‘Bartender’ Official interview with the producer who talks about his passion!

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Producer official interview has arrived from the anime “Glass of Bartender God” scheduled to be broadcast in April 2024. In addition, a project PV that imaged the world view of the work was also released.

project PV scene cuts and teaser visuals (7 photos ) A popular manga serialized in Shueisha) with a circulation of 3.6 million copies (as of September 2022). Even when it was serialized, it was turned into media, and last year, a project was launched to send this masterpiece, which not only stimulates the desire to know about bars and alcohol but also the human drama that unfolds in the bar, to this Reiwa era as a completely new animation. It will be broadcast in April 2024 as “Bartender God’s Glass”. A genius bartender who makes cocktails called “Glass of God” Sasakura TameThis work is attractive for the human drama drawn by the unique people who surround him. You can enjoy the dizzying interpersonal patterns centering on the Sasakura tamari.

This time, we will introduce an official interview with producer Takaaki Nakazawa, the central figure who launched the animation project of this work, and talk about the charm of this work and the charm of bars and bartenders. How did the anime project come about? About three years ago, my wish came true, and I was transferred to the department in charge of planning and producing video works. “Bartender” was a manga that I loved and had a strong attachment to, so I started the project with the idea that “If I can do a project by myself, I want to make an anime about my favorite work.” As for the timing, I felt that the whole bar industry was having a hard time due to Corona, so I felt that my work would be helpful in the bar industry.

How did you decide on the staff members? The animation production company Rebel is an independent studio from Zero-G with a proven track record. Since it was just established and they would like to challenge various works and expressions from now on, I asked them to join me. Director Kuratani and Yoichi Ueda, the character designer and chief animation director, are wonderful creators with a strong trust in Riverl. Mariko Kunisawa, who is in charge of the series composition, was previously involved in Toho’s work. I thought she was “very good at making human dramas,” so I contacted her. There is a behind-the-scenes story about Mr. Kunisawa. The email address seemed outdated when we offered, so you should have noticed the message.

I heard from you 2-3 months ago, and maybe you weren’t interested. Did. If I hadn’t re-approached there, it might have turned out to be a completely different work (laughs). Did you have any discussions with the director and character designer, Mr. Ueda, about the character design that Sasakura has released? At first, I asked Mr. Ueda to draw several patterns of Sasakura. It’s obvious, but we all enjoyed watching it, saying, “All of them are good!” When we were finalizing the design, we discussed whether we could follow the atmosphere of the original work and update it for the anime of the current era, and we had an excellent character design.

What I was conscious of to bring out the charm of the work
I heard that you also went to an interview at a bar. Of course, there are many cocktails in this work, but to get a sense of how amazing Sasakura is making them with his skin, I visited the bar and tried many patterns of cocktails. I made it. I drank a lot because the difference in taste and aroma was expressed in the work (laughs). In addition, Director Kuratani and the central staff visited the bar and filmed movements, such as how to shake the shaker. I am working on it.

At the time of the shooting, a huge number of cocktails were lined up on the counter, and it was a sight that I don’t usually see at a bar, so it left an impression on me. To bring out the charm of this work, was there anything you were conscious of or took care of? I have always liked alcohol and often went to bars, but it was only after I read the original that I learned about the true power of Mr. Sasakura. He has excellent insight, but many bartenders have similar abilities. I thought that “skills” such as making cocktails and interacting with customers were a way to show the bartenders’ amazingness, so I asked famous bartenders who have won competitions to supervise the animation. Even those familiar with the world of bars will be satisfied with the result, so please look forward to it.

Another thing we are particular about is how to present the sake deliciously. I want to aim for the “ultimate re-experience animation,” and I’m working on it, but everyone who watched it said, “I want to go to the bar too!” I want to see it!” The expression around that is essential. Director Kuratani is putting a lot of effort into this.

I heard that the scenario also has a particularity that makes you feel the charm of the bar and the bartender. Mr. Kunisawa has brilliantly expressed the “liver” part of the work “The Connection between Alcohol, Bars, and Human Drama.” It’s not just a work where you can learn about sake; it was well put together. In recent years, the breakthrough of Japanese bartenders worldwide has been remarkable, and casual bars for young people are appearing, so diversity is spreading. I would appreciate it if that atmosphere was conveyed from the work.

The scene where Miwa and Yukari visit various bars is also a lovely accent. Young people don’t have as many opportunities to go out for a drink at a full-fledged bar. You can enjoy it in a different way if you watch it while seeing yourself as a young girl. People tend to misunderstand that going to a bar isn’t fun if they don’t know much about alcohol, but people who know a lot about alcohol often order exactly what they want because they know what they want to order.

However, if you are not very familiar with alcohol, you can ask the bartender, “I just ate this kind of dish; can you tell me what alcohol goes well with it after the meal?” You can touch it. By the way, do the staff go to the bar? Mr. Kunisawa and Mr. Ueda have always been to bars. Director Kuratani seems to have become addicted to alcohol and bars after this work. I heard that the director is a research enthusiast, and since the production of the work began, he has made cocktails at his home.

Reality is important when you say “re-experience animation.” “Eden Hall” is not an absolute bar, but I think it’s hard for viewers to get immersed in it if it’s all about “fictional bars in fictitious towns.” So it’s set in an actual city, and we’ve even included a real bar. I was happy to hear from the people at the shops I contacted about the production that they wanted to convey the splendor of bars and bartenders through animation. The fact that Mr. Shiro usually goes to bars was also a significant factor. At Machi Asobi, held in Tokushima during the consecutive holidays in May, they sold non-alcoholic cocktails inspired by the world of bartenders.

The bartender who produced it read the original and said, “This Shall we arrange based on this cocktail from the episode?” He came up with the idea himself, and I was very impressed with how well it turned out. Once again, please tell us about the appeal of bars and bartenders.

Many Japanese bartenders pursue their technique and taste. For example, if you mix a cocktail in a glass with ice, the aroma of the alcohol will suddenly change at a certain moment, so it seems necessary to stop mixing at that point. So, when mixing, there are bartenders who concentrate on the scent, and I’m attracted to the stoic side. Also, many people are good at creating a comfortable atmosphere, including a space inside the store.

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