KIRA FROM THE MOVIE: AN IMPRESSION OF PROGRESS

――You’ve been the wordsmith behind the SEED and SEED DESTINY novels. How did that journey begin for you?

Goto: I heard I was a candidate because Sunrise (at the time) wanted a female writer. It’s pretty amazing when you think about it. Of course, I grew up watching Mobile Suit Gundam, and it was a huge hit with girls back then. But somewhere along the line, Gundam became this “boys’ club.” I remember my first meeting – I was a bundle of nerves, lugging this backpack bursting with scripts and notes, thinking, “It’s Sunrise! Wow, it’s really Sunrise!” Like a total country bumpkin. (I didn’t end up using any of those materials, by the way.) But hey, it’s a great memory.

――In this movie, you’re credited as a screenwriter along with Chiaki Morosawa and Director Fukuda. It makes sense, given your long involvement with the series through novelizations.

Goto: About four years ago, out of the blue, the director reached out to me on social media asking, “Want to write the screenplay?” We had a chat with the producers, and before I knew it, it was official. When I laid eyes on Morosawa’s plot outline, I was floored. As a fan, I knew I had to see this come to life. That’s what sealed the deal for me.

―― Walk us through the screenwriting process. How did it all come together?

Goto: At first, I tried following Morosawa’s unfinished script, but the timing didn’t work out. So I thought, “To hell with it,” and started from scratch using the plot as a blueprint. It was a constant back-and-forth with the director and producers – discussing, revising, rewriting. The director would take a pass, we’d talk more, and sometimes I’d make more changes. It was like this endless loop until we nailed the final draft. Don’t ask me how long it took – it’s all a blur. There’s this scene where Kira and Lacus say, “I want this too. To fight alongside you,” I think that’s straight from Morosawa’s script. On the other hand, there was this great scene where Lacus makes too much food and brings it to the Millennium crew, with Hilda eating appreciatively and Agnes grumbling. It was cute and all, but we had to cut it due to time constraints. Sadly, I couldn’t even include it in the novel version because the connections before and after didn’t work out.

――You wore two hats this time – screenwriter and novelist. How did those experiences differ?

Goto: The biggest difference from novel writing is probably the collaborative aspect. Novel writing is such a solitary endeavor, so this was fun.

EXPLAINING THE CHARACTERS’ KEY MOMENTS

――What kinds of discussions did you have with Director Fukuda and the team?

Goto: We talked a lot about the characters, naturally. This story is about Kira and Lacus, especially Lacus, so we discussed at length what kind of person she is and how she feels. (Even after the release, the director and I still often have these conversations. Like, “Did we get that right?”)

――The film’s got all the familiar faces plus some new ones. What challenges did you face in the screenplay?

Goto: Orphee’s seduction scene was tough. We threw around ideas left and right, trying to figure out how he’d try to win her over. Rewrote that scene more times than I can count. In the end, I think we circled back to our first idea. Lacus wasn’t buying what he was selling. Kira’s still the man (laughs). For Agnes, Orphee, and Ingrid, Morosawa had already established solid character profiles, so I tried to follow those… but my own style probably seeped in as I wrote. For the Black Knight Squad members besides Shura and Liu, I didn’t have much to go on, so I developed their characters myself. Albert is all the director (laughs).

――How about the main characters?

Goto: Kira was incredibly difficult. Lacus was no walk in the park either, but this time she’s not her usual self – she’s royally ticked off, so that was… interesting. Cagalli’s leveled up – she’s tougher, cooler. People keep saying Shinn’s “different,” but I’m scratching my head. This is who he’s always been – a good kid at heart. Athrun got put through the wringer last time, so I’d say things even out for him here. That moment when he’s about to say, “You’re one to talk!” – that’s quintessential Athrun. (By the way, “The Lacus I know…” is Morosawa’s line, and “It’s all about you…” is mine… both pretty ironic.) Also, the scene where Infinite Justice II bursts out of the Z’Gok and the scene where Mu deflects Requiem with the Akatsuki were in the plot from the beginning. Can you blame me for wanting to see those on the big screen?

――So, what was your take on the finished product?

Goto: Right from the first battle scene, with Nishikawa’s FREEDOM playing during the launch sequence – it’s so moving. The mobile suit battles are the best! I’m a sucker for fleet battles too, so I may have slipped in a request like, “Hey, can we do that thing where they focus fire on where the enemy’s gonna be?” (laughs). Dreams do come true. The scene with Mighty Strike Freedom and Lacus, backed by Meteor, was also really cool.

VOL.1: KIRA AND LACUS’S DOUBTS CREEP IN; VOL.2: BREAKING FREE

――At what stage did you start novelizing the movie?

Goto: I started writing last August. Unlike when I was younger, it takes me longer to write now, so it took about half a year to reach the ending. Plus, I was juggling the bonus novel at the same time. Volume 1 was especially tough because a lot of details weren’t finalized yet. Volume 2 was also pretty hectic right up to the end (laughs). This time around, I dialed back on the mecha specs, which turned out to be a smart move. Back in the TV days, I crammed in every detail, thinking future fans would need that info. Who knew the internet would make all that so accessible?

――Did you discuss the novelization with Director Fukuda?

Goto: I’d give him a heads up now and then, like, “Hey, I’m throwing in this original scene,” and he’d usually just say, “Go for it!” Pretty much gave me free rein. However, he did drop a hint like, “Maybe take Athrun down a peg in the book – he’s looking too cool in the movie” (laughs).

――How did you approach adapting the movie script into a novel?

Goto: The process itself isn’t much different from the TV series, but… this time, I was writing before the visuals were done, so I had to keep checking the storyboards. Some scenes that look great on screen don’t translate well to prose, so I often abbreviated or glossed over those. The novel’s main focus is on the characters’ emotional journeys, so I tried not to disrupt that flow. I think there’s some confusion out there – I keep my fan hat and my pro hat separate. I don’t play favorites with characters. To write a solid novel, you’ve got to be all in with every character. That’s what makes it such a wild ride (laughs).

――Could you tell us about the key points in Volume 1, which is already out, and Volume 2, which is about to be released? For example, Volume 1 covers events before the movie, like the “Freedom Hijacking Incident,” right?

Goto: For the Freedom Hijacking Incident, I kept it to the bare minimum of necessary information, with hopes for future developments. Volume 1 is all about Kira and Lacus grappling with their doubts, kind of trapped in their own heads. Volume 2 is their breakout story. I also dug deep into the other characters’ headspace. Plus, Volume 1 still has some unrevealed background and settings. The overall theme of SEED FREEDOM really comes into focus when you read both volumes. Ogasawara’s illustrations are also a real treat, and there are quite a few original scenes, so look forward to that.

――Finally, do you have a message for the fans?

Goto: I truly apologize for keeping you waiting so long. I waited, too (as a fan). Seeing you all enjoy it – that’s what makes it all worthwhile. I can’t thank you enough for this wild ride. If something from the movie or the novel sticks with you, well, there’s no greater joy for me.

Gundam Ace, May 2024 Issue