Long interview with Ryoji Masuyama, animation director! (The "inside man" of animation and games No. 21)

In this issue of "Inside the Anime and Game Industry," we interview creators who are active on the front lines of the industry and report their real faces and charms to you. In this 21st installment, we introduce Ryoji Masuyama, a director who made his impressive directorial debut last year with "Brend S." Masuyama is a talented animator and a member of the "Brend S" team. Mr. Masuyama comes from Gainax, a production company that has produced many talented animators, and in the early stages of his career, he worked as an original picture man on the masterpiece anime "Gurren Lagann. Vividred Operation," "Is Your Order a Rabbit? Yamanosume Second Season, THE IDOLM@STER CINDERELLA GIRLS, and Little Witch Academia, and has made a significant contribution to the success of these productions. In this article, we asked Mr. Masuyama to elaborate on his work, influences, career, and future challenges. (Editor's note: Please also read our special interview with Mr. Masuyama about his first film, "Blend S.")

Raising the Bar on Films" is a Rewarding Experience

Thank you very much for taking time out of your busy schedule at the beginning and end of the year to talk to Akiba Research Institute. First of all, what do you find most rewarding about directing animation?

Ryoji Masuyama (Masuyama) I don't mean to put it this way, but I was not originally thinking of becoming a director or a producer. I became an animator, then a director, and so on, so I am not the type of person who "entered the industry with the goal of becoming a director," as is often the case, but since becoming a director, I find it rewarding to use my skills to improve the quality of the work. As for the challenge of directing, "Blend S" (2017) was my first time, so I was just hectic trying to finish each episode, so it wasn't that much of a challenge (laugh).

Apart from the satisfaction I feel in directing, what I think is slightly different about storyboarding and directing compared to drawing is that I feel like I'm growing a little bit each time I finish one of them. When I was doing original drawings, I was rather busy with the schedule, and there were many places where I would just finish the work out of habit and say, "Okay, next time. In that sense, I am glad I did various titles before directing.

I enjoyed "Blend S" very much. How do you feel about directing your first animated TV series?

Masuyama: Thank you very much. I know this is a bit of a common impression, but as people often say, "A TV series is a lot of work. I tried to devise various ways to make it work, but the schedule was very demanding because it is unique to television. When I was directing each episode, I could concentrate on making each episode interesting, but as the director, I was in a position to control the entire production, and I was expected to do more than I had done for each episode, which was also a challenge.

What kind of checks and instructions did you give to storyboards written by people other than Mr. Masuyama?　Was it on a case-by-case basis?

Masuyama: Yes. For "Brend S," we had a variety of people in the team, from inexperienced storyboarders to experienced directors, and we checked the tempo and the inclusion of gags with care.

I understand that episodes 3 and 11 were coned by Toshimasa Kuroyanagi, who directed "Shonen Hollywood" (2014-15) and "Arc of the Boat" (2016).

Masuyama: Mr. Kuroyanagi has experience as a director, so he is very good at turning things around, and his work is stable, so I didn't have to do much work on the storyboards. After that, I left the rest to Mr. Kuroyanagi, saying, "You can do whatever you want. Mr. Kuroyanagi was a big help. I can't sleep with my feet turned toward him.

What is the best part of making animation?

What is the point of drawing a storyboard from a script?　Do you actively suggest things that are not written in the script?

Masuyama: There are titles where you are not allowed to do something that is not in the script, and there are scripts that are so well written that there is no room to do anything new. However, as I gained experience, I came to think that storyboarding is not a process of filling in pictures according to the scenario, but is more about how to expand the story and make it interesting. I know that those who are good at storyboarding might say that I am talking about such an obvious thing now (laughs).

In "Little Witch Academia" (2017), the moment when Akko turns into a rat in episode 13, no matter how you look at it, it looks like a rat from "Gamba's Adventure" (1975). However, as I was drawing, I thought, "No, Akko should be like this," and I changed it, and it was used in the film. In addition, I was allowed to shuffle the scenes, expand the line spacing, and add dialogue, as long as the story was interesting.

For "Blend S," I was also given the freedom to say, "The scenario is like this, but when it comes to the film, it needs to be like this. But there must be more parts that are necessary for the film," and I was allowed to add whatever came to mind during the storyboarding process.

I added as many things as I thought of during the storyboarding process. (2012) episode 4 and "Iroko Battle wa Nichijo Kei no Naka ni" (2014) episode 10 also used parody expressions. Are parodies your specialty?

Masuyama: I don't consider parody to be my color at all, but rather my stance is that if it enhances the excitement of the work, I will actively include it.

I am not interested in my own color at all, but rather, "If it makes the work more exciting, I will actively add it to it.

Masuyama: I believe that the appeal of animation created by a group of people is that the good intentions and enthusiasm of the various staff members involved in each cut, or even the entire film, are combined to make it more interesting.

I draw a storyboard with the idea of "this is how I want it to be done. The animators then come up with the idea of, "Here's how to make it more interesting. The film crew would come up with ideas to make it more interesting. The more ideas the film crew gathers, the better the quality of the film will be. I think that is the real thrill of making animation.

Creating the direction required by the work.

What kind of direction are you good at?

Masuyama: I don't have a favorite method or genre of direction. As a mediocre animator, I don't have an "I want to draw something outstanding! I am a person who wants to work in all genres, whether it be effects or acting.

In that sense, if there is an image that is required for a work, I will try to hold on to it. For example, in "Vividred Operation" (2013), I drew "Buttocks through Hot Pants" (episodes 2 and 9) with the idea that "this is what Kazuhiro Takamura would want.

I heard that in "Blend S," you "placed great importance on slow and fast". (Editor's note: # ?page=2 )

Masuyama: Yes, that was the case with "Blend S." I was not trying to keep the whole thing moving at all. I was not trying to keep the whole thing moving, but to create a tempo with the rhythm of stillness and movement, and to attract the audience with the layout. Many of the former GAINAX contempters are good at this, but even if I wanted to imitate them, I could never quite catch up with them. Even if I wanted to catch up, I would first have to have the strength as an animator (laughs).

(laughs). (2014), episode 10 features latte art of tanks and fighter jets. Are you also a fan of military?

Masuyama: I like Hayao Miyazaki's works and "Nadia of the Mysterious Sea" (1990-91). I also enjoy watching and making movies that involve a lot of fisticuffs, such as "Aim for the Top! (1989) and "Neon Genesis Evangelion" (1995), I still love their military and science fiction expressions.

In some cases, you draw both the storyboards and the original drawings. You have worked as both a storyboard artist and an original illustrator for "Panty & Stocking with Garter Belt" (2010) episode 4B, "THE IDOLM@STER" (2011) episode 22, "Vividred Operation," "Yamanosume: Second Season" (2014) episode 15, "Blend S" episode 12, and many other episodes. and original drawings for "Blend S" episodes 12, etc.

Masuyama: I also work on cuts that don't show the setting, or where the L/O has to be perfect but it is difficult to decide on an original artist, or where the intention cannot be conveyed unless I draw the scene.

Focusing on creating an atmosphere on site

What else do you pay special attention to in your work?

Masuyama: As a director, I want to make the work site exciting. If the staff is dead when working on a film, the film will also die. To prevent this from happening, I try to raise morale by planning my own events, calling for screenings, making T-shirts for the staff, and so on.

There are so many things that are thrown at the director that I sometimes wonder to what extent the director should manage them, but in this day and age, I think it is necessary to include creating an atmosphere for the entire production site.

I am wondering if the director himself is responsible for the work of the production staff and public relations staff.

Masuyama: I wouldn't go that far. But I am an impatient person (laughs). If I don't take action immediately when I have an idea to do something, I get very nervous. If nothing is ready an hour before the screening, I will go to the venue on my own and set up the chairs without waiting for the production staff. Also, perhaps it is my Osaka temperament, but if I am going to do something, I often want people to enjoy it, be happy, or be surprised. I am the type of person who likes the preparation more than the day of the festival.