, Chika would naturally cry too, and thus reflected that in the drawings. Of course, for the other 8 performers, the same feelings apply.
Being Aqours, there would definitely be lots that the 9 members would carry with them. But I feel that, the fans did indeed took note of them working hard selflessly.
The goal of the theatre version is to take on the challenge of finding the epitome of the Aqours style.
Q: As of now the TV anime has it’s curtains drawn midst resounding reviews. The fans should all be looking for the totally brand new theatre version. As the director, are there any announcements or things that you wish to challenge?
Sakai Kazuo: It is thanks to the support from everyone, that we could smoothly made it all the way to the current stage of having a theatre version, I thank everyone from the bottom of my heart.
What we are going to do now, is to put in our all to make an end product that that all the audiences would enjoy.
At the moment, we, the production team members are brainstorming with lots of enthusiasm while progressing with the production, in the hopes of making something that would capture the hearts of people. There isn’t a definite correct answer for the project.
For the audiences of this theatre version, I think they’ll have different thoughts, and what I am looking forward to is exactly that: a product that would be filled with many different possibilities.
In addition, as a theatre version would mean a movie, so we had thoughts like: “Isn’t this 10 times tougher than a TV anime series?” “Can we really do this?”, so we are both nervous and expectant, we spend everyday energetically like Chika and rest.
Although we have our concerns, we feel we can’t be as adventurous like the TV anime series, but having something “new” is the nature of “LoveLive!” - it’ll be that way regardless of whether it’s a TV anime or a theatre version.
Thus, I wish to epitome the “Aqours style”, and declare a challenge towards this. I have to remember firmly the theme of creating something brand new with 3D and the drawings; to work hard and create something for everyone who passionately love “LoveLive! Sunshine!!”
And this would be a new calling in my heart. Actually before this interview, I just had a meeting about the theatre version,we said that we would have Mt Fuji and the Sun as the background for a trio song, and next up would be having them sing among the footage of a fighting game.
I’m just kidding (laughs). In any case, we’re refining our ideas while joking with each other just like this, so everyone please do look forward to it.
Q: Can you reveal in simple terms what is Director Sakai, your own impression of the “Aqours style”?
Sakai Kazuo: “When one sings, and jumps, your stomach will start to be hungry!” I guess that’ll be it? I wish to pursue a pure kind of joy.
Q: Can we put it as a kind of following your instincts vibe? (laughs) I’m beginning to look even more forward towards the theatre version. And our time is almost up. Please do say something to the fans who had supported this project.
Sakai Kazuo: To everyone who tuned in to watch the TV anime each week for season 1 and 2, all I can express is my gratitude.
Among the audiences, there might be people who feel that: “this project is hard to understand”. And without discussing whether it’s good or bad, in this project there would be places where the answers are vague or unclear.
Some of the places we did so intentionally, and some aren’t so, but I feel that these (elements) and the style of “LoveLive! Sunshine!!” and very much linked together.
There was a period of time before where I worried over that too: “Scenes where we rely on reading the emotions and not on the dialogue, would that give pressure on the audience?”
But in the 1st season I realized that the nature of “LoveLive!” is to: “Don’t lie about your feelings”, so perhaps this is a type of methodology that could express it thoroughly. This project in some sense is an experimental thing, in another sense it’s quite sentimental…
In that way you could imagine there’ll be places where it’ll be obscure and difficult to understand.
And to everyone who, even with these elements, still love this project, from the bottom of my heart I am unable to express how grateful I am.
The 1st season who did it’s best to break from it’s shell, to the 2nd season in it’s search of something brand new - and there are times where I was lost too. With the songs from Aqours as my landmark, chasing the “shine” of the 9 individuals who gave carved out the future.
Where would the 9 individuals who had reached episode 13 go from now on?
One of the charm points of “LoveLive! Sunshine!!” is to have changes every day, so I would like to ask everyone to continue to look forward to the activities of Aqours and the release of the theatre version, and to continue to run along with us.
Q: Our final question. When Director Sakai feels uncertain, what song would you listen to to guide your way?
Sakai Kazuo: I guess it’s the 1st Single “Kimi no Kokoro wa Kagayaiteru kai?”?
I feel that all of the answers are found in that PV where I myself had first started off, so when I am feeling lost I’ll listen to that song first.
And among the lyrics it’ll include the feelings that I had when I first asked Aki Hata-san (about this project), it can be said to be the starting point of “LoveLive! Sunshine!!”, so at the end it’ll still return there.
When I was asked to take on this popular franchise, I felt tremendously pressured, and the result of my endless worries, was that song. That is something I’ve carved in my heart, and I will never forget that.
I met you when I was loneliest. The hope in my heart was like a single drop of water sinking to the bottom of the sea. From that moment on, I was yours, your silhouette becoming the shape my heart takes. You are the oxygen I need in water; even if I were to slip into the depths of the sea, you’d still control my every breath. Please lead me into your sight; when you look at me, you see me for what I am, as I am. Love is - you, made of water, and my memories of us holding each other close, our warm bodies cuddled together. Love is - you, eternal, divine, so very much like me; No need for words, no explanations. Where you go, I’ll go.
I will not hide my love anymore. And though I have never sung with my mouth, I hope that you can still hear my voice. The melody of silence and the passing time tells all. Please take my hand, and let us dance to the most beautiful song. When I open my eyes again, a whole world of blue like the place in my dreams approaches ever more closely. My scars and injuries have all been healed by you. My memories were a blank slate, but now I know I was waiting for you all along. Love is - you, made of water, and my memories of us holding each other close, our warm bodies cuddled together. Love is - you, eternal, divine, so very much like me; No need for words, no explanations. Where you go, I’ll go.
This translation is dedicated to @quacktasm <3 加油 my duckie!
My upcoming MDZS RBB is a Shape of Water AU with Chinese mythology - jiaoren 鲛人Lan Zhan meeting human Wei Ying in a research facility! I have a compilation of snippets here on Twitter and I’ll be posting on AO3 on June 18!
Happy thirsty Thursday or filthy Friday depending on your region of the world! It’s the end of the month, which means it’s time for another translation challenge! In light of the fandom’s celebration of the manhua’s uncensored bathtub panels, I decided to translate the scene immediately following wangxian’s bathtub breakage. This doesn’t get very explicit—it’s just leading up to that!
Please go check out maotuanxjj’s uncensored panels of this scene here on Twitter and give them some appreciation!
Full credit to my translator friends for strongly encouraging me (read: enthusiastically screaming at me) to use this passage for this month’s challenge. Reblogs and signal boosts are always appreciated!
As always, you are welcome to participate in any translation challenge at any time. You can find a compilation on twitter or at the bottom of the pinned post on tumblr.
