On September 19, 2015, an original theatrical version called "The Heart is Screaming" will officially meet the audience. This work is directed by Tatsuyuki Nagai, with Okada Mori in charge of the script, and the character design and chief art director is Shoga Tanaka, and they were recently interviewed by Japanese media.

■This is a project that began after the TV anime "Unheard of Flower Name", and it has gone through several twists and turns

Q: When I first heard about the theatrical release of "The Heart is Screaming", I was very interested and thought, "Why did you choose this work?" "Since "Unheard of Flower Name" has won a very good popularity, everyone knows that there will be action in the future, but it should be said that there are many possibilities for the type of work. But this work is an original theatrical version, and it is not a sequel to "Unheard of Flower Names", so how did it start and why did it choose?

Nagai: As for the other original works, I actually got them after the end of "Unheard of Flower Names". At that time, the person in charge said to me, "You can do it as you like." "During this time, we produced the theatrical version of Unheard of Flower Names.

Because he said "do it as you like", the three of us didn't think about the sequel to "Unheard of Flower Names" from the beginning. As for why, it feels like it was just a natural decision.

Tanaka: Yes, we didn't think about staying on "Unheard of Flower Names" in the first place, but I guess that was a strong idea in terms of the results.

Q: When three people work together, it gives the impression of a team, but what was the creative process like when the project was born?

Nagai: At first, I discussed it with Mr. Tanaka and thought, "It's a good thing to do," but then Ms. Okada agreed, "It's really good." ”

Okada: Well, the final decision is still up to the director. I feel that this work has the style of director Nagai in particular.

Q: As for the new work, many fans are also looking forward to it being a work like "Unheard of Flower Name". And the work once again chose Chichibu as the stage, and portrayed the story of youth. However, at present, it still feels different from "Unheard of Flower Names". It can even be said that it is a completely different work. So for a few people, what is the difference between this work and "Unheard of Flower Names", and what is new?

Tanaka: Now that "Unheard of Flower Names" is over, there is no need to think more about this work. So from the beginning, we wanted to make a completely different work. Further, from the perspective of not being a "modern drama". After the end of the TV series "Unheard of Flower Names", we have been studying the project, and we have been repeatedly exploring it, and finally came to the current form.

Okada: We also did a couple of camps, and the first time we did it, we decided to make a completely different work from the flower name. And after the discussion began, it felt like there would be a big change.

Q: However, both works still have the theme of "youth". Who is sure to portray "youth"?

Nagai: Actually, it has something to do with the title. "As long as it's a youth work with a high school student as the protagonist, you can do anything" - that's our starting point. It's just that in the process of making zuò, I didn't think too much about "youth". It's just that the protagonist is a high school student.,It's natural to include the elements of youth.。

■ It's not a live-action, it's an anime

Q: "The Heart is Screaming" gives people the impression that it is a very direct youth movie. For example, the previous "Lonely Man" and "Typhoon Club" were like this.

Okada: I'm glad to be connected to those two works.

Nagai: yes, those two examples are amazing, and I'm very happy.

Q: Can we understand that this work will show the classic live-action elements of the past in the form of animation?

Nagai: As a result, it's just a work that we like.

Okada: I've always wanted to create a work that has a live-action style, but is presented in animation, and only animation can be shown. And if you keep exploring, you will be able to create something that feels new. Now I hear that "Unheard of Flower Name" is also going to be made in a live-action version, but whether it is "the face code that has died appears in daily life" or the creation of characters, I still feel that it has a strong animation color. In this work, I wanted to add a variety of expressions that only anime can do. Now I can see the finished product very quickly, and I am very happy.

Q: If it's not a live-action but an anime, then the characters will have a lot of responsibility. Does it mean that when creating characters, we only need to design the kind of characters that cannot be shown by real people, and we can make a difference?

Tanaka: The animation is drawn, so that's the key. If there is any difference between the live-action version and the painting, then it should be said that the drawn thing can be shaped at will, and even an expression can show a funny effect like a comic, which can be more clearly displayed in front of the audience than the live-action version. And the characters will also reflect the atmosphere of feelings and plots. It's not perfect, but I think that's where the animation comes in.

I'm afraid that we started with "Dragon and Tiger", and what we wanted to do in "Unheard of Flower Names" and "Heart is Screaming" is the same. That's how to show the general effect of a TV series through guò animation. Our goal was to keep the audience engaged without using the exaggerated props of the anime. So it is inevitable that this work can be born now.

Nagai: We only know how animation works, so whatever we do will appear in animation. Even if Ms. Okada had written a live-action script, if I had done it with Mr. Tanaka, it would have become an anime.

Tanaka: Oh, absolutely. I still like anime. Don't think about things that are too complicated, just make something that you are happy with.

■I apply the grammar of TV animation to the theatrical version

Q: This time, there are only 4 main characters, so the scope is very small. Considering the length of the theatrical version, it was a bit unexpected.

Nagai: I don't think the theatrical version is different from the group drama. It's better to say that even if it's four people, I'm worried about whether I can shape them fullly. This is a work that tells the inner life of each character, so it is up to the length of the film.

Q: Let's talk about the specific plot, what kind of girl is the protagonist Shun? What kind of responsibility will she bear?

Nagai: This is a very straightforward girl. But to be honest, my first impression of Shun was that of a girl who was cursed by words when she was a child. This is a girl who usually can't speak. Therefore, because she doesn't speak, she can express her feelings more directly. But I also feel inferior because of this, which is also more difficult to portray.

Okada: At the beginning of the story, she was told "a certain word" by a loved one. This is the negation of the child by the relatives, and I think it is a very terrible event. She didn't know how to deal with the blow, but desperately accepted the statement, choosing an extreme path. It is because he lives straightforwardly that he is under pressure.

Q: When creating a story, did you think about how to make the audience cry and create something that touches you?

Nagai: I really didn't think about it this time. Of course, we wanted to make something interesting and easy for the audience to accept.

Okada: It's not so much about the plot as it is about the design of the plot, and when we were deliberating, we studied both the pace and the way the foreshadowing was recycled, and it ended up feeling a little similar to a series. Basically, when I get a job on a theatrical script, I have to express it in a way that is different from the grammar of the TV series.

But we've been doing TV anime all the time, and I'm a big fan of TV anime. So we've discussed before, if we make a theater version of zuò for 3 people, then let's try to incorporate some TV animation grammar. When discussing the plot this time, I feel like everyone thinks so.

Tanaka: But at the end of the day, it's because we're not good at making theatrical versions.

Nagai: At the beginning, we were still talking about making it into a five-episode TV anime (laughs).

■ 5 episodes of TV anime!? No, it's a completely different theatrical version

Q: Let's go back to the original topic a little bit, I think since it's a new work, the three of them can also be shown in the form of TV animation, so why did you choose the theatrical version?

Nagai: In the case of the theatrical version, it's a gorgeous stage. Everyone is full of enthusiasm to make a theatrical version of the work. So it's not that there is no option for TV animation, it's just that we want to make a theatrical version.

Okada: At the time, I thought, "Hey, really let me make a theatrical version?" ”

Nagai: My thoughts were, "Let me make a theatrical version?" Thank you so much! ”

Tanaka: Long live ~ theatrical version!

Okada: Of course, even if we were offered a job for a TV series, I'm afraid we would have shouted "Banzai." But in any case, it's an honor to be able to make a theatrical version of zuò.

Q: I just talked about the 5 episodes of TV anime, but since it's a theatrical version, it's definitely not just a TV anime together, right?

Nagai: Although the plot structure has the feel of a TV anime, it was a trial and error to make a work that can be watched in 2 hours, including time allocation. And after the recording ended, I had some of my own answers.

Tanaka: It's still completely different. After all, the length of the theatrical version is very weighty.

Nagai: After all, the theatrical version of "Unheard of Flower Names" has a TV animation foundation, but this time it was made from scratch, so what is the difference? I'm still confused.

■The goal of the three of us is exactly the same

Q: Finally, what are your thoughts on the work of three people working in a team?

Nagai: I'm very happy. Whether it's good or bad, it's all part of our long-term work. It's really nice to be able to discuss how to make zuò things together.

Okada: That's right. The three of us joined forces, and although we also encountered some special troubles and difficulties, this different mood was very good. We brainstorm without reservation, and the emotional fluctuations born from it will also affect the mood of the characters in the work. I feel like I've really met great people.

Tanaka: This is the third time we've collaborated since "Dragon and Tiger", and it's the fourth one if you count "The Theater Version of Unheard of Flower Names". All three of us wanted to make a story full of story, and we wanted to do something exactly like our goals. Of course, it's not that every three of you will decide the direction with a smile, but if you work together, you can find a way to "level up" that you have never experienced before, and you can take on more challenges. I would have worried about whether our ideas would diverge as the number of works increased, but that didn't happen.

Okada: That's right.

Nagai: Every day, fulfillment.

Tanaka: Also, I feel very fortunate in my work.

Q: Thank you for your time today.