Anime Film "GARO the Movie -DIVINE FLAME-", Event Report Arrives!　Core talk show by creators

An event report has arrived from the "GARO the Movie -DIVINE FLAME-," an animated film currently in theaters.



GARO the Movie -DIVINE FLAME-" is the latest anime film from the adult-oriented special effects series "GARO," which has produced a total of five series since 2005, following "GARO -Flame Imprint-" in 2014 and "GARO -Korenetsu-" which aired from October 2015 to March 2016. GARO -Koren no Tsuki-," which aired from October 2015 to March 2016.The story revolves around the tragedy surrounding the birth of the "most beautiful horrorin history" and the new crisis faced by Leon, a demonic knight destined to destroy the "horror" that lurks in the darkness of this world. Directed by Yuichiro Hayashi, script by Yasuko Kobayashi, and produced by MAPPA and Tohoku Shinsha.


GARO CREATOR'S KNIGHT -DIVINE FLAME vol.1-" will be held on May 31. In addition to the screening, a core talk show was held by director Yuichiro Hayashi and other staff members. Below is the report.


　First, what role does each staff member play in the production process?　In particular, what points were emphasized in this film?　Director Hayashi is in charge of overseeing the entire process and also does the original drawings himself. He also draws the original pictures himself. "This time, Mr. Park was fully involved in the action part, so I was not worried about that. I was able to concentrate on the drama, the expressions and nuances of the characters," he said.

　Mr. Park was in charge of storyboard direction, animation supervision, and his own animation work!　In particular, he cited three major action scenes: "In the bridge scene, how to make Zem look cool?　In the scene at the temple, Leon and Hermann fight together, and the action expresses the love between father and son. Incidentally, although the lake scene was not used as a result, Director Hayashi had requested to see GARO fighting underwater. Director Hayashi said, "We still have the storyboards, so we hope to show them someday in special features," to which fans applauded in anticipation.

　When asked how he imagines the action movements and assembles them, Park responded, "I'd like to see the fang wolves in action.　Park answered, "I like movies, so I use the camera work of Marvel movies as a reference and create a cool image in my mind without thinking about whether it is feasible or not. The storyboarding makes it tough, but I let the magic of Awawa take care of it (laughs).

　Prop design, which Mr. Sano is in charge of, is a position that involves designing props and unifying the world view of the props in the play. In "GARO," he is designing the armor, various magical tools, and magical horses of the demonic knights and dark knights. He submitted a variety of design proposals, and the final design adopted will naturally appear in the film, but on this day, Mr. Sano brought a scan of a design in the idea stage, just before the final draft, to explain it!　Fans were so excited to see this that they gazed intently at the images with handwritten annotations and notes projected on the screen.

　Mr. Awawa, who is creating the images as cinematographer, also used the screen to explain the actual process of creating the images. Storyboards and layouts were created by Director Hayashi, picture materials such as characters and backgrounds were added, then gradation of hair for each scene, blur and light for texture were added, and finally, after final color adjustments, a scene was finally completed!　The audience was amazed when Mr. Awawa said, "We do this detailed work for all of the approximately 1,300 scenes. In addition, while the TV series had a 16:9 aspect ratio, the film version uses Cinemascope, which makes the screen slightly longer and wider at approximately 21:9!　The extended sides give the audience a sense of breadth and depth, and I think they will be able to feel the action moving toward the back and coming toward them," he said about the unique visuals of the theatrical version.

　Mr. Kubo, the sound director, is in charge of postrecording and music recording. He said, "We were able to record the movie with the pictures firmly in place, so we couldn't use the excuse that the pictures weren't ready, and we were really fired up! He expressed his confidence in the finished product.

　During the fan Q&A session, one fan commented that "the summoning of the armor looked like a live-action special effects version," to which director Hayashi replied, "I have wanted to do a motion like Saejima Koga's since the TV series, and I was able to do it in the movie version. The enthusiastic fans in the audience nodded their heads in delight at Hayashi's words.

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