Starting from December 12, 2019, the four-frame cartoon “Alligator dying in 100 days” posted on Twitter every day for 100 days. The casual daily life of the crocodile caused a great response and excitement, and became a hot topic. More than a year has passed since the end of the series, and this highly popular work is finally on the screen. So, I asked these people about it. Director Shinjiro Kamiyoshi & Director Miyuki Fukuda[Movie, sometimes I]vol. 397 This time, the co-director of this work was “Don’t stop the camera! 』Director Shinichiro Ueda and director Miyuki Fukuda who is active in the field of animation. We asked the two, who are comrades at work and also married couples in private, to talk about the new aspects of each other that they saw during the production process, the strengths unique to the couple, and the thoughts put into the work. -First of all, was there any pressure to handle the original, which became a social phenomenon, when making it into a movie? Director Ueda At first, the excitement was rather big. I started reading from the 2nd day of the serialization, and by the 30th day I had already planned to make it into a movie. However, there was a fire on the 100th day … I think there was some kind of anxiety about that. From that point on, I felt like I was going to be more careful. -What was the deciding factor that you wanted to make into a movie when you didn’t know what the end would be? Director Ueda The first is “I felt the movie.” There is a lot of “margin” in the limited 4-frame manga. I felt that it was a movie-like manga that I didn’t talk too much about, so I wanted to make it into a movie. Director Fukuda That’s right. I heard that he said that during the serialization. -So that’s it. However, at first it seems that you were thinking about live-action rather than animation, but what kind of image did you have? Director Ueda Apart from that, it’s not like the actor wears a crocodile headgear (laughs). I was simply thinking about replacing it with a human being, but the reason I changed it was because I received a suggestion, “How about doing it with Director Fukuda in anime?” I’m glad I made it into an anime now. -How was Director Fukuda receiving such an offer? Director Fukuda At first, I thought that Ueda would be the director alone, so the surprise of “I am too !?” was greater. However, since the two of us had never co-directed or worked on a work with an original, I decided to take it because it seemed to be interesting in terms of a challenge. It was a work that was born because they were two people-I think there was a strength unique to a married couple when they actually co-directed it. Director Ueda First of all, communication is quick. Especially because I live under the same roof in a situation where I can’t meet people more than before due to the corona disaster (laughs). I think it was good that the exchanges were quick and close. Director Fukuda That was big. After that, we’ve been making movies together for 10 years, so I think we were able to carry things smoothly because we already knew each other’s strengths and weaknesses and sensations. -Did you have any conflicting opinions in the process? Director Ueda I’m often asked, “Why don’t you fight?”, But it’s rare. Director Fukuda That’s right. Director Ueda As I said earlier, I think it’s important that we know each other’s strengths and weaknesses. For example, the composition of the movie is me, and I believe in each other as if I had a lot of small daily interactions. Director Fukuda Certainly, I’m more of a daily life style and Ueda is more of an entertainment style, so it feels like I’ve put together the good points of each other. As Director Ueda, I’m really glad that he was there now. Because I was asking myself, “Can I draw everyday life?” (Laughs). Director Fukuda Especially this time, it may have been well-balanced because it was an anime. If this was a live-action film, Ueda was probably overwhelmingly stronger, so I wonder if he was being pulled there. I now feel that there were some things that went well because I was a stronger anime. -It’s a work that was born with a perfect balance between the two. Director Fukuda If one of them made it alone, I think it would have been completely different, so I can definitely say that it was because they were the two of us who finished it in its current form. -I think casting was also a big point, but how did you decide? Director Ueda First, I decided on a crocodile and a mouse. From the beginning, the two agreed that the crocodile was Ryunosuke Kamiki. The reason is that I thought that the straightness, dedication, and pureness of the crocodile were perfect. I thought it was important for mice to have a sense of distance as a childhood friend, so I wanted to choose from people who were actually close friends. Still, I asked Tomoya Nakamura to find out who would meet the mouse character. Appointing actors to make anime like Japanese movies-This time, we have a lot of actors rather than voice actors overall, but was there any advantage because you are an actor? Director Fukuda One of the goals of making this film into a movie was “I want to make it an anime like a Japanese movie.” For that reason, I thought that the raw acting by the actors would be more suitable this time than the voice actors, so I asked the actors. -How was it actually doing dubbing? Director Ueda For example, many voice actors do it while holding a script, but Mr. Nakamura put the script on the stand and actually moved his body, so the play and body are linked. I felt that. Rather than playing while looking at the screen, it’s more like playing with someone next to you. In that respect, I wonder if there are many differences between voice actors and actors. After that, I thought it was like a live-action movie scene, including the appearance of discussions with each other. Director Fukuda Normally, the dialogue between lines is shorter in animation than in live-action, but this work was neither animation nor live-action, so that may have been a little difficult. But everyone thought about it. Also, there was a part that incorporated ad lib, so I think it was a very unique way of shooting. -How did you include ad lib in anime? Director Ueda Probably, in animation, there is no way to ask like “Please ad lib for these 10 seconds”, but this time the crocodile and seniors meet on the street and the crocodile talk in front of the convenience store The second half 5 to 6 seconds of the scene is ad lib. -Did the cast members get confused when they said, “Please ad-lib?” Director Ueda and Director Fukuda (with all voices) Yes, I was confused (laughs). Director Ueda It’s like “What? Ad lib?” However, it was an ad lib after having them do it once and discussing it for a while. Director Fukuda When it comes to ad lib, sometimes the person himself appears rather than the character, so I made adjustments while consulting with him, such as “It’s a little out of the character.” I didn’t want to deny the people who live in the present-I would like you to pay attention to that. Also, the original story is developed in the latter half, but please tell us the reason for making such a structure. Director Ueda When the first draft of the script was published last April, the ratio was 95% for the original and about 5% for later talks. However, after that, when Corona was in full swing, I began to think, “I have to draw a story for the future. I also want to see the future,” so I increased the original part. -Among them, a frog will appear as an original character in the movie. What are your thoughts on the frog? Director Ueda It’s difficult for me as a director to say that this is the correct answer, and I can’t say it in a nutshell, but first of all, “I wanted to blow a new wind” might have been a big deal. Maybe. In particular, the frog is a character that seems to be a little out of the original world view, so some people may feel resistance, but I think it doesn’t matter whether you accept it or not. The way you receive it depends on the experience of the viewer. There are places where people can’t immediately accept new life and everyday life, but I think it’s okay to move forward or not, so I don’t want to deny all the people who live in the present as much as possible. I put the thought. Director Fukuda I’m the same as Ueda, and I didn’t want to narrow down the correct answer to one, so I made it while thinking that it would be nice if the gradation part drawn there could be conveyed. -What kind of production did you do for Yuki Yamada, who was in charge of the voice? Director Fukuda It is common not only to Mr. Yamada but also to other cast members, but in advance we talked about what kind of movie we want to make and how we feel about making it. In response to that, Mr. Yamada made a frog, and that was exactly what I had imagined. Therefore, I think that Mr. Yamada’s own qualities and interpretations fit perfectly without giving any major instructions. After co-directing, we saw a deeper part of each other-did you discover something new about each other through collaborative work? Director Fukuda It was the first time for me to make a movie side by side so far, so I felt again, “Did you think so much?” In particular, Ueda is very particular about the details, but I realized again that I am good at communicating that and pulling around. Director Ueda You may be surprised by the details of the people you worked with. However, I think that all film directors feel the conflict of how much they can do within the limited time and budget. Director Fukuda Certainly, it’s all about making the movie better. However, when I saw it for the first time, I was a little worried, “Do you guys follow me?” Director Ueda (laughs). By co-directing myself, I sometimes felt that I could see a deeper part. As you can see from the current story, Fukuda cares about everyone, so when you say “please do it”, “I wish I couldn’t do it, but I’d like you to do it, but it’s okay.” Do you say something like “?” From my point of view, it’s like “a messed up cushion” (laughs). I usually sell it as a poisonous tongue character. Director Fukuda No, I don’t sell it as a poisonous tongue character (laughs). Director Ueda But that’s also a good point. Director Fukuda I was hesitant because I couldn’t say what I wanted to say, so it was encouraging to hear that I was slammed. -By the way, is the relationship at home completely different? Director Ueda I think Fukuda is stronger than others. However, I’m grateful that he said, “I can’t help living like this because I’m using so much power in movies.” Director Fukuda That’s right. Ueda uses his brain in movies, so there are places where everyday life tends to be neglected. I can really respect the movie … But I’ve fallen in love with this person as a movie director, so I can’t help it. As a person, I think I’ll give up a little (laughs). -I envy you because of your good relationship. Finally, do you have a message for the audience? Director Ueda Of course, you can watch it alone, but I’m wondering if this movie will be a movie that includes watching it with someone and discussing their impressions after it’s over. I wish I could invite him to go. It’s a story that was made from the beginning, so I definitely want you to watch it now. As Fukuda director Ueda says, the work is perfect for this time of year, so I hope you can watch the movie and feel the connection with your own world. After the interview … Director Ueda and Director Fukuda who livened up the interview with the lively exchange of the couple. It was very nice to see them both being recognized as movie directors and being able to convey their tremendous trust in each other. From this work, you should be able to feel the feelings and love of these two people. Look back at yourself in a changed daily life! Because I am in the midst of an era when things are no longer commonplace, I feel the gratitude and joy of everyday life, and the feelings for my loved ones. This is a must-see now that makes you want to live more importantly now, rather than noticing it until you lose it. Interview, sentence, Masami Shimura story March when the cherry blossoms are in full bloom. The crocodile did not appear at the cherry-blossom viewing place promised by everyone, and the worried best friend, the mouse, decided to pick him up by motorcycle. Along the way, I sent a picture of the cherry blossoms in full bloom, but the screen of the crocodile’s smartphone that received it was cracked and lying on the road. 100 days ago. The crocodile visited the hospitalized mouse and made him laugh with his favorite one-shot gag. The daily life of a crocodile was ordinary, such as a phone call with my mother who sends mandarin oranges every year, a faint love with Senpai who works part-time, and a ramen shop where I go with my friends. And 100 days after the cherry blossom viewing. Friends who couldn’t face the memories of the crocodile and were less likely to contact each other. Meanwhile, an aggressive frog appeared, and the mice were confused … Click here for a trailer that makes your heart warm! Work information “100-day crocodile” July 9 (Monday) Nationwide distribution: Toho 2021 “100-day crocodile” production committee * All prices related to the product include tax.