Mobile Suit Gundam UC episode 7 "The Other Side of the Rainbow" was officially released on May 17, 2014 through "Exclusive Event Release", "Blu-ray Advance Release", and "Advance Paid Delivery". Started in 2010, this work tells the story of the new "cosmic century". As the final chapter of the series, the epic story around "Laplace's Box" also ushered in the highest [H] tide.

Recently, some Japanese media interviewed the main production staff of this work. They are director Kazuhiro Furuhashi and producer Naohiro Kogata from SUNRISE. They will give a detailed explanation of the ins and outs of the Mobile Suit Gundam UC series, so let's get into the main text!

■It is a thing at the beginning of the animation project

Q: First of all, I'd like to ask Director Kazuhiro Furuhashi, why did you get involved with Mobile Suit Gundam UC?

Furuhashi: I was working in Kichijoji's studio at the time, and I had one or two volumes of Gundam UC on my desk. Later, the producer of Kogami met me at a café in Kokubunji Temple and told me about the work. That was in the early spring of 2008.

Kogata: I've been looking for a director for Gundam UC for six years, and since this is an anime based on a novel written by Haratoshi Fukui and then based on the novel, I wanted to find a director and cast that would have a good understanding of the original adaptation.

To launch a new Gundam work, the creator must first have enough enthusiasm for Gundam, and Mr. Fukui has done a great job of meeting our requirements. So we were looking for a director who was not so much a deep understanding of Gundam as someone who could control the pace of the story well. Mr. Furuhashi is one of the candidates.

I still vividly remember the conversation we had in person. Since the work itself is in the form of OVA, I hope that the work can have a more precise positioning of the audience, so as to distinguish the previous animations. So I asked Mr. Furuhashi to make a work in this direction.

Q: Director Furuhashi has directed the popular OVA "Rogue Kenshin-Meiji Swordsman Romance Tan-", which is a classic Gundam series, so it has attracted a lot of attention from fans. Under such circumstances, did Director Furuhashi feel the pressure?

Furuhashi: I didn't feel the pressure. It's the same at the time of "Rogue Kenshin". If it's a completely original work, then maybe I'm apprehensive too. But this work is based on a novel, and I just need to think about how to adapt it. Therefore, for a producer, it is not necessary to feel lost.

Q: I wanted to reflect the novel in the form of a video, which inevitably went through a rather difficult process. Since the length of the original work has already been determined, will you feel limited when deciding how many OVAs to release?

Furuhashi: I wanted to make this work in the same way that I shot a one-hour TV series, so I kept the length of a film to about 40 minutes.

Kogata: I'm starting to think that making 4 x 40-minute Gundam OVAs is already the limit for Studio-Work. Of course, the fact is that the length of the article is much more than that.

Furuhashi: The one-hour drama includes the time for commercial breaks, so the actual length is just over 40 minutes. First of all, the length is determined.

Q: At the time, the project came across as short and concise. So did you expect it to grow into such a huge set?

Furuhashi: I didn't expect it at all. After all, Gundam is an unpredictable classic.

Q: From the perspective of time, is 6 years hard for you, or is it enjoyable?

Furuhashi: The design of the mecha is very troublesome, and there are a lot of work settings, and the troubles are constantly being staged, so I guess it is full of hardships.

Kogaki: Although there are some pleasant things in each detail, the whole thing is still hard. Every time we make an OVA, we instantly feel happy. But because the next work is about to start preparation, there is almost no time to sigh, so I just threw myself directly into the next work.

Furuhashi: When you finish one work, the next one is already close at hand. Because at that time, we thought that we had to stick to the pace of "two works a year".

Q: The series that took six years to create has finally come to an end. So do you have a kind of melancholy that seems to have become empty in your hearts?

Furuhashi: No, not at all. I was released from my nervous state, so I gained weight.

Kogata: Everyone said I would be sad, but that's not the case (laughs).

Furuhashi: But I've been dreaming that the production is not finished yet. Of course, this is not just Gundam UC. It seems that there is still a lot of content that I want to do in my heart.

Q: In other words, you continue to create works in your dreams.

Furuhashi: After all, it's a race against time, so whether I'm asleep or waking up, I'm thinking about these questions.

Q: Is it the same for producers?

Kogaku: I'll dream about it too. In the first week or two after the work is finished...... It's all about things that can't be described in words.

Furuhashi: I also dream about my past when I was a concept artist. And the content is often "This work has been discussed, but more than half a year has passed, and there is still no movement in production, how can this be done?" "Such unpleasant dreams have been going on for 30 years, and the plot is the same every time. (laughs)

■What kind of work can be watched again and again?

Q: Now I have some questions about the work itself. First of all, Gundam UC is still a Gundam series, so it can't be separated from this framework. Before the timeline of "Gundam UC", there were works of the cosmic century, and there are still works related to the cosmic century after the timeline. Therefore, when making this work, it must be able to integrate the relationship with the timeline well. And it has to be original. So in such a framework, where do you start to embody originality?

Furuhashi: I already had a novel that could be called a large novel, so my job was just to selectively cut down the plot. I think if the elements of one work are not present in other Gundam works, then that's originality.

Q: If there is any difference between Gundam UC and other Gundam series, it is that the mystery of "what is Laplace's Box" is set, and as the plot develops, who is Audrey? Who exactly is Banaji? A series of puzzles are slowly revealed. Is this setting also intentional by the director?

Furuhashi: We have followed the standards of fiction in the case of "puzzle solving", but we have not deliberately emphasized it so as not to give the impression of "pretentious posture". Puzzle solving, a performance technique that only the audience finds interesting when they watch it for the first time, can only be counterproductive to a genre like OVA that deserves to be watched repeatedly.

Q: For directors, what kind of works can people never get tired of watching?

Furuhashi: Yes...... If the work can make people want to see it physiologically, then it will be difficult for them to lose their enthusiasm for viewing. This requires a moderate amount of character movements, a realistic plot and expressions, and a heartfelt expression of true feelings...... To put it simply, the performance should be performed in a way that stimulates the emotions of the audience. The synchronization of the work and the music is the most effective. These aspects are all about stimulating the right brain of the person, but at the same time, we also need to fully mobilize the left brain of the audience. To do this, you need to change the perspective.

This time, the work is based on "Adult's Gundam", so not only the attitude of the protagonist Banaji, but also the opinions of the adults around him about Banaji, are equally important. Katias in Episode 1, Dr. Hassan in Episode 2, Taksa in Episode 3, and Kinneman in Episode 4 are also one of the highlights of this work. And in order to make the audience resonate with these characters, we have to try our best not to let everyone focus all their emotions on the protagonist when performing. Although this is contrary to theory and very dangerous, in this work, even if we use physical methods, we must stifle all the elements that affect the perception.

Q: What do you think about the references from Mobile Suit Gundam and later Mobile Suit Gundam F91?

Furuhashi: Do you mean the part of the image?

Kogata: If you're looking for the mecha part, then Genma Nobuhiko is very attached to the original series. In order not to make the style of the universe century that has been handed down from Mobile Suit Gundam sour, he faithfully refers to the original setting in every effect. This aspect is jointly responsible for him and Kakuki Zhao.

Furuhashi: I also used it a little bit when I was EP1. FOR EXAMPLE, THE WRECKAGE OF THE GEARADOGA WAS TRANSFORMED INTO ZAGU, AND THE MSAI CLASS WAS TURNED UPSIDE DOWN.

Small: The Bau combination that airs in the first 7 minutes of episode 7 also gives the impression of a combined plot in Mobile Suit Gundam ZZ. I think the audience will feel the relevance to other works, but we don't want to show too much "tribute".

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■Banaji is a character who did not grow

Q: Now let's talk about the characters. Let's start with Banaji. Banaji is a typical good boy.

Furuhashi: yes. He's an honor student just like the one in the painting (laughs).

Q: Is Banaji a character worth thinking about in the eyes of the director?

Furuhashi: I can only say so-so. If Banerjee is a real-life character, then everyone will not get bored even if he is around, and because of his cleverness, he will also be loved by everyone. And it's a little naïve and secondary two (laughs).

Q: In the video works, he has also become a more easily seen protagonist.

Furuhashi: If you just ask me if I can bring feelings to a young person, then the answer is no. In the animation, we portray Banaji's personality more superficially than in the novel. And other than these reasons, I don't find resonance in him. However, some of the shortcomings are made up for by Uchiyama Anghuijun's voice, and Uchiyama-kun's sense of presence is very good. And to be able to invite him to dub, I am really grateful.

Small: Banaji hasn't grown much. And in this work, what kind of thoughts and actions the adults around him have in the face of this character who has never changed, it also constitutes the development of the plot.

Furuhashi: Banaji is like a character who has already positioned Lu on the screen, and his location has been coordinated in advance. Although the character has accumulated experience, the essence has not changed. And such a pure child can make the adults around him think about what he has lost. It can be said that it is a catalyst-like existence.

Q: What about Fern Volento? I feel that his position in the animation is more profound than in the novel.

Furuhashi: He's a transcendent being, and that's the same as in the novel, it hasn't changed. Although he is sometimes good at strategy, we want him to have a personality that is not hypocritical. And because of this, he got Angelo's vision.

Q: At the heart of the story, what is Char For? Or is it not Char? Until now, it's hard for us to judge.

Furuhashi: I can't say for sure on this point, but I think there are various explanations. I don't agree with Mr. Fukui, so I hope to leave this question vague (laughs).

It's just that this character not only uses force, but also always uses a posture of reasoning to deal with Banaji. For this impeccable, omniscient and all-powerful character, how should the protagonist respond? This unsolvable question, we also hope to throw it to the audience for thought.

Shuichi Ikeda's acting skills are a perfect match for the character, and we have achieved our goal of making Fuer's presence feel even in an empty environment. However, since the left brain (rational thinking) of the audience needs to be fully mobilized at the height of the "H] tide of the story, it is a bit unreasonable to set Fuer like this from the perspective of entertainment, and it also somewhat affects the original intention of "Gundam works for adults".

Q: Speaking of impressive characters, what do you think of Lydy?

Furuhashi: In the very early days, I had a plan to keep him from attacking Marita, but now it's the best way to do it. He's a guy who has fallen into the abyss, has a twisted personality, and likes to say a bunch of shameless lines. It makes people's hearts hurt to the point of "great joy" (laughs). However, considering that he also lost a lot because of "NT-D", then forgive him here. Besides, even Banaji had done the same thing to Chipoa (manslaughter), so we shouldn't blame Liddy. Of course, all the people on the Akama, from Captain Ott down, are good people (laughs).

Q: Marida is in a really good position. I believe that the producer also put a lot of energy, and she also supported the story.

Kogaku: I guess I thought I worked on this role. In the final chapter, we talked a lot about her, including whether or not to sacrifice her.

Furuhashi: Since she runs through the entire series, it's easy for the audience to focus on her. As for the plot of her guarding the Akama, it is said that due to the distance of 150km, we can't see her performance, but she embodies the elements of fate, so no one can erase her presence.

Q: Does the director have a favorite role?

Furuhashi: I chose the オペ子 on the Racailum bridge (as the commentator). Although she only showed her face slightly in EP4.

■ "Gundam" for director Furuhashi

Q: What exactly does Gundam mean to you, director?

Furuhashi: Hmm~ What is it? I really couldn't answer at once.

Q: Do you think this is a work that is comforting or painful? In Char's style, there are many people in this world who are bound by gravity called Gundam.

Kogata: It's not Gundam that binds Mr. Furuhashi, it's Yamato.

Furuhashi: Because Yamato was the first time I experienced the image of sci-fi anime. I was 14 years old when I first watched it. And "Gundam" was only introduced when I was 18 years old.

Kogata: Mr. Furuhashi seems to be a very objective person. I'm afraid that only the first generation of Gundam can enter his magic eyes. Therefore, I think he can judge the good parts of Gundam and the bad parts from an objective perspective.

Furuhashi: The original Gundam is definitely in my heart.

Q: What made a lasting impression on you about the original Gundam?

Furuhashi: Because the original Gundam was a war epic. The overall style is crisp, and it can be watched in any situation, and it is easy to keep the audience engaged.

However, before the Gundam broadcast at that time, I went to the hometown of Mr. Naoyuki Kato of StudioNue to ask about future plans, and I heard him say, "There is going to be a work like [Gundam]," and I learned that this work was far more technical than other anime at the time, so when I watched the first episode, I was prepared not to be as shocked as everyone else. In the process of watching, I was touched by the relationship between Char, the protagonist of the work, who is older than his opponent. And despite the seriousness of the work, it always warms people's hearts, and I am deeply attracted by such works that reflect human nature.

Q: What about other attractions?

Furuhashi: It's not just the script and the performance that are wonderful, but also the music of Takeo Watanabe. He writes songs that shake people's hearts and emotions with their works. It's also the ideal BGM in my heart.。 It's on the same level as "Yamato". All in all, everything in the original Gundam is perfectly balanced, and it is a miraculous work that can be watched in a comfortable mood. It's on the same level as "Yamato" (laughs).

Q: During the period when Newtype appeared, did your understanding of the plot of the work change significantly?

Furuhashi: The first time I came across a parascience genre was the manga Babylon II that I read when I was in the sixth grade of elementary school, and the story of this work is similar to that of Newtype, so I didn't feel at fault with it. Their connotations are prophecies and exchanges obtained through the awakening of laying down one's life on the battlefield. When I was reviewing Mobile Suit Gundam III: Encounter Space Chapter, I thought that the TV version of Newtype was the most realistic and beautiful way to portray it.

■ Director Furuhashi, narrating Newtype

Q: Now that we've talked about "Newtype", what kind of existence does it have for directors? I think Newtype plays a very important role as one of the elements of the story today.

Furuhashi: Since I first came into contact with Newtype, I've been growing up slowly, and now it's been more than 30 years. I know first-hand that reconciliation between people is extremely limited, and that at certain times, people can be in a state of extreme vulnerability. Not only in today's network society, if everyone tells the truth in reality, then the world world will immediately become a Shura field. And since we make fantasy animations with entertainment themes, the ugly part of human nature can only be used as an embellishment, and what really needs to be told to everyone is "hope".

Q: You're not talking about science fiction, but fantasy?

Furuhashi: I think fantasy is something that can stay in people's hearts with a flash of light, and it is precisely because it is fleeting and fragile that it has value, and what we can always pursue is not fantasy, but "reality", right? In this work, what we value is not the result, but the process. We have carried out the term "passion" and Banaji insists that the posture of "even so, we ......" can liberate the confused soul...... Although he always relieves people at the most critical time, making everyone feel that "this is the protagonist's aura, too cunning", but as the protagonist of Newtype, he still fully embodies his role.

In addition, if the relationship between Newtype and Oldtype is simply replaced by the concept of generations, then the portrayal of "Gundam UC" that emphasizes the story of father-son inheritance, may be a repetition of the ending of "Meet the Universe Chapter".

■What is the highlight of "The Other Side of the Rainbow"?

Q: Now that the final chapter has come out, what are the highlights of "The Other Side of the Rainbow"?

Furuhashi: All the lines of Sayam (voiced by Ichiro Nagai). and the protagonist's ultimate nirvana, "softchesttouch". As far as the robot battle genre is concerned, I think this is unprecedented.

In addition, all the selected songs were also excellent. There is also a new image of Jean that gives people the feeling of traveling through time and space. Shuko Murase's supernatural single original painting ignited my passion, and I can say that all the advantages of Japanese animation can be displayed here.

I also appreciate the visual performances that make you feel like the big picture. I can assert that this is definitely worth seeing, so please check it with your eyes.

Q: As a producer, what do you think of Mr. Koga?

Kogata: It would be nice to be able to see the showdown between Shin-Jean and Unicorn Gundam at the end of the series.

Furuhashi: The difference between the two different mechs in their special moves reflects the unique changes in the operation of both sides. Of course, the choice to use the hand knife in the Unicorn Gundam is to protect the joints, not to pay homage to the Golden Warrior.

Kogata: That image made me feel like I was suddenly in a good mood.

Q: New Jean is undeniably huge.

Furuhashi: It also has a lot of weapons in its hands. This is not to be used for combat, but mainly to dispel the opponent's desire to fight. Its presence is about the size of Sunplaza in Nakano. Immovable as a mountain. However, it is faster than the Banshee, so it is enough to make the opponent scareless. Hiroshi Takaya's original paintings and anime images are among the few in Japan today.

■Banaji's encounter with Mineva is not accidental, but inevitable

Q: It's been 6 years since Gundam UC, so can we think of it as a group drama? Or should it be understood as the love story of Banaji and Mineva (Audrey)?

Furuhashi: We chose the theme of boymeetsgirl, but I think it's still different from a normal love story.

Q: In episode 1, Banerjee meets Mineva and clearly shows that he wants to work for her.

Furuhashi: On the surface, that's true, but this plot is a metaphor for war as a "nest". It reflects the fear of people because of the loss of the "nest", as well as the impulse to confront. Audrey's words of hope that the war would subside resonated with Banaji deep down. And stopping the war is also his mission that he has understood for a long time. We set the relationship between the two to go beyond the personal relationship and reach the level of soul bonding. If this is not the case, the artwork we create will not have a deep meaning. Audrey, a noble man, mostly has her eyes on the unicorn (Banaji) and eventually touches it. So, from the very beginning, Liddy the lion had no chance of winning (laughs).

Q: So, Banerjee's encounter with Mineva was not accidental, but inevitable?

Furuhashi: I think so, but what follows is my own brain.

According to my understanding, Banaji was condensed in the desire of the inhabitants of the earth to end the war during the 100 years of the cosmic century. On the other hand, the hopes of the inhabitants of the universe turned into Mineva. In the work, the jewelry taken out of the cabinet is named "Real", and the result is impressive that the picture was successfully completed according to the plan. However, since the main theme of this work is to focus on the process, the plot process that makes up these results can also be described as beautiful.

There can only be one wish that a father entrusts to his children.

Because I am not yet a father, I put my wish in this work.

"Imagination is an inexhaustible spring"

Please broaden your horizons and savor this work again.