"PSYCHO-PASS Psychometrician" is a sci-fi cop action series that airs on Fuji TV "Noitamina" in Japan. Recently, the Japanese media invited Mr. Gen Xubuchi, who was in charge of the original story and script creation, and Mr. Fukami Ma, who co-wrote the script, for an interview. THE INTERVIEW NOT ONLY TOUCHED ON THE THEATRICAL VERSION THAT WAS ABOUT TO BE RELEASED, BUT ALSO TALKED ABOUT INTERESTING FACTS ABOUT THE PSYCHO-PASS SERIES. As a warm-up before watching the theatrical version of the latest work in the series, Tencent Comic presents you with a full translation of the content of this interview.

1. "Abroad" and "fighting" that were not mentioned in the first season.

INTERVIEWER What kind of policy did the two main animation producers decide at the beginning of the production of "Psycho-PASS Psychometrician"?

Gen Xubuchi: First of all, after discussion, all of us decided on the policy of "supplementing the parts that were not described in the first season", and in response to this policy, the people who made the production decided to "only talk about the domestic situation in the first season, so it is better to add foreign things in the theater version", and "There are not many fight scenes in the first season, how about adding more fight scenes in the theater version".

Fukami: When I learned that I could use a foreign country as a stage for my story, I was very excited! Because in this way, the story can be made bigger.

Gen Xuabuchi: That's right, that's right, it's just doing something that wasn't done in the first season. In the first season, due to the restriction of "social crimes without the use of weapons", it was impossible to write about guns that used gunpowder when writing the script, and in the end, the vicious criminals could only use nail guns as weapons......

Fukami Shin: Well, even a professional soldier can't write about it.

INTERVIEWER How did you divide the work between the two of you to write the script?

Fukami: I think it's better to leave the part about the theme of the story to Xuyuan, so I usually skip the important part first and leave it for Xuyuan to add. It can be said that the last ** part was handed over to Xuyuan to be responsible. On the contrary, he said to me, "I can write about the army this time," and I felt that I was finally free to use my imagination in the action and combat parts that I was responsible for. Because personally, I really like the combat of the army. The theatrical version can write about both chariots and professional soldiers, and I personally think it's a lot of fun.

Xuan Xuyuan: There are also literary and philosophical references that are also deeply responsible.

Fukami: Originally, I was going not to do the quotes, because there were already a lot of references in the first season, so I thought it wouldn't matter if I didn't do the theatrical version. But then director Shiotani (Naoyoshi) said he wanted to do it, so I continued to look for a lot of references.

Second, the better the mind, the stronger the worldview.

INTERVIEWER I heard that Proust and Franz Fanon were quoted this time, but what is the reason for the quote?

Fukami: Proust made his appearance because he wanted the audience to think of the relevance of the theatrical version to the plot of the first season. As for Fanon, because his reference was for African and American mercenaries who commanded in the colonies, I thought about it for a long time between him and Said. In the end, I chose Fanon, but I didn't really have any special meaning to choose him (laughs).

Xuyuan Xuan: In fact, we intend to mold them into an evil organization armed with theories.

FUKAMI MA: AFTER ALL, THE WORLDVIEW OF PSYCHO-PASS IS THAT THE BETTER THE MIND, THE STRONGER THE STRENGTH.

Xuan Xuyuan: The more excellent you are as an intellectual, the more you are not accepted by society. Knowledge does not make people happy, this is the understanding of this world. In this way, those who seek knowledge either become criminals or wolves who leave the social group.

Fukami: That's really handsome (laughs).

Gen Xubuchi: Not only that, but the field of education is also very bleak, after all, this is a world without history classes. In this way, the tong guò marked the taboo of knowledge, and this society became the ideal place for everyone to live happily. That's how we set the world.

For the Sibylla system knowledge is divided into useful and useless.

Xuyuan Xuan: That's it, when you go through the distinction of the Sibylla system, in fact, useless knowledge can no longer be counted as knowledge.

3. Science fiction is valuable only if it has a little enlightenment.

- The word "postcolonial" is said by the ** character in the fight, which makes me deeply feel the unique interest of this work!

Fukami Ma: Hahaha (laughs). In addition, the so-called quotation is something that is necessary to make the work more sci-fi. How to say, science fiction works are only valuable if they have a little enlightenment. This is especially true in Japan. Not only that, but the chief director of Honhiro (Katsuyuki) is also a big fan of Mamoru Oshii, so it is even more necessary.

Xuyuan Xuan: Yes, yes, that's it.

Makomi Fukami: "PSYCHO-PASS Psychometrician" is not only the work of director Hiroshi Motohiro, who is a big fan of Mamoru Oshii, but also the work of ProductionI.G., an animation production company. That being the case, we can't ignore the impact the Ghost in the Shell series has had on us. The premise of our zuò production is not to make the work into "Attack the Shell". There are both deliberate deviations and deliberate imitations, and flexible quotations are made in such a sci-fi context. That's what we think.

- I see.

Fukami: Still, the reason why I quote it is probably because people with smart minds are really handsome (laughs).

Gen Xubuchi: That's a bit too explicit, but it's actually a bit of a hit (wry smile).

Fukami: In Hollywood movies, the big bad guys will suddenly quote some literary content that is very suitable for the scene at the time. For example, "Lost in the Battlefield" half a year ago and Dickens's "A Tale of Two Cities", the quotations in these works are impressive. So I don't think it's that the citations in "PSYCHO-PASS" are special, but that there are too few references in Japanese works.

Gen Xuyuan: The American story of Hollywood movies always gives people the feeling that "the better the mind, the more annoying it is", isn't it? "This guy is saying something I don't understand, damn it!" (laughs) and so on.

Fukami Mako: Yes, I do feel that way. Christopher Nolan, a well-known American screenwriter, is very good at describing this feeling.

Xuan Yuan: And the description of knowledge in "Interstellar" is also like this, when I read it, I thought: "Americans, you actually hate intellectuals!" (laughs). Such a feeling of the United States towards intellectuals does not seem to be evident in Japan. It can even be said that intellectuals do not have any sense of zài.

Fukami: It's handsome enough, so I think it would be better to have more citations. In this sense, "PSYCHO-PASS Psychometrician" is very different from other anime works.

Xuan Xuyuan: After all, the initiator of this animation is someone who has never done animation. Not only do I see you deeply, but even the chief director of Benguang is too, so it is natural to become a wonderful work on a certain course.

Fourth, the synergistic effect of reason and chaos.

INTERVIEWER What do you find each other so attractive?

Fukami: First of all, of course, it's the storyline that the abyss conceived! The plots he writes have the power to surprise people, yet make sense. I've been very fond of this style of work by Xuyuan since before I worked together. Secondly, the fun of the first season, the second season, and the theatrical version are interconnected, and after watching the theatrical version, you can watch it from a macro perspective if you go back and watch the first season. This can be said to be a completely new perspective, because after watching the theatrical version, the sense of survival of the Sibylla system will become clearer. Then again, Void Abyss, did you already have such a story panorama in mind when you wrote the script for the first season?

Xuan Xuyuan: On a global scale, the Sibylla system is the last hope. I paid attention to this perspective in the first season.

Fukami: This kind of world-class idea, after seeing the way Xuyuan Gen works, I feel that I really am far behind.

- What about you, Mr. Xuan Xuyuan?

Xuan Xuyuan: I think my weakness is that the script I conceived is too rational and I like to be reasonable. On the other hand, what he writes is a kind of chaos and disorganization in the sense of praise. This is something that my intellect does not come out of. In a sense, this may be a distraction for my script, but because of this, the script now reflects the emotional and unexpected side of the characters. It's a kind of brilliance that makes people sigh! I can't write about that brilliance myself. So before I start writing, first of all, please see that he wrote this kind of unorganized, seemingly disorganized content.

Fukami: To put it mildly, what I'm writing is actually something that reveals my personal interests (laughs). Army battles, fighting skills, love elements, and so on are all my own personal interests, and I can't help but write a lot about them.

Abuchi: That's all I want. IF PSYCHO-PASS HAD DEVELOPED THE PLOT EXACTLY ACCORDING TO MY SANITY, IT WOULD HAVE BEEN OBVIOUS THAT IT WOULD HAVE BEEN A BORING WORK.

Fukami: Actually, I thought that this section would probably be cut, but I wrote it anyway. There seems to be a voice in my heart that says, "Anyway, you can stuff as much as you want" (laughs).

Gen Xubuchi: This is exactly what I want, so please don't mind. Of course, some of them are really beyond my imagination (laughs). However, as long as it makes sense, I try to keep the things that I "stuff in" as much as possible.

- The two of them have a perfect overlap in their personal styles, so it must be a good collaboration, right?

Xuan Xu: Well, I don't think our style overlaps. That's why we're able to rely on each other and complement each other's strengths and weaknesses to complete this collaboration.

Fukami: It may come as a surprise to say it, but the only thing we have in common is probably our love for Hong Kong movies. The preference for science fiction works is not very different. For example, my favorite is "Battle Fairy Yukikaze", while the void abyss likes "The Enemy is a Pirate".

Xuyuan Xuan: Yes, yes.

Fukami: Even if you like the same writers, you tend to like the works a little differently. Probably such a kind of program that coincides but is not completely consistent is the best.

5. Non-interpersonal dialogue.

- Mr. Xuyuan, I think you've already seen the theatrical version. In the theatrical version, where do you think Mr. Fukami's characteristics are best displayed?

Xuan Xuyuan: In the theatrical version, there will be a mercenary group appearing, and the fights during the appearance and the subtleties when the characters stand are all very insightful. In addition, there is also a scene of Xiao Zhu walking on the street.

Fukami Ma: Can I also tell us about the scene that is very characteristic of the abyss?

- Of course, please!

FUKAMI MA: THERE IS A DIALOGUE BETWEEN XIAO ZHU AND A CERTAIN CHARACTER, WHICH I THINK IS VERY CHARACTERISTIC OF THE ABYSS, AND IT IS ALSO IN LINE WITH THE CONSISTENT STYLE OF "PSYCHO-PASS". The other day, I watched "Paradise Chase", and there was a similar scene in it. Abyss, do you like to depict conversations with the strong?

Xuyuan Xuan: Ah...... What do you say...... I seem to have written a lot of non-human dialogues.

Fukami: I think that's what makes you special.

Gen Xubuchi: How can I say it, I really write it every time (laughs).

Fukami Ma: You always like to describe the eyes of the bullied party, what do you want to figure out about such a gaze?

Gen Xubuchi: I'm not being bullied or anything right now (laughs). Probably this is the influence that "Great Snake" Preskin gave me. (Note: "Orochi" Preskin is the protagonist of "The Great New York Escape" and "Escape from Los Angeles")

Fukami Ma: Do you deliberately describe the strictness of the system and stimulate the characters' sense of anti-system?

Xuan Xu: Maybe it's just like what you said.

Seeing the truth: Tong guò depicts the harshness of governing society, thus emphasizing the strength of those who resist it. I THINK THIS IS XU YUAN'S PERSONAL CHARACTERISTICS IN "THEATRICAL PSYCHO-PASS PSYCHOMETRICIAN".

Xuan Xuyuan: After all, "PSYCHO-PASS Psychometrician" is originally such a story.

INTERVIEWER In Mr. Xuyuan's works, the anti-system people are the strong people in society. For example, Xiao Zhu is also a social elite. What is your reason for this?

Gen Xubuchi: Indeed, in my own works, those who resist always have the strength to stand up to those in power. Probably because I don't agree with the idea that power itself is unjustified. Without a system of power, society would be like a wildfire, and in the end there would be nothing left.

Shen Jianzhen: The power system that Xuyuan thinks about, although it is always a villain, is not evil in itself. For example, Kewpie in "Madoka Magical Girl", Diva in "Paradise Chase", and even the Sibylla system in "PSYCHO-PASS", they are not evil in themselves, depending on people's opinions, they are even a system that gives convenience to people.

Xuyuan Xuan: Yes, there are people who want to have a system to save zài, and there is a system that saves zài for these people. The social system depicted in the work includes the above-mentioned weak people who desire to rely on the system. Of course, Kewpie is a bit special and doesn't want to rely on it for the weak.

Fukami True: It is also natural for the weak to have no dependence, after all, what the system needs is the object of exploitation.

Sixth, the cruel depiction of Shiotani, and the trick of the police and gangster films directed by Motohiro.

INTERVIEWER What do you think of the styles of director Shiotani and director Hiroshi Motohiro?

Gen Kyobuchi: There's only one thing I can say about director Shiotani, and that's that he's good at portraying cruelty (laughs).

Fukami: Hahahaha (laughs).

- I see, that bloody style is the characteristic of director Shiotani, right?

Gen Xubuchi: Ah, I and Oki Fangding (who was the script coordinator in the second season) were both so miserable by him, and everyone thought that we wrote the story so cruelly (laughs).

Fukami: Everyone thinks that I and Kobuchi are writers who like to depict cruelty, but in terms of cruelty, we should still talk about directionality, and we are still different from director Shiotani.

Xuyuan Xuan: That's right! What a difference!

Fukami Ma: Although the direction of the cruelty between me and the void is different, it is also different from that of director Shiotani. In the main production team, the chief director of Benguang is probably the weakest person in cruelty.

Gen Xuabuchi: Yes, he has a good sense of balance. When he has to show cruelty, he will try his best to show his cruelty without hesitation and without restrictions, but he will never arrange cruel scenes because he wants to show cruelty. As for director Shiotani, he will arrange extremely cruel depictions for us at such times.

Shen Jianzhen: I think the characteristics of the director of Benguang are all displayed in the side of the work as a police film. In the first season, he taught us a lot of tricks in making police films, such as "control the color of the picture" and "if you do this, it won't look like a police movie", and so on. The advice he gave us was very accurate.

- The job of the chief director of Benguang is to control the fundamentals of this movie, right?

Fukami Ma: After all, his work is amazing. In addition, "as a movie, you have to shoot it like this" and other ideas about movies have also been mentioned to us. For example, in the opening part of the movie, from the draft stage of the void to the revision stage, the final theatrical version is very different from the initial concept.

Xuyuan Xuan: Eh, is there one?

Fukami Ma: Didn't the chief director of this Guang say that the beginning should be full of mysteries? The mystery that will keep the audience seated for two hours must be laid out at the beginning of the film, and there are some scenes that arouse the audience's curiosity in the opening credits, and so on.

7. Akira Amano's gorgeous painting style and the monotonous style of police films

INTERVIEWER Apart from the fact that the heavyweight production team has attracted people's attention, what other reasons do you think there is to attract such a wide range of people?

Gen Xubuchi: An important reason is because Koji Yamamoto has the insight to find Akira Amano's original case. To be honest, I thought that Amano's style of painting was probably not suitable for our team. But I didn't expect Amano's gorgeous painting style to match the monotonous story of police and gangster films. Director Shiotani suppressed the gorgeousness of the characters with Yan Sù's performance, and thus produced an explosive force, transforming the film into a new police film. If Yamamoto Zuò had taken a fancy to this from the beginning, then he was too powerful.

Makomi Fukami: I think the suit matches Amano's characters very well! "TUTOR HITMANREBORN! It's also a triad for teenagers, and the characters in it are simply charming in suits. As for the reason for its popularity, I personally think that the charm of music should not be overlooked.

Xuan Xuyuan: It's true that music has a feeling of weathering.

Makomi Fukami: Probably since I made "PSYCHO-PASS Psychometrician", I think you can often see Mr. Sugno's name in anime now.

Gen Xubuchi: Of course, his music is so handsome (laughs)!

Fukami: Ever since I received the original soundtrack CD of the movie, I've been listening to the soundtrack of Dominator over and over again.

8. The ever-expanding world of PSYCHO-PASS.

INTERVIEWER The sequel and the side story have enriched the world of "The Psychometrician".

Xuan Xu: In particular, the development prospects of Gaiden novels can be said to be very broad. It's great.

Fukami: I'm writing a biography myself.

Gen Void: I'm glad that the worldview of the story is constantly expanding.

Fukami Ma: After all, the skeleton of the story is a police movie. The story stage of the Public Security Bureau is really well conceived.

Gen Xubuchi: I didn't expect the story stage to be so useful.

Fukami: But didn't you say at the beginning that you deliberately conceived such a stage so that it could be extended?

Gen Xubuchi: That's true, but it's also too much (laughs). In fact, I am quite surprised that it has developed like this. The story develops beyond one's imagination and extends endlessly, which is a real sensation!

Fukami: I'll release a game later. The game platform is Xbox One, right, awesome!

Gen Xubuchi: To be honest, of course I didn't want to make a boring work myself, but despite this, the first season was well received by all walks of life, which I never expected. What's more, the launch of the second season and the theatrical version, the serialization surprised me even more. I'm so blessed!

INTERVIEWER Finally, please tell us about the highlights of the theatrical version.

Fukami: Personally, I've been paying a lot of attention to the production of zuò fight scenes from the script stage, so please pay attention to the wonderful action fights in the theatrical version!

Gen Xubuchi: When we made the theatrical version, we didn't focus on one point, but spread it out into several parts. It's like a delicate bento, and there are several delicious dishes. I hope you will enjoy the way we make zuò and enjoy the scattered highlights!

- Thank you very much for your interview!

This is the end of the translation of this interview, Tencent Animation will continue to send you more and more exciting animation information in the future, please pay close attention to this channel!

"THEATRICAL PSYCHO-PASS PSYCHOMETRICIAN" RELATED INTRODUCTION:

The film will be officially released in theaters in Japan on January 9, 2015.

The story takes place in 2116, four years after Tsunemori Zhu was sent to the Criminal Division of the Ministry of Health and Welfare's Public Security Bureau, the Japanese government began to export the Sibila system and control machine. Soon after, the Sibila system was adopted by SEAUn (United Nations in Southeast Asia), which was in a state of civil war for a long time, and the region was briefly peaceful. At the same time, a group of members of an armed group smuggled into Japan to carry out terrorist attacks. It has been pointed out that it was a former colleague of Chang Shou Zhu, a former executive officer and surveillance officer, who helped the terrorist organization smuggle out. In order to pursue the true intentions of the man he once believed, Tsunemori Zhu went to the capital of SEAUn, Shambhala, a floating city, to investigate.