Participant director of “Dan Dan Dan” on the effect of Hedky Anu and an increase in the stake for season 2

Dan Dan It is about to return to the expected return to the broadcast platforms in July. Before the Yokai-Meets-SCI-FI series ‘series’ Season 2Studio Science Saru and Gkids join Dan Dan: An evil eye, A theatrical show that includes the first three episodes of its next season. They pick up directly as he left one season of Cliffhanger to prepare the Creator Yukinobu Tatsu continuous.

While the theatrical event includes an insightful interview video with its managers, IO9 has penetrated the veil further, as he spoke with Abel Gongora, director of the opening topic of Dan DanThe first season and the co -manager for his next season. During our conversation, Gongora was reflected on Pop culture that inspired its creative process and its advanced direction role alongside the collaborat Fuja Yamashiro– How did their common creative vision and technical differences sometimes contribute The signs of the signs and flow Dan Dan Early production for the second season.

This interview was released for clarity.

Isaiah Colbert, IO9: The first season ended on the amazing Cliffhangir that left the fans keen on more. Was this plan always from the beginning, or is the decision developed during production to build awaited for the second season?

Abel Gongura: This was determined at the beginning – this is more like a text decision. They already have the manga, so they can see where they want to cut it, and this was done very early in production.

https://www.youtube.com/watch?

IO9: This time, you are in the role of the coach instead of just dealing with the opening of the show, which appeared in a mysterious silhouette and a dark layer in the Kon Ichikawa. What led to this shift from being the opening manager of the co -manager for the second season?

Ghongara: After the opening, I started helping (Yamashiro) as well. She participated in the project, then understood the important things to know, like the story of the characters. Things went smoothly because I was already in the season (one) a little. Production is really difficult – it’s a lot of work to do one season. Production believed it would be good to have managers, so the work is not very difficult in the first season. I started with all the designs of the settings that we had at the end of the first season, then it was already decided, so it started slowly (guidance) in the second season.

IO9: Dan DanThe opening topic by Nuts Creeipy has become an immediate fans, and even won the award of two anime awards. The sequence is characterized by clear gestures of pop culture icons, such as UltramanMix bold stylistic options with the unique energy of the width. What inspired this creative trend, and do you have a preferred personal moment in its opening sequence?

Ghongara: At that time, I spoke to the first season manager (f) gave me complete freedom because we worked together for a long time. He knows, more or less, my style. He just asked me to use Ultraman As a reference – those silhouettes. He used to say, “As long as you are using it, it’s okay. You can do what you want.” So I started watching Ultraman She started finding some ideas on how to use them, and also added something to make another type of scene at the opening. We have agreed that we do not want to take a normal view of the width, so it seems that it looks like a little luxurious colors – which is a little more privacy.

I offered all the ideas and concepts to the director. I love it. Then the story board started when I got the song. I thought the song was really great, so it was exciting to do the workboard, because you should feel the rhythm and find ideas according to the rhythm of the song. Yamashiro was really open to everything. It was difficult, but it was fun.

https://www.youtube.com/watch?

My favorite part is the silhouette that I did myself. Then, some of the harsh animation made by one person in the team, a really amazing animated painter. I was very happy because I asked him if he could do it on paper and pencil. Image, like a paper, on the screen. If you stop the frame, it contains the real grains of the paper, then the true pencil. This is something we haven’t done now in animation. It is like a lot of work, and I am very happy with this animation. It turns out that it is very beautiful. Also, I did the installation in the end because I wanted to pay this coarse style. Yes, these parts are my favorite in the opening.

IO9: Are you following the opening of the second season, “on my way” from AINA The End, a similar approach to the use of silhouettes such as the first season, or can the audience expect something completely new with the poppy voice for the song AINA?

Ghongara: It will be completely different. I can’t say much, but it will be really different and I am happy with that. I think it’s great. I wanted something different, because it might seem to be trying to return something good, and I thought this wouldn’t be interesting. But yes, you will see.

IO9: In Eye evil The director’s interview, you mentioned the watch and drawing of extreme inspiration from horror movies and Hong Kong cinema to help form your approach to Eye evil bracket. What movies that helped you nail Dan DanAction atmosphere-action in the second season?

Ghongara: The main reference for Dan Dan Be Ultramannaturally. I really liked the way Hideaki Anno did the new version of Ultramanfor Shin ultraman. We also have Kaiju and things like that, so I really loved Shin Ghadzella and Shin Kamin Ryder. There are also some common points with kung fu films. Sometimes they share the narration of stories, with one effect on the other. For example, such as Crush-Zoom in a person’s face, things like these are used in both media. We try to analyze these things.

I am also very affected by foreign films. This is also suitable Dan DanThe science fiction part, which is very frightening. I think the origin foreign It is really cool. I don’t think there is really a movie that mixes all this, but we are trying to get ideas and general influence by watching many films. I think Yamashiro-SAN will also do so.

IO9: The first season was a huge visual scene, which turns effortlessly between terror, movement and romance with expressive animation that increased every moment. Was there any specific scenes of the manga that created the studio creatively in the second season? The moments when the animation allowed the series to transfer matters to another level, but they have proven that they are a challenge to overcome the finish line?

Ghongara: ((He laughsWe are in the middle of (production) today. We are trying new things like 3D mixing sometimes to help animation. Sometimes, we have ideas that cannot be done by traditional animation, or it would be crazy to do. We try to find how to use 3D in a more creative way. There is a little in Eye evilalso. We try a little with 3D. We also have a lot of new music in the season, and we are slightly trying with the way we use it.

IO9: I mentioned that you and Yamashiro have worked together before, in a cooperative environment. How to create all of your ask to create Dan Dan It was the second season? Did it prove that it is a rough feeling that works through the place where you do not consider, comrades creatively, or was it a smooth transition for two of you?

Ghongara: I think, of course, (Yamashiro) is more heavy because he decided all the things you can see in the first season, and I tried to continue his direction. Of course, we do not agree on everything. But we have half the season divided. It is not just like half past half. It seems as if I got the first arc, then gets the second arc, then go back to the third arc, then do something later. We share such, but still, we are involved in both. Sometimes, it helped me add some parts of the storytelling or some of the ideas he had, and I will also check its colors (on). Things like this, we need to determine because some designs may appear in both my throat and rings. We work all the time together.

We have this background as we used to work on many projects together. (We have worked) with Masaki Yuasa before, and we learned a lot of it. So we have a similar vision. We agree on many things and our vision about animation and the cinema is similar. We would like to pay the perspective and would like to pay the expression of the characters, and perhaps more than other managers. It is not very difficult both (from us), I hope. I can’t talk to him, but I think it is generally smooth.

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Dan Dan The second season in July on Netflix, Crunchyroll and Hulu. Eye evil The theaters are hit through the United States, June 6.

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