Interview:Baoh OVA Pamphlet (September 1989): Difference between revisions - JoJo's Bizarre Encyclopedia

'''Toriumi:''' That's my biggest concern. There was a lot of discussion around the topic at first, but we couldn't come up with a clear answer, and in the end we decided to go with whatever was within the scope of the original work. Even then, when you watch the animation on the screen, it somehow lacks that sense of unpleasantness we aimed to recreate. It's simply impossible to recreate the texture of it. However grotesque you draw them, the images look beautiful once cel-shaded. So no matter how much blood is splattered, I don't feel the slightest bit uncomfortable watching it. The mutilation scenes are disgusting, but it doesn't carry the same shock value as, say, ''{{W|The Fly (1986 film)|The Fly}}''. On the contrary, I thought that if those kinds of scenes accumulated and were made more dynamic than unpleasant, the sadness of [[Ikuro Hashizawa|the protagonist]], who has been altered without his permission and is no longer a regular human being, would rise to the surface. He loses his speech when he transforms into Baoh, so it was necessary to have him express it with his entire body. The other characters in this film really don't have many lines either, though.

'''Toriumi:''' Normally, the story is told through ~~dialog~~dialogue, but in ''Baoh'' the story is told through movement. Ultimately, it attempts to express the contrast between the intensity, the subtlety, and the loneliness of the action through both stillness and movement.

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Line 29: '''Toriumi:''' That's my biggest concern. There was a lot of discussion around the topic at first, but we couldn't come up with a clear answer, and in the end we decided to go with whatever was within the scope of the original work. Even then, when you watch the animation on the screen, it somehow lacks that sense of unpleasantness we aimed to recreate. It's simply impossible to recreate the texture of it. However grotesque you draw them, the images look beautiful once cel-shaded. So no matter how much blood is splattered, I don't feel the slightest bit uncomfortable watching it. The mutilation scenes are disgusting, but it doesn't carry the same shock value as, say, ''{{W\|The Fly (1986 film)\|The Fly}}''. On the contrary, I thought that if those kinds of scenes accumulated and were made more dynamic than unpleasant, the sadness of [[Ikuro Hashizawa\|the protagonist]], who has been altered without his permission and is no longer a regular human being, would rise to the surface. He loses his speech when he transforms into Baoh, so it was necessary to have him express it with his entire body. The other characters in this film really don't have many lines either, though. '''Q: It's not just the ~~dialog~~dialogue; the cast of characters is also rather sparse.''' '''Toriumi:''' Normally, the story is told through ~~dialog~~dialogue, but in ''Baoh'' the story is told through movement. Ultimately, it attempts to express the contrast between the intensity, the subtlety, and the loneliness of the action through both stillness and movement. '''Q: What were you particularly attentive toward when supervising the film?'''