Interview with Keiichiro Kawaguchi, director of "Ochibore Fruits Tart," a "feel. like, in a good way, relaxed" fall 2020 anime!

Ochibore Fruit Tart" (also known as "Ochifuru") is a fall 2020 anime that ended its broadcast after a successful run.

This work is a slapstick comedy featuring unique characters in the city of Koganei, Tokyo, where the outcast idols "Fruit Tart" (Ino Sakura, Rocco Sekino, Hayu Nukui, Nina Maehara, and Hemo Midori) struggle to become successful idols.

This time, we caught up with director Keiichiro Kawaguchi, who helmed the charming story of "Ochifuru!　He told us about episodes in the making of the film, including some behind-the-scenes stories.

Rocco helped me a lot!

--First of all, please tell us how you feel after the on-air production.

Kawaguchi: "Ochifuru" may be an "idol" in the big picture, but I think viewers enjoyed it as a "gag anime" as well.

--What is your view of "idols"?

Kawaguchi: It is a bit harsh to say, but I have an image that "there are some troubles among the members. I have this image. The idols in "Ochifuru" don't have much in the way of that (laughs).

(Laughs) -- In this work, the story is told through the reckless actions of the manager, Kajino Hoho, .......

Kawaguchi: Yes, I think I put that kind of drollness on Hoho and the other supporting characters of the "Fruit Tart" members (laughs).

--(Laughs) - Among the "Fruit Tart" members, some of the cast members said, "Wasn't it easier to move Rocco? How did you feel about that?

Kawaguchi: It's true that many of the "Fruit Tart" members are what you might call "goofy," and Rocco is the only one who can be said to be a "tsukkomi" person. She helped me in many places, such as with Rocco's sister Chiko Sekino of the rival group Cream Anmitsu, and with the sisters Nua and Rua Nakamachi.

--Did you want to depict their local episodes?

Kawaguchi: This time, due to the time limit and also because we wanted to focus on making Higashi-Koganei, where the story takes place, more exciting, we didn't put a lot of effort into it. However, I would have liked to have delved a little deeper into the story of Kinno's mother.

--Kawaguchi: I really wanted her to play an active role in the story.

Kawaguchi: I really wanted her to play an active role. Also, if there had been 13 episodes, I would have liked to have explored the final live stage scene more. There are many things I wanted to do.

--Kawaguchi: Were there any episodes in the production of the idol costumes?

Kawaguchi: I used the "paste-in" method to draw the costumes. Compared to the live performance scene, I was very careful not to make the characters behave strangely in the scene where they are handing out leaflets in front of the station in their costumes.

As for the image colors of the characters, it was easy for me to draw the characters in the gag scenes, where they sometimes become SD (their bodies become like triangles).

--I was impressed by the subtitle of the work, which is very aggressive.

Kawaguchi: The local residents of Higashi-Koganei and Musashi Koganei have been very supportive of our promotions and collaborative projects, so I honestly wondered if this subtitle was okay. (laughs).

(laughs) -- The next episode's preview, which looks like a certain national anime, was also a topic of conversation.

Kawaguchi: Originally, we had a long preview and eye-catcher (where a different character introduces himself each time). At first, we were going to use the first one we recorded as a "bank" until the end, but as a result, we decided to have Yoko Hikasa (who plays Hoyo) cook it up in an interesting way (laughs).

Live scenes were created using old-fashioned, analog methods.

--Kawaguchi: The concept of this work was not so much to create a live performance as it was to create a live performance.

Kawaguchi: The concept of this film is not really a "serious idol film," but we wanted to depict the live scenes to some extent.

We used old-fashioned filming techniques, which gave the film an "analog feel" in a good way. On the other hand, the production required a lot of calories, and the live part took a long time to complete, but we were able to get through it thanks to the efforts of the production staff.

--Speaking of choreography, how did you come up with the movements for the songs in the play, such as "Mouse Sentai Nezuranger" and "Broko no Uta"?

Kawaguchi: For the songs that appear in the show, we had a choreographer come up with all of the choreography. Due to the length of the show, we were not able to perform all of them in the anime, but if there is a live performance or event, you will be able to see the full performance (depending on the cast's practice). I would love to see the performance live as well.

As for the "Cream Anmitsu" stage, I made sure to show a much snappier performance than the "Fruit Tart" stage, as if they were successful idols.

--The climax of the story, when the two groups sing together, really moved me.

Kawaguchi: We decided from the beginning to have them sing together in the last scene, so I am glad to hear you say so.

We enjoyed creating the film in a relaxed and fun way, just like "feel.

--Is there anyone in particular you like among the characters in the film?

Kawaguchi: I would have to say Hoho. We were able to make her move so violently in the opening movie as well as in the preview for the next episode, which was really helpful for the production team.

--What was particularly difficult about recording this film at the Corona Disaster?

Kawaguchi: Fortunately, we were able to do the postrecording in a situation where we could have a lot of people talking to each other as usual, which was a big deal when I think about it now. We started with the stance that we were free to do whatever we wanted to a certain extent, so it was good that the cast had established a "pattern" and "atmosphere" for their performances.

--I heard that "gaya-recording" involving a large number of people is difficult at any production site.

Kawaguchi: Yes, "Ochifuru" was no exception, and we re-recorded several times. There were more stage scenes toward the final episode, and that was difficult. We have not yet had a launch party to commemorate the end of the production, and we would love to have one when the situation is settled.

--Please give us a summary of the "Ochifuru" production.

Kawaguchi: Recently, there have been many productions that required a lot of effort, so we worked on it with the common awareness of "let's relax and have fun, in a good way, just like feel. However, I think the strong point of "feel." is that it is not just a lazy piece of work, and I would be happy if you could appreciate that.

I would be happy if you could appreciate that. Your "support" may lead to the creation of a continuation of the work. ......

--Kawaguchi: There was a scene in the film where the members of "Fruit Tart" were desperately trying to sell the unsold CDs, right?

Kawaguchi: Perhaps if we included curry made by the cast (as the "Fruit Tart" members did in the production), more people would buy the related products? ...... (laugh)?　Anyway, we look forward to your continued support of "Ochifuru!

(Reporting and writing by Atsushi Saeki)