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Kensho Ono Interview

Casting interview with Kensho Ono, Giorno Giovanna's seiyuu. (source collector Blu-ray booklet, translated by Nabu, checked by FTR)

How did you envision the original work?

The publication was well underway when I was young. My big brother had all the volumes. I began to read them in middle school, but my first memory is that I didn't understand anything (laughs). Then, later, as an adult, I read them again and that is when I understood what were Stands and other subtleties that you do not get as an adolescent, like the subtle negotiations that come out of the relationships between characters, and the evolution of the story that comes out of these relationships and which hits head at full force. It is a very profound work. The more you read it, the more the story impacts you on an emotional level. One day, I went to look at an exhibit from the author, Mr. Hirohiko Araki (the JoJo exhibition from august 22nd to october 1st of 2018 at Roppongi, Tokyo). When we looked at the chronology of the publication, me and Daisuke Yamashita (Bucciarati's seiyuu) noticed then that we weren't even born when the first part was being published (laughs). I mean to say that this work is great, that it has lasted for years and continues to be adapted as an anime, causing the same enthusiasm in the readers and the viewers. It was at this moment that I realised again the scale that this series had.

As you said it, it is a work that one enjoys more as they reread it.

Yes, firstly because it is full of details and text. In my opinion, you always miss something when you read it for the first time. When you reread it, you always discover something else. It is a really dense work.

It is a work where you voice one of the characters. Can you talk to us about the auditions? Were they as intense as the work?

Indeed, JoJo gives the image of intense and impassioned work and it was in that state of mind that I presented myself at the audition. I was telling myself that I would have to raise my voice. It was all the more true since one of the exercises during the audition was to repeat "Muda" rapidly in quick succession for as long as possible. I suffered the most there. After my first try, I was told that my performance was OK but I wasn't satisfied. I thus asked to redo it.

Because you knew you could do better?

After doing something once until you reach your limit, I told myself that I could go further in the second try. And I didn't want to have any regrets. I wanted to make the audition team understand that I was ready to redo it as many times as was necessary. I followed my emotions (laughs). I don't know if they had that image of me but I think they saw I wasn't someone who would give up.

This relentlessness is surely useful when you voice a JoJo character

In JoJo, you find a theme of a hymn for humanity. The protagonists as well as the antagonists have the rage to live. It is particularly true for this arc in which fights to the death in which nobody ever gives up until the end comes in quick succession. It is perhaps this impression that I managed to give at the audition.

Please tell us now what was your approach about Giorno when you were told that you got the role?

Giorno is a calm and discreet boy who doesn't talk often. My aim was to highlight each of his lines, to go at the bottom of things to convince his interlocuteur and to make them listen to him when he spoke.

Already when he first appeared, I had the impression that Giorno was a complete and achieved character. Il already has ideals and an unbreakable determination, and does everything that must be done to accomplish his ambition. He's always ready to take on the challenges that wait for him. For example, when he knocks out Leaky-Eye Luca, it is an accident. However, Giorno is quick-witted and understands immediately that he risks suffering from other gang members trying to take revenge. It is this that allows him to take advantage of his meeting with Bucciarati to come closer to his dream.

Has the image that you had of Giorno evolved with the recording sessions?

In substance, not really. His power and his relationships with the characters evolve, but apart from this, Giorno has the same will as at the start. However in the third episode, we see him behaving much more like a teen of his age. It slightly softened the image I had of him. Personally, I had no intention to give this episode any comedic tone. I was fully invested in the dubbing, as usual. Giorno himself is not a character who cheats. Maybe it is this contrast that makes the gag (laughs). When he says "No! It's impossible! Giorno, who is so intelligent, looks like a bumbling fool but that's what makes his charm.

Would you say that there are similarities between you and Giorno? For instance, when you compare your 15 year old self to him...

Then, no, I wasn't anything like him at age 15 (laughs). It would be scary to have a friend like him (laughs). However, if I had to find one similarity between him and me, it would be my habit to conclude any conversation by summarizing everything that has been said. Particularly in a conversation between a lot of people. Apart from this one thing, I don't behave like him at all (laughs).

What did you feel when you found yourself in the studio?

It is thanks to the words' intonation and all the terms that are specific to the work that I realised that I was dubbing JoJo. I even unconsciously took on some verbal tic, to the point it didn't feel right if I didn't use them (laugh). Sometimes I was asking myself why this or that word didn't have the same intonation. Was that an error, or was that on purpose? I couldn't distinguish things anymore.

In fact, you were fully invested, in body and spirit, in each word of each line?

Before the recording session, we always make corrections or make notes on the script, in my case it is notes on how to pronounce some words. But in fact these are details that the viewer won't notice. However, even if the difference was undistinguishable, it had to appear on the script. All the team and the comedians were attached to these nuances. But, honestly, I don't know how much the viewers perceive these subtleties. However, if I'm talking to you about this, it is because I trust in the work that we have accomplished.

Everybody on set loves JoJo from the bottom of their heart. We were seeking to transmit our love for the work while staying as close as possible to it. For instance, we counted how many times Giorno was saying "Muda". And yet this cry comes up so often that at the end, you ask yourself if it's so important to get the numbers right (laughs). It is a token of respect towards the original work and it is what makes it charming.

Among the first four episode, which scene marked you the most?

It would be the introductory scene in the first episode, which is completely original and absent from the manga. It immediately sets the tone about Giorno's character. In this beautiful city, he's passing near young drugged kids in the alleys, you see pickpockets, in short he is surrounded by crime on a daily basis. In this scene, Giorno doesn't speak and you don't see his face, but you understand that he sees what's going on and he is affected by it. He loves his town but cannot do anything about it to rescue it for now, despite his will to change things. Of course, Giorno is not entirely innocent and wants to join the mafia. What I take from this scene, it is that it shows us a righteous Giorno with a strong sense of justice that he's obtained from a troubled childhood.

Then, there is the scene in the fourth episode where he has a grudge against Polpo for having insulted an old janitor's life. At this moment, you understand that beyond his thirst for justice, Giorno is also capable of killing in cold blood. When he joins the mafia, he knows very well that he won't be able to go back.

If you had the ability to use Gold Experience's powers, what would you do?

Gold Experience can give life to inanimate objects, and then it evolves with its capacity to create individual pieces of a body or to heal wounds. I think that it is a very powerful ability so if I had to use it... it would be to make pranks, like those you see on overseas programs like putting a fake snake on random passersby and shout "Beware! A snake!". This Stand is made for this type of pranks.

But it would be a real snake (laughs)!

I would create a harmless snake with cute eyes (laughs).

Thank you for this interview. To conclude, do you have any word for those who will read these lines?

Firstly, I thank them for buying this box set. In the fourth episode, Giorno's adventure is only beginning. He will now meet all of Bucciarati's team. The plot will become more and more interesting. I hope that you follow it to the end.

Yuichi Nakamura

Casting interview with Yuichi Nakamura, Bruno Bucciarati's seiyuu. (source collector Blu-ray booklet, translated by Nabu)

How did you envision the original work?

When I began to read the weekly Shonen Jump in primary school, the series was already being published. I believe we were at the third part. I was very young, it was still too difficult for my age. Simply on an artistic level, we are more drawn towards series with a simpler and clearer lines, which were easier to understand, contrary to JoJo's detailed style. The story was also difficult to follow each week. I didn't take interest to it at the time, then when I was in high school, I saw the volumes of the manga at a friend's house. I began to read them and had a lot of fun. That day, I though to myself that it was a series aimed at a readership that was a bit older than the main demography of Shonen Jump. Throughout the first, second and third parts, the point of view becomes more and more mature. The first two parts are shonen-like, we have more standard battles. But starting with the third part, things become subtler. It was at this moment that I understood why the series had absolute fans: it had a style that couldn't be found nowhere else, a way to show things, a story and a unique realisation. I am convinced that like me, a lot of people didn't get hooked because they had begun to read JoJo too young. To those poeple I would advise them to go back to it once they are adults.

It is in this work that you voice Bruno Bucciarati.

To be honest, I had gone through some auditions for the previous series. For the first two parts, I had sent a demo tape and had been selected to come pass an audition at the studio. Sadly, I feel ill the day of the casting audition and I couldn't go. I had been asked to pass an audition for the third part too but my schedule didn't allow it. I was disappointed but I told myself that it was an ironic twist of fate. After all these missed calls, I have been proposed Bucciarati's role. I have read all the JoJo volumes that have been published at this time. My favorite parts are the third and the fifth. Moreover, Bucciarati is my favorite character in the fifth part. I was already very happy to be able to voice him at an audition, without worrying about the result. It is why I gave it all my soul.

What did you feel when you learned you had been cast ?

I am not someone who will absolutely request a character because I love them. In the interest of the series, I sincerely prefer that a character has the voice that fits them the most. Indeed I adore Bucciarati but I didn't feel I fit the character the best. During the casting audition, I hadn't been at any point been signalled that I would get the role. So, when I got the good new, I first calmly thouhgt about the way I would take on the role when the recording sessions would begin. I didn't want slack off, even more so because I love this work. I wasn't sure that the basic image I had of Bucciarati was the good one.

In that case, what was your approach to the role for Bucciarati?

Bucciarati is a character who evolves and his image changes a lot between the start and the end of the series. I had trouble knowing what I should take from the series to inspire myself and play the part. When I first discovered him in the manga, I thought he was a victim. Then we learn quickly that he is in fact a leader. In the second half of the story, he is more composed and supports Giorno and his team. So should I change my way of playing in each part or should I build from the Bucciarati at the end of the series? After thinking it over, I stayed on my first impression. If at the beginning of the manga, I was seeing him as a victime, then I had to voice him as such. It is how I built my way of playing. The fact that he's a righteous, sincere and charismatic leader will come out little by little along the way.

On one hand, I am sure that Bucciarati himself has never lived through a battle as intense as the one he will live through. In the episodes 5 to 8, Bucciarati is just starting to ask questions about the Boss's identity. He begins to doubt but he isn't ready to change. I even believe that he didn't think that there could be other Stand users out of his organization. It is visible in the way he panics when he fights Giorno in the second episode. It is with experience and the fights that Bucciarati will become a more composed person and will take the time to analyse his foe before fighting them.

Are there similarities between Bucciarati and you? If yes, which ones?

In my opinion, we are totally different (laughs). When I have been asked to audition for the role, it was a real dilemma for me because although I love Bucciarati, I didn't feel I was the most qualified to interpret him. It is certainly because we don't have practically nothing in common. On the other hand, it is also an advantage because it allows me to observe with an objective eye to better analyze his personality.

Once you were at the studio, have you discovered a new charisma related to this series? What I will say counts for the entire work. Every character is built well. They each have their own personality, their own way of living and their own determination. What I like in this work, it is everybody has their own charisma. Anyway, what makes the charm of this fifth part are the fights, whi are more built around cunning and intelligence rather than brute force. As soon as the fight with Zucchero, you don't know what's going to happen. Be it in the manga or in the animated series, I think that it is fun to try to resolve this type of mystery. The only power than we can call a direct one is Mista's, I think. Mista is very strong but what would happen to him without his gun (laughs)? Would Sex Pistols function if Mista threw pebbles with his hand?

There are famous scenes with Bucciarati, such as the one when he tastes Giorno's sweat and finds out it tastes like a liar, or when he discovers that there's two yachts. Do you prepare yourself more when you have to record these famous lines?

About the famous lines, the recording team had warned me about the fact that the fans would be surely waiting for them, but I was told not to overdo it: you have to make it memorable while staying natural. The problem is to know which part in particular is famous. When you look at the manga, these can be lines that are highlighted and put in a big bubble as well as short sentences that are difficult to see at first glance. If in an episode that lasts less than half an hour, one insists too much on the famous lines, it becomes tedious to listen to. When, for instance, there are two or three famous lines in as many lines of text, we make tests at the studio, by insisting on the lines, by insisting on the whole paragraph... Ultimately, the most important thing is the highlight what we want to convey. Without this, the sentence becomes imbalanced and loses its meaning. Although it's not obvious, there are many dialogs where several famous lines follow each other. When you read it in the manga, it flows well but when you record it, with the sound, it isn't nice to the ears.

The lines don't have the same impact between the manga and the animated series?

Let's take for example Giorno's battle cry, who repeatedly shouts "muda". In the manga, you turn the page, you see one bulle with the word "muda" written eight times and you tell yourself that he's saying it many times. However, in the series, this same battle cry on lasts two or three seconds. So it's much more difficult to have the same impact. It is in these moments that you realize the differences between medias.

If you could use Sticky Fingers' power, what would you do?

It would allow me to make shortcuts, like a door that makes me able to go anywhere I want. Or like Bucciarati who uses it to go up and bas, when I'm too lazy to go to the toilets, I could make a zipper that I could hang on to and which would bring me directly to the toilets like on rollerblades (laughs). I just would have to say "Close!" In addition with the speed at which a zipper moves, it opens up a lot of possibilities.

In the battle against Zucchero, you see that his head is detached from his body. So, Sticky Fingers' power allows him to separate the head from the body without killing. With this power, I could leave my head in the living room while my body could go somewhere else. It opens up even more possibilities (laughs).

Yes, it does make one dream (laughs). Good then, to conclude, do you have a message to the fans who will read those lines?

Throughout the series, I discover more and more how unique JoJo is. Some of the characteristics show that it is made to be adapted into an anime but other things are really difficult to adapt. All the recording and realisation team is trying thing and is fumbling forward to get the best final result. It is why this series is an accomplishment in my opinion. Of course, no episode is left aside, but something the team is ready to sacrifice themselves to make this or that episode the perfect one. This too is the "passion" for JoJo. The people who work on the series are all fans of the original manga. I think that you won't be disappointed with the work done. I am sure that among those who have bought the box set, a lot plan on marathoning JoJo (laughs). So please stay loyal to the series.

---

Interview with three of JoJo's Bizarre Adventure: Golden Wind's producers. Takamitsu Sueyoshi from Shueisha, Nobutaka Kasama from David Production and Hiroyuki Omori from Warner Bros. Japan (translated by Nabu).

As you are all producers, could you describe your respective roles to us?

Omori: For my part, I am close to the project creation, it is from there that the start of a Golden Wind adaptation into an animated series is. I think about at which period the anime will come out, I discuss it with Shueisha, which is responsible for the original work, then I establish the planning together with Kasama.

Sueyoshi: I am a producer at the level of the original work. I receive Omori's requests about the anime adaptation, which I analyze from the point of view of the author, Hirohiko Araki. Given that the original work is still being published, my mission is to make sure everything fits perfectly together.

Kasama: As for me, I am an animation producer, I am thus the closest to the content itself as responsibility goes. For the Golden Wind series, I first received a detailed proposition of adaptation, from which I assembled a realisation team, made a precise planning, and launched the creation of the scenario, of the design and of the story-board. My role is thus to manage the series' team.

Tell us about the starting project. How went the discussions between producers for the anime adaptation of Golden Wind?

Omori: The the entirely of JoJo, the recurring theme is that of human relations. However, each part of the manga has a totally different style. At the start, we mush define together which aspect of the story Hirohiko Araki, the author, wanted to hightlight the most during said part. We share our points of view and put our thoughts together.

Kasama: Since Warnes Bros. Japan and Shueisha were already on the project since the third part, their teams know very well that with each new season of JoJo, the places, characters and the themes change. I was asked to start over at the beginning of each part. We thus had to think about what was the main draw of the fifth part, Golden Wind.

And what is this main draw?

Omori: Araki said it himself: it is the life of young people who have nowhere to go, and their melancholia. This part shows us younsters who go forwards despite the difficulties they have faced in life. However, the characters themselves don't complain about the lives they've had. It is more a feeling of melancholia felt by the spectator.For me, it is this aspect which represents the main color of Golden Wind. But not all the characters are saints. Giorno and his friends, as well as their enemies, they're all gangsters, we are talking about evil vs. evil. It is not a manichean story during which justice triumphs over evil. That said, although it represents evil too, Bucciarati's team doesn't forgive that you could attack the weak or children. Giorno gives a perspective of rebellion to Bucciarati against a Boss that he disapproves of. In a way, it is him that guides them in the right direction.

Sueyoshi: In the project file, there were the words "give the series even more grand". It is an important matter.

Omori: Since Golden Wind speaks about the mafia in Italy, we have this image of boys with panache, and I think that the content is very masculine in the spirit of the second part. In the second part too, we find Joseph and Caesar who are being laid back and machos in Italy. As the first two arcs where the first to be adapted into an animated series, the audience's reaction had been very good. In memory of this reaction, I wish that this new arc lives through the same success. In addition, because of my profession, my objective is to sell DVDs and Blu-rays, I must give it the best image possible (laughs), and by extension to attract more attention that previously. But that is the same case everywhere in the world, not just Japan.

Kasama: I must add that in the original work, Golden Wind goes with a shift in the type of readership. Starting with the fifth arc, the clothes are fashionable, which is for me another one of the series' draws. Be it in Japan or overseas, in the anime conventions, the cosplays of JoJo are more drawn from the fifth and sixth parts.

It is true that starting with Golden Wind, fashion takes a more important place. Let's talk about the direction team: for this part, you have opted for a system with three directors, a general director who supervises the series and two directors. What was the aim?

Kasama: We wanted young talents (laughs). This time, we called upon Naokatsu Tsuda to supervise the series, accompanied by the director Yasuhiro Kimura and Hideya Takahashi, so that every one brings his personal touch. Tsuda is very good when it comes to pace. Takahashi excels in the emotional like during the dramatic part about Giorno's youth in the second episode. For his part, Kimura's strong point are dynamic and explosive images, such as the teasers or the opening. In JoJo, you find a bit of everything, from psychological battles to car chases. Since each episode has its own particularity, we had to have a diverse team to make the best out of everyone.

Mr. Omori, Mr Sueyoshi, what is your view on the question?

Omori: Me too I had the idea of building up a team of youngsters. I tell myself that the work that has been accomplished until me didn't satisfy me. For me, to have Tsuda as a director shouldered by veterans like Kenichi Suzuki brings to me the image of Jonathan Joestar and Zeppeli. The veterans receive the energy and the passion of youth, and the younsters receive the knowledge and the experience of the veterans. So, effectively, it is beautiful to see two generations far away working hand in hand but it's also a challenge when going forwards. By the way, it is a bit the theme of this series: to go forward no matter the risks. It is with this state of mind that we have built the current team.

Sueyoshi: For my part, I take over as producer responsable for the first series. It is certainly because Shueisha wanted to bring a new point of view. I told myself that it was for the same reason that two new directors had joined the team. In my point of view, it is comforting to see two new directeors arrive at the moment when new peopls join the team around JoJo.

Nonetheless, Coda, who has been singing the opening of JoJo for a long time, is still there.

Omori: Since in my view we were going on the theme of a return to roots, I wanted to find again the duo of Toshiyuki Omori and Coda from the first series. There was also the possibility to call Kohei Tanaka, but since he was also present on the third part, it wasn't a proper return to roots. We have discussed together about the choice of the composer and we agreed on Omori and Ms Neko Oikawa, with whom he had already worked with.

What kind of song did you order?

Omori: I wanted something that would evoke a run at breakneck speed, passion and violence. I had in mind Bucciarati's team racing forward though obstacles. I had precised that I wanted to give this feeling of going forwards despite the difficult circumstances.

Did the people in charge of the original work's publication give their opinion on the song?

Sueyoshi: Omori had made me a list of key words for the lyrics and since it suited the image I had in mind, I didn't ask for more except for a stylish song. The result has matched my expectations. I also cried the first time I heard it! Let's not forget the visuals of the opening. I love the moment where Aerosmith rolls on Narancia's arms. I never get tired of this part.

Omori: Everybody has their favorite part. Mine is the one with Abbacchio in the hourglass, and well of the part where the colors on Narancia change progressivement. I had already fallen in love with the scene after avoir seen the edited story-board.

Now tell us about the recording team.

Kasama: As is the case in each season, the key is to find voices that correpond perfectly to the characters. Who can interpret the tough characters of the manga as perfectly as possible? We discussed about it with the sound director Yoshikazu Iwanami, the producers and the directeors for a long time. I think that we've gathered an excellente recording team.

How is it that the Ono family name keeps coming up for the main character.

Kasama: It is a pure coincidence

Omori: During the auditions for JoJo, we were only thinking about the roles and the characters. In some series, you can ask for a voice actor who can sing or anything else but it's not the case for JoJo: only the acting counts. By the way, we tell them in advance that the rest has no importance. For this, the casting director Daiki Shirakawa is peerless.

Indeed, Mr. Kensho Ono, who is voicing Giorno, has told us that he has been asked to repeat Giorno's battle cry as many times as possible and that it has been very hard.

Kasama: During the auditions, we ask the voice actors to do scenes where they must raise their voice, scenes where there is a lot of text, emotional scenes, often which are much longer than what we effectively find in more ordinary series.

Omori: The work of a voice actor demands to have a lot of endurance. By the way, the more experienced one take up sport, this practice has already proven its worth.

Sueyoshi: The other day, Kensho Ono and Yuichi Nakamura (Bucciarati's seiyuu) have brought a machine that made it difficult to breathe. It made us laugh, it looked like the Hamon mask from the second part.

How does the production of the series happen?

Omori: Every time, it is a pleasure to see an episode being finalised. Then, when one makes an animated series, companies give different objectives and mission to their employees. Sometimes you can clash with other but in this series, everybody is advancing in the same direction. There is a real common spiri that unites us. It is surement the inspiration from the original work. When I read the second part of the manga for the script of the TV adaptation, I bawled during Caesar's death while I was still in my office (laughs). It is like this that I understood that the scene had to be tearjerking. We then wrote a piece of dramatic opera just for the ending of the episode. This is the strength of the original work.

Sueyoshi: Me too, I take a lot of pleasure in working on this series. There are somethings difficult moments, but we forgot theem once you see the final result. I am very grateful towards the opening in particular, as well as the voice actors.

Kasama: What characterizes JoJo, it is that between each department, we share our ideas and our knowledge. For instance, if we are told "I would like this Stand pouwer to be rendered in this or that art style", then we put it into practice. When we say it like this, one could believe that we're having fun making experimentations on animation, but from another point of view, this can create disorder and bring the series down. We have a lot of luck until now because these experimentations work every time and are every associated with JoJo. It is as if we were blessed by the gods (laughs). It is a privilige for those working in the animation industry to find a series like JoJo, in which you give it all, body and you.

Do you give yourself some challenges, like this introduction scene from the first episode? Do you receive the original work's author's opinion when it comes to add scenes that were absent from the manga?

Sueyoshi: Indeed, we ask Araki's opinion but I believe that he's always followed us.

Kasama: To narrate how Bucciarati and his team went to their current position, we wanted to tell their origin stories in more details than in the mangas. We had asked the writers' team, which is present since the first season and is composed of Yasuko Kobayashi, Shinichi Inotsume, Kazyuki Fudeyasu and Shogo Yasukawa, to work on it and then we asked Araki's opinion.

Sueyoshi: The new series was published directly after the fourth part without any pause between the two. It is why in the manga, we directly start with Koichi without having seeing Giorno's situation. Thanks to the modifications that we brought to the animated series, everything becomes more clear.

Kasama: We can thank the writer Kobayashi for her writing talent and how she crossed the information. The bread crumbs of information that are given throughout the original publication of the manga which were done to keep the reader in the mood have been reorganized as to not disorient the audience who will discover the story with the anime. The scenario is beautiful and its content is dazzling (laughs). Ever since the first season, we had been talking about adapting to the silver screen the "JoJo" that the readers had in their hearts. Many think tha the animated version is faithful to the manga but we don't simply follow the order of the story. We try to transmit the emotions that we had while reading the manga as well as the moment that left an impression on us. Kobayashi's basic concept to admirably build his script is to make sure that people love Giorno. To do so, we had to be methodical in the order of the scenes compared to the original wok. It is a masterwork.

Omori: On the other hand, precision is sometimes necessary when it comes to some minute details. For instance, the number of "muda" that Giorno says, which corrsponds to the number in the bubbles of the manga. Because it's said too fast, we slow down the sound track to count. If it matches then we keep the tape (laughs).

Kasama: It is also fun to put in some references to the different parts from the series. In the first episode of the fifth part, we see a photo on Jotaro's desk and it corresponds to one that was taken way back in the twenty-fifth episode of the third arc. We reutilise our material. In the manga, the scene with the photo in the third part doesn't appear. But Tsuda and me remembered about this photo on Jotaro's desk which was in the fifth part. At the time, we had consequently decided to include it to the series while telling ourselves that we woud reuse it for the fifth part's adaptation. En after several yeards, mission accomplised (laughs). It is a work whose real are really passionate about, so we make sure to introduce this kind of reference as soon as it's possible.

To conclude, a message for those who will read this interview?

Omori: The story is quite lengthy, but I think that you wil be on the edge of your seat the whole way. Moreover, I would tell you to watch the series several times, because you will surely notice new details.

Sueyoshi: We have talked about the original work a lot, but if you discover JoJo with this animated series and if you appreciate it, you should also read the mangas. You will then be able to compare the manga to the anime and see the differences and even be surprised by some of the choices made to adapt the series, which are the fruits of M. Kasama's efforts. In brief, the manga and the anime have a lot of things to entertain you.

Kasama: Each arc of JoJo has its fan. To adapt the fifth part, the members of the team are from the generation that has known this part when it was published during middle or high school, and this knowledge shows in the series. Everybody is very honored to participate in this project that adapts a work that has marked them in their very soul. It is a work with which they haved lived through their adolescence and I hope that you will take as much pleasure in watching it until the end as I had producing it.

Yasuko Kobayashi

Production interview with Yasuko Kobayashi, screenwriter for the animated series. (source collector Blu-ray booklet, translated by Nabu)

You are in charge of the series' structure since the first season. In your opinion, what makes the charm of Golden Wind?

In my opinion, it is because the heroes are gangsters. Until now, JoJo's hereos were all on the good side of justice, especially in the preceding series, Diamond is unbreakable, which insist on the hero Josuke Higashikata's will to protect his town. So when suddenly you begin a season whose hero is a mafioso, it leaves a strong impression. Sure, there was a pause between the broadcast of the two series, but no for the manga who publication continued from week to week. Let's not forget that Giorno is Dio's son. This arc contrasts with the rest of the series.

Indeed, it is true that this arc is very different from the others. In that case, what makes the charm of JoJo as a whole, in your mind?

I think it is Mr. Araki's unique style, he who makes it so all the story arcs are tied together. Mr. Araki refines and perfect his work little by little. Although there is obviously an evolution over the course of the years, but I find that the author's original touch persists and makes JoJo's charm.

To screenwrite this new series, did you receive instructions about the producers and directors' wishes?

More than simply telling me their wishes, we have begun by discussing together about what we would do. We are a team who has been working together for a long time already. We go forward by exchanging and sharing our points of view.

For this series, Mr. Naokatsu Tsuda, who was director until now, became a series supervisor and has been teamed up with two other directors, Mr. Yasuhiro Kimura and Mr. Hideya Takahashi. Did it make any difference for the structure of the series?

Nothing really obvious in any case. Each of us gives their opinion when we meet together and Mr. Kimura as well as Mr. Takahashi seem both to be calm and level-headed people in my opinion. They take care to not get swept up by their passion for JoJo and have an objective look on the series. Be careful, I am not saying that Mr. Tsuda isn't a level-headed person (laughs). Sometimes, when you love the original work too much, it may not always have good consequences on the adaptation into an animated series. For JoJo, the entirety of the team is a fan of the original series but everyone keeps in mind that they must consider the animated adaptation first. This is our strength.

The producers and directors went to Italy to scout locations. Did it bring changes to the script?

In general, the script of the animated series follows the original work closely. The main objective of the location scouting was more to observe the places and to transcribe the local mood into the screen. The scouting has been very useful from an artistic point of view.

The screenwriting team, comprised of Mr. Shin'ichi Inotsume, Mr. azuyuki Fudeyasu, Mr. Shôgo Yasukawa and yourself, hasn't changed compared to the original series. How do you split the work among yourselves?

We understand each other without exchanging any word (laughs). We know our respective areas of expertives, for instance we know that Mr. Fudeyasu is good with fast-paced episodes. We know by instinct which episode will go to who, "this episode is for Inotsume, that one is for Yasukawa". That said, we are versatile and thus the first who finishes his work takes the next episode. On the other side, if one has trouble finishing an episode, they receive help from the others. During our meetings, the episodes have generally already been distributed but it doesn't stop us from giving our opinions about the script of the episodes that don't concern us.

Can we talk about a team acting in unison?

Exactly. We are working together since the adaptation of the first part. The series was broadcasted for the 25th anniversary of JoJo's serialization. And today, we got through 30 years of publication. It is crazy how time flies!

You spoke about having difficulties with some episodes. Could you give us an example?

Yes, the fight on the Lagoon for example. It is a fight that happens entirely on a yacht. We were afraid that when it would be adapted into an animated form, it would become a bit boring. Even if we wanted to shorten it, there were no scenes that we could take away. Some would have asked themselves what is the power of this Stand, how it would work, etc... (laughs) We spoke often with the production team to maintain the continuity in the sequence of the fact before they embarked on the boat.

Zucchero's attack is one of the most complicated enigmas in the series. Has the adaptation of the series' scenario been difficult?

I think it was also difficult for the production team who had to draw and animate the fight. But for the script, I have often hesitated on the way to give scenic cues. During the fight, Bucciarati and his men are always on the move in the boat. When we had to draw the storyboard, it would have been very complicated to tie between the two. So, I had to adjust the sequence and clearly describe it in the script. Once the episode is finished, it all goes so fast that everything seems natural, but believe me, there was an enormous amount of work ahead. I watched the episode on TV and you clearly see the oustanding production work. I was very impressed.

So let's thank the production team for this exciting and stressful fight. Abbacchio's flashback in episode 6 was also very impressivve. The order of the episodes about the characters' past has been completely shaken up compared to the original manga. Who introduced this idea?

I think it was me who suggested it as I worked on the structure of the series. By presenting rather early the characters' past, it allowed the audience to understand them better. When I put the idea forward, it was still very vague, I only asked if we could show the characters' past, without going into details.

In the episode about Abbacchio's past, we see how Bucciarati recruited him in his team, a scene which was absent from the manga. Then in the tenth episode we get the hitman team's past, then Fugo's passt in the twelfth episode, which is much more fleshed out than in the manga. The animated series has several original scenes. How do you manage the direction and the original parts ?

About writing an original flashback scene, you have to first ask Mr. Araki's agreement and determine if it is possible according to the scenario. For example, let's take Fugo's case, his past is described in the spin-off novel "Purple Haze Feedback". We asked Mr. Araki whether we could base ourselves on this story or if it was better to write something new. Then, based on ideas given by Mr. Araki, we discuss with the animated series' team then we ask Mr. Araki to check one last time. Some original scenes were written from the start of the writing, other were ideas from the directors which were formed over the course of the meetings, sometimes, it is decided during the editing of the episodes, or even then the director adds something during the production stage. These are elements that make a whole when put together. Starting with the supervisor Mr. Tsuda, all the members of the staff are JoJo fans. They thus add elements elements with the resolution in mind or insert clues about the story. This happens in the fifth episode when Bucciarati rents a yacht. We had asked ourselves if we should add this part in order to give a clue about Zucchero and Soft Machine's stratagem.

Did you discover new outlooks thanks to those of Mr. Tsuda and the rest of the team who are fans of JoJo?

There are parts of the manga where you think to yourself that Mr. Araki must have written them without knowing what would happen next. But we received advice to sure they would fit well with the whole story. It was notably the case with the hierarchy within the hitman team as well as their story. It is there what you realise that the production team has read the original in the most minute details.

What aspects demanded the most efforts or gave the most trouble in this new series?

As I said earlier, it is by going through and linking the different arcs that Jojo becomes more and more complete as a work. On the other hand, the adaptation into an animated series becomes more and more complicated... JoJo's main draw is to be Mr. Araki's work. Had it not been him at the helm, it wouldn't have the same flavour. There are many things that work well in the manga but which would become bland once adapted into an anime. For Golden Wind, if you only consider the plot, you could make it into a single movie. And yet, the manga doesn't just draw out its content but it is very dense and detailed. We have the impression you can't adapt this intense flavour into the animated series. The contemporary trend is to have pace. If we had to faithfully reproduce the manga's density into the anime, the audience would have been bored by the lengthy scenes. On the other hand, for the fans of Mr. Araki's work, every line and every word pronounced by the characters are sacred. When you talk about it with the staff, there is inevitably someone to tell you that this or that can't be cut. There is also the problem of the episode's length, as well as the point of view of the fans who would be disappointed if one specific line or facial expression didn't appear on the screen.

One episode is about 30 minutes long, during which you must include a scenaristic climax. The more passionate about Jojo, the more difficult it is to select the scenes and the lines...

Indeed, since there are scenes or lines that you adore, you want to include them at all cost. The problem is that in barely one minute and a half of anime, you can find yourself wih three or four climaxes in the manga. Thus, you have to harmonize them. We often play with the end of a manga chapter which is used as an appetizer for the next chapter.

I told you the other time that while our team is made of JoJo fans, they knew how to keep an objective point of view for the adaptation into an animated series. Nonetheless, the meetings become tense when it comes to cut down some scenes or lines. There are often exchanges like "This line is indispensable!", "Yes, but it will break the anime's pace."

However, I am more of the Baoh the Visitor's generation, from the same author, and not from the JoJo generation. It allows me to take a step back from JoJo and to focus on the work at hand, which in my opinion gives me an ideal position in the creation team. With one one hand someone like me who can take a step back and on the other hand the absolute JoJo fans, I think that the balance is perfect.

By the way, who is your favorite Golden Wind character?

It is very difficult for me to answer because all the characters are complete and well designed. From an ability point of view, I would sway towards Sticky Fingers. I don't know where the author got such an idea.

It is true that Mr. Araki has a lot of imagination to come up with a character who doesn't just destroy when it strike but can also reattach the pieces and uses zippers to unravel and remake things.

An inspiration such as thus must be a graphic one. In any case the visual impact is powerful. To see a body cut into pieces through zippers impresses upon the mind. But Sticky Fingers is not the only Stand to have an atypical power in this part. Some Stands are intelligent, others can speak. When you read the manga, sometimes you ask yourself whether the lines come from the Stand or the user. Mr. Fudeyasu must have had all the difficulties in the world figuring out which of the Sex Pistols was speaking in episode 7 and 8 (laughs).

To conclude, do you have a message for the fans who will read these lines?

I want to thank them for having obtained this box, in this era when people often only collect the first volume of the series that come out (laughs). These are surely passionate JoJo fans. In any case, if they have this box in their possession, it is that they have judged that this anime is worth buying, which sincerely moves me. I think that we have done a very good work with this adaptation. I hope that you will follow it and support it until the end.

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Cast interview with Daiki Yamashita, Narancia Ghirga's seiyuu. (source collector Blu-ray booklet, translated by Nabu)

How did you envision the original work?

I discovered JoJo when I was in primary school, if I remember correctly. I think it was with the sixth arc, Stone Ocean. My first impression wasn't really good, because I was terrified by one scene in which we could see blood being spilt. Unlike other mangas published in Shonen Jump, JoJo is very detailed, sometimes with realistic drawings, so to be honest, I didn't interest myself much in it when I was young. Then between the age of 18 and 20, I stumbled upon the third part's manga in a hair salon; Given the popularity of the series, I began to read it. And then, I found it awesome. It is a bit like the food you can't eat as a child but that we love once we're adults (laughs). I couldn't read everything at the hair salon, so I went to a friend who was a JoJo fan to ask him to lend him his volumes (laughs). I read the third arc first in one go, then he told me to begin with the start. Then the anime began broadcasting. I told myself how this or that scene would render on screen. At the end, everything is very close to the manga, I was awestruck. It was at this moment that I told myself that the whole team behind this work was surely made of fans. I watched the whole series from the first to the fourth part.

It is in this work that you voice Narancia Ghirga.

To tell the truth, I had already auditioned for the fourth part. Unfortunately, I hadn't been selected at the time. But I kept in me the hope to one day interpret a character from this work.

When I was told about auditioning for Narancia's role in the fifth arc, I was over the moon. I was so afraid to get swept up by the admiration I had for the world of JoJo that I had a stage fright (laughs). I thought that if people saw that I liked this series too much, I would be mistaken as a ephemereal "fan boy". Thus, I followed the script and stayed natural during the audition. I only remember being exhausted after giving it my 100% or even 120%. So I won't hide that I was really happy when I was told I got the part.

Narancia is the kind of character you get attached to more and more as the story progresses. It is probably the case for any character but particularly for this one. In his first scene, you discover a dumb kid (laughs), it is enderaing side which is highlighted. I personnally love this side of the character, which I am careful to respect when I intepret him.

How did the recording session go ?

For our first scene in the fifth episode, Mr. Enoki and me have been maybe to implicated in our roles as Narancia and Fugo. The staff told us to relax a bit (laughs). But little by little, I became imbued with the world of JoJo's fifth part, with the atmosphere of the recording studio, and it was just before the fight against Formaggio that I found my footing.

In the fifth episode, you see Narancia having math lessons. You then guess that he didn't have a full education during his childhood. Then you understand what happened to him in the eleventh episode. It is after living through these difficult moments that Bucciarati's word touched him at the bottom of his soul. It is then that he decided to give everything for this man who yelled at him for his own good. Narancia is a righteous boy and I think that he is the most loyal of Bucciarati's men. He is someone who works hard to satisfy his loyalty. It is notably visible during his fight against Formaggio. This is why he's so cunning when it comes to battle. He who's so bad at math (laughs), when he must fight or follow Bucciarati's orders, he's the coolest among everyone. I sincerely hope I have been able to show this side of the character with my interpretation. In any case, I invested myself a lot.

It is true that it is an enderaring character with his childish side but he also has an acute fighting sense. This is what makes Narancia's charm.

Exactly. And the core at the center between these two sides of his personality is Bucciarati, to whom I think Narancia is a bit too ttached too. It shows his lack maturity and it is what makes the character's charm.

Are there any particularities unique to interpreting JoJo?

Yes, the style of speaking which is close to the way thugs speak. We do everything to respect the original work. There is also a balance between the characters which makes it so we record almost everything together, which makes the work easier. The passion in the acting is something alive. During a fight scene, the acting is entirely different according to whether the foe's interpret is present or not. When you look at the level of the others' acting, you think to youserlf that you can go further. I don't know if it isn't more about competition than collaboration, but still this way we have of working together in the studio is very important.

During the fight against Formaggio, we really have the impression there is a duel of seiyus between you and Mr. Fukushima.

Yes, it was about who would shout the loudest (laughs). In the JoJo recording set, since the first trials, we give it everything as if we wanted to kill our foe (laughs). Jun Fukushima is my senior and is affiliated with the same agency as me, so I didn't want to let myself get crushed.

At the time the episode got broadcasted, we also felt all of the staff's commitment. The drawings, the direction and everything else. At the moment of the recording, we don't know what will the soundtrack be, what the sound effects will be, we don't see at all what will be the final result. Even us interpreters discover it only when the episode gets broadcasted. For my part, I had goosebumps. Especially at the moment the flames went from red to purple as well as the piano part just after hitting him. It was simply brilliant. Let's not forget this impressive camera effect which gives the impression the scene has been filmed with a drone. I look forward to watch the follow-up now. As a fan, this episode really shocked me. I was exhausted only after watching it (laughs). All the more when I tell myself that I played in this episode, I was so swept up in it that I would forget to breathe.

Yes, it is true it is an exhausting episode to watch.

The fight is really fast-paced. Myself having played in that episode, I have found that the exchange between adversaries were fast and then the monogloques follow really quickly, it's an undending pace. I hope it will be something who will have excited the audience, make them say "OK, so this is not having time to breathe".

Are there similarities between Narancia and you? If yes, which ones?

I suck at mental math.

You didn't hesitate one second (laughs).

In everything involving numbers, I kinda got stuck to simple calculus (laughs). I think that I still went further than Narancia... In any case I am bad at anything about mathematical demonstrations. When I see the quiezzes with the boxes to check, I can't understand I thing. When I didn't know what to write, I would write "2". I had a little game and tried to see how many "2"s I coulc fit in one box (laugh).

If you could use Aerosmith's powers, what would you do with it?

I love Aerosmith and think it is very cool but I think that in this period, you couldn't use it. A radar that allows to spot living beings through their breath, it's like making a reconnaissance flight in an espionage mission. For starters, it's illegal. It is a function that would be more useful to detectives or spies, so I would have to reconvert my career, which is impossible.

It could be useful to spot traffic jams and find a better itinerary?

A lot of navigation systems already do this (laughs). Frankly, for me it would just be a gadget, a remote controlled plane. Or else I would have to get intohunting. Then I could use it. I could track deers, or spot bears to avoid attacks. It is useful to find preys or enemies.

Thanks for your answers. To conclude, do you have a message for the fans that will read those lines ?

I hope that those who will buy this box set will also buy the reste to see how much the team has invested themselves in the series; The fight against Formaggio only represents a small part of the story but I hope that this adventure will have touched you and that you will take pleasure in comparing the animated series to the manga. The anime offers a new method of expression and allows to flesh out some parts. When you will watch the series in DVD or Blu-ray, you will perhaps dicover something new. About the great work of the production team, I also felt it personally when I watched the episodes on TV. I hope that you will realise their commitment to the serie. Then, to talk about the story itself, we are dealing with teenagers who are about twenty years old whi are fighting valiantly for a cause. It is an encouragement to help us live bravely too. I wish that you could see them enjoy life and that the energy that they will give you will help you in your day to day lives. Thank you all.

Tonkam Interviews

Golden Wind Vol 1

Tonkam : Etant donné qu'avec JoJo, vous avez créé votre propre univers, quelles sont vos références artistiques ?

Hirohiko Araki : Babel II (une bande dessinnée japonaise) et L'Inspecteur Harry (film américain avec Clint Eastwood).

Tonkam : Cela fait plus de vingt ans que vous êtes sur une même série. Comment faites-vous pour tenir aussi longtemps ?

Hirohiko Araki : J'ai un rythme de vie sain. Je me couche tôt, je me lève tôt, etc..., ce qui me permet de ne pas être trop fatigué.

Tonkam : D'où vous est venue l'idée des Stands ?

Hirohiko Araki : En général, les pouvoirs paranormaux sont invisibles et donc difficiles à représenter. Ici, je voulais leur donner une réelle apparence, pour our que l'on puisse correctement se rendre compte de ce dont il s'agit.

Tonkam : Avez-vous une réserve permanente de Stands, ou bien les créez-vous sur le vif ?

Hirohiko Araki : Lorsque les idées me viennent, je prends toujours des notes pour pouvoir les utiliser ou non. J'ai donc une réserve que j'alimente au fur et à mesure et où je pioche en fonction de mes besoins.

Tonkam : Quel est votre personnage préféré dans JoJo ?

Hirohiko Araki : Josuké Higashikata de Diamond is Unbreakable la 4e partie ?

Tonkam : Et votre Stand favori ?

Hirohiko Araki : Les fermetures Eclairs du Sticky Fingers de Buccellati, dans la 5e partie.

Tonkam : Pour beaucoup de lecteurs, Golden Wind est considéré comme la meilleure partie de JoJo. A quoi attribuez-vous cette popularité ?

Hirohiko Araki : Je pense que, par rapoort aux autres saisons, un tel succès est probablement dû à la classe et au style des personnages, différents de d'habitude. A moins qu'il ne s'agisse plus simplement du passé et du destin tragique de ces personnes.

Tonkam : Pourquoi être passé en Italie tout d'un coup ?

Hirohiko Araki : Je trouve que l'Italie est un pays très dramatique, chargé de sens et qui convient bien aux histoires de destinées. En plus, du point de vue d'un Japonais il s'agit d'un très beau pays, tout comme la France.

Tonkam : A quand une partie de JoJo en France ?

Hirohiko Araki : J'aimerais effectivement bien essayer. Malheureusement, le français est une langue difficile et je pense que j'aurais du mal à me documenter.

Tonkam : Un petit mot pour vos fans français ?

Hirohiko Araki : Pour moi, la France est le pays de l'art, et a une grande sensibilité pour les belles choses. Je suis très honoré d'y avoir des lecteurs.

Tonkam : Merci.

---

Volume 1

Connaissez-vous 奇妙的冒險 ?

Katsuki Hamamatsu, rédacteur en chef de la revue Fanroad

Maître Araki, àa faisait longtemps. Je tiens encore à vous remercier, ainsi que votre éditeur, pour votre collaboration consacré à Baoh Le Visiteur. Vous aviez alors parlé de votre prochaine série intitulée JoJo's Bizarre Adventure, que je suis depuis le début dans les pages du Shonen Jump. Je dois reconnaître que vous avez comblé toutes mes attentes ! Vos compositions graphiques étranges, à l'instar des "trompe-l'oeil" de l'Europe ancienne, sont de plus en plus intéressantes, et à ceci s'ajoute cette idée si unique d'"Ondes". Je suis comme absorbé par la force magique du masque de pierre, et il me tarde de pouvoir lire la suite.

Très vite, les lecteurs de notre revue ont également exprimé leur fascination, non seulement pour les tournures de phrases "Araki-esques" mais aussi pour votre univers héroïque. Dans notre revue, où les goûts des fans de des auteurs se rejoignent "vigoureusement" (c'est un véritable "onde" de choc !), il n'aura pas fallu longtemps pour que la série fasse un vrai tabac. Dans le bureau de notre rédaction, nous jouons à l'"Onde", en vociférant des attaques du genre "par la pulsation du coeur !" ou "chaleur irradiante !".

En effet, malgré son passé tragique, JoJo acquiert non seulement du courage mais aussi une force singulière qui a pour nom "onde". Il est en train de devenir, à mes yeux, un héros d'un nouveau genre, comme le fut Ikuro dans Baoh. Au fait, connaissez-vous 奇妙的冒險 ?

C'est le titre en chinois de la série JoJo que j'ai trouvé à Taîwan, lors d'une visite pour la revue. Ils ont déjà publié trois volumes. Il semblerait que la série ait du succès non seulement au Japon mais aussi à l'étranger. Je vous offrirai ces livres prochainement. En souhaitant que ces drôles d'aventures ne s'arrêtent jamais !

PS. Maître, allons déguster de bonnes choses prochainement.

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Volume 2 La Saga JoJo's Bizarre Asventure est un savoureux mélange de personnages bizarres de dialogues bizarres et d'onomatopées bizarres.

Kouji Koseki, auteur de manga.

"C'est palpitant !!" Voulà le terme qui exprime le mieux tout ce que je pense à propos de la série JoJo's Bizarre Adventure.

Non seulement j'adore son scénario grandiose (qu'un humain lambda n'imaginerait jamais) mais aussi et sourtout les dialogues ! Chaque mot que figure dans les histoires de monsieur Araki a le on de pénétrer dans le cerveau pour le secouer en profondeur. Nul n'arrive à imiter sa sensibilité ! Ca dépasse largement le sens commun ! Peutre-être est-ce là l'un des pouvoirs surnaturels de son auteur !

Je me surprends à tourner chaque page, le coeur palpitant à l'affût des mots qui vont me sauter dessus, des nouvelles onomatopée qui vont naître... J'imagine bien monsieur Araki en train de se frotter le menton, un sourire malicieux en coin, pendant qu'il réfléchit à ces dialogues et à ces bruitages.

Pour finir, je citerai une de mes scènes préférées, en dehors de JoJo, tirée de Baoh le Visiteur. Dans le tome 1 page 67, dans la cinquième case, quand l'oiseau dit "merci !" avec sa langue courte.

Je ne connais personne d'autre qui soit capable de donner autant d'impact à une si petite case et à la parole insignifiante d'un volatile.

Cher monsieur Araki, nous sommes voisons mais nous nous voyons peu. Qu'à cela ne tienne : à la prochainne occasion, allons nous a-mu-ser ! (comme des gamins...)