POURING OVER THE HUNDRED DRAFT SCRIPTS LEFT BEHIND

―――The movie was thought to have vanished into oblivion. Can you tell us when the project got back on track and what led to its revival?

While it’s true that the project was temporarily halted, it was never completely abandoned. The producers at Sunrise were quietly moving things forward. Even during the HD remaster in 2012, we had discussions about the movie, but the script had yet to be finalized at that point. We decided we wanted to announce it only once we had a script in hand, which led to the delay.

―――So, has the script been completed then?

It’s almost complete. By ‘almost,’ I mean that the writing between the director and writers has concluded, but we still need to address a few minor requests, comply with the times, and run checks on expressions. In simple terms, we’re waiting for the ‘final draft’ stamp. However, there won’t be any drastic changes from here, so I’ve already started working on the storyboards.

―――Director Fukuda, you tweeted that the film is a sequel to DESTINY.

I believe it’s safe to say that. The timeline is set after DESTINY. We’ve already sufficiently covered up to DESTINY on television, and I’ll leave the task of expanding on spin-offs to others. My job is to advance the history of the Cosmic Era.

―――It’s said that all characters will make an appearance. Why was this decision made? Was there ever a radical option to use entirely new characters?

It’s still a story about the characters. This isn’t a title that encompasses the world, so that’s my one and only stickler. If we’re going to use the title “Gundam SEED,” we have to focus on the drama of the main characters. I want to continue the story of the characters we’ve seen so far. That’s the goal of this sequel film.

―――This is precisely the story that the fans of the ‘SEED’ series have been hoping for. After all, they want to know what happened to Kira, Athrun, and the rest.

Maybe the fans’ desires influenced the decision, but ultimately, I guess all we can do is create what we want to see most.

―――Was the script reconstructed from the materials left behind by Chiaki Morosawa?

Yes, that’s correct. There were many more incomplete drafts than I knew of, and I’ve spent a lot of time sorting through what could be used and what couldn’t. I understood that everyone was waiting, but examining each draft thoroughly was a clue to understanding the path she had in mind.

―――It’s said that as many as 100 drafts were left behind by Morosawa. What part did she get stuck on?

Since we had been discussing it all along while she was alive, I understand well why she couldn’t finish it. She kept getting hung up on a significant issue, leading to a cycle of writing, pausing, analyzing, and rewriting. In the end, we even discussed whether we should stop confronting the problem. But we can’t escape it. If we don’t address it, ‘SEED’ can’t conclude. It’s a dilemma.

The issue wasn’t about creating a story but rather translating the characters’ thoughts directly into the script, which is why she couldn’t write it. If we were to write the script first, it would no longer be about Kira, Athrun, and the others that everyone knows if we forcefully fit in their actions and words. So, she was trying to create a situation where the characters could move freely or experience conflicts, but that proved to be difficult. In a nutshell, anyone can create a story, but it’s the characters that weave the story, and if their actions aren’t carefully considered, it won’t result in an engaging drama.

―――What was involved as you poured over them?

I sorted out the overlapping parts, compiled everything together, and re-read it, then I picked out the elements that I thought should be used.

Originally, we discussed the interesting concept of having Kira Yamato face off against 20 versions of himself. It was like a ‘fake Kamen Rider’ idea. In the story, six shocker riders identical to the new number one appeared, and Hayato Ichimonji (No. 2) and Takeshi Hongo (the new No. 1) defeated those six (Kamen Rider episodes 91 to 94). With Kira, Athrun, and Shin, we have a formidable force, and it wouldn’t be a match unless there were 20 ‘fake Kiras .’But if there were 200 Kiras, it would be absurd, and what about making Kira a clone like Rey? We started from this point of discussion.

―――Did you finalize the finished version?

No, the writers put together the parts I picked out. Since I wrote the original story when the movie version was planned, there’s no problem if we just connect the plot points. The challenging part was ensuring that the story I just told could be made believable through the characters’ actions. I validated and supervised that, but the basic concept remained unchanged from what she had initially envisioned.

REUNITING THE MAIN STAFF TO MAKE IT SEED

―――It’s been almost 20 years since SEED first aired on television in 2002. The world and social circumstances have since evolved. While Gundam does incorporate elements of its era, has this influenced the show’s reconstruction?

Officially, we always say we have “adapted to the times.” But, in reality, I don’t incorporate these thoughts into the narrative. The phrase “reflecting contemporary times” sounds good, but what we should really be aligning to is the continuity from DESTINY. It would be odd if elements that were not there before suddenly appeared or for previously unknown thoughts to suddenly become apparent. We aim to convince the audience in a pleasing manner that this is good while peppering in a mix of truth and lies. We maintain appearances and also weave the narrative.

Yet, I can’t help but feel that the funds available for production have changed since the original broadcast. The budget directly impacts the scale and quality of the work, forcing us to be selective with the mecha. Back then, we had close to 100 mobile suits; when we requested for all of them to be in CG, everyone flinched. I wish we could be more generous in this regard. After all, aren’t all mecha directly linked to business revenue? I believe we should invest properly in these resources.

―――In the past, I’ve heard that Kunio Okawara was responsible for the lead mecha designs.

Yes, that’s for the new models of Freedom and Justice. I received the designs, and now I’m giving them back to Okawara. Unlike the script, 20 years can significantly affect design. While I don’t intend to adapt the script to contemporary times, I do plan to align the mecha and combat with the present day.

―――You mean updating the designs to fit the present day?

Not so much to fit the times but to ensure they still look like Gundam alongside the current Gundams. The recent Gundam designs seem overly complex and sharp, so much so that I sometimes find myself thinking, “This isn’t a Gundam.” In Gundam Build Real, RX-78 and Char’s Zaku are still there, and that’s the general image of Gundam. We need to reevaluate what “looks like a Gundam” again. In that sense, we want slightly new designs but also a throwback, differentiating from other Gundams and asserting the colors of the SEED series. We’re currently having Mr. Okawara work on these designs.

―――You mentioned the use of CG for the mobile suits. Does that mean the battles will be depicted with CG?

The battles will be hybrid. We’ll base them on animation and supplement them with CG for the scale. In some cases, some parts of the expression might be entirely CG. Ideally, we’d like to draw everything by hand, but given the limited number of skilled animators, blending CG is now unavoidable. CG has its strengths and weaknesses, and only a handful can create a final image that captivates as a drawing. Moving things requires a sense of vision. Even if it’s not done well, as long as it’s moving, it can deceive the untrained eye, which is a challenge. To eliminate this deception, we absolutely need Satoshi Shigeta, as SEED’s action is all about his work. Alongside Mr. Shigeta, Mr. Hisashi Hirai will handle character designs, and Mr. Okawara will take care of the main mecha. The main staff remains unchanged.

―――So, it’s a SEED staff reunion!

Indeed. Speaking of mecha, I don’t like certain ones, like the colossal Psycho Gundam. Even though we featured something like it in DESTINY, it seems strong but actually uses its size and destructive power to intimidate the protagonist, which is inherently designed to lose in terms of drama. Everyone realizes this, hence why they believe they could take it down with a single beam saber (laughs). Therefore, I want to introduce an enemy like the Aegis versus the Strike, a real formidable rival. Without equal competition, neither can fully exhibit their power.

―――Will Mr. Okawara handle these enemy mobile suits as well?

Yes, but how to direct these enemies is a challenge. The world setting of the Cosmic Era doesn’t revolve around visual combat by pilots. But considering scientific advancements, unmanned combat machines controlled by AI are possible, leading to asymmetric warfare. In a battle of humans against AI, humans are at a significant disadvantage. If you compare a $1000 missile against a $10 one, the $1000 missile will perform better and kill more people. But if you were to use 10,000 or 20,000 of these, no matter how advanced the weapon, the user would be economically ruined. It’s sobering how efficient weapon use can determine the outcome of a war and human life and death.

We incorporated some contemporary combat tactics in SEED, but maybe because the battles were too flashy, no one noticed (laughs).

―――The coolness is indeed distracting.

I think the battles in this movie will be an extension of what we’ve done so far. However, the approach to combat has changed significantly since then. Defeating the enemy is essential, but the tactical and methodological aspects of achieving that victory have evolved. It’s not as simple as producing and deploying high-performance units for defense or attack. The era of quantity-based warfare has passed, and modern combat is mainly conducted in cyberspace. This time, I’m contemplating whether we should lean in that direction or not. I believe incorporating such contemporary-style combat will be an interesting aspect of the movie.

A LIFE-SIZED FREEDOM GUNDAM BUILT ON TECHNOLOGICAL MASTERY

―――You visited the site where the life-sized Freedom Gundam statue was erected in Shanghai. Could you share your impressions of seeing it in person?

Technically, it’s quite astonishing. I was moved by the fact that something of that magnitude could be constructed. But, personally, I am not much interested in creating such physical objects; I have a penchant for crafting narratives within the confines of the screen. So, my thoughts can’t extend beyond a simple “Well done.” Safety concerns also crossed my mind. Of course, I understand that thorough safety verification has been conducted, but I found myself worrying, “Is it really safe?” This statue differs from the life-sized Gundam built in Odaiba because it has wings. Considering it has to withstand storms and typhoons, I am genuinely impressed they’ve managed to clear those hurdles.

WILLING TO FIGHT FOR THE THEME AND EXPRESSION UNTIL THE END

―――Earlier, you mentioned that the screenplay for the movie is undergoing checks to comply with the current standards and expressions. Has the level of self-censorship by the production side become stricter between the time when SEED aired on TV and now?

I would say so. Why do we self-regulate? Well, there will always be people who find certain extreme expressions or discriminatory phrases displeasing. Even though these people might not be a majority, their voices are often loud. Companies tend to succumb to these voices. Or the individuals tasked with handling such feedback can become burdened, which can negatively impact their mental and physical health. If this is the outcome, avoiding such instances from the beginning is better.

However, I believe that creation, in a sense, is antisocial and anti-authority. We creators momentarily tread into the parts of people’s hearts they’d rather not be touched and pry it open. Striking a balance in this area is challenging. This is a detour from our discussion about the statue, but even if we’re told we can’t do it, we shouldn’t compromise in our expressions for SEED. Agreeing with whatever is dictated from above should only apply to business aspects like sales. As for the theme and expression, I want to fight until the end.

INCONGRUITY IN REGULATING ANIME AND MANGA

―――These are challenging times indeed. There was an instance where a scene from the anime Super Cub depicted two riders on a bike was flagged as illegal, which made the news.

I’ve had similar experiences too. Things like, “When you ride a bike, please put on a helmet,” or “Even if a child is fleeing from a mech attack, they should use a crosswalk when crossing the street.” It’s surprising how people will nitpick at these minute details. I remember being asked, “Do you comply with all traffic laws?” When I responded, “Only if it’s set in Japan,” they retorted, “So, it’s okay if it’s not in Japan?” to which I replied, “As long as it’s clearly not in Japan.” It’s all rather inconsistent, don’t you think? For instance, it’s okay to show swimsuits, but showing a girl’s belly button or emphasizing her chest becomes an issue. As an adult, I believe that as long as a certain level of understanding is established, it’s acceptable. However, given the current climate of political correctness, which includes concerns about gender discrimination, it feels like one must tread very carefully unless they’re fully prepared and committed. Manga and anime aren’t textbooks – they should have the freedom to express ideas that challenge societal norms. The world isn’t all about doing the right thing. Anime and manga used to be platforms where such depictions were possible, but I’m starting to wonder if that’s still the case.

―――I was shocked when TV commercials started adding disclaimers like, “The actor isn’t wearing a mask for dramatic purposes.” Has it really come to this?

These difficult times seem to breed dangerous ideologies and organizations. Militarism and fascism, for instance, emerged during times of economic turmoil. Beautiful words often conceal poison, and ideals sometimes mask ulterior motives. I’ve decided not to trust any decisions made hastily without proper deliberation amidst the chaos.

CONSIDERING THE FILM AS A CONCLUSION TO THE SERIES

―――Takanori Nishikawa also appeared in the opening ceremony of the statue. I’m curious about his appearance in the upcoming film.

At this point, isn’t it a given that he will be singing the theme song? Everyone expects him to sing, and he is eager to do so. If we were to announce otherwise, I think it would incite a riot among the fans. I guess we’ll have to rely on Sunrise (laughs).

―――Nishikawa also provided the voice for the character Heine Westenfluss in DESTINY. What’s going to happen with that?

Well, Heine is dead (smiles wryly). Even if we were to ask him, if we can’t provide a character Nishikawa wants to play, I don’t think the fans would be satisfied. I hope we can make a satisfying announcement, but let’s see.

―――The news of the movie reboot made it trend worldwide on Twitter. Do you have a message for the fans eagerly waiting?

It was trending worldwide? Really? It’s not like my Twitter feed was flooded with that.

―――It’s true.

People are always trying to trick me, aren’t they? Saying things like, “It’s well-received.”

―――No, we’re not tricking you (laughs).

Because even when I tweeted about Gundam Build Real airing today, there were barely any retweets (laughs sadly). My main use for Twitter is just to collect information and provide additional info on projects that aren’t officially announced. So, whether or not my posts go viral doesn’t really concern me, but I was a bit disappointed. Nowadays, fans and creators seem to be in a state of mutual surveillance and exchange of opinions, so we can’t completely ignore each other. If there are sensitive topics or emotionally charged posts, many negative reactions can come back. And when you get caught up in these reactions, you can lose sight of what’s important. So, I think it’s best not to get too immersed. I would say that, ideally, you shouldn’t look at all.

―――Last month’s feature probably heightened the excitement among SEED fans.

But surely, they must have thought, “There’s nothing to find!” when they searched. Normally, you’d expect to see at least some visual images, but we haven’t been able to release even that. However, progress is being made, and I think various things will be announced gradually.

I’ll let you in on a secret: I’m considering this movie to be the series’ finale. I plan to provide a proper resolution for each character and wrap up everything in my own way. You must be wondering which character will take center stage, but I’ll leave that to your imagination. From my perspective, I find Shinn Asuka to be very promising. He has a great storyline. Of course, Kira, Athrun, and the others are also good, and they all make up the team of SEED. Due to space constraints, some characters had to be reluctantly cut or given very brief appearances. Please understand that, and look forward to further updates.