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And da and is about to make your long-awaited return to streaming platforms in July. Before the anima series Yokai-Meet-Sci-Fi ‘ second seasonStudio Science Saru and Gkids have once again united in hand with And da and: evil eye, A first theatrical featuring the first three episodes of his next season. They collect where the season a cliffhanger stopped to adapt the creator Yukinobu tatsu manga in progress.
While the theatrical event includes a perceptive interview video with its directors, Io9 has pierced the veil even more, chatting with Abel Gongora, the opening theme director of And da andFirst season and co -director for its next season. During our conversation, Gongura reflected Pop culture influences which inspired its creative process and its evolutionary role co-realizing alongside the longtime employee Fuga Yamashiro– and how their shared creative vision and their occasional artistic disagreements contributed to label reflux and flow of And da and Early production of season two.
This interview has been modified for more clarity.
Isaiah Colbert, io9: the first season ended with a cliffhanger full of suspense that left fans eager. Was it still the plan from the start, or did the decision evolve during the production to strengthen the anticipation of season two?
Abel Gongora: It was decided at the very beginning – it looks more like a script decision. They already have the manga, so that they can see where they want to cut, and it was done very early in production.
https://www.youtube.com/watch?v=CFPM7TARV0C
IO9: This time, you enter a co-director role instead of simply managing the opening of the program, which included dark silhouettes and a daring typography of Kon Ichikawa. What led to this passage from the opening director to the co-director of season two?
Gongara: After opening, I started to help [Yamashiro] Also. I got involved in the project, then I was able to understand important things to know, like the story of the characters. It was a little smooth because I was already in season [one] a little bit. Production is really difficult – it’s a lot of work to do a season. Production thought it would be good to have two directors, so work is not too difficult for the season a director. I started with all the adjustment conceptions that we had at the end of the first season, then it was already decided, so I started a little [directing] In season two.
Io9: And da andCreepy Nuts’ opening theme has become a favorite in instant fans and has even won some anime awards. The sequence presents clear lead nods to the iconography of pop culture, as UltramanMixing daring stylistic choices with the unique energy of the show. What inspired this creative direction and do you have a favorite moment of his opening sequence?
Gongara: At that time, I spoke with the director of the first season [and] He gave me total freedom because we have been working together for a long time. He knows, more or less, my style. He just asked me to use Ultraman As a reference – these silhouette images. He said, “As long as you use this, it’s okay. You can do whatever you want.” So I started watching Ultraman And I started to find ideas on how to use it, and I also added something more to do another type of scenes in the opening. We agreed that we did not want to have the normal appearance of the show, so it looks a little more like brilliant whimsical colors – a little more special.
I have shown all ideas and concepts to the director. He liked. Then I started, I started the storyboard when I got the song. I thought the song was really cool, so it was exciting to do the storyboard, because you have to feel the rhythm and find ideas according to the rhythm of the song. Yamashiro was really open to anything. It was difficult, but it was fun.
https://www.youtube.com/watch?v=A1DNXXRPN-O
My favorite part is the silhouette I made myself. And then some of the raw animation cuts that were made by a team guy, who is a truly incredible animator. I was very happy because I asked him if he could do it on paper and pencil. The image, like the grain of paper, is on the screen. If you stop the frame, it has the real grain of paper, then the real pencil. This is something that we no longer do in animation. It’s a bit like a lot of work, and I am very happy that this animator did. It turned out to be very beautiful. In addition, I did the composer at the end because I wanted to push this rough style. Yeah, these pieces are my favorites in the opening.
IO9: The opening of season two, “On My Way” by Aina, will follow an approach similar to the use of silhouettes like the first season, or can the public expect something completely new with the poppy sound of Aina’s song?
Gongara: It will be completely different. I can’t say much, but it’s going to be really different and I’m happy with it. I think it’s incredible. I wanted something different, because otherwise it might seem to try to redo something good, and I thought it would not be interesting. But yes, you will see.
io9: in the Evil eye Director Interview, you mentioned watching and being intense intensive in horror and cinema from Hong Kong to help you shape your approach to Evil eye bow. What films have helped you to nail And da andThe atmosphere of action-horror of action in season two?
Gongara: The main reference for And da and it would be UltramanOf course. I really liked the way Hideaki Anno did the new version of Ultraman,, Shin Ultraman. We also have Kaiju and things like that, so I really liked Shin Godzilla And Rider Shin Kamen. There are also a few points in common with Kung-Fu films. They sometimes share a similar narration, one influencing the other. For example, as a zoom in crushed on the face of a character, things like this are used a lot in both media. We try to analyze these things.
I am also very influenced by the Stranger movies. It also corresponds And da andThe scientific part of science fiction, and it is very frightening. I think the original Stranger is a really incredible film. I don’t think there is really a film that mixes it all, but we try to get ideas and general influence by watching a lot of films. I think Yamashiro-san would do it too.
IO9: The first season was a huge visual spectacle, moving effortlessly between horror, action and romance with expressive animation that has increased every moment. Was there any specific manga scenes that pushed the studio in a creative way in season two? Moments when the animation allowed the series to bring things to another level, but turned out to be a challenge to overcome the finish line?
Gongara: (laughter) We are in the middle of [production] Today. We sometimes try new things like mixing 3D to help the animators. Sometimes we have ideas that cannot be made by traditional animation, or it would be crazy to do so. We try to find out how to use 3D in a more creative way. There is a bit in Evil eyeAlso. We experience a little with 3D. We also have a lot of new music in the season, and we are experiencing the way we use it.
Io9: You mentioned that you and Yamashiro have already worked together, in a collaborative setting. How the mesh of your two styles to create And da and Was season two? Has it proven to be a difficult feeling of feeling that is through where you disagree in a creative way, or was it a transparent transition for both of you?
Gongara: I think, of course, [Yamashiro] has a more important involvement because he decided on all the things you can see in the first season, and I tried to follow his management. Of course, we do not agree on everything. But we have half the divided season. It is not exactly like half and half. It is as if I had the first arc, then he obtained the second arc, then I return for the third arc, then it also does something later. We share like that, but we are still involved in both. Sometimes he helped me add storyboarding pieces or ideas he had, and I would also check with him [on] colors. Things like that we have to decide because some drawings can appear both in my episode and its episode. We work all the time together.
We have this context where we work together in many projects. [We’ve worked] With Masaki Yuuasa before, and we learned a lot from him. So we have a similar vision. We agree on many things and our point of view on animation and cinema is similar. We like to push the perspective and we like to push the expression of the characters, perhaps more than the other directors. It’s not too difficult for both [of us]I hope. I can’t talk to him, but I think it’s fluid in general.
And da and Season two will be presented in July on Netflix, Crunchyroll and Hulu. Evil eye Hits in theaters across the United States on June 6.
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