What was created with royal materials is a work that defies expectations! Interview with Koki Uchiyama & Nobunaga Shimazaki for the January 2019 broadcast of "REVISIONS REVISIONS".

The TV anime "revisions" directed by Goro Taniguchi, who continues to fascinate anime fans around the world with his "Planetes" and "Code Geass: Lelouch of the Rebellion," winner of the 36th Nebula Award (Anime Division), will begin broadcasting on January 9, 2019.

The series is composed and written by Makoto Fukami of the "PSYCHO-PASS Psycho-Pass" series, which brings the characters' daily lives and darkness to life in a fascinating way, and the original character design is by Nao Chikaoka of "Wake Up, Girls! The animation production will be handled by Shirogumi, which has produced many heart-warming films such as "Eternal 0" and "Always: Sunset on Third Street." Based on the concept of "expanding anime culture overseas," this work will launch high-quality, world-class anime works to the world, including Japan. This is the second work of Fuji Television's new anime slot "+Ultra".

This work depicts a coming-of-age (juvenile) "disaster" (panic) ensemble drama (ensemble) featuring boys and girls who are transported to "the future" more than 300 years in the future with Shibuya as the main character, and fight against "the future" to regain "the present" (now). We interviewed Mr. Koki Uchiyama, who plays the main character Daisuke Doshima, and Mr. Nobunaga Shimazaki, who plays the roles of Jaan and Guy Steiner, about the film before its broadcast.

⇒ Interview with Goro Taniguchi, director and Takamitsu Hirakawa, CG director of " revisions"! What kind of character did Director Taniguchi imagine was created by Koki Uchiyama's voice?
⇒ " A character that has never been done before" might be Milo? Interview with Mikako Komatsu, who plays Miro in the epic anime "revisions" that marks the beginning of 2019!

The second production of "+Ultra" is "more than just a heroic tale of boys and girls"

─ ─ On December 23, 2018, a stage greeting was held and both of you were on stage, how was the audience's reaction?

Koki Uchiyama (Daisuke Doujima): I could feel the audience's reactions very vividly, and I was especially happy to directly feel their excitement right after the screening.

Nobunaga Shimazaki as Mr. Steiner (Jean and Guy Steiner) I could tell that Mr. Uchiyama was right and that they were enjoying the show. It was fun for us to see the audience so happy, and I think it was a great screening that both the performers and everyone who came enjoyed.

─ For those who are not familiar with this film, could the two actors please explain what this film is about?

Uchiyama The main characters are a group of high school friends who survive in an extreme situation where the town of Shibuya, where their high school used to be, is suddenly jumped to the future and there is a mysterious enemy who attacks them.

─ Is survival the main part of the story?

UCHIYAMA: No, it is a work that has many highlights, such as science fiction elements, fascinating descriptions of mecha battles, and various other elements that come into play one after another.

Shimazaki: After the introduction that Uchiyama-kun explained, the drama is not only about the high school students, but the entire central area of Shibuya Ward is jumped, so there are adults and children living there, police, citizens, students, ordinary people from ordinary families, and many other positions and viewpoints. It is a work of many perspectives from many different standpoints. The highlight of the film is that it is not just a heroic tale of boys and girls who jumped to a mysterious place.

───Can you tell us how you felt when you were chosen to appear in this work?

Uchiyama Since there was no audition for me this time, I first wondered why I was invited. After that, as I was told about the outline of the work and the characters, especially about Daisuke whom I would play, I felt uneasy and wondered "What do people think of me who is supposed to be suitable for the role of Daisuke (laugh)? I was very much looking forward to the recording session.

Daisuke is a character created by Uchiyama's "badness

─ Did you know that the character Daisuke played by Mr. Uchiyama was created by Director Taniguchi based on his image of Mr. Uchiyama's voice?

Uchiyama I didn't know that! Actually, I have not talked with Director Taniguchi very closely. During the recording, we voice actors are basically directed by the sound director (Hitoshi Akutagawa) to whom the director entrusted a message, so we often end the recording session without talking to the director except for greeting him. It is a strange feeling to think that the director sees me that way, but as a performer, I am very happy. This time, as I was acting, I felt myself getting more and more into it, and I think the director saw through the crazy or "dangerous" part of me that I usually hide. However, I would like the audience to consider the character and the voice actor separately (laughs).

─ ─ From your point of view, what kind of character did you feel Daisuke was?

UCHIYAMA: At events, I explain him in a variety of ways, "Yabba yabba yabba," but I think he is a character that is not at all incomprehensible. Not only Daisuke, but all five members of S.D.S. (Shibuya Defense Service) had a very unusual experience in their childhood when they were rescued by a mysterious woman, Milo, and were entrusted with mysterious words by her. Considering these circumstances, I thought it would not be impossible for them to have thoughts that seem dangerous, so I wanted to keep that reality in mind.

─ When you received the script, did you already have a storyline in mind? Or did you, Uchiyama, who was playing the role, know what was going to happen next as the recording progressed?

UCHIYAMA: The scenario was almost ready. When I was playing the role, I thought that I should keep in mind that the character had a strong sense of mission to protect his friends as a result of his past, and that he had been living with it like a curse for a long time, which made him behave in a strange way. I thought it would not be good to simply make him an abnormal character, so I was careful about that.

─ Guy is a character like an older brother (he actually has a younger sister) who sometimes corrects Daisuke, sometimes admonishes him, but also firmly supports him.

Shimazaki: Well, I guess he's a child who is self-centered at ...... times. Guy is a child who thinks according to his own standards. He can't really think from someone else's point of view. It's the same with considering other people's feelings, but he's not good at putting himself in other people's shoes. I am a child who has been blessed both in terms of ability and environment, so I am unable to understand the feelings of those who are not able to do so. When it comes to emergencies, Guy's human side, the part that is not perfect, comes out, so it was interesting to record.

─ When he first appeared, I got the impression that he was a perfect character who could do anything.

SHIMAZAKI: When I was playing him, I felt that I wasn't really telling him off at all. I felt that I was rather letting my frustration get the better of me.

Uchiyama He tends to get irritated a lot, doesn't he?

SHIMAZAKI: There are times when I say, "There's no need to get so angry. But I think that's partly because he is Daisuke. I am concerned about Daisuke because we have always been good friends, and because I am concerned about him, I get irritated even more. If you really dislike him, you lose interest in him, don't you?

Uchiyama The opposite of liking is indifference, isn't it?

Shimazaki Yes, that's right!　I like the fact that you have changed your vector, but your interest has always been there, and it is because you are still interested in it that you are frustrated.

─ Did you see any similarities between Guy and yourself, Mr. Shimazaki?

Shimazaki: Similarities with Guy, you mean. ......

Uchiyama I think they are quite similar.

SHIMAZAKI Seriously?

UCHIYAMA I feel that he's kind of sparkling.

SHIMAZAKI: I'm glad to hear you say so, Uchiyama-kun (laughs).

───Could you tell us what you like about each other's characters?

UCHIYAMA There were many scenes in the play where they clashed with each other.

SHIMAZAKI Yes, that's right.

UCHIYAMA But Guy is good-looking, athletic, and has excellent grades.

Shimazaki (laughs).

UCHIYAMA His sister is also very cool, and the Steiner family itself is amazing.

SHIMAZAKI That's right (laughs).

UCHIYAMA: They can move quickly when a problem arises, and even in an emergency, they think of stockpiling first. So, he is beyond reproach, and I have to praise him.

─ ─ What kind of character was Daisuke from your point of view?

SHIMAZAKI: Apart from his status, like Guy, which compels me to praise him, there are many emotional aspects of Daisuke that I like. He may be a little twisted in some ways, but he's basically a straight shooter, and I think it's amazing that he can be so determined and go forward as he pleases. and actually risking your life to do so, I think that is truly amazing. For example, it may be called hypocritical, but even if it is hypocritical, I think it is really cool that he can really work to protect people. I like Daisuke's ability to focus and act from that power of conviction. I also like the fact that he is unexpectedly cute (laughs).

─ What do you mean by unexpected?

Shimazaki There are some parts that are a bit painful, but I think they also make him very happy, and if you read the atmosphere around him, he would normally not be happy, but his happiness leaks out, and he simply wants to have friends.

Uchiyama Ah, ...... (laughs).

SHIMAZAKI When he is satisfied, he seems to be really happy. Daisuke is a character filled with various feelings, and the more you look at him, the more you come to like him, or at least I think he is a child that you cannot dislike.

─ ─ Did you find any similarities between yourself and Daisuke?

Uchiyama I would like to think that he is not that bad, but I am sure that there are some "bad" parts in him. During the recording, various ideas came to me one after another. I kept coming up with ideas such as "It would be funny if I said ordinary lines with such an unusual tension" or "If Daisuke were Daisuke, he could say it in such a strange way".

I guess you could say that the character was born while you were playing the role.

Uchiyama: I didn't know how strongly to start the engine from the beginning. When Daisuke sees the e-mail, he seems to be happy like "Finally! But that is usually a scene where one should have a sense of crisis, not a place to rejoice. I sometimes wondered how much danger I should create in such a scene, especially in the beginning. In the studio, during the testing stage, when I thought "this is about right," I was often told to "try something more drastic and flashy," and sometimes I was told that my lines did not have enough killing intent. So I was often surprised in the beginning, wondering if I could "put that much engine into it. In the beginning, I had a lot of discussions with everyone in order to better shape the characters.

─ Mr. Shimazaki, how did you like watching Uchiyama-san's performance, in which he said, "I want you to kill the characters as if you were going to kill them"?

SHIMAZAKI: It was a lot of fun. I was crazy about Daisuke, played by Uchiyama, week after week. Uchiyama just said, "Various ideas came to me during the recording process. I felt that it was true. But Uchiyama played Daisuke with more and more richness, and I really enjoyed every recording. The dialogues and performances that were interesting during the recording are really interesting to see in the finished animation.

─ Are there any particularly impressive scenes in your performance?

SHIMAZAKI: For example, lines like "This is fate" or "I've been waiting for this for a long time" are very common, and they can be made cool in a normal way, but I wondered how you could make them so "bad".

Uchiyama I was told to do so by the director (laughs).

Shimazaki But it was really interesting. If you look at Daisuke's way of speaking, his reactions and so on, without thinking of it as acting, I think it is really interesting. He takes it out on me right away, and I can see how he gets mad at things like that, or how he gets happy at things like that. Every week at the recording studio, not only me, but everyone was looking forward to seeing how Daisuke's performance would turn out today.

─ ─ From what you told us, it seems that the postrecording went well. How was the atmosphere on site?

Uchiyama: Everyone was enjoying the story and the characters. There were people from various generations, so it was a lot of fun to record with a rich variety of people.

Shimazaki: Of course we S.D.S. members, but I got the impression that all the cast members, from the mayor to the policemen to the citizens, were having a lot of fun during the recording. Our interactions were interesting, but there were also the adult aerial battles between the characters played by the seniors, and all the other things related to administration.

─ Were there any scenes in which you particularly felt this?

SHIMAZAKI: I thought the reality of the meeting scenes was amazing. I think there is a difference between realism and reality, but I really felt the reality of "feeling real" in the work this time. Usually when I do postrecording, I tend to focus on the importance of each line and making sure the audience hears it correctly, but in the meeting scene this time, I was more concerned with the flow of the scene than the dialogue. In the scene of the meeting this time, however, I was more concerned with the flow of the meeting than the dialogues.

Uchiyama I don't know if I can call it Japanese-ness, but it was interesting to see how they still keep their positions at this point in time, even though they have jumped more than 300 years into the future.

Shimazaki: The adults are saying whatever they want. There were people who said that their position was important even in a situation like this, and there were people who only thought about themselves. Combined with the acting, these parts were very realistic and interesting.

─ ─ Could you tell us about the highlights of the early part of the story?

UCHIYAMA: The first highlight is the fear of being suddenly cut off from the daily life. I think it is interesting to enjoy fictionalized versions of things that we would not like to see happen in real life. Also, the story is not limited to children, but also includes adults with various occupations, and how they will or will not come together is a highlight in the beginning.

─ ─ If you were to jump, what position do you think you would be in?

UCHIYAMA: It is difficult to imagine, but basically, I would like to protect my daily life. I want to live my life as usual. I don't think I would be able to fight a battle like Daisuke.

─ ─ From your point of view, what do you think is the highlight of the first half of the film?

SHIMAZAKI: First of all, Uchiyama talked about the content of the story, so if I talk about the pictures, I think it is very rare that the entire film was made in 3DCG in this quality. In the beginning, we used motion capture to create the movements of the characters, and each character had a motion actor in charge, who took motions while acting. The same actors performed the characters, so I think the parts performed by real people really come alive. As you watch, you gradually become aware of Daisuke's habits of movement, and I think it will be interesting to see the detailed movements of the characters. This time, the motion actors, the voice actors, and the CG animators have worked together to create the animation, so I think it will be more interesting if you pay attention to their movements.

─ ─ Fuji Television's "+Ultra" slot, where this work will be broadcasted, is based on the concept of expanding anime culture overseas.

UCHIYAMA: In 2018, I went to Hong Kong, Taiwan, Australia and many other countries. I think it is great that we now have an environment where new works can be viewed immediately on the Internet, and I think that the trend toward more and more distribution services will continue to accelerate. I usually record in a studio in Tokyo, and at most of my events I am in front of Japanese fans, so participating in events overseas made me realize that people all over the world are really waiting to see my work, and it gave me more motivation for my work.

Shimazaki: I'm sure that the content will be enjoyable for people overseas, and the meeting scene I mentioned earlier is a common scene in Japan, but I wonder if it might be an aspect that foreign audiences might feel gaps in their understanding.
I have the image that people overseas who take the trouble to watch Japanese animation are willing to expend energy to enjoy it, and I think "revisions" is perfect for such people.
Of course, I also think it would be wonderful if people could watch it on a daily basis with ease. I really think it is a challenging work in many ways.

─ What do you think about the fact that the world view of the work is not a simple Japanese one but a near-future one like this one?

UCHIYAMA: When I heard that the school jumps to the future, I thought of "Drifting Classroom," but as I read the scenario, I realized that not everything overlaps. Not only the school, but also the town itself moves, the police, the government, and the general public get involved in the story and oppose what the main characters do, and in the latter half, there is a strong science fiction element involved.

Shimazaki: I imagined the same thing, but I think that the central part of a large city called "ward" has jumped, and a temporary government has been established there, which is a microcosm of Japan as a whole, to take it to the extreme. It is a subject that I have heard of before, but I thought it was rare to see it done on this scale.

─ Finally, could you tell us again about the appeal of this work?

SHIMAZAKI: I think it's a work with all the ingredients of a classic animation, but I think it's a work in which the preparation of the ingredients betrays expectations in a good way. It's not that it's bizarre or kitschy, but it's a work that makes you think, "I didn't know there was such a thing as this way of cooking," or "I didn't know there was such a thing as this seasoning. You can see various aspects of human beings, and you can see the kind of people that exist in this world. The more you look at it, the more interesting it becomes, and the more you look at it with the enthusiasm of "I'm going to enjoy this work! I would be very happy if you could try to watch it with such enthusiasm.

Uchiyama If you continue to watch it, you will feel something totally different from the feeling you had when you watched the first episode. Various interesting things will come up one after another, so please watch it until the end. I hope you will enjoy the characters, who are also very unique and interesting, as well as the creative visuals.

Instant photo signed by Koki Uchiyama and Nobunaga Shimazaki as a present!

To celebrate the release of the interview, we are giving away instant photos autographed by Koki Uchiyama and Nobunaga Shimazaki to two lucky winners. Please read the detailed application guidelines before applying.

<Prize
Instant photo autographed by Koki Uchiyama and Nobunaga Shimazaki

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Information on the works】※Honorific titles are omitted.
TV animation "revisions

<Broadcast Information
January 2019 on Fuji Television Network "+Ultra
Broadcasting every Wednesday from 24:55
All episodes available on NETFLIX in Japan

Broadcasting on other stations
Kansai Television / Tokai Television / TV Nishinippon / Hokkaido Bunka Broadcasting / BS Fuji

＜Story
This is a prophecy.
You five will be in great danger one day.
You are the one who can protect everyone at that time.

Daisuke Doshima, a high school sophomore with a history of being kidnapped as a child, gets caught up in a mysterious phenomenon - the "Shibuya Transference" - together with his childhood friends Guy, Ruu, Mari-Mari and Keisaku.
The center of Shibuya is jumped more than 300 years into the "future. What awaits them there is a vast wilderness and forest, dotted with ruins ......, as well as the "Revisions", people from the future, and the giant mechanical monsters they control.
Shibuya is being overrun by the monsters without knowing why, but a girl named Milo, who shares the same name as Daisuke's benefactor in the kidnapping case, appears to help him. She offers him a "string puppet," a puppet weapon that only Daisuke and his friends can control, and urges him to protect Shibuya.
Daisuke, who has lived his life believing in the prophecy by Miro, his benefactor in the kidnapping case, that he is destined to protect his friends, is elated at the crisis that has finally come and the power he has acquired. However, the bond between the five childhood friends has been torn apart by the kidnapping.
An isolated town. An unknown enemy. An undetermined past and a prophecy of doom.
The boys and girls fight against the "future" in order to regain the "present". They will surely return to the past...

<Staff> Original story by S.F.S.
Original story by S.F.S.
Director: Goro Taniguchi
CG Director: Takamitsu Hirakawa
Series Composition: Makoto Fukami / Tachi Hashimoto
Character Design Original Concept Chikaoka Tadashi
Mechanical Design by Yohei Arai
CG Character Design Jun Shirai
BG Concept Artist Masato Shirata
MattePaint Director Minoru Onishi
Art direction and setting artist Ryu Sakamoto
Color Designer Akemi Nagao
Director of Photography Kazuhiko Takahashi
Editing Akari Saito
Sound Director Hitoshi Akutagawa
Music by Azusa Kikuchi
Opening theme: THE ORAL CIGARETTES "Wagamama de miawasai" (A-Sketch)
Ending theme: WEAVER "Curtain call" (A-Sketch)
Planning Slow Curve
Animation Production Shirogumi
Production Revisions Production Committee

＜Cast

DOSHIMA Daisuke UCHIYAMA Koki
Miro Mikako Komatsu
Steiner Shinobu Shimazaki
Jarn, Ru, Steiner Riyo Takahashi
Aisuzu TEMARAWA Maika ISHIMI
Keisaku Asano Souma Saito
Chiharu Islugi Yoko Hikasa
Mukyu Islugi Tamura Yukari
Mikio Doshima Takahiro Sakurai
Yumiko Yazawa Aya Endo
Ryohei Kuroiwa Masaki Terasoma
Seiichiro Muta Nobuo Tobita
Kanae Izumi Terasaki Hiroka Terasaki
Nicholas Sato Hochu Otsuka

(C) Revisions Production Committee