# EIGHTY-SIX Director Interview: Toshimasa Ishii `Note: this translation is a paraphrase and has included the question asked into the answer. Each section is a paraphrase, including context, of a question and the answer following. Bolded text signifies the overall topic of the following section (up to the next bolded text). This interview came with the first BD volume.` ## On the 86 project I was invited by producer Fujii Shota to direct 86. Fujii-san was a kouhai(junior) of mine when I was still working at A-1 pictures. I (Ishii) first read the novel after I got on the project. This was also when the talk of it being 2 cours long began. Because of these things I started thinking about how best to end the first cour... which led to the idea of having Lena and Shin be completely separate and unable to see each other. Ultimately this became the direction of the series, "a boy-meets-girl where they only know each other's voice". We then decided to sprinkle in some emo (in japanese, this means specifically emotional) visuals over it The question then became how to show Shin and Lena's relationship with them never meeting. "Never using a Cut-back", while a wild idea comes with the risk of boring the audience. On top of that, Shin and Lena will be shown "together" on screen at many points in this series which may mislead the audience into thinking they have met before. In order to avoid the confusion, we decided against having any scenes where both of them are in frame at the same time. ## On production staff Fujii is also the one to put the team project together (including shiro kumi). he specifically wanted more veteran talent since this was my first time directing a TV anime series. I felt the most pressure during storyboarding, because no one will be correcting my storyboards. While Asato-sensei and the editors of 86 do participate in the progress, ultimately I am in the position with the final say. Which leaves me in control of how the world of 86 will feel. If I was in charge of production, you are working with limitations and guidelines decided by the director so it actually comes with less pressure. Additionally, the directors has to create while keeping the schedule in mind, which only adds to the pressure Aside from the main limitation of never letting Shin and Lena meet, we also decided to not include any monologues. Therefore, to make the show more accessible, we opted to use simpler words and sentences. Unlike a novel where the story can be enjoyed even without dialogue, we had to play with visuals and words to make up the difference. Regarding the limitations and ways to make up for it, I got to talk with Oono-san while constructing the screenplay. But even then there were times where I was only able to notice the oddity during storyboarding. If I was more experienced I would probably be able to notice all of these oddities while writing the screenplay. This is my biggest regret of this project. > Q: How were your interactions with Asato-san She participated in every screenplay meeting. She also provided many character details, looked over the dialogue and gave us advice on many other parts as well. While the story is primarily about Shin and Lena, we were able to properly feature the other members of the Spearhead in episodes 1, 2 and 6. Unfortunately, we could not split the story further to give all 24 members the same depth. On the other hand, mechs are also a core part of this series so we had to make sure to show that off as well. ## On Mechs We knew that the fans were excited to see the Mecha battle scenes. Which is why, like in episode 2, we let Shirokumi really show off where they can. In terms of the visuals of the Mechs, we were initially more focused on the texture and not the movement. Especially, given the differences between the rundown looking Juggernauts and the alien-looking Legion, a lot more time and effort was put into making the texture of the CG models as good as they can be. While we did mix cell shading in, The damaged parts and scratched paint had to be done in CD. For example, the Juggernaut was designed and textured to look "unreliable" whenever it was on screen. Even though all the Mechs share a similar structural design, setting wise there are still many small differences between each unit. With the Juggernaut, one of the key "features" is that they cannibalize parts of other juggernauts for repair. This results in there being small differences as they may use different parts for repair and therefore also affect how they burn. In order to at least give off a feeling of this, extra effort was put into the model textures. On paper, the Juggernaut is meant to be very weak. In order to balance that with Shin's unit being the Protagonist unit, we opted to have the battle be tense as soon as it begins instead of the situation getting worse as the battle drags on. Regarding the high frequency blades used by Shin, we used the description "cutting armor like cutting through water" as our main inspiration. The most difficult part to visualize was how the Juggernaut moves and how its cannon is fired. We had to remake the running animation many times, while for the cannon we used real life counter parts for reference. As for the smoke from the fired cannon, the action director(?) used imagery of rapid expansion and contraction to animate it. To create the sound of the juggernaut, we took many samples and designs of real life engines and machinery and shared them with Koyama-san to create the sound. A simple example, the Juggernaut always makes the engine sound while the Legion makes no "sound" (meaning the Legion doesn't have a constant sound that signifies it, which is accurate with the source material). But in order to still show that they are approaching, we still added some light rumbling noises. For the PARA-raids, because it is different from radio, we opted to add effects to make it not sound raw. As for the tone when the Para-raid connects, we used something similar to that of telephones but a bit different to make it sound strange. For music, we had Sawano and Kohta-san onboard and the concept was to create music based on the three main sides in the story: the 86(Shin), San Magnolia(Lena) and the Legion. In terms of the image we passed onto Sawano and Kohta-san: for Lena's side "San magnolia is a place that sacrifices little and a place where Lena is the odd one out", For Shin's side "in the 86 there is variety, but they have no future" and for the Legion " artificial Sci Fi weapons" ## On the Casting The process goes "step one tape review, step 2 audition"(Tape review is when the VAs send in tapes of them performing lines to be reviewed). Asato-sensei was also present and shared a similar image for the voices we would like for the characters. Since there will be many scenes where there are no faces accompanying the voice, So we made sure to look specifically for people that could act well with just their voices. Due to Covid-19, we were unable to spend a lot of time directing the after recording. Especially with Lena's VA, she always had to record alone in a separate booth due to her role's position in the story. I think that this allowed the nervousness of Lena to come through naturally, but I do feel a little bad... (laugh) On the other hand, Chiba-san had the difficult job of expressing a character who shows little change in their emotions through short phrases only. Despite having to do multiple recordings, most of Chiba-san's first takes were the best ones. Pretty sure it's because Chiba'san has a solid image of what Shin is like... Speaking of Shin, his character art was also one of the more difficult ones. Specifically because he has completely different expressions just based on how the corners of his mouth moves. As for Shin's expressions, we told the Sakuga Director Tetsuya-san to go all out, which was probably pretty hard on them in retrospect... Both the sakuga and acting for Shin had to be extra sharp because Shin in the source material is not someone who expresses themselves physically but we also didn't want him to hold a lonely expression all the time. War is depressing enough, but if he were to seem happier it would have the effect of making the war situation feel even sadder. Scavengers as a character are separate from both the human and the juggernauts. Especially with Fido, the mascot character, we felt the need to make him look cute as much as possible. For example, even though scavengers are supposed to be more rigid than juggernauts, we made Fido more flexible and comical. Koyama-san probably had a lot of fun making the "pi" sounds Fido makes. > Q: Talk briefly about the episodes 1 and 2 that art included in this BD We wanted to show off as much of the characters as we can with episodes 1 and 2. With episode one we wanted to capture the average day in that world, specifically Shin's daily life: eating food, fighting the legion, watching squadmates die etc. Episode 2 is when Lena really steps into the spotlight and her first interactions with Shin. Specifically, Lena's part had to cover a lot of exposition but also show off her isolation. The lack of "variety" in San Magnolia as depicted in Episodes 1 and 2 Specifically in episode one, the horizontal shots of the streets of San Magnolia were one way to express not just the peace but also the lack of variety. If you look closely at the statues, the eyes and faces look like they have been poorly made over. This is because San Magnolia was originally built as a multicultural city and we thought that in their attempt to erase all traces of other cultures the statues were modified by amateurs. On top of that, the eye color and hair color of background characters are all the same to make the world feel more still and motionless. We wanted to use this motif to raise the question of whether Lena can or cannot escape this still and motionless world. On the 86 side, we decided to add a gathering room that was not present in the source material as we wanted to use his room as Shin's personal space. Additionally even though the 86 don't feel much negative emotions towards death, I think they still fear it deep inside. Specifically, the 86 is afraid of being forgotten. But with Shin, the reaper that has survived countless battles, the rest of the spearhead can feel at peace. So we decided to design the Gathering room and the Dining hall to include details representing the 86’s belief that at least Shin will not forget them and that they once lived in this space. Specifically, in the Gather room, it contains details of "how the 86 lived" through, not words, but trinkets, posters and items etc. As for the Dining hall, we wanted to use scenes of both the 86 and Lena/Annette eating as one of the ways to convey the kind of world "86" is set in. Therefore, many of these scenes took place in episode 1. We would love it for people to enjoy those details when rewatching. Of course, Shin and Lena's relationship is important and kicks off early in episode 1, but it would be great if the background and artistic details in each scene is equally enjoyable to the audience. ### Director credit Toshimasa Ishii, Animation Director and Animator. Debuted as an Animator for the anime "Uchuu Kyoudai"(Space brothers). His first directing job was on web anime "Sobahe". ###### tags: `EIGHTY-SIX`, `BD Interview`, `Toshimasa Ishii`
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EIGHTY-SIX Author/Director Interview: Asato Asato & Toshimasa Ishii

This Interview it recorded before Episodes 22 and 23 of EIGHTY-SIX are completed What are your thoughts on the series now that production for cour 2 has concluded? Ishii As this is my first time directing a TV series, I found it difficult to pace the highs/lows across the episodes and often just ended up going all out on every single episode instead. Especially in cour 2, I really had a hard time pacing the series and adapting to the situation. Asato Its been on my mind since cour 1 and I think this has been quite the blessed adaptation. It stays true to the source material, but even when it does break away it does so in a way that is the result of understanding and treating the source material with care. For example, by adapting the epilogue of volume 1 in the 23rd episode it preserves the core idea of the source material. However, it also presents these scenes in ways that I had never imagined in the source material, surprising me with just how much the anime format can elevate the material. As a writer, I was able to learn a lot from this experience. Therefore, I sincerely wish for Director Ishii to direct the sequel to EIGHTY-SIX, though, I also would like to see him direct a non-sequel original series as well... As the author for the source material, I am quite conflicted (laughs). Asato-san, which episodes or scenes made you want to see an original series from director Ishii?

4/30/2022
EIGHTY-SIX Author Interview: Asato Asato

What were your initial reaction to receiving the anime adaptation offer? Asato "Juggernaut action scenes are hard to imagine" were common feedback the novel had received and I thought that the flow of action would be conveyed better when animated, so I was really happy. On the flip side, the series is structured such that the female and male protagonists do not meet each other at all which had me worried as well. However, in my first meeting with Director Ishii, he insisted on adding certain directions to already difficult parts, making it even harder in the process. Upon hearing that, I was relieved and felt that I could trust them to do it right. I am sure that Asato-san had mental images of certain scenes and visuals while you wrote the novel. Did you shared these with the director? Asato Nope, i did not share any of my mental images. I think that it is better to leave the visuals and direction to a professional like the director, so I refrained from interjecting. In that case, would you say that most of your involvement is with the script and character dialogue?

2/4/2022
EIGHTY-SIX Composer/Director Interview: Sawano Hiroyuki, Kohta Yamamoto, Toshimasa Ishii

Instead of sample music, we sent over explanation of the setting and structure of the material along with the request(Ishii) Director Ishii, could you tell us how Sawano-san and Yamamoto-san were invited to join the production? Ishii Since this is my first time directing a TV Anime series, I wanted something someone who is familiar with this type of series. After consulting the Producer I went to Sawano and Yamamoto-san, to which they said yes. Sawano-san, Yamamoto-san what were your impressions of EIGHT-SIX? Sawano Its a series filled with settings and concepts that I enjoy. I was excited to see our music/sfx/voice as a part of the final product.

11/8/2021
EIGHTY-SIX Cour 2 OP Animation Retrospective: Yamamoto Ken

Link to Original Post on PIXIVFANBOX Since some of the trickier animations were gonna be done by Ishii-san and I lacked the skills to do them anyways, I decided to not over think things and create a straightforward OP. "Blue vs Red" were a contrast used in the source material, so I included it as is, as well as "Voice and Eyes". Additionally, for keywards like "Horizon" were also included as is without much abstraction. During my first meeting with Ishii-san, he asked for my thoughts on "Kurena become a magical girl and have fun flying about"... Which I ended up spending a whole week pondering seriously on the idea. In the end, I was given complete freedom with the OP which I was happy about. Though, I did kinda want to have Ishii-san criticize and fix my work in every way possible... As a result, I've caught the "seeing anime character faces and specifically eyes as a symbol and therefore wouldn't want their eyes to be seen from any direction but side and front" disease. On top of that, I also caught the "when I get to show the eyes, show them in as much detail as possible" disease.

10/28/2021
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