The fourth interview to commemorate the screening of "Space Battleship Yamato 2202: Warriors of Love, Chapter 2! What is the theme depicted in "2202"?　Interview with Director Nobuyoshi Habara and Harutoshi Fukui (Part 2)

The long-awaited "Space Battleship Yamato 2202: Warriors of Love" Chapter 2, "Launching Arc," is currently being screened in theaters nationwide to rave reviews.

This film was produced as a legitimate sequel to "Space Battleship Yamato 2199," based on the previous works "Saraba Uchu Senkan Yamato: Warriors of Love" and "Uchu Senkan Yamato 2," and directed by Nobuyoshi Habara, who directed and storyboarded episodes 9 and 19 of "2199," and composed of a series by novelist Harutoshi Fukui, who worked on the story of "Mobile Suit Gundam UC. The novelist Harutoshi Fukui, who worked on the story of "Mobile Suit Gundam UC," is the series' writer.

In this interview, we asked both of them to share their stories and messages to help us understand more deeply the second chapter, in which the story has begun to unfold in earnest.

Yamato, Anchor!
⇒This is the third interview to commemorate the screening of "Space Battleship Yamato 2202: Warriors of Love Chapter 2!　When something big falls on a man, does he want to push it back? Interview with Director Nobuyoshi Habara and Harutoshi Fukui [Part 1
⇒ Part 2 of the interview to commemorate the screening of "Space Battleship Yamato 2202: Warriors of Love Chapter 2 "! I hope you will be prepared to see it! Daisuke Ono, who plays the main character Susumu Ancient who leads Yamato, talks about his determination.
⇒ Part 1 of the interview to commemorate the screening of"Space Battleship Yamato 2202: Warriors of Love Chapter 2"! Hiroshi Kamiya, who plays the new character Keyman, talks about how big "Yamato" is.

2199" is the story after the 311 earthquake and tsunami

--The world of "2022" is a world three years after "2199," but it is still a short period of time for a major military expansion, such as five ships of the same type of Andromeda and a "wave motion gun fleet. It is amazing that they were able to reconcile this with the "time fault" (a "space where time moves forward 10 times faster than reality" created as a side effect of the "cosmo-reverse system" that regenerates the Earth). Where did you get that idea?

Fukui: There is a bit of a story behind this. In a separate process from the project I submitted, Mr. Habara was working on a sequel to "2199" with Hideki Oka-san (director of the movie "Ultraman Saga"), who also wrote the script. When we finally settled on the outline of the project and met for the first time, we came up with the idea of a "time fault" in the materials we submitted to him. Both sides brought completely different ideas to the table, and we decided to go with our own proposal after taking various things into consideration, but we felt that the "time fault" that Mr. Habara had created on his side would definitely be useful. So we decided to incorporate it into our plan.

--Fukui: The time fault is not only the consistency of "building a large fleet in three years," but also "the darkness that the Earth government and Gamilas colluded to hide.

Fukui: That was something scary when you think about it realistically. I wondered what would be possible with it. I intend to show this in the future.

Habara I am glad that the collusion between Earth and Gamilas is now more clearly visible visually.

--I think it was made possible because, unlike the old "Farewell," Gamilas did not perish in the "2199" timeline. Still, the structure of "Earth, Gamilas, and Gatlantis" is more complicated than in the old film.

Habara I think Mr. Fukui had a lot of trouble with that. The three forces make it very difficult to depict.

Fukui Conversely, I tried my best not to make it a three-way fight. If we had done that, it would have been different from the original taste of "Yamato. Rather, I tried to use "Earth and Gamilas" as a metaphor for the Japan-U.S. alliance.

─ As you mentioned in the first part, the major axis of the drama is the "unsealing of the Wave Motion Cannon.

Fukui: We decided to use the Wave Motion Gun issue as a metaphor for nuclear power plants. As was the case with last year's "Shin Godzilla," "Yamato" is also a story about how Japan, after going through a major experience, sublimates it within itself and makes it a cathartic experience. I think the old "Yamato" was very significant because it allowed young people who had lived through the period after Japan's defeat in World War II, when the words "war is wrong" became the sole focus, to experience firsthand "why war is wrong. The first "Godzilla" was also a cathartic film that recreated the experiences of people whose hometowns had been overrun by the Tokyo Air Raids and other such events. I think it was this background that led to the boom.

─ For people who have a huge shared experience, the visualization of "another reality and the answer" is very moving and gives them the strength to move on, doesn't it?

Fukui: War has become a thing of the past, something our generation has never seen or heard of. On the other hand, the Great East Japan Earthquake has brought us back to an era in which we must bring catharsis to such a major event. I think "2202" and "Shin Godzilla" are based on this premise. The screening of "2199" was after the earthquake, but the project itself had been in progress for a long time, so it was by no means a response to that situation. This time, since the project was started after the earthquake, I feel that we should take a hard look at the situation and try to create the structure that made the old "Yamato" widely accepted. In that sense, I was able to do the homework that "2199" left behind, and I was also able to use many of the structural elements of the original "Saraba". In addition, I was able to incorporate the idea of a "time fault" that had not emerged from my mind. In that sense, I think that "2202" will be able to take off in the future.