Otona Anime Vol.3 (February 2007)

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Published February 2007
Magazine cover

Otona Anime was an anime-focused magazine that began publication in 2006. The magazine primarily contained interviews with staff members, voice actors, and creators behind popular anime airing at the time. Its publication has been in indefinite hiatus since 2015.[1] Volume 3 of the magazine, published on February 11, 2007, focused on the 2007 Phantom Blood film, featuring interviews with various cast and crew members of the film. The issue also included a section detailing the Phantom Blood PS2 game, as well as various highlighted panels from the manga.


Interview with Hirohiko Araki: Original Author

Transcript/Interview: Kiyoshi Tane
Photograph: Yoshihiro Shinomiya

Hirohiko Araki made his debut in Weekly Shonen Jump with Poker Under Arms, which was a runner-up for Shueisha's Tezuka Awards. He has serialized JoJo's Bizarre Adventure since the end of 1986. Part 7, Steel Ball Run, is currently in serialization in Ultra Jump.

"[Posing is] the border between fantasy and reality."

What were your thoughts when the decision was made to animate Part 1: Phantom Blood?
Araki: When the second half of Part 3 was turned into an OVA (1993-1994), the producer said, "Since we haven't depicted Dio (as he is in Part 1), writing the script has been difficult. As soon as we were done, we wondered whether we could do Part 1 as well." Thanks to the support of the fans from Part 1's serialization, it became a reality. I'm glad to have drawn it.

Did you have any specific requests for certain scenes?
Araki: Nothing that I wouldn't see done any other way. That's probably what I'd say, even if they asked me. It feels as though I'm giving away my own daughter as a bride. I've entrusted them with that responsibility, so I have nothing to say, except that I wish them the best of luck in their work.

What were your thoughts upon seeing the animated version of Part 1?
Araki: Animation is the work of its creator, so I see it as an expression of their individuality.

Part 1 really seems to emphasize muscles in its designs, doesn't it?
Araki: I'd agree. I suppose I'm focusing more on shading and mood at the moment. That's also a sign of the times, I think. Back then, Schwarzenegger and Stallone were big movie stars, so the main character simply had to resemble them. From then on, they got slimmer and slimmer. When I was working on Giorno (from Part 5) in particular, everyone said to me, "They've gotten quite small, huh?"

Are you conscious of the way you change your character designs?
Araki: I'm the type of person who doesn't want to stay in one place or fixate on any particular vision, so I'm quick to discard old designs. For example, when people ask me to draw Jonathan from Part 1, I have a really hard time doing so. I feel like I'm copying my own work, and it winds up looking ever-so-slightly off.

Your unique style prominently features what has been dubbed "JoJo posing." I heard they were inspired by seeing Michelangelo's sculptures during a trip to Italy?
Araki: That's right. Sculptures and paintings from the other side of the world twist as they stand, don't they? That felt fresh to me, so I tried to emphasize it. In any case, the goal is to make them stand in impossible poses. Those are the border between fantasy and reality, so it's strange that people actually try to do it (laughs).

So you're saying you draw them to be impossible (laughs). Was that trip also the reason that the main setting of Parts 2 and 5 is Italy?
Araki: Yes. At times, my editor just happened to say, "Let's go to Italy," or, "Let's go to Egypt." And when we went there, we ended up thinking, "Okay, let's have Dio live here." My editor back then had a massive influence on me.

It seems as though you're particularly attached to Italy.
Araki: I thought even the table settings alone were interesting. I saw so many things I hadn't seen before, from the flowers on the table, to the bottles of olive oil, to the black spaghetti. It was nothing short of a culture shock. That was the first experience that really imprinted upon me.

An animation that will hold up to JoJo fans' aesthetic sensibilities...

I had the impression that the direction of Part 1 changed drastically when Dio became a vampire, but did you have the "Ripple warrior" idea from the beginning?
Araki: I did, in fact. When I was a child, there were a great many mysteries. The Loch Ness monster, UFOs, and so on. In that context, supernatural abilities had quite a Romantic spirit to them. Mitsuteru Yokoyama's manga Babel II was about psychic powers, but he depicted them as invisible forces like electricity. That made me think, "What does it mean to depict a psychic power?" I started from the image of transmitting it like a wave. From there, the rules began to emerge, and I was able to understand its scope.

So what you're saying is, this is how psychic power can be expressed by scientific explanation.
Araki: Indeed. I wanted something a little more theoretical. I don't really like the idea of winning by guts alone (laughs).

Was the idea of the Joestar family lineage being passed down also there at the beginning?
Araki: Yes. There's a movie and novel titled East of Eden where the offspring atone for the sins of the mother across several generations. I wanted to show that the people of each generation are different, but are all connected by their karma and bloodline. So I worried about what I'd do if they made me quit early because it wasn't popular (laughs).

So the plan was to have Dio live on for about 200 years (sic)?
Araki: Yes. He would sink once, but then come back to life. I believe I was also thinking of having Dio take over another person's (Jonathan's) body. In Part 3, I planned to use Ripple again, but I wanted to depict the psychic powers more visually, so they became Stands.

That type of epic drama wasn't particularly common in manga, was it?
Araki: In the '70s and '80s, I was mocked for drawing similar manga to others. That's why I had to go after a different field entirely (laughs). But the prevailing theory at the time was, "Don't use a foreigner as the main character," and, "Don't set the story in a foreign country."

So you were going against the grain (laughs). When you submitted the idea to the editorial department, did they try to stop you?
Araki: They did for Cool Shock B.T. (lit. "Devil Boy B.T."), a predecessor. Mainly, they disliked the "Devil Boy" in the title. There was also a devious atmosphere to it, and they were absolutely opposed to that, and they would have forced me to drop it. But my editor at the time was on my side.

Is Dio's character also taken from Cool Shock B.T.?
Araki: Well, it's more of an extension of it.

If they were created nowadays, they'd both fit with the times.
Araki: That's very possible. Back then, books about real-life serial killers were hidden away in the backs of bookstores. That was the kind of thing I was fascinated by. What kind of pleasure comes from killing people? That kind of mystery is quite Romantic, isn't it?

Did Jack the Ripper also feel Romantic to you, Mr. Araki?
Araki: Yes, quite Romantic. Generally speaking, in both manga and music, there are a lot of things that make you wonder, "Why is this happening now?" It's especially common in progressive rock. If you listen to something like Tubular Bells without any knowledge of it beforehand, it's a shocking experience.

I remember hearing that you have around 3,000 CDs in your office right now?
Araki: I really do have that many. I listen to everything, in any genre.

Many of your characters and Stands are named after music, right?
Araki: Some of them are, yes. But I try to make sure that the meaning of the name overlaps with the Stand's image.

Are onomatopoeia like "Zukyuuun!" and "Go go go..." also taken from music?
Araki: Yes. The tempo of drawing a manga is rather like a beat, like a thump, thump, thump, and then a bang, or something along those lines. Doing things this way in a weekly magazine was difficult because the panels had to be divided so that the pages would split a certain way. There were times when I just couldn't make the rhythm match, and it all came down to the last page.

The same goes for the panel layout, and the dialogue also has a beat to it.
Araki: Absolutely. I think they place emphasis on the sense of rhythm. I hope the animation is like that, too. Even during breaks, the voice actors seem to be practicing their "Aaaah!" and "Haaaa..." and such. They seem to really be into it. Dio's voice actor, Mr. (Hikaru) Midorikawa, even looks a little bit like Dio (laughs).

Speaking of Dio, where did his "URYYYYY!" come from?
Araki: I've completely forgotten. I think it was something like rolling one's "Rs." As though he was already sucking blood, going "uryryryry..."

A demonstration from the author himself (laughs)! In Part 1, there was a lot of emphasis on not only those superbeings, but also on the backgrounds of JoJo and Dio.
Araki: Yes. I believe that in any story, the writer must know the protagonist's father. What kind of personality and upbringing did they have? I think about what kind of character they possess and how they were raised before I draw them.

It seems like Dio's father has an even worse personality than his (laughs).
Araki: It really does. It makes you wonder whether anyone that awful really exists. I love TV dramas that air around 1:30 in the afternoon, and I also collect DVDs of them. I like they way they perfectly depict the muddier side of human instinct.

So, to close us out, can you tell us what you would like the audience to look forward to in this film?
Araki: There are, of course, the screams, the dialogue phrasing, and the poses. That said, there will be people over the age of 30 watching the film, so I would be greatly pleased if the film held up to their aesthetic sensibilities.

Thank you for your time today.

Interview with Nana Mizuki: Erina Pendleton

Transcript: Yuki Masahiro
Photograph: Yoshihiro Shinomiya

What was your first impression of JoJo's Bizarre Adventure and its distinctive designs?
Mizuki: I thought it was very stylish, and kind of wild.

They're all wild, aren't they?
Mizuki: A genuine wild man festival (laughs). The way they pose is very unique.

"JoJo posing," you mean?
Mizuki: Yes, exactly. Many of the people in my circle are JoJo fans, so I did a lot of research before the dubbing process started, and I thought it was cool.

What were your thoughts when you learned about the story of the movie?
Mizuki: It was much deeper than I'd imagined (laughs). But since I was working on the film without any preconceptions, I was able to naturally step into the role.

Mizuki, you play the role of Erina in this film, but the characters in JoJo are overwhelmingly male.
Mizuki: That's right. I was the only woman.

What was your first impression of the role of Erina, surrounded by all those men?
Mizuki: I thought she was really brave and lovely, and a wonderful woman. She has quite the old-fashioned image of what a Japanese woman should be: propping up her man and walking three steps behind him, like in the old days. She is truly devoted to her man. In a sense, to devote everything to the man she loves is rather manly and noble!

It's a contradiction.
Mizuki: A contradiction, yes (laughs). I think she is a very beautiful and cool woman.

By the way, are you more of a JoJo fan or a Dio fan?
Mizuki: I like mysterious men, but I feel like Dio goes a bit too far... (laughs).

He's too mysterious...
Mizuki: He's too much, certainly more than I can take, and I probably wouldn't be able to keep up with him (laughs). I guess I'm in the JoJo camp, then (laughs). But if I met a man like that, I'd probably just get all nervous and tense. I think he's a very secure man, kind of like a father.

He's the type of man who is very receptive.
Mizuki: That's right. He seems warm and wonderful.

How do you see Erina's role in the film?
Mizuki: She believes in JoJo and lives by her own word, so it's something like, "I will protect your house, so go follow your own path."

I see. A good wife...
Mizuki: Exactly. She can't do anything, but she can watch over him from the sidelines. No matter how things turn out, she'll see him through to the end, because he's the one she believes in... She really is a good wife.

Erina's key point in the story is when Dio steals a kiss from her with a "Zukyuuun!" (laughs).
Mizuki: That's so cruel of him. Seriously (laughs). I don't think Dio had any feelings for Erina, but instead it was more like, "You took my JoJo away from me. Only I'm allowed to be his friend." That said, from a girl's point of view, you can't help but be drawn to a situation where you're pushed around by two men... I think I'd like to experience that, at least once in my life (laughs).

I see... (laughs) So you want to be pushed around like that?
Mizuki: "Oh, whatever will I do?" The heart pounds... It doesn't happen very often, though (laughs)... I do kind of yearn for it (laughs).

Do any of Erina's lines or scenes particularly stand out in your mind?
Mizuki: Her reunion with JoJo after years of separation. When she reunites with JoJo again after he gets hurt, she probably really wants to jump into his arms, but she holds back and responds with, "It's been a long time." What a lovely woman she is, keeping her emotions in check like that... It makes you realize just how much she's grown up.

By the way, were you given any instructions for your performance, such as a particular way to perform a line?
Mizuki: I was told to express her straightforward emotions of having pure and innocent fun with her beloved JoJo during her youth. After she becomes an adult, I was instructed to keep my overall performance calm and not to waver too much, even while crying.

Finally, please give a message for the JoJo fans.
Mizuki: The whole film is full of highlights, and the succession of really tense scenes won't let you relax, even for a moment! It's a work with a lot of substance. The fights between the wild men are so intense and cool, so I hope everyone will be able to see it.

And then there's Erina, who remains chaste in the middle of all that.
Mizuki: Right. I'd be very happy if you could watch over the hard-working Erina as well!

Thank you very much.

First-Time Voice Actors!! Interview with Speedwagon

Transcript: Editorial Department
Photograph: Yoshihiro Shinomiya

Speedwagon was formed in 1998. They are a comedy duo consisting of Jun Itoda and Kazutaka Ozawa, under the ownership of HoriPro Com. This time around, they have tried their hand at voice acting in JoJo's Bizarre Adventure, the source of the duo's name.

How did you feel after your first attempt at voice acting?
Itoda: It was quite difficult.

What did you find difficult about it?
Itoda: It was almost all strange sounds. "Kyaaah," and "waaah," and "keeheehee," and such. I tried doing one as an ad-lib, but then they started telling me, "Okay, now do the next ad-lib like this." From the second one onward, it was difficult to say whether they were really ad-libs or not. I'm looking forward to the finished product.
Ozawa: I played the role of Dario Brando, Dio's father. Dario Brando is a horrible person. It was really hard for me to play a role so unlike myself. I wish I had a little more of that in me, but I don't at all, so it was tough.

That said, your voice does sound rather villanous (laughs).
Ozawa: Hmm... Maybe I do sound a bit like a villain (laughs).

Incidentally, when did you first begin reading JoJo's Bizarre Adventure?
Ozawa: I was in junior high... The series is 20 years old, and I was 13 then, so I guess I picked it up midway through? I already treasured Weekly Shonen Jump at the time, but to be honest, I wasn't a huge fan of JoJo's Bizarre Adventure. I liked it, sure, but it wasn't my favorite or anything. JoJo inspires a certain kind of enthusiasm, you see. The kind of people who love JoJo are the same kind who obsess over the Pacific League.

A certain kind of enthusiasm?
Ozawa: That's the kind of work it is. It's still entertaining, though.

Have you ever read JoJo, Mr. Itoda?
Itoda: I didn't read JoJo during its Jump serialization. You could call it the one that got away. I did read it about two years ago. I read it through Part 3, but by then it had tired me out.

And it's still ongoing.
Itoda: It's that long. I think I might pick up from Part 4 onward when I get the chance.

I might be asking too many questions here, but which of you came up with the "Speedwagon" name?
Ozawa: Oh, that was me.

Why that name?
Ozawa: Whenever we performed live, we usually did it as Itoda Ozawa or Ozawa Itoda, or something similar. For one performance, we were told that we had to give ourselves a real name. I found a copy of JoJo in my bag, and after skimming it a bit, the name "Speedwagon" stuck with me.

So it was really just decided on a whim?
Ozawa: Right. I mean, I liked it. If I hadn't taken a liking to it, I definitely wouldn't have used it.

And after all that, did you even like the character?
Ozawa: Hmm. Well, I do like the character, too.

Did the production team ask you for anything in particular? To perform with more excitement, for instance?
Itoda: We weren't asked for more excitement. I was asked to act "more Chinese," though.

More like a Chinese person (laughs)?
Itoda: Yes. My voice sounded "too Western" to them, somehow. They wanted "more Chinese." They wanted something that sounded more like, "Such-and-such, yes?"
Ozawa: Dario Brando has a line that goes something like, "One man's misfortune is another man's gain." I think the director did that one for me. And he was good at it, too. His voice gave off the exact image of Dario Brando's. He was so good at it that I thought, "He ought to do it."

Did you have anyone else perform the 'strange sounds' for you?
Itoda: The same old man did some of those for me too, "kee" and "keh" and such. I advised him on how I wanted it to be done. He was good at that, too. I also thought that he should've done it himself.

By the way, what were your thoughts when you were asked to take on JoJo?
Ozawa: I thought, "Finally." But, to be honest, I was a bit hesitant at first. I didn't want to meet Mr. Araki. Not that I was disappointed after I met him: as a matter of fact, meeting him only made him more likable. I just don't like meeting my heroes. I wanted it to be one-sided, as if he were an imaginary creature.

Did you meet him at the press conference announcing the production?
Ozawa: Yes, yes.

Did you talk to him?
Ozawa: Mr. Araki told me then, "Mr. Ozawa, you're just not my type of person." You know how enthusiasts tend to say things like, "This is how this part goes. But I think it should be like this"? What he said was, "Mr. Ozawa's too much of an enthusiast for me..." (laughs).

Can you tell the people going to see the film what the highlights are, and what the scenes you feature in are like?
Itoda: Certainly. The highlight of the movie, for me, are all the strange sounds we made. Some are delivered with emotion, and others are said without any emotion at all. I would like you all to try to pick up on that, if you could.
Ozawa: I can't possibly discuss all of them. Highlights aren't something you find by having someone tell you about them. I want everyone to see it with their own eyes and find them themselves. With that said, Speedwagon withdraws coolly.
Itoda: We withdraw coolly.
Ozawa: Coolly.

I see. Thank you both for your time today.

Hikaru Midorikawa: Dio × Katsuyuki Konishi: JoJo

Transcript: Kiyoshi Tane
Photograph: Yoshihiro Shinomiya

Katsuyuki Konishi made his debut in The King of Braves GaoGaiGar as Volfogg and Big Volfogg. He usually plays mild-mannered and warm-hearted characters, making the role of JoJo a good fit for him.
Hikaru Midorikawa debuted in Kiteretsu Daihyakka. He typically plays cool yet ruthless villains. The role of Dio fits him perfectly.

Have either of you read JoJo's Bizarre Adventure?
Konishi: I've been reading it since the beginning of Part 1. I'm still reading Steel Ball Run now, and being deeply moved by it.
Midorikawa: Same here. But I forget a lot of things, so I read it over and over again.

How did you feel about being able to play characters from the manga?
Konishi: I never thought that I would become the main character of a manga I read 20 years ago. I did my best not to betray my own expectations, and to live up to everyone's image of me.
Midorikawa: It is a superb work that almost everyone knows about, so I was under a lot of pressure, to be such a great villain and the pinnacle of the natural world and all. It was tough, but it was also an incredible experience.

In this film, both of your characters grow from boys to young men together, right?
Konishi: That's right. JoJo starts out as a little boy. Dio comes and does all kinds of things to him, but JoJo still tries to believe in him. I took on the role with the thought that JoJo must have grown stronger from it, both mentally and as a human being.

Mr. Midorikawa, not only did you play the young Dio in the game, but you also performed your role's younger self in the film.
Midorikawa: Yes. I was very happy to get the chance to do that this time around. It was like, "Okay, let's do it. Tell me about my youth" (laughs). This is very rarely the case, but frames from the video were shown to us during the dubbing process, so it was simple and fun to act out the scenes alongside the subtly-changing facial expressions.

In youth, you two play the bully and his victim. Did your exchanges ever get intense?
Konishi: Obviously, being bullied's not something to get fired up about (laughs), but as Erina says, "You really are a gentleman." Even after his room is ransacked and his dog is beat up, JoJo's big-hearted nature was fun to work with.

And on the other hand, how did you feel about Mr. Midorikawa's Dio, who backs him into a corner?
Midorikawa: It's fun to play the villain, but I have two dogs, so some lines and scenes were rather heartbreaking. I had to kick them, burn them, and so on. At home, when I sit under the kotatsu, my dogs climb on top of me. It's really hard for me to say such things when I'm relaxed like that. "But if I can't overcome it, I'll never be Dio," I thought.

I didn't mean to get personal (laughs). And, Mr. Konishi, how did you change your performance when JoJo grew into a young man?
Konishi: I thought about the life this JoJo must have lived and thought up my own version of it. I expanded on the roles I had played up to now while continuing to live as JoJo, or something like that.

I think Dio stands at the apex of villainy, but did you feel any sense of exaltation from the role, Mr. Midorikawa?
Midorikawa: It felt incredible. Dio goes through various stages, from his youth to when he wears the stone mask, and then things get a little strange (laughs). Some of the line delivery is taken from foreign film dubs that I have taken part in since last year. I'm glad I had that experience before I started work on JoJo.

And then the two of you have your showdown. Was it physically challenging for you to scream in the heat of battle?
Konishi: It took a lot of strength, but I really enjoyed doing it, especially when most of them were lines from a manga that I read with such excitement. I also feel like I've been able to finally say, "My heart is resonating! With the heat of a burning fire! Sunlight Yellow Overdrive!" in a real and authentic way.

Did you attempt to convey the feeling of Ripple breathing?
Konishi: Yes. I read somewhere in Part 2 that the Ripple breathing technique involves inhaling for 10 seconds and then exhaling for 10 seconds. I practiced that even when I was a child. Both at home and in rehearsals, breathing 10 seconds at a time was always in the back of my mind.

You've faithfully followed Lisa Lisa's teachings (laughs). Meanwhile, as for Dio, I think what everyone pays the most attention to is his "uryyyyy."
Midorikawa: Back when I was working on the game, I would ask what kind of feeling they wanted from the "uryyyyy" or "muda muda muda," and did various takes according to their requests. New orders came in this time as well, and I tried my best, even though it was really difficult (laughs). It was quite rewarding, actually.

When you two worked opposite each other, did you feel any sense of rising tension?
Konishi: It certainly rose more than if I'd done it alone. Even the temperature seemed to rise, and it felt as though I had to turn on the air conditioner.

Did you ever see Mr. Midorikawa's face mimic Dio's, or anything like that?
Midorikawa: What I felt was a growing sense of exhaustion.
Konishi: That makes sense. It was as if the very life was being sucked out of him. It was a strange thing--when we were away from the mic, I thought, "Oh, it's you, Mr. Midorikawa," but when we were performing together, we became JoJo and Dio as we gazed into the world in the monitor. And I found myself calmly recognizing that very thing.
Midorikawa: If I worried too much about unnecessary things, I wouldn't be able to match the image, so I concentrated on the screen. Maybe we just couldn't afford to look away?

Have you already finished recording your lines?
Konishi: We have, in fact. Now we're both resting at the bottom of the ocean (laughs).

At that stage, they both toe the boundary of life and death, don't they? JoJo releases his final Ripple, and Dio is just a head. At the grand finale of Phantom Blood, did anything in particular come to mind for the two of you?
Konishi: Yes. Part 1 contains many episodes, and the real challenge was to condense them into a limited amount of time. So, to be honest, it seemed to be over in the blink of an eye. I feel as though I've gone through a lot and accomplished so much.

And what about Dio, who stubbornly went where no man has gone before by existing as only a head?
Midorikawa: He was already being reckless, of course. He cut off his own head, stretched his veins to hang on the ceiling, and fired something out of his eyes. It was spectacular. I'm sure this will become a fine fertilizer for my acting career.

Mr. Midorikawa, doesn't the villain in another work you feature in travel to a different dimension of the universe?
Midorikawa: Really, now. Actually, that is rather neat.

Finally, this is a question for the both of you. If the JoJo series were to continue being animated in the future, what roles would you like to do next?
Konishi: In any case, (as Jonathan,) I'm dead (laughs). If I get the chance to do something else, based on what I did this time... Maybe not as a future JoJo, but I would love to play another role, I think.

I'm sure Dio would appear in everything except Part 2. What do you think?
Midorikawa: Of course, if I get the chance, by all means. Also, (as Dio,) my personality would be much too strong, so I think it'd be interesting to appear as a more casual character. Not a character that asserts himself to the max, but one whose interactions with others make people go, "Wait, Mr. Midorikawa was there too?" No matter what character I play, I'll make sure to do my best.

Interview with Junichi Hayama: Director

Transcript: Editorial Department
Photograph: Yoshihiro Shinomiya

Junichi Hayama made his film debut in 1984 with Gu Gu Ganmo. He has previously worked as a character designer and animation director for the OVA adaptation of Part 3, specifically the "The Fool" Iggy and "Geb" N'Doul episodes. JoJo's Bizarre Adventure: Phantom Blood is his debut as a director.

Did you reread the source material before directing JoJo?
Hayama: No, I didn't reread it. What I mean by that is, I loved it when I read it the first time, so I already had it completely memorized.

You were the animation director for the video adaptation of Part 3. Have you faced any new difficulties as an overall director?
Hayama: Difficulties? Yes, yes. I don't have any experience in directing. To be frank, this was the first time I've ever had to do something like this. In terms of "difficulties," everything about this is new to me, so it all feels like difficulties.

And to have it be a film, too.
Hayama: Actually, I was supposed to be the animation director and character designer this time, too. I wasn't supposed to have this job, but a lot of things happened (laughs).

Did you feel any pressure as a director?
Hayama: Of course. This work has so many core fans, and I had the faint feeling that I wouldn't be able to convince them after all. I understand how those fans feel. The entire time I was working on it, I wondered, "How will I make this work?"

What were the tricky parts of making an animated adaptation?
Hayama: I feel as though, ever since Part 3, the people who love JoJo's source material have been attracted to the unique designs, the posing, and the onomatopoeia. That said, it's difficult to incorporate all of those elements into a single film. There are some things that can't be achieved when maintaining a balance across the overall work. For example, something like an opening or ending might be able to incorporate the poses and flavor of the original work. I've always considered that fans of the source material might not be able to understand that.

What are some of the things you were most careful about, as a director?
Hayama: Take, for instance, the scene in Part 1 when Zeppeli first appears, where he splits a rock without crushing the frog on top of it. I think fans of the source material are really looking forward to that one. We almost cut that scene, but we stopped ourselves in time. If you keep the volume down and show only the important parts without destroying the mood of the original story, it'll all work out even if you don't punch the frog. But I felt that I had to include that image. In addition, there are some episodes from the original work that I had to cut with tears in my eyes.

By the way, when you were working on the film, did Mr. Araki have any requests for how things should be done?
Hayama: Nothing particularly major. I remember meeting him back when I worked as an animation director. I was happy that he remembered me and said something to the effect of, "What? He's the director this time?" When I told him that I was struggling because it was my first time, he encouraged me by saying, "Even so, you should try to have fun with it." Also, when we were first deciding on the composition of the film, I remember Mr. Araki saying, "I want you to do the childhood part right."

When JoJo first meets Dio.
Hayama: Right. JoJo, who probably lived a happy life prior, goes through hard times after Dio arrives... He wanted me to properly depict that.

As the director, how do you interpret the relationship between JoJo and Dio, and Dio's inner thoughts?
Hayama: To put it simply, Dio is a villain... or at least, someone you can safely call a villain. He's the type of person who rises to the top, even if he has to push others out of the way. He did come from a poor family, didn't he? So I figured he was a man with an overwhelming desire to rise to the top.

In the end, Dio essentially becomes the strongest creature on earth, right? What a difference there is from how he started out.
Hayama: Dio ends up wearing the stone mask, right? At that point, Dio knows what will happen if he wears the stone mask, so I think he ended up wearing the mask because he wanted to be socially successful at first. But when his attempts to poison Lord Joestar, his poisoning of his own father, and various other evils of his come to light, he thinks, "Enough is enough." In other words, I think he considered himself a loser. On top of that, he's also a man who prefers to be number one, so he puts on the stone mask thinking, "What's the use of being number one in such a socially-awkward position?" From that moment onward, I think his purpose changed dramatically.

I suppose you could say he got over it. His obsession with living after that is quite amazing, isn't it?
Hayama: It really is. Can you really call it an obsession with life, though? Even though he's become a vampire, I don't quite know whether he's alive or dead.

Finally, being the director, what do you consider the highlights of this film?
Hayama: And there it is (laughs).

It's really more of a promise. Something that, as a director, you would like people to watch closely.
Hayama: Quite honestly, I can't really tell you what the highlights are, for the filmmaker or the viewer. I think the most important thing is the overall balance of the finished product. I want people to see everything, and if you were to ask me what the highlights are, I'd say, "Everything." People often say to me, "I have no words." I can imagine why.

原作者 荒木飛呂彦 インタビュー

文・聞き手/多根清史 写真/四宮 義博

荒木飛呂彦(あらき ひろひこ)


――第一部『ファントム ブラッド』がアニメ化が決まって、ご感想は?
荒木 第3部の後半がOVAになったとき(1993~1994年)、製作者の人が「(第一部の)ディオを描いてないので、脚本が作りにくい。これが完成したら、第一部も作ろうか」という話があったんです。で、(第一部の連載)当時のファンが支持してくれて実現して、ああ、描いてて良かったなって。

荒木 「こうじゃなきゃイヤだ」みたいなのは全くないです。訊かれたら、言いますけどね。基本的には「自分の娘を嫁にやるような気持ち」でして、任せたからには口は出さずに、ひたすら作品の幸せを願ってますね。

荒木 やはりアニメは、その製作者の作品ですから、その個性として見てます。

荒木 そうですね。今は陰影法や、ムードに力を入れてるのかな。それも、時代性だとは思いますね。あの頃はシュワルツェネッガーやスタローンが映画に出ていたから「やっぱ主人公はこういう感じなのか」って。で、だんだんスマートになって。特に(第五部の)ジョルノのときに「小さくなったね」ってみんなに言われたんですよね。

荒木 絵を固定したくない、“そこ”にいたくないタイプなんですよ。昔の絵柄はけっこう捨てるのが早いですかね。だから、例えば「第一部のジョナサンを描いてください」ってお願いされるのが辛いんですよ。自分で模写している感じで、なんか似てないなぁ、と。

荒木 そうですね。向こうの彫刻や絵画って、ねじって立ってたりするんですよね。それがすごく新鮮な感じで、強調してみたんですよ。とにかく、あり得ないポーズで立たせるのが目的なんです。そこがファンタジーとリアリティの境目なので、みんなが実際にやろうとするのはおかしいんですよ(笑)。

荒木 ええ、たまたま編集者が「イタリア行こう」とか、「エジプト行こう」というから行ったら「じゃあディオはここに住んでることにしよう」という感じになるんですよね。その当時の編集者の影響が、すごい大きいんですよ。

荒木 なんかね、テーブルのセッティングひとつにしても面白いと思ったんですよ。飾ってる花や、オリーブオイルの瓶や、黒いスパゲッティとか、見たことないものばかりで、超カルチャーショックで。最初の刷り込み体験なんですよね。


荒木 そうですね。子供の頃、けっこう謎があったんですよ。ネス湖のネッシーや、UFOとか。その中で、超能力というのは、すごいロマンに満ち溢れていたんですよね。横山光輝先生が『バビル2世』という漫画で、その超能力をテーマにしたんですが、電気のような見えない力として描いていたわけですよ。じゃあ、「超能力を絵にするというのはどういうことなのか?」と、ずっと考えていて。それで「波のように伝わっていく」とイメージから始まったんですよ。そうすると、そこにルールも生まれてくるし、距離感も分かるし。

荒木 うん、ちょっと理論的に何か欲しいんだよね。根性だけで勝つのがあんまり好きじゃない(笑)。

荒木 うん。『エデンの東』という、親子何代かに渡って、お母さんが犯した罪を、子孫が償うような映画や小説があるんですよね。代を追うごとに、全部違う人間なんだけど、因縁や血統で繋がってるというのが描きたかったんですよね。だから「人気ない」って辞めさせらたらどうしようと思ったけど(笑)。

荒木 ええ、1回沈んだりするけど、復活してくるという。「(ディオがジョナサンの)肉体を乗っ取る」のも考えていたと思うんです。第三部も、波紋で行くつもりだったけど、もっと(超能力を)絵にしたいなっていう願いから、「スタンド」になったんですね。

荒木 70年代や80年代って、同じような漫画を描いていると、むちゃくちゃに言われたんですよ。だから他の人とは違う分野を突き進まないといけない(笑)。でも、当時のセオリーとして「外人の主人公は絶対やめろよ」「舞台を外国にするなよ」って言われるんですよ。

荒木 その前の『魔少年ビーティー』にはかかりましたね。まず『魔少年』というタイトルが駄目なだと。よこしまな雰囲気もあって、「これは絶対やめろ」って反対されて。でも、当時の担当編集者が味方してくれたんです。

荒木 ああ、延長線上にあると思います。

荒木 かもしれないですね。あの頃は、シリアルキラーの実録物も、本屋の奥の方にひっそりあった。ああいうのにすごく興味があったんですよ。なんで快楽のために人を殺すのか? そういう謎が、ロマンなんですよね。

荒木 ロマンですね。大体、漫画でも音楽でも「なんでこうなるの?」というのがけっこうあって。プログレッシブロックに多いんですけど。チューブラ・ベルズとか、何の知識もなく聴くとね、すごいショックですよ。

荒木 ああ、ありますよ。何でも、どの分野でも聴くんですよ。

荒木 そういうものもありますね。でも、名前の意味と、スタンドのイメージがオーバーラップするようにはしてますけど。

荒木 うん。漫画を描くときのテンポも、ビートを刻んでいるように、トントントンと行って、ドンッ!とかね。こうめくったら、と計算してコマ割りをしてるんで、週刊でやるのは大変でしたよ。リズムが合わなくて、「あと1ページしかない!」みたいな。

荒木 そう、リズム感を重視してるんじゃないですかね。アニメも、そうなってるといいですね。声優さんたちも、休憩時間にも「ウワァー。ハアァー」とか発声練習しているらしくて。気合い入れてくれてるみたいです。ディオ役の緑川(光)さん、顔もディオにちょっと似てきてるんくらいなんで(笑)。

荒木 もう忘れたなあ。多分、巻き舌で「アルルル」ってやってるんです。「(血を)吸いてえ!」みたいな。「ウリリリィ」って。

荒木 うん、あらゆる物語で、作家は主人公のお父さんを絶対知ってなきゃいけない、と思ってるんですよ。どんな性格の人物に、どういう育てられ方したのかな? って考えてから、主人公を描くんですよ。

荒木 そうそう。こんな悪いヤツいないだろうって。お昼の1時半頃にやってるようなテレビドラマが大好きで、DVDも集めてますしね。ああいうドロドロした、人間の本能が完全に描かれているという感じがいいんです。

荒木 叫び声や台詞の言い回し、ポーズもありますが、やはり30歳を過ぎた人たちも見たりするわけだから、その方たちの審美眼に耐えられる作品になってれば、本当にうれしいですね。


エリナ役 水樹奈々 インタビュー

文/結城昌弘 写真/四宮 義博

――『ジョジョの奇妙な冒険』の第一印象はどうでしたか? 絵柄などかなり特徴的ですが。
水樹 すっごくかっこよくってワイルドだなって思ってました。

水樹 ワイルドな男祭(笑)。なんかポージングがすごく個性的で。

水樹 そうです。周りにジョジョファンがたくさんいるので、アフレコ前に、いろいろ勉強してきてたんですけど、すごいかっこいいなあと思ってました。

水樹 想像していた以上にディープだった感じはしますね(笑)。でも、先入観なく作品に携わることができ自然体で役に入ることができました。

水樹 そうなんです。女性は私1人だけだったんです。

水樹 本当にけなげで可愛らしいし、素敵な女性だなと思っていました。日本人女性のあるべき姿というか、昔ならではの男性を立て、そして三歩後ろを下がって歩くっていう、古風なイメージがエリナにはありますね。本当に献身的で、自分の思った人に全てを捧げるつもりで愛を注ぐっていうのは、ある意味男らしいっていうか潔い!

水樹 逆に(笑)。すごくすてきでかっこいい女性だとと思います。

――ちなみにジョジョ派ですか? ディオ派ですか?
水樹 私ミステリアスな男性が好きなんですけど、でもディオはあまりにも行き過ぎ感があって…(笑)

水樹 過ぎて、私にはちょっと容量を超えてしまって、ついて行けないかもしれません(笑)。やっぱりジョジョ派かな(笑)。でも、あんな男性に出会ったら、私のほうが緊張してかしこまちゃいそうです。お父さんみたいなすごく安心感のある男性だと思います。

水樹 そうですね。あったかくて素敵な感じがします。

水樹 とにかくジョジョのことを信じて自分の決めた道を生きる女性なんで「お家は私が守っておくからあなたは自分の道を貫いて」みたいな感じだなって。

水樹 そうですね。何もできなけど、後ろからずっと彼をもうとにかく見守るという立場で、どんな形になろうとも私の信じた人だから最後まで私は見届けるっていう……やっぱり良妻ですよね。

水樹 ひどいですね。もう(笑)。ディオはエリナに気があるわけではなく、「俺のジョジョを取りやがって」「俺以外のヤツと仲良くするなよ」という感じでだったんじゃないかとか思うんですけど、2人の男性に振り回されてしまうっていうシチュエーションは、女の子的に少し憧れてしまうところはあります……やっぱり。人生で一度は経験してみたいって思っちゃうかもです(笑)。

水樹 「あー、私どうしたらいいの?」とかってドキドキ……普通はあまりないことですけど(笑)…でもそういうのちょっとあこがれはありますね(笑)。

水樹 何年もの歳月を経てのジョジョとの再会ですね。傷ついたジョジョと再会したときに本当は絶対に飛びつきたいぐらいの気持ちのはずなんですけど、ぐっとこらえて「お久しぶりです」って対応するところが「なんて素適な女性なんだ」って。感情をぐっと抑えて……大人だなあって思いました。

水樹 少女時代はとにかく純粋無垢で大好きなジョジョと一緒にいられるのが楽しいっていうストレートな感情を表現して欲しいとのことだったんですが、大人になってからは全体的に落ち着いて、泣いいても声のトーンは落ち着いてあまり揺らがないようにご指示をいただきました。

水樹 一瞬の気の緩みも許さないぐらい全編見どころ満載でほんとに緊張感のあるシーンの連続です! ものすごく内容の濃い作品になっています。ワイルドな男たちの戦いっぷりも激しくて、かっこいいので、ぜひ皆さん見ていただけるとうれしいです。

水樹 そうですね。一所懸命なエリナの姿も見守ってくれるとうれしいです!


声優初挑戦‼ スピードワゴン インタビュー

聞き手・文/編集部 写真/四宮義博


井戸田 はい。難しかったです。

井戸田 ほとんど奇声だったんですよ。「キャー」とか「ワー」とか「キキーッ」とか。アドリブで1回やったんですけども、「じゃあ次アドリブで。こんな感じで」って指定されたので。2回目からは、アドリブのような、アドリブじゃないような感じでしたね。できあがりが楽しみです。
小沢 ぼくはダリオ・ブランドーという、ディオのお父さんの役をやったんですけど。ダリオ・ブランドーというのはね、本当に悪いやつなんですよ。やっぱりね、自分と正反対の役を演じるのは本当難しくて。もう少しぼくに、ああいうところがあればいいんですけど、自分には全くああいうのがないんで、難しかったです。

小沢 ねえ。そう。悪役のね。ええ(笑)。

小沢 もう僕は中学校の……20年前の作品ですよね。20年前は13歳だから、中ーぐらいに連載が始まったのかな? その当時ね『ジャンプ」ってもう宝物ですからね。『ジョジョの奇妙な冒険』好きってね、正直そんなに多くなかったんですよ。好きでも、1位じゃなかったの。なぜかっていうと『ジョジョ』ってちょっとマニアックだから。『ジョジョ』を好きな人は、パ・リーグが好き、みたいな。うん。

小沢 っぽい作品ですよね。でも『ジョジョ』面白かったな。うん。

井戸田 僕は『ジャンプ』の連載のときは『ジョジョ』読んでないですね。はずしてたほうです。読んだのは、2年ぐらい前に。三部まで読みましたね。あとはもう、ちょっと疲れてしまいました。

井戸田 長いので。で、あと四部からは、また機会をうかがって読もうと思ってますけども。

小沢 ああ、僕くが。はい。

小沢 ライブに出るときに、それまで小沢井戸田とか、井戸田小沢とか、そんなのでやってたんですけど。あるライブに出るとき「コンビ名を付けなきゃいけない」って言われて。「コンビ名どうすんだ?」って考えたときに鞄の中にちょうど『ジョジョ』があって。で『ジョジョ』をパラパラっと読んで「ああ、いいじゃん、スピードワゴンで」っていうノリです。

小沢 そうです。まぁ、好きだったから。例えばこれ、嫌いだったら絶対付けないですからね。

小沢 うん。まぁ、キャラ好きですよ。

井戸田 テンション上げてくれ、はなかったですけど。もっと中国人っぽくやってくださいって言われました。

井戸田 はい。どうも西洋人っぽかったみたいで。もっと中国でって。「○○アルね」みたいな感じでやってくれって言われました。
小沢 僕ね、このダリオ・ブランドーをやるときに「他人の不幸が、おれの幸せ…」ってとか、そういうようなセリフがあるんですけど。たぶん演出の方がやってくださったんですね。その方がとてもうまくて。その方の声のイメージがダリオ・ブランドーみたいな声だったの、もう。その人がやればいいじゃん、っていうぐらいうまかった。

井戸田 そのおじさんが、やってくれましたけど。「キー」とか「ケー」とか。こんな感じでって言って。上手だったんで。その人がやればいいのにって僕も思いました。

小沢 「ついに」と、思いましたよ。でもね、本当はね、正直尻込みというか。荒木先生に会いたくなかった。それは、会ってがっかりしたとかじゃないよ。会ってますます好きになったけど。好きな人に会いたくないの。僕は一方的に好きなんだけど。荒木先生はもう、空想上の生き物でいてほしかった。

小沢 そうです、そうです。

小沢 あのね、荒木先生には「小沢さんみたいなタイプは苦手だ」って言われました。あのね、マニアックな人は「ここは、こうなってるんですよね。でも、僕はこう思うんです」みたいなことを言いそうだから、ちょっと「小沢さんはマニアすぎて……」って言われた(笑)

井戸田 はい。今回の映画の見どころは、いろんな奇声を発したんですが。その中にも、感情を込めて言ったところと、全く感情を込めずに言ったところがあります。ぜひ、見抜いてください。お願いします。
小沢 語りつくせませんね。見どころというのはね、誰かに言われて見つけるものじゃありませんから。みなさんが、一度その目で見て、確かめていただきたい。と言いつつ、スピードワゴンはクールに去るぜ。
井戸田 クールに去るぜ。
小沢 去るぜ。


ディオ役 緑川光×ジョジョ役 小西克幸

聞き手・文/多根清史 写真/四宮 義博

小西克幸(こにし かつゆき)

緑川 光(みどりかわ ひかる)

小西 第1部の最初からずっと読んでました。今も『スティール・ボール・ラン』を読ませて頂いているので、感慨深いですよね。 緑川 ぼくもそうですね。でも、かなり忘れている部分もあったので、また何度も読み直しました。

小西 まさか、20年前に読んでいた漫画の主人公になれると思ってませんでした。自分の期待を裏切らないように、そして皆さんのイメージに合えばいいなと思ってやらせて頂きましたね。
緑川 ほとんどの人が知ってる偉大な作品なので、プレッシャーでした。ものすごい悪役で、生物界の頂点ですからね。大変ですけど、とてもいい経験になりました。

小西 そうですね。ジョジョは、最初は坊っちゃんじゃないですか。で、ディオが来ていろんなことをされて、それでも彼を信じようとして。きっと、ジョジョは精神的にも、人間的にも強くなっていったんだ、と思って役に入りましたね。

緑川 ええ、今回はやらせて頂けてうれしかったですね。「よーし、やってやるぞ。おれの少年時代を聞けえ」みたいな(笑)。非常に珍しいケースなんですけど、アフレコの段階で(動画の)絵が入っていて、微妙に表情が変わるのに合わせて、こっちも芝居をするのがとても楽しくて、やりやすかったです。

小西 僕はいじめられることに熱は入らないですけども(笑)エレナにも「あなたは本当に紳士だわ」っていわれますよね。部屋を荒らされて、犬もボコボコにされて。でも、大きな心を持っていられるジョジョは、やっていて楽しかったですね。

緑川 やっぱり悪役は楽しいんですけど、僕は犬を2匹飼ってるので、心が痛むセリフやシーンが出てくるんですよ。蹴り入れるわ、燃やすわ。家では、僕がコタツに入ってると、犬が上に乗っかってくるんですね。こうやってリラックスしてるところで、それを言うのが凄くきつい。でも、乗り越えなきゃディオになれないなって。

小西 このジョジョっていう人の生涯を考えて、自分なりに作っていった感じですかね。今までやってきた役の引き出しを開けつつ、ジョジョとして生きていくという。

緑川 けっこうありましたね。ディオにもいろんな段階があって、少年時代から石仮面をかぶって、ちょっと変なふうになる(笑)。その節回しは、去年からやらせてもらってる外画(外国映画の吹き替え)の引き出しから流用してるところがあるんです。『ジョジョ』をやる前に経験できていてよかったな、と思いました。

小西 体力は使うんですけど、やっててすごく楽しいですね、自分がワクワクして読んでいた漫画の代表的なセリフじゃないですか。「震えるぞハート、燃え尽きるほどヒート、サンライトイエローオーバードライブ!」って、やっと本物として言えたという思いもありますし。

小西 ええ。第2部かどこかに、波紋の呼吸法って、10秒吸って10秒吐くって書いてあったんですよ。それを子供の頃に実践していて。家やリハーサルでも、「10秒吸って」が頭をよぎったりしましたね。

緑川 ゲームのときも「ウリィィィ」や「無駄無駄無駄ァ」とか、「どんな感じがいいですか?」とお伺いして、要望に沿っていろんなバージョンをやりましたね。今回も新たな注文が来て、頑張ったんですけど難しかったです(笑)。いや、すごくやりがいはありました。

小西 やっぱり一人でやるのよりは、どんどん上がっていく一方で。温度も上がって。冷房入れなきゃいけないや、みたいな。

緑川 どんどんやつれていくような気がしましね。
小西 そうそう。こう、生気が吸い取られていくような。不思議なもので、マイクから離れたときは「ああ、緑川さんだな」と思うんですけど、2人で立っているときは、ジョジョやディオというキャラクターになりきって、モニターの中の世界を見てるんですよね。で、それを冷静に分析してる自分もいるっていう。
緑川 あんまり余計なこと気にしてたら絵と合わなくなるから、画面に集中してますね。横を見ている余裕がないといいますか。

小西 はい、やりました。今は海の底に二人で(笑)。

小西 そうですね。第1部っていろんなエピソードが入ってるじゃないですか。それを限られた時間の中に上手く凝縮してっていう。なので、あっという間に終わったっていうのが正直な感想なんですよ。すごく駆け抜けていった、やりきった感じがあるにはあります。

緑川 もう無茶しまくりですからね、僕ら。自分で首を切り落としたり、血管を伸ばして天井に貼り付いたり、目から何かを飛ばしたり。素晴らしいですよ。これがきっと、役者をやっていく上で肥やしになるんでしょうね。

緑川 ねえ。いや、楽しいですよ。

小西 とりあえず、(ジョナサンは)死んでしまったので(笑)。もし何かやらせていただける機会があるならば、今回やったことを糧にして、何かこう……一歩進んだジョジョじゃないですけど、また役に入り込めればいいかな、とは思います。

緑川 もちろん機会があったら、ぜひ。それと、あまりにも(ディオの)アクが強すぎるので、さりげないキャラで登場させて頂くのも面白いかな。自己主張MAXのキャラクターじゃなくて、「え? 緑川さん出てたの?」っていう関わり方もいいですね。どんなキャラクターでも、べストを尽くしてやります。

羽山淳一監督 インタビュー

文・聞き手/編集部 写真/四宮 義博

1984年『Gu-Guガンモ』で動画デビュー。原作の第三部のOVA版『ジョジョの奇妙な冒険「愚者」のイギーと「ゲブ神」のンドゥール』でキャラクターデザイン・作画監督を務め、劇場版『ジョジョの奇妙な冒険 ファントムブラッド』で監督に初挑戦。

羽山 特に読み直したりはしてないですね。というか、好きで読んでたりしたのもあったので、もう完全に頭の中へ入ってたというか。

羽山 苦労ですか。そうですね。僕は演出経験が全然なく、言ってしまえば今回初めてそういうことをやることになったんで。苦労って言えばもう何もかもが初めてのことで、本当苦労づくしって感じですね。

羽山 本当は今回も作監とキャラデザインっていう話で。僕がやるはずじゃなかったんですが、なんだかんだといろいろありまして(笑)。

羽山 それはもちろん。コアなファンが多い作品ですから。これはちょっとやそっとじゃ納得してもらえないだろうな、というのがありました。そんなファンの気持ちも分かりますしね。なんとかなるんだろうか? なんとかなってほしいな、と思いながらやってました。

羽山 もうこれは3部のときからずっとそうなんですけれど『ジョジョ』を原作から好きな人っていうのは、やっぱりあの独特の絵柄とかポージングとか擬音とかに惹かれているところがあると思うんです。ただ、1本の映像作品として作っていくときに取り入れるのは難しい。全体のバランスをとりながらいくと実現できない部分があったりして。例えばオープニングやエンディング、そういったものがあれば、原作のポージングやらテイストっていうのを取り入れていくことがなんとか可能かもしれないと思うんですけれど。常々思っているんですが、そのへんは原作ファンの人にはちょっと納得してもらえないところなんだろうな、というふうに思ったりはしてます。


羽山 特に大きなものはなかったですね。作監をやってたときにもお会いしたことがあって。うれしいことに覚えてていただいて「なに? 今度は監督なの?」みたいなことを言われたりしました。ちょっと「初めてづくしで大変です」みたいな話をしたら「それでも、楽しくやればいいんだよ」みたいな感じで励まされました。また、最初のころの構成を決めるっていう時に荒木さんのほうから「少年時代のところをちゃんとやってほしい」みたいなことは言われました。

羽山 そうですね。ディオが来て、それまで多分幸せだったろうジョジョがつらい思いをしていく……というところをちゃんとやってほしい、みたいなことは言われました。

羽山 基本的には、ディオは悪人……悪人と言っていいんでしょうね。人を押しのけてでものし上がっていくタイプの人間だな、と思ってます。もともと貧しい家の出じゃないですか。だから、成り上がりたいという気持ちがものすごく強い男なんじゃないかな、って思ってましたね。

羽山 ディオは結局、石仮面を被るじゃないですか。あそこの段階で石仮面を被るとどうなるかっていうことをディオは知ってるわけで、なんで被ることになっちゃったかっていうと、それまで社会的に彼は成功したかったはずだと思うんですね。ところがジョースター卿を毒殺しようとしたこととか、かつて自分の父親を毒殺したこととか、いろいろな悪さが明るみに出てしまったというところで「もういいや」と。言ってしまえば捨て鉢になっちゃったんだと思うんです。その上で、やっぱりナンバー1が好きな男なので「こんな社会的なみみっちいところで1番になってもしょうがないから」っていうふうな感じで石仮面を被っちゃう。そこからガラリと目的が変わったと思うんです。

羽山 そうですね。あれは生への執着なんですかね? 吸血鬼になっちゃったところで、生きてるのか死んでるのかもよく分からないですけど。

羽山 うわ、出た(笑)

羽山 作る側からしても、観る側からしても、なんですけれど、見所ってよく分かんないんですよ、正直。全体的な仕上がりのバランスが一番大事だ、っていうふうに考えているんで。全部観てください、見所って訊かれれば「全部ですよ」と。「よく言うよ」とか言われたりしますが。そういう感じですよね。


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