by The anime “Dandadan” (broadcast nationwide on MBS and TBS every Thursday night from 0:26, / distributed on ABEMA, FOD, Hulu, Lemino, TVer, etc.) is currently airing and is packed with a variety of themes, from the occult, such as UFOs, urban legends, spirits, monsters, and UMA, to action and love stories. The intense occult battles and bittersweet youth story are, of course, still alive and well in the current second season. In speaking with Kamei Hiroshi, producer at Mainichi Broadcasting System, we learned the “reason why Dandadan” is loved.
Focus on the “reflections” of the first season and the “colors” of the second season. Season two is currently airing, but how did the production of the first season begin? The first episode of the original manga was released on “Jump+” and became a hot topic. I read it for the first time and thought it was exciting. Then, the first volume was released, and when I considered producing an anime adaptation myself, I thought the studio most suitable was Science SARU, the studio behind “The Tale of the Heike” and “Keep Your Hands Off Eizouken!” After that, I had discussions with Shueisha, and that’s how animation production began.
The visual expression has also been a hot topic since the first season. The original manga itself is a powerful work with outstanding artwork, so when I thought about how to visualize it, the most important thing was to make the visuals themselves enjoyable. I had seen the interesting layouts in their previous works, so I’m glad I chose Science SARU as the studio and asked Director Fuuga Yamashiro to work with me.
This is Director Yamashiro’s directorial debut, but he has experience under Directors Masaaki Yuasa and Naoko Yamada, and his high level of skill as a director is evident throughout the film. I believe there were scenes in the first season that used reflections in mirrors and glasses, and the way he skillfully handled these scenes, processing information in a single shot and conveying the characters’ emotions, was impressive. Even the balls were clearly reflected in them (laughs). Director Yamashiro and Abel Góngora are directing Season 2. Director Abel also directed the opening credits for Season 1. This season, too, I can sense Director Abel’s attention to detail as an animator in the action scenes. Another example is color.
The overall color palette, including color use, gradations, and color grading, is distinctively Director Abel’s. Both Director Yamashiro and Director Abel have referenced various films and given considerable thought to how they would be visually presented and how emotions would be conveyed. At the same time, the creators were very conscious of giving meaning to every cut in the storyboard. This mindset on the part of the creators resulted in a work filled with the kind of fun that is so characteristic of animation.
We want to create a work that transcends age, nationality, and era. Which episode, including seasons 1 and 2, is the one that left the biggest impression on you, Producer Kamei? I think that episode 7, “To a Gentle World,” became a hot topic, primarily due to the scene from Acrobatic Sarasara’s past. While this wasn’t intentional, we ourselves think it’s a truly fantastic episode.
However, for me, episode 5 (“Where’s Tama?”) is particularly memorable. From episodes 1 to 4, various incidents and events occur, and there’s intense action, but it’s a “romantic comedy episode” that depicts a kind of everyday life. When we were making Season 1, I found it incredibly interesting while reviewing the final footage of Episode 5. If a story that depicts everyday life were this interesting, I would be convinced that many people would love this work. In that sense, it’s a very memorable episode for me.
Episode 17 of the second season (“We’re All Staying Overnight”) was also a daily life episode with a lot of information. Even in an episode like that, the voice actors, led by Wakayama Shion (Momo) and Hanae Natsuki (Okarun), delivered fantastic performances. I’ve always found Wakayama’s acting fascinating, primarily since we worked together on another project.
This time, she once again showcased Momo’s fierce personality while also highlighting her cuteness and innocence. Actually, when I was reading the original manga, I couldn’t imagine Momo’s voice in my mind, but I felt like I’d found the answer right with Wakayama’s voice. Hanae is an exceptionally talented actor. Even when he transforms, his voice sounds a little low, like Okarun’s, and you can really sense the character’s core. He was able to switch between those two roles instantly, and it was truly a display of professional skill. –What was the atmosphere like on set? Overall, the atmosphere was peaceful.
The scenes where everyone was talking back and forth were awe-inspiring. Also, when Mayumi Tanaka, who played Turbo Granny, was on set, she really livened things up like a mood maker. Tanaka herself delivered such passionate acting that it felt like the entire dubbing booth was heating up. I was also impressed by how Kazuya Nakai, who played the Serpo alien, changed his voice for the role, and I really laughed at Tomokazu Sugita’s performance as the human model Taro. Everyone really brought a sense of depth to the characters.
This film is filled with such unique characters, but do you have a favorite? I have many favorite characters, but Momo is my favorite. She’s both strong and brave, and truly exudes the presence that drives “Dandadan.” Also, I couldn’t hate Turbo Granny. She’s foul-mouthed and annoying, but there’s also a scary feeling that she might betray you one day, and yet she’s still cute, which I like (laughs). In “Dandadan,” even the villains and monsters have a charm that makes them hard to hate, and the story has a background that makes it easy to understand.
That’s genuinely the charm of the original work. Please tell us what you value in the production of this work. I’m not skilled at drawing, and I don’t have any special talents. That’s why my first job is to create a system that allows the director and other creators to achieve their goals as much as possible. Sometimes, each department asks for my opinion, and I act as their advisor or correct their course of action.
I aim to hold a leading position throughout the entire project, focusing on guiding it in a positive direction. On top of that, I believe it’s the producer’s responsibility to deliver the work that everyone worked so hard to create to as many people as possible in terms of business, promotion, and publicity, and to make it a job that will be loved for a long time.
I’m looking forward to future developments. Now, after the second season, what kind of anime do you want this to be? Maybe not an educational work (laughs). It incorporates a variety of themes, including romantic comedy, family issues, and friendship, allowing it to be enjoyed from multiple perspectives. That’s why I want it to be a work that transcends age and nationality, and is loved by many people. I aim to create a wojobhat that can be enjoyed for 10, 20 years, and even beyond. Interview and text by Kawachi Fumihiro
