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Kensho Ono Interview

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

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). Later as an adult, I reread them, and that is when I understood what Stands were and other subtleties that you wouldn't 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 22 to October 1, 2018, at Roppongi, Tokyo). When we looked at the chronology of the publication, Daiki Yamashita (Narancia's voice actor) noticed then that we weren't even born when the first part was publishing (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 realized again the scale that this series had.

As you said, 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 passionate 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, They told me that my performance was OK, but I wasn't satisfied. I asked if I could 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 on 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, which contains fights to the death where 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 clearly highlight each of his lines, getting to the bottom of things to convince who he's speaking to and ensure that he is being listened to when he spoke.

Already when he first appeared, I had the impression that Giorno was a complete and achieved character. He 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 immediately understands that he risks suffering from other gang members trying to take revenge. This 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 tics, 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, they are notes on how to pronounce some words. But these are details that the viewer won't notice. However, even if the difference was indistinguishable, it had to appear on the script. The whole team of the series and the voice actors 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 episodes, which scene left an impression on 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 for Giorno's character. In this beautiful city, he's passing near young drugged kids in the alleys, and we 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 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. My takeaway from this scene 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 could 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 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 shouting "Beware! A snake!". This Stand is made for these types of hidden camera 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 words 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 voice actor. (source collector Blu-ray booklet, translated by Nabu)

How did you envision the original work?

When I began to read Weekly Shonen Jump in primary school, the series was already being published. I believe we were at the third part. I was very young, so it was still too difficult for my age. Simply on an artistic level, we are more drawn towards series with 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 an interest in it at the time. Then when I was in high school, I saw the manga volumes at a friend's house. I began to read them and had a lot of fun. That day, I thought 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, as we have more standard battles. But starting with the third part, things become subtler. At this moment, I understood why the series had absolute fans. It had a style that couldn't be found anywhere else, a way to show things, a story, and a unique setting. I am convinced that like me, many people didn't get hooked because they had begun to read JoJo too young. To those people, 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 give an audition at the studio. Sadly, I fell ill the day of the casting audition and I couldn't go. I had been asked to 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. While I adore Bucciarati, I didn't feel I fit the character the best. During the casting audition, I hadn't received signals at any point that I would get the role. So, when I got the good news, I first calmly thought about how I would take on the role when the recording sessions began. I didn't want to slack off, even more so because I love this work. I wasn't sure that the basic image I had of Bucciarati would be the right 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 quickly learn 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 I saw him as a victim at the beginning of the manga, 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 the one hand, I am sure that Bucciarati himself has never lived through a battle as intense as the one he will live through. In 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 outside of his organization. It is visible in the way he panics when he fights Giorno in the second episode. His experience and fights allow Bucciarati to become a more composed person and take the time to analyze his foe before battling them.

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

In my opinion, we are totally different (laughs). When I was 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 anything in common. On the other hand, it is also an advantage because it allows me to observe with an objective eye to analyze his personality better.

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 about this work is that everybody has their own charisma. Anyway, what makes the charm of this fifth part are the fights, which are more built around cunningness and intelligence rather than brute force. As soon as the fight with Zucchero, you don't know what's going to happen. In either the manga or the animated series, I think it is fun to try to resolve this type of mystery. The only power that 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 are 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 surely be 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 one insists too much on the famous lines in an episode that lasts less than half an hour, 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 or by insisting on the whole paragraph... Ultimately, the most important thing is highlighting what we want to convey. Without this, the sentence becomes imbalanced and loses its meaning. Although it's not obvious, there are many dialogues where several famous lines follow each other. When you read it in the manga, it flows well, but it isn't nice to the ears when you record it with the sound.

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

Let's take Giorno's battle cry, for example, who repeatedly shouts "muda." In the manga, you turn the page, you see one speech bubble 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 lasts two or three seconds. So it's much more challenging to have the same impact. It is in these moments that you realize the differences between media.

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

It would allow me to make shortcuts, like a door that allows me to go anywhere I want. Or like Bucciarati, who uses it to go up and down, 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 would just 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). Well then, to conclude, do you have a message to the fans reading this?

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. The whole voice and directing crew is trying things out and progressing 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 sometimes the team is willing to sacrifice themselves to make this or that episode perfect. This is also 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.

Producers

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's creation, from the beginning of adapting Golden Wind into an animated series. I think about at which period the anime will release, I discuss it with Shueisha, who is responsible for the original work, and then I establish the schedule with Mr. 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 adaptation proposal, from which I assembled a production team, developed a precise schedule, and launched the creation of the script, design, and storyboard. Therefore, my role is to manage the team of the series.

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

Omori: In the entire work 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 must define together which aspect of the story the author, Hirohiko Araki, wanted to highlight the most during said part. We share our points of view and put our thoughts together.

Kasama: Since Warner 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 themes change. I was asked to review everything from the start with each new part. We thus had to think about what was the main attraction of the fifth part, Golden Wind.

And what is this main attraction?

Omori: Araki said it himself: it is the life of young people who have nowhere to go and their melancholia. This part shows us youngsters 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 melancholy felt by the spectator. For me, it is this aspect that 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 youngsters 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 responsible 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 directors arrive at the moment when new peoples 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 progressively. I had already fallen in love with the scene after having 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 correspond 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 directors for a long time. I think that we've gathered an excellent 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 finalized. 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 spirit 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 tear jerking. 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 power 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 experimenting in 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 experiments work every time and are every associated with JoJo. It is as if we were blessed by the gods (laughs). It is a privilege 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 that 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 corresponds 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 would reuse it for the fifth part's adaptation. And after several years, mission accomplished (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 will 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 manga. 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 have 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 heroes 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 expertise, 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 outstanding 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 impressive. 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 past 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 scenarist 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 with 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.

DAIKI YAMASHITA

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 manga 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 ephemeral "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 endearing side which is highlighted. I personally love this side of the character, which I am careful to respect when I interpret 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 endearing 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 attached 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 yourself 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 monologues follow really quickly, it's an unending 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 quizzes 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 could 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 into hunting. 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 rest 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 discover 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 series. Then, to talk about the story itself, we are dealing with teenagers who are about twenty years old who 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.

Daiki Shirakawa

Interview with Daiki Shirakawa, casting assistant (source, GW Booklet, translation, Nabu)

Mr. Shirakawa, can you tell us what is the job of a casting assistant?

In the majority of anime, a sound producer is called to manage the administrative side around the casting. But sometimes it is necessary to employ an extra casting director. For instance, we often contact a manager who has a robust relationship of trust with the production studio, or someone who has a particular affinity with the original work. About JoJo, I don't know what kind of judgement was passed onto me, but I had worked before with David Production and Warner, and I had said at the time that I really liked JoJo. It is probably why I got offered this.

It is difficult to define what is a casting assistant since it can wildly differ between series. I am not able to tell you in a definitive fashion what a casting assistant does. It is mainly the sound director or even the production committee who takes decision about the casting. But with the presence of a casting assistant, the sound director can focus on the recording, on the soundtrack, on the sound effects and to delegate the management of the casting to the assistant. It was the case for JoJo, where the sound director Mr. Yoshikazu Iwanami, had decided to focus on the technical aspect of the sound creation and it is me who manages the administrative side around the casting process with the agreement of the members of the production committee. It doesn't mean that Mr. Iwanami doesn't listen to the actors' trails or that I am the sole decision maker.

In a way it is you who direct the selection of the cast?

I do not truly direct, let's say that I manage this part. Nowadays, almost all the series have a production committee. You don't take decisions alone anymore. I collect the opinions of the committee members, gather them, give mine, and we decide together. It is like presiding an assembly.

I see. For JoJo, how does the casting process go? Are there instructions that are specific to the work?

For the main characters, we begin with a first selection process through demo tapes. Then, we ask then to come perform several trials in the studio before we make a choice. For the secondary characters for which we don't have auditions, it is the directors, the sound director and the committee members who define an image of the character, suggest names, I gather the opinions and I seek someone who could match their expectations. We then have another meeting to make a decision.

But there isn't any special treatment with JoJo. It is more or less the same as the other series. We decided depending on the demo tapes and in-studio auditions. For instance, we never ask the voice actors whether they like JoJo (laughs). Everything hinges on one's ability to embody a character. Nowadays, voice actors do a lot of different things. They must for instance participate in events or convention or must know how to sing. But for JoJo, we don't ask them anything like this, we just look at their profile and listen to their performance. I would even go as far as saying that we select them by their curriculum.

For Golden Wind, we have started with selecting Trish, Bucciarati's team and the Boss. Among them, the first two roles to have been attributed were the main characters of the story, Giorno and Bucciarati. I know that there are several points of view on the part but the story hinges on Giorno and Bucciarati. The committee's view was that if we didn't show the relationship between those two characters, then it would be difficult to have a good picture of the whole team.

For the third part, I had heard that it was Mr. Reiko Suzuki, Enya Geil's voice actor, who had been chosen first. But this time you follow the order of importance of the characters.

Enya Geil was somewhat of a special case (laughs). For Stardust Crusaders, the first auditions were for Jotaro and his companions, Enya Geil, Horse, Anne the runaway girl and Holy, Jotaro's mother. While the roles were being discussed, everyone was unanimous about Enya Geil's voice actress. It is why she was chosen first (laughs).

For the fifth arc, the team's balance hinges on Giorno and Bucciarati and that is why we had to define them before anyone else. After many discussions with the committee, I think I remember that it was Bucciarati who was chosen first. Then immediately after we agreed on Kensho Ono to interpret Giorno.

I suppose that afterwards, you based yourself on those two characters to choose Bucciarati's men?

Indeed. We then started to piece together Bucciarati's team immediately after the two characters. That said, it was made in the blink of an eye. We had several difficulties : we had several actors who were equally as good so it has been very difficult to choose.

Did you select Bucciarati's men depending on their personality?

A lot of people think that during an audition, we just see if the voice matches a character. In fact, more than the voice, what we are looking for is if the voice actor's acting is convincing. It was all the more important in that case since we needed a balance between the members of the team.

In my point of view, Bucciarati is younger than Abbacchio and Mista but he has the charisma of a leader. Besides him, we have Giorno who is younger than Bucciarati but who has the aura of a star and possesses an explosive power. It is why I wanted a voice actor from the previous generation to interpret Abbacchio. Then, I was envisioning an actor who would be slightly older than Bucciarati's to interpret Mista. On the contrary, we needed younger actors to interpret Fugo and Narancia. However, Fugo would be more educated than Narancia, who would be scary when he would get angry although it had to be justified. It is a delicate balance. Then, we had chosen the actors depending on their acting compared to Giorno and Bucciarati so that they would make a team. I exaggerated when I said that we didn't take the characters into account to find a matching voice, but it is true that the balance between the characters was a more important point of consideration than the choice of the cast. In fact, we do it like this ever since the start of the series and I think this method is used for many other series.

In fact, Bucciarati and Abbacchio have the same age and Mista is younger than the both of them, but what you wanted to say it is that you think about the characters depending on their relations?

Exactly. The balance in a cast doesn't really take the characters' real age into account, but more how we read them in the original work. There is no universal method. However, during the committee meetings, we exchange our opinions about the relationships between the characters, as I told you earlier. It is possible because Mr. Araki's work is grandiose. At the end, we have gathered a team of actors who seems ideal to me.

What about Trish?

Trish too is a characters who is subject to interpretation but for our part, we were already going for someone young. For starters because the character is young, but mostly because she needed protection. We wanted someone young but also someone tough. On one hand, I was telling myself that we shouldn't make her too strong, as we would diverge from the character. Trish has the look of someone strong, but she is only 15, her life is in danger because of a father she never knew, and at the beginning she is somewhat resigned. The one we have chosen to interpret Trish, Sayaka Senbongi, has a soft and gentle voice but she is able to act with great power. It is certainly this aspect that pleased the committee.

You were talking about a balance within Bucciarati's team, but what about their main rivals, the Hitman Team?

After being done with Team Bucciarati, Diavolo and Doppio's casting, we softly transitioned towards the hitman team. The flash-back scene reuniting the team in the 10th episode was already here in the script so we were discussing it in our meetings. But we stayed rather true to our first impressions about the balance of the team.

There were characters who were mainstays among the assassins, just like Giorno and Bucciarati, who did you begin with?

No, contrary to Bucciarati's team, the members of the hitman team were defined simultaneously. With the exception of the 10th episode, the hitman team is almost never gathered. It seems to me that the first roles to have been given were Melone, Formaggio and Ghiaccio. For Melone and Ghiaccio, we needed two eccentric characters so Junji Majima and Nobuhiko Okamoto almost immediately clicked during the auditions. Likewise for Formaggio, thanks to Jun Fukushima's superb performance during the auditions. I think that the battle between Formaggio and Narancia was really intense and really well played. That said, during the auditions already, he had given us an intense and hotblooded performance. Chronologically speaking, Formaggio is the first member of the hitman team to stand against Team Bucciarati. He is very important because the rest lays on his shoulder, and I think that we had an exceptional interpretation for the character.

Did you also take into account a balance between the hitman team and Bucciarati's team?

Yes of course, the assassin had to be able to cause trouble for Bucciarati and his men. I would even say that they must give the impression that they could beat them. Among them, Risotto is the highest in the hierarchy, he had to have some majesty emanating from him. Risotto's voice actor, Mr. Shinshû Fuji, works a lot on dubbing western movies. I thought that having someone like him to voice a character with Risotto's prestance and appearance would be perfect to gather the team.

Those who took the most time were Prosciutto and Pesci, two characters beloved by the JoJo fans. We really wanted to keep this mentor and disciple relationship. The definitive choice for Tatsushita Suzuki to play the mentor (Prosciutto) and Subaru Kimura to play the disciple (Pesci) is the ideal balance that we were looking for.

Then for Illuso, whose power is to drag his foes into a mirror world, we had to have someone able to interpret his prideful soul. But, it isn't a character who attacks frontally but more in an indirect manner. I think he is very difficult to interpret. To find a voice actor able to reunite these two aspects of his personality, I was thinking about an older person and Ken Narita was exactly the person we needed.

At this point, many characters have made their appearance. Is there someone who impressed you more than the others?

Personally, I really like the scene where Pericolo tells Giorno that he can call him by his name (laughs). The clever thing is that he doesn't say "call me however you like", he obliges him to call him by his name, which creates a kind of pressure as if we were dealing with a dangerous character.

But, I remember that the supervisor Mr. Tsuda wanted a classy voice for Polpo. I think that this instruction was taking his Stand Black Sabbath into account since that like the previous seasons it is the same actor who interprets the Stand and its user. I thought to myself that it would be cool to have a cool voice for Polpo. Hideo Ishikawa was a very good choice. His habit of rolling the "r"s and his vivacious interpretation of Polpo make the character very interesting.

As for Sale, who fights Mista, I thought that he could perfectly have been a main character and I simply wanted someone cool. Likewise for Zucchero, physically speaking he's not someone you'd call a pretty boy (laughs), but since I wanted him to make a duo with Sale, I wanted someone who could harmonize with Sale's interpret. With a light touch of stupidity if possible. I know that they don't often appear together on screen but on a story perspective, they make a really good duo. We had to keep this balance and so we found ourselves with two actors from the same agency, Mr. Kaito Ishikawa and Mr. Shin'ya Takahashi.

You had declared liking JoJo, but in you mind, what makes the charm of the Golden Wind part?

It was more or less the case in the previous parts, but I think that here, the team spirit is very important. There are some similarities with the third part, although the travel aspect was very present in this case. The third part is a kind of a road movie whereas in the fifth part the travel aspect is more in the background compared to the team spirit. Of course I think about Bucciarati and his men but also about the hitman team which is a close-knit and obstinate team. It was in any case what was drawing me in when I read the manga. It is also for this reason that I wanted that the team sport was as strong as it was in the casting team as between the characters. Also, I think that Golden Wind makes a great leap forward on a fashion level.

To conclude, tell us who is your favorite character or Stand in Golden Wind.

My favorite character in this part is Trish. I think that she marvelously reunites strength and weakness. It is too soon to unveil what happens next in the series, but we will soon discover this aspect in the oncoming episodes. I am also very attached to Fugo. I'll easily gets angry and can be frightening, but he's the most educated in the team. As for Stands, my favorite has to do with Trish but I can't talk about it yet (laughs). But I also like Sticky Fingers a lot. Only a man like Araki could succeed in creating such an incredible power based on zippers.

Jun'ya Enochi

Interview with Jun'ya Enochi, Pannacotta Fugo's seiyuu (source GW booklet, translation nabu)

How did you envision the original work?

The publication had already started when I was a child. My first impression was that of a work that many people were appreciating for a long time. About the first time I read the manga, I first felt fear. I still was in primary school. The strength of the drawings overwhelmed me. I thought to myself that it was perhaps a little bit too complicated for me.

I learned that you had discovered the manga with the sixth part.

Exactly. Starting with the introductory scene of the manga, the main characters, Jolyne Cujoh, speaks about an obscene event that has happened inside of a prison. I remember having been very frightened (laughs). Then when I read the manga again as an adult, I realised that this historical work was already trying thing that even manga today wouldn't dare to do. For instance, the concept of Stand or also the Ripple. It is a work in which the author of the manga, Mr. Hirohiko Araki, deploys the entirety of his genius.

What do you think about the fifth part, Golden Wind?

I had the image of barbaric and violent fights in the previous parts but with Golden Wind, we entered into something much more classy. More than a simple battle between the will to win of each character, here they also seek to vanquish their foes with their brains. And I also like the Italian atmosphere of the locations of the story.

You are interpreting Fugo in this fifth part. Could you tell us about the audition?

If I remember correctly, I had to act excerpts from his first appearance in the restaurant, as well as his fight against Illuso. The casting team had told me to interpret the Fugo who is usually calm, and the Fugo who snaps. I had to shout a fair bit and I remember going home with a really sore throat (laughs). From the waiting room, I could hear the other voice actors who were going before me yell. Even as soon as the audition stage, the atmosphere was already fiery. When I learned that I got the part, I was very happy to be able to take part in a series which is appreciated by so many people. But on the other hand, I felt a lot of pressure because I didn't want to disappoint the fans.

What has been your approach to interpreting Fugo?

I read the manga and I sought to make make of his behavior. To know why he suddenly snaps without apparent reason or in the contrary, why he's usually so calm. I had to analyse his dialogues to build my acting. However, I do not like to know too much in advance what will happen next. I read the chapters depending on the recording schedule. I know that Fugo will leave the group later in the series, but if I read the whole part, I worry about anticipating and deviating from the character at some point. So I read the script and discuss about it with various members of the staff.

Isn't it difficult to find a reason to Fugo's sudden bouts of angers? How did you tackle this?

According to me, Fugo is primarily someone who's psychologically unstable. Even when he has a normal conversation with someone, at his core, he's always ready to explode. This is why he snaps at the slightest annoyance, even the most insignificant one. However, when Trish wipes her hands on his jacket in the ninth episode, you see that he's holding himself back as much as possible to not lose control in front of the Boss's daughter. It proves that he has a reasonable side in him when the situation calls for it. Besides, he had angered the Boss, it would have been the last thing he'd had done in his life. Fugo is an intelligent man who knows how to stay in his place.

I see. Speaking about the example of the jacket scene, can I ask you what do you think about the original scenes where Fugo gets angry?

I am simply happy that these original scenes have been written in. Since Fugo leaves the story before the end of the part and he has only one fight, the one against Illuso, adding original scenes for Fugo certainly helps him get a place in the audience's heart, which fills me with joy.

In the 12th episode, we discover Fugo's past.

This too is an original scene. What his professor's done to him wasn't explicitly said. To interpret the young Fugo, I used a higher-pitched voice. Then I also made it possible to let the explosive side on which he's based come out.

It is also you who are interpreting his Stand, Purple Haze?

Yes, I suppose that sound effects were added to my voice, but I still made sure to respect the original work's lines and adapted my tone to stay true to the manga, so that the audience will take more audience in watching the series. I tried to use the voice the audience had probably in mind. The shouts I do when Purple Haze strikes, for example, as well as his other lines were diminished with the addition of the soundtrack, but he speaks a lot, during the recording, we first recorded Fugo's part then we got to Purple Haze. It has been very challenging. But thanks to these efforts, the character has finally his big scene.

Do you have any similarities with Fugo?

Perhaps that like him, in my heart I am always ready to explode.

I beg your pardon?

There's a storm permanently brewing in me, like a ferocious beast. But my reason allows me to stay in control, it is better for living in a society.

Still about Fugo, we can note the strawberry motif on his tie and his shoes. Does that speak to you, those strawberries?

I am not really into strawberries. Perhaps a strawberry-flavored ice cream from time to time. But I don't know where the inspiration for Fugo's clothing style comes from. Does he like strawberries? Although they are supposed to keep a low profile, why wearing clothes full of holes? These holes weren't here when he was young, so did they appear with the time? Or is it a representation of his soul which is being unveiled bits by bits? I would be surprised if it was the case (laughs). We will never know but it's funny.

Now, could you talk about your favorite scenes? Or a scene with another actor that would have impressed you?

The fights against the members of the hitman team are all memorable. For the battle between Fugo and Illuso, we were yelling constantly. It came to the point that Illuso's voice actor, Mr. Ken Narita, had said that it was taxing. But when I told him that it was hard for me too, I remember that he answered : "But you, you're young, it'll be OK!" (laughs). But I have to confess that it was funny to hear Illuso shout during the broadcasting of the episode on TV. It was exactly the image that we had in mind when reading the manga. There is also the spaghetti scene with Narancia, a scene beloved by the fans. I made sure to play it in studio in the exact way I had in my mind when I read the manga. Apparently, it really pleased Daiki Yamashita, Narancia's voice actor.

Indeed, Mr. Yamashita told us in a previous interview to eagerly waiting for the recording of the 11th episode.

I know, he also told me (laughs). It only increased the pressure I felt already. I had thought a lot about the way I would tackle this and I was well prepared. I asked myself why he would say say or that, how loud he would say it and with what intonation. Plus, although he asks for permission to give Narancia spaghetti, he's already made up his mind. I deduced that no matter what the staff of the restaurant or Bucciarati would say, he would give spaghetti to Narancia. I remember have analysed this scene in detail and thinking to myself that I had to speak loudly. I hope that the audience will appreciate this bit;

What is you favorite Stand?

I really like Sex Pistols' fighting style. In a world where Stand exist, to fight with a revolver may seem disadvantageous but to be able to change the trajectory of the bullets with a Stand means modifying his weapon with a Stand power, which changes everything. It is a power that work on many enemies. In the 7th episode, it allows to hit Sale's leg, which gives Mista the advantage. I also like the fact that Kosuke Toriumi, Mista's voice actor, gives his voice to the Sex Pistols. I am really aware every time they enter the scene.

If you had Purple Haze's power, what would you do with it?

It is a complicated question... Apparently Purple Haze's virus is capable of evolving. Perhaps you could use it in hospitals to create a serum able to fight off any pathogen? In my opinion, Purple Haze is only useful for killing or saving people. He must be used for the good of the community. The ideal would be to ally with Giorno to make new serums.

In our everyday lives, it could be used to exterminate pest insects.

But it would also destroy the surrounding vegetation... unless you could create pellets that the insects would eat (laughs). In any case, it could be useful to society.

Thank you for answering our questions. To conclude, do you have a message for the fans who will read those lines?

I want to thank from the bottom of my hear those who will have acquired this box set. Do not hesitate to watch Fugo's great episode, the 13th one. I hope that you will appreciate the efforts that I made to give life to Purple Haze. After this episode, things will change rapidly. In the episode 14 to 16, the very popular Prosciutto will enter the scene. It is the time to admire the bravery of the hitman team. Thanks for everything and continue to support the series.

Suzuki x Kimura

Tatsuhisa Suzuki (Prosciutto's voice actor) X Subaru Kimura (Pesci's voice actor)

How did each of you envision the original work?

Suzuki: I was in my last primary school years when the Golden Wind part was published. For me, it was a shonen for adults. There was a lot of text, a plot that was rather dramatic, for a kid my age it was rather difficult to grasp. But this dramatic side is what makes JoJo's charm. When you are a child, you don't have all the keys to understand, you just find this or that Stand cool, it doesn't go further than that.

Kimura: I'm a bit to say it, but in fact I read JoJo for the first time for the auditions. Of course I knew the series but only by name. But once I dived into it, I was hooked immediately. Like my colleague says, it is a mature work. It is all the more true for the fight with Prosciutto and Pesci, notably in how the speak.

Suzuki: Yes. Particularly for people like us whose job is to wield words, when you interpret those characters, you feel the power of things said in an indirect manner. When we play a role, we must understand each and every word of our lines and also keep up the rhythm. It is when you say it out loud that you realise the real worth of those speeches. It was something new for me. I was really surprised when I thought to myself that these words were published when I was only a schoolboy.

You both play Prosciutto and Pesci. How did it go?

Suzuki: Me and Subaru immediately clicked with each other without even having talked to each other before (laughs). We formed a dynamic duo right from the start.

Kimura: That's true we were quite a pair.

Suzuki: The first time that we acted together, I had already my "Prosciutto's puzzle pieces", which fitted perfectly with Subaru's "Pesci's puzzle pieces". We then only had to build a harmonious frame together. But the majority of the pieces were already in place.

Kimura: If I can say so myself, it was really easy to adapt to my "big brother". I had in me the linchpin of Pesci's evolution since I read the manga. At the start, Pesci lacks confidence and Prosciutto calls him "mammoni". Prosciutto's words are stuck in his heart without him being unable to understand them immediately, but little by little, he grasps their meaning until he awakens and steps into the fight. In fact, he discovers over time the meaning of Prosciutto's teachings. Pesci exists thanks to Prosciutto, it is Prosciutto who's guided him along the way.

You appear for the first time in the tenth episode, during the hitman team's flashback.

Suzuki: Yes, it was truly an honor to have this scene to develop the characters' profile, although I was really surprised to start with an original scene (laughs). JoJo is a work that has many die hard fans. The production team must constantly feel an enormous pressure and yet they plunge into new challenges that prove their strength and their will. I thank the team to have presented the hitman team united like this. And I learned that the fans were pleased with this part. Knowing this and having participated in this, it gives us a lot of confidence. I am proud to have been part of the hitman team.

Kimura: For me it was like passing through two auditions. The first audition, thanks to which I got the part, then our first appearance is a second audition that I have in front of the audience. I can't tell you how much pressure I felt. In any case, I am glad I managed to pass the second one with success.

What do you pay attention to when you play your characters? Does the recording team give you indications?

Suzuki: The first instruction from the recording team was to respect our text to the letter. If we thought that there was a mistake according to the manga, we could always correct the script. So, I checked the text first.

Kimura: Exactly, that's what we were told (laughs).

Suzuki: The problem is that to keep up the pace with Prosciutto's long lines, I had to slur my words. If for example in the manga there are two lines with the same meaning, in the script, I asked if I had to use the first of the second one, or if there was a line that mixed the two. We have discussed multiple times about choosing lines.

It is true that if you want to stay true to the original work, sometimes there are lines that really look like each other except for some nuance between the two.

Suzuki: Exactly. Let's not forget the direction or the editing that can be different from the manga. In the animated series, the movements must have continuite. It is of the utmost importance to respect the original work, yes, but with an adaptation into a series, it isn't enough. In most cases, what's drawn in the manga isn't enough for the screen. But with some modifications, you can create a perfect link between the original work and its adaptation. You just have to know how to do it. In concrete terms, sometimes in the manga some speech bubbles are drawn in an aggressive manner but when you only take the sentences in sequence, there is no more aggressiveness. The question is then to know how to render this aggressiveness on screen through the words with reorganizing the speech or the dialog. For this, you must first think about the meaning of the words used in the manga and to take the direction of the series into account. Then the voice actor plays on the nuances. It is all these aspects put together that create the finale result.

What about Pesci?

Kimura: Pesci is a character that listens to the only person that speaks to him head to head, Prosciutto, while grasping little by little the meaning of his words. So my acting was mainly based on Pesci's reactions to his mentor's words. If Prosciutto calls Pesci, I can only say "Yes? What? What is it?" (laughs). Pesci reacts to each of Prosciutto's actions. He follows him like a shadow. He doesn't entirely understand what he says but tries to follow his instructions. He's often completely wrong, but sometimes Prosciutto congratulates him on a job well done, which makes him happy. Pesci evolves around the actions of his role model, Prosciutto.

You say you didn't see each other before the recording to discuss about your roles, but you still respond to each other tit for tat.

Suzuki: It's true. Prosciutto has always felt Pesci's hidden potential. I thus told myself that he had to engrave his word in Pesci's heart so that we understand Prosciutto's real strength. When for example he repeats to Pesci: "When we think about offing someone, its mean that it has already been done!", before shooting three bullets in Mista's head, he means "Watch, that's how we do it, it is up to you to learn from it". I adds the action to his words so that Pesci understands the meaning of his words. It is what makes Prosciutto's personality. When I was in front of the microphone, I focused first on transmitting those words to Pesci.

Kimura: And I received everything clearly!

Let's say you could use The Grateful Dead and Beach Boy's powers, what would you do?

Suzuki: That's a difficult question! If I said I wanted to make all my colleagues grow old, it would make me look bad (laughs).

Kimura: You mean turn the young and most solicited voice actors into old guys (laughs)?

Suzuki: That would be horrible. The thing that would grow old the fastest would be my self-love (laughs). Seriously though, I would like to help solve environment problem. To put back into order the ecosystem, to make infertile soil grow old several years to make them able to produce life again. Of course it wouldn't be the ideal solution to every problem and some people would probably have a grudge against me. It would be a blessing in disguise.

Kimura: That would be awesome: I will sound ridiculous besides such a project but in fact... I recently took up fishing.

Suzuki: (laughs)

Kimura: I go to the sea to fish for sea perch. With Beach Boy's power, I would immediately spot the fishes. Then, when a fish comes close to my line, I would catch it in the blink of an eye. It would bite the hook and could not let go.

Suzuki: The other fishermen would have a hell of a grudge against you.

Kimura: I would not stop fishing up big fishes, I would look suspicious (laughs).

Suzuki: Let's not forget fishing competitions. You'd take all the trophies.

Kimura: Cool, I could live from fishing!

Suzuki: That's a really impressive goal in life (laughs).

Thanks for having answered our questions. To conclude, which scenes from your episodes would you tell the fans who will read these lines to watch?

Suzuki: The fighting scenes! It's brilliant to watch the characters from the manga in motion when they fight. As an actor, we only participate in the "audio" part of the series but you must also admire the work of the animators and the rest of the team on this work. The animation is fluid, the action is fast-paced, just like in the manga but in a different way. You discover a new approach to the original work. I hope that the series will globally please you.

Kimura: Although I may appear self-centered, I'd like you to pay attention to Pesci's evolution, through his vocabulary, his expressions and his relation with his mentor, between his first appearance and the moment when he realises, through his heart and not words, Prosciutto's determination. This is a whole process to observe. The line I love which is for me the start of his evolution is in the tenth episode when he says that coffee makes his tummy all rumbly. This same Pesci, who's ordering a glass of milk and is being mocked by his teammates, finally becomes the Pesci that we discover at the end, thanks to Prosciutto's teaching which touches his spirit.

Suzuki: This scene also has touched me. Prosciutto is half-dead, but it is a bit like a reward for his work.

Kimura: I am happy that you also think like this. Since the coffee scene, you note an incredible evolution until his awakening to his nature as a gangster, then when he's ready to crush the turtle with Bucciarati's team inside.

Toriumi

Kosuke Toriumi, Guido Mista's voice actor

How did you envision the original work?

I was in middle school when the manga was published for the first time. I had a subscription to the weekly Shonen Jump at the time, so I read everything from the first chapter. Although it is difficult to put the fight scenes to screen, I think that this work is drawn with a lot of seriousness in its details. Even the characters who appear for only only episode have a past and a complete profile. I think that the author Mr. Hirohiko Araki, has his own universe, but the more the arcs that follow each other and pile up, the impression one has of the work changes. I notably think of in the third part whose tone is completely different from the first two parts. Having read the manga in middle and high school, then having read it again as an adult, I notice that we understand more of the work when you are adult. When I was young, I understood what I could grasp and I did feel that it was a complicated work, but with you comprehension capacity increasing with age, you take more pleasure once you're adult. For instance, how the dialogues are built: as an adolescent, you read it in your head and sometimes you ask yourself what's the meaning. But today, when I play the character and say his lines out loud, they take on another entirely different meaning. I understand more the meaning of these lines, the characters takes life like a real human being. There are many important lines in this work that only take their full meaning when you pronounce them out loud.

In this work you play the role of Mista. How did the auditions go?

For the first part of the audition on demo tape, I had auditioned for the roles of Mista and Abbacchio. At that start, I only had those two characters but to make my stamp, I also wished to audition for Bucciarati's part (laughs). Then for the studio audition, I've been asked to play bits of the fight between Mista and Sale and from the last episode of the story, among others. What had surprised me is that Sex Pistols was also present in the script but nobody told me if I had to play them or not (laughs). To be sure, I chose to play them and even then, nobody told me if I had to continue or if it wasn't needed. At the time, I thought that it was probably normal to play them. Then I played a normal conversation scene, and then I've been told that I was making Mista sound too intelligent (laughs). There, I still didn't know what to do. It wasn't the interpretation that I wanted to do. Mista has several aspects, I even think that he's the character who has the most in this series. It is very difficult to know which part of the character I had to highlight. Once the recording process has started, Mista finds himself in several different situations as the story progresses, but it's more difficult during the audition because we only have excerpts without much context. There's Mista the cheerful guy who's lighting the mood, Mista who's focused, calm and nerves of steel, or Mista who's smart and without hesitation, but there's also the hot-blooded Mista. You have to follow the character and it isn't always simple.

After you got the part, how did you approach the character? Did you wish to highlight his "mood-maker" side? Or rather is smart gangster side?

To tell the truth, I didn't think about it. There are of course original scenes, but most of the time, I was following the original work and I copied the expressions he took. The drawings were detailed enough to see the facial expression during the recording sessions. Thus, I used them as guides. And if I make a mistake, the director corrects me.

By the way, which instructions about the direction marked you the most?

In fact, we weren't given a lot of instruction, at least not for Team Bucciarati. All the more since we have dubbed more than half of the series. But at the start we didn't have many instructions. By the way, if we'd been selected through the casting process, it is probably for this reason. I remember some, but they didn't concern me. I remember well the instructions given for Melone's part (played by Junji Majima), it was very direct: "Make him even more perverted!" (laughs).

(Laughs) After having played through several episodes, did your image of Mista change?

No, not really. Mista has several personas depending on the situation and he's very stylish when he fights, that was the impression I already had of him. But there is a difference between the first time I read the manga and now: at the time, I didn't realise Mista was so cool laughs). I don't want to brag, but when I reread the manga, I thought he was so cool. I understood late what kind of character he was. I also noticed that he often ended in a bad state and often after having been hit with his own bullets (laughs).

In the fourteenth episode, when Mista attacks Pesci, we rediscover thanks to the series how scary and cool he can be.

Indeed, that's typically his gangster side that appears in this scene. Another one of his strong points is that he can be extremely cool, meaning at the opposite of the image we have of him.

Are there similarities between you and Mista?

Not really, no, I'm far from being as cool as him (laughs). Our only similarity is that we are both boys. Mista is a really strong person. He has a strong pillar standing at the heart of his soul. Even though we don't live in the same world, it must be really great to have his aptitude for keeping being optimistic, no matter the situation. So no, we aren't alike, but I would like to be like him. Ah yes ! We do have something in common : our voice! (laughs)

In the series, you not only play Mista but also Sec Pistols. You told us you played these characters during the audition. Did your interpretation change over time?

I don't really know (laughs). In the script of the casting, the six characters were present. At the beginning, I had given them each a function in the team. Number 1 was the leader, Number 2 was the group's clown, there was the daredevil, the wimpy one... I had little notes on the script. But today, I don't need them. Their first appearance had really impressed upon me. I must confess that I was envious of those who only had one Stand to voice (laughs), but as soon as I saw them, I found them adorable. When they walk with their little legs, or when they swim in the 19th episode. We even see them in episode 14 (laughs). They bring a touch of freshness in the most cruel scenes. Without denaturing the scene, when I see them, I feel better. The fact that they are animated reinforce their image as cute little beings.

Yes, it's true that they are adorable! But for you, it mustn't be easy every day. Did you already have to play seven characters in another series?

No, it's the first time. At my beginnings, I occasionally had to participate in crowd noise, but never seven characters at the same time. But in good conditions, it isn't as difficult as it looks. I only had a bit of trouble making a high-pitched voice during the pollen season... But since I voice each of Mista's lines beforehand, I am already warmed-up. Nonetheless, I take great care of my throat for the recording. Mostly for the episodes where they talk a lot because I know I have a lot of work ahead (laughs).

Which scene impressed you the most until now?

Of course, all the episode that are in this booklet (episode 17 to 20). Otherwise, I love the torture dance in the seventh episode. The way they torture their enemy is horrible but the dance sweeps away the cruelty. It's a stylish torture, if I may say so myself (laughs). I was even really surprised when I saw the final result on TV. I also have in mind the scene against Sale during which Mista shows his potential for the first time. It is there that we discover his gangster persona, since until now he was more the fun guy of the team. Besides, I think it is the one true Mista duel with an enemy, whom he fights from start to end (laughs).

If you could use Sex Pistols' power, what would you do?

It is a Stand mean to assassinate people, Mista himself says it... Knowing this, it has no use as long as I live in Japan. So, I would choose to leave peacefully with these little people. They can appear without having to be shot with a revolver. It is nice to have now six new members in the family. I would prepare salami for their meal. I could eat with them while enjoying a good bottle (laughs).

Here is a rather nice project (laughs). To conclude, do you have a message for those who will buy the box set and read these lines?

The Episodes 17 to 20 represent in a way the climax of the first part. Originally, Golden Wind has a story that deserves to be followed. But these episodes set the stage for something bigger that's coming. These episode must them make you want to watch the rest. Enjoy the box and watch them several times. You'll see, you won't be disappointed by the rest of the series. Thanks to everyone!

Sound team

Yoshikazu Iwanami (sound director) Takayuki Yamaguchi (mix) Yasumasa Koyama (sound effects)

To begin, could you describe us what are your respective roles?

Iwanami: When you talk about sound in a video work, it includes the dialogues, the music and the sound effects. Each part is managed separately. For the dialogues there are the voice actors. For the music we have Yugo Kanno. It is Mr. Koyama who manages the sound effects. As sound director, my role is to integrate these three elements to the direction with the director.

Yamaguchi: Mixing means to record the dub and to synchronize the voices over the edited images, to mix the music and to add the effects depending on Mr. Iwanami's instructions and to integrate the sounds. At the end, I harmonize the sound tracks.

Koyama: As the manager of the sound effects, I work to create all the sounds other than the voices and the music tracks. I receive Mr. Yamaguchi's mix tape and I add various sounds, for instance the Stand sound effects that I mix with the rest.

Iwanami: To summarize, we have someone who mixes the voices and the music tracks, another one who creates the sound effects, we take it all back and we look at what we should change or not to finalise the work. When we work all three together, I begin by started the soundtrack. Mr. Yamaguchi works on the mixing and gives the baby back to Mr. Koyama.

Very good, so JoJo's sound is the result of your cooperation. For the fourth part, the producers had asked you something chic and pop. What were the instruction for this fifth part?

Iwanami: This time they wanted something chic. All the more because we are dealing with the great team of beautiful men. We thus preemptively discussed with the producers to know how to highlight them.

Yamaguchi: I remember they insisted on the team spirit (laughs).

Iwanami: We also had to take the location of the story into account. We had to have an Italian touch.

Team and Italy, then. Indeed, these are two primordial concepts in Golden Wind. But how do you represent them through sound?

Iwanami: About the music, contrary to the previous series, we have created an Italian atmosphere in the day to day scenes with melodies with an accordeon for instance.

Yamaguchi: For the team spirit, their was a special "Team" soundtrack. We use it often for the scenes with a strong impact, for instance, rather than using the themes of individual characters. I know that Mr. Iwanami paid special attention to it.

Iwanami: In this season, the scenes where the main team confronts the enemy are even more impressive than in the previous seasons. In the other series, there often was a central pillar, but this team, it is a group of pillars. On the other hand, it is the series where "JoJo" is showcased the least.

This is how you create the atmosphere of the series. Let's talk about a particular element among the three that you talked about at the start of the interview: the music. What were the exchange with the composer Mr. Kanno?

Iwanami: You must know that we don't give any instructions about the music genre. The only directive is "Music for this or that character. For more details, see the manga!" (laughs). In the fifth part, almost all of the enemy Stand users have their own theme. The more enemies there are, the greater the risk of setting into a routine is. So it is important that we understand that when a new enemy arrives. I know that we asked a lot of Mr. Kanno, but thanks to the wide range of res that he concocted for each Stand, the entire work takes on a new dimension. And above all, I love the themes written by Mr. Kanno. He has a gift for creating catchy melodies every time. He is really someone you can count on.

Personally, the score when the sun dawns at the end of the fight against Ghiaccio really gave me goosebumps.

Koyama: Yes, even the episode director Mr. Takahashi was happy to hear the theme where he hoped he'd hear it (laughs).

So, it is Mr. Iwanami who decides which track to use and Mr. Yamaguchi who adapts. In this series when plot twists come one after the other, it must be difficult to find the right tracks depending on each situation?

Iwanami: It is so tedious! (laughs)

Yamaguchi: Nonetheless, Mr. Kanno gives us tracks that are easy to handle. If we explain to him that we're going from a scene about this character to a scene about that character, even if the two scenes are distinct from each other, he manages to concoct melodies that can link up with each other without us noticing it. It notably plays on the rhythm and the pitch. Sometimes we need the music to stop before the climax. He also allows us to have tracks that we can mix together to make one, which isn't common in Japanese animation. Mr. Kanno is really an excellent composer.

Iwanami: During a discussion with Mr. Kanno, he explained to me that he made it so we could understand when we could cut and when we couldn't.

Yamaguchi: It is true that his instructions are clear. There are bits that we can't delete, others that we can cut in several places, enabling us to keep a score while shortening it. The tracks are often 8 bars long, or 16 for the longest ones, which isn't so long at the end. For instance in the episodes 22 and 23, qui perhaps the ones where we manipulated the tracks the most in all of the fifth part.

Iwanami: Yes, because we only find ourselves with two enemies and two totally different powers. We alternate rapidly between two themes depending on the character and the action.

Yamaguchi: Moreover, even between allies, there's the one who speaks and the one who stays quiet. Nothing is left to chance.

The audience can judge that. Let's talk about the sound effects. So, you add the sound effects after the voices and the score?

Koyama: Exactly. Mr. Iwanami presents the detailed tracks, Mr. Yamaguchi uses them as references to edit the score and the voices, which I use as a guide to add the sound effects behind. Working in that order allows us to fit in the son and the score together more easily.

Iwanami: If we handled all the tasks simultaneously, we'd end up with repetitive sounds, there would be conflicts between the different tracks and so on... It would be a real mess as far as the work is concerned. We couldn't understand each other. But if you know in advance what will happen, it's simpler. We have instructions for instance where the music should be at the forefront or where the music is present but the sound effects should be more audible. You hear it very well during the mixing process.

You often use surprising sounds for the Stands, for instance the sound of a VHS tape when Moody Blues is activated. Where do these ideas come from?

Koyama: For this particular case, it randomly came to me as I was listening to music. In the original work, there is no information about any VHS tape sound. I love the manga so I try to stay true to it as much as possible. But we mustn't forget that this arc has been published a long time ago and that without some updates, the series would sound too old.

Iwanami: At the same time, audio tapes can't be found nowadays.

Koyama: Precisely, it is done to give a retro aspect to it.

Iwanami: OK I see. So the loop is closed.

Koyama: Another element about Moody Blues, it is its ears that look like an old telephone handset. Thus the use of a phone tone. In fact, Mr. Kanno also use sound effects linked to the Stand powers in his tracks. His musical scores often give me inspiration for the sound effects. Some tracks are almost created out of sound effects. So sometimes I have the impression that there's nothing left for me to do (laughs).

Iwanami: There is also that Stand that makes people grow old. The track at that moment includes sound effects that reinforce the anxiety of growing old. Normally, it's the reverse, you use the music to give relief (laughs).

Koyama: You are talking about The Grateful Dead. The music is based on high-pitched noises. I had to add low-pitched sound effects to balance things out. As I said, I come to forget my primary job (laughs).

The music inspires you often, does it not?

Koyama: Mostly in the fifth part because of these complex Stands. But in my case, working on JoJo is more of a passion than a job (laughs). When I used to read the work, I would imagine which sounds would fit the best. Now that I can work, I always try to see if there aren't any ways to do better. I invest myself in all the works on which I have the occasion to work, but for JoJo in particular, I try to create sounds that nobody would have thought of.

What kind of instructions does Mr. Iwanami give you?

Koyama: Mr. Iwanami never told me in advance what kind of sound he would like. By the way, it is better because it would be too constraining.

Iwanami: Giving too many instruction stifles creativity and gives a bland result. We work together as professionals, everyone knows his job. I know that Mr. Koyama will bring his own personal touch. We three collaborated thousand of times, we understand each other without saying anything.

Let's go to the last element, the dialogues. Mr Iwanami, what instructions do you give to the voice actors?

Iwanami: Each dubbing session for JoJo is a trial, but I think that the actors take pleasure in it. The intensity of the acting and of the voices are at another level compared to the usual production. Simply put, it is as if everybody was shouting all the time. The mood on set is sports-like. And our job is to capture the most accomplished takes in the service of the series. We have a short amount of time to make it. The main skill you need to dub is the know how to anticipate the rise in tension to make the best take possible. When everybody is warmed-up, there is no point giving precise instructions. We ask the actors to be as intense as possible (laughs).

Yamaguchi: Me too, when I attend the recording session, I realise that you don't do things subtly, you make the ground shake. Of course the voice actors are experienced and have skill, but the passion that they put into it is necessary to JoJo. You must know that they usually end the sessions all sweaty (laughs).

Iwanami: Especially for the enemies entering the scene when they fight against Bucciarati's team. They must give it their all from the start. I ask myself if the enemy Stands's actor don't happen to feel more pressure than the others.

Yamaguchi: I remember that Mr. Ken Narita, Illuso's interpret, felt surprised after the first test take (laughs).

Do you remember things that went particularly well?

Koyama: For me, I think that the fight against Ghiaccio is the best since reading the manga. I think that the sound effects of White Album Gently Weeps are excellent. As soon as I was told about adapting the fifth part into anime, I thought a lot about how we'd dub Gently Weeps. Otherwise, I am also very satisfied about the activation sound of King Crimson. In the two previous parts, I had more or less a sound for the Stands in mind. This time, while trying to following the same line, I wanted to insert more discreet sounds. Thus, even without noticing it, the spectators feel the same discordant feeling as the characters.

It is very subtle... What about you, Mr. Iwanami and Yamaguchi?

Iwanami: Since it is my job, I am forced to tell you that for me, everything went well. On JoJo in particular, which is a work where the fans already have a clear and precise picture inmnd. There will always be people that oppose what we present. There are so many fans and as many diverse takes... Some make up their own image, and what we must do is to make them accept what we suggest. It is almost like a power balance. The older the work, the more immutable the picture the fans have of the work is. It is very hard to make them accept something else. Each episode, each scene, each shot, I ask myself if I succeeded, I'm never sure of anything. It is how I work so I can't tell you if a part in particular went better than the others.

Yamaguchi: I do agree. If I am asked what went well, I answer "everything". The mixing consists in harmonizing sounds. We record the sounds, we make it so the dialogues can be understood by the audience, in the intense moments, we put the music that is needed without forgetting the importance of the sound effects. If something doesn't go well, it means I haven't done my job (laughs). If however, I had to choose, I am rather satisfied about the voices of Sex Pistols, who are cute voices while keep the base voice of Mr. Toriumi. When I work on JoJo, I aim to not tinker too much with the sound. JoJo is a fast-paced series in which the sounds gives off a lot of information. If you change the voices of the characters too much, people may not understand what is being said. That is why I avoid changing too much, thus I keep a sort of audio balance.

Iwanami: You are right when you say that you shouldn't overdo it, it is the essential. We have great voice actors who manage to replicate the intensity of the lines. It would be a shame to waste such talent. It is why Mr. Yamaguchi seeks to find the best balance.

Yamaguchi: That is true. It is also why I try not to be too creative. In my position, I cannot highlight myself too much.

Thanks to your work, we can enjoy an excellent series, with pleasant dialogues, music and sounds that support the work. Let's change subject and tell me which are your favorite Stands.

Yamaguchi: Pesci's Beach Boy. It's the best for pranking and laying traps for people. But I always wanted to have Harvest, a Stand from the fourth part, by my side.

For what?

Yamaguchi: To bring me money, of course. I'm a greedy man, you know (laughs).

(Laughs). And you, Mr. Iwanami, what is your favorite Stand?

Iwanami: For now, there is no Stand that I'm particularly drawn to... You must know that I say how I feel out loud on a daily basis, when I'm tired, or when I want to go home, for instance. And since people hear my sometimes, I say "Don't pay attention, it is my Stand who's speaking, he's called Monologue". I often use it (laughs).

I see, your Stand says out loud what you have in mind (laughs).

Iwanami: However, it has no combat ability or any power (laughs).

Yamaguchi: It's only a Stand that drags its user down (laughs).

Thank you all three. To conclude, do you have a message for the fans who will read those lines?

Koyama: Well... I love JoJo!

All: (Laughs).

Yamaguchi: That's exactly what he said to Mr. Araki (laughs)

Iwanami: Allegedly because he was nervous...

Koyama: I'm not ashamed to say it, I am happy for being alive just because I could have the chance to meet Mr. Araki! It's a dream like any other!

Yamaguchi: (Laughs). Many viewers already know the story though the manga. But I want to warn you, you will cry in the incoming episodes. Stay until the end.

Iwanami: For me, Jojo is a life's work. I really want to work on the sixth part so please, encourage us by supporting the fifth.

Yamaguchi: (Laughs) On the Blu-rays, you can enjoy the 2.1 sound which is practically identical to the one used in the studio. I hope that you will like it.

Iwanami: With good loudspeakers or headphones, it takes on its full dimension.

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.

---

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...)

Tonkam Interviews

Golden Wind Vol 1

Tonkam: Since you created your own universe with JoJo, what are your artistic references?

Hirohiko Araki: Babel II (a Japanese comic book) and Dirty Harry (an American film with Clint Eastwood).

Tonkam: You've been working on the same series for over twenty years. How do you manage to keep going for so long?

Hirohiko Araki: I have a healthy lifestyle. I go to bed early, I get up early, etc., which allows me not to be too tired.

Tonkam: Where did you get the idea of Stands?

Hirohiko Araki: In general, paranormal powers are invisible and therefore difficult to represent. Here, I wanted to give them a real appearance, so that we can properly realize what they are.

Tonkam: Do you have a permanent supply of Stands, or do you create them on the fly?

Hirohiko Araki: When ideas come to me, I always take notes so I can use them or not. So I have a reserve that I feed as I go along and from which I draw according to my needs.

Tonkam: Who is your favorite character in JoJo?

Hirohiko Araki: Josuké Higashikata from Diamond is Unbreakable part 4?

Tonkam: And your favourite stand?

Hirohiko Araki: Buccellati's Sticky Fingers and its zipper, in part 5.

Tonkam: For many readers, Golden Wind is considered the best part of JoJo. To what do you attribute this popularity?

Hirohiko Araki: I think that, compared to the other seasons, such a success is probably due to the class and the style of the characters, different from usual. Unless it's simply the past and the tragic fate of these people.

Tonkam: Why did you go to Italy all of a sudden?

Hirohiko Araki: I think Italy is a very dramatic country, full of meaning and well suited to stories of destiny. Moreover, from a Japanese point of view it is a very beautiful country, just like France.

Tonkam: When will there be a JoJo part set in France?

Hirohiko Araki: I would indeed like to try. Unfortunately, French is a difficult language and I think it would be difficult for me to get information.

Tonkam: A little word for your French fans?

Hirohiko Araki: For me, France is the country of art, and has a great sensitivity for beautiful things. I am very honoured to have readers there.

Tonkam: Thank you.

---

Volume 1

Do you know 奇妙的冒險?

Katsuki Hamamatsu, editor-in-chief of Fanroad magazine

Master Araki, a long time ago. I would like to thank you again, as well as your editor, for your collaboration devoted to Baoh The Visitor. At the time, you talked about your next series called JoJo's Bizarre Adventure, which I have been following since the beginning in the pages of Shonen Jump. I must admit that you have fulfilled all my expectations! Your strange graphic compositions, like the "trompe-l'oeil" of ancient Europe, are more and more interesting, and to this is added this so unique idea of "Ripple". I am absorbed by the magical power of the Stone Mask and I can't wait to read more.

Very soon, the readers of our magazine also expressed their fascination, not only for the "Araki-esque" speech patterns but also for your heroic world. In our magazine, where the tastes of the fans of the authors meet "vigorously" (it's a real "shock wave"!), it didn't take long for the series to become a real hit. In our editorial office, we play at using the "Ripple", vociferating attacks like "by the heartbeat!" or "radiant heat!".

Indeed, despite his tragic past, JoJo is acquiring not only courage but also a singular strength called "ripple". He is becoming, in my eyes, a new kind of hero, like Ikuro was in Baoh. By the way, do you know 奇妙的冒險?

That's the Chinese title of the JoJo series I found in Taiwan, during a visit for the magazine. They have already published three volumes. It seems that the series is successful not only in Japan but also abroad. I will offer you these books soon. I wish that these funny adventures never end!

PS. Master, let's have some good food soon.

---

Volume 2 The JoJo's Bizarre Adventure Saga is a tasty mix of weird characters, weird dialogue and weird onomatopoeia.

Kouji Koseki, manga author.

"It's thrilling!!!" That is the term that best expresses everything I think about the JoJo's Bizarre Adventure series.

Not only do I love the great storyline (which a normal human would never imagine) but also the dialogues! Every word in Mr Araki's stories has the ability to penetrate the brain and shake it to its core. No one can imitate his sensitivity! It goes far beyond common sense! Perhaps this is one of the supernatural powers of the author!

I find myself turning each page, my heart palpitating as I wait for the words that will jump out at me, the new onomatopoeia that will be born... I can imagine Mr Araki rubbing his chin, a mischievous smile on his face, while he thinks about these dialogues and sound effects.

Finally, I'll quote one of my favourite scenes, apart from JoJo, from Baoh the Visitor. In volume 1 page 67, in the fifth box, when the bird says "Thank you!" with its short tongue.

I don't know anyone else who is able to give so much impact to such a small box and to the insignificant word of a bird.

Dear Mr Araki, although we are neighbour, we don't see each other very much. Never mind: the next time we see each other, let's have a good laugh! (like kids...)

Araki x Arakawa

2011 - Cross interview between Hirohiko Araki and Hiromu Arakawa

This cross interview is a transcription by @natdaemon of a translation by Jasmine Bretcha (Japanese to French), available in Fullmetal Alchemist Chronicle from Kurokawa in their KuroPOP collection. Hiromu Arakawa has always read the works of Hirohiko Araki since her childhood. In 2011, Araki is approaching its thirty years of career. From the appeal of their works to the surprising common points between the hymn to humanity and the principle of equivalence, here is the interview of the century between two people on the front line in the world of manga shonen!

JoJo's Bizarre Adventure, the manga that gives you courage.

Arakawa: I read your manga since Baoh: The Visitor. And of course, I love reading JoJo's Bizarre Adventure since the first part. I am honored to meet you today!

Araki: Ooh! I am very happy that you have been reading me for so long. Thank you so much!

Arakawa: In elementary school, my older sisters used to buy Shonen Jump. And I had precisely found in our barn the number with the first chapter of JoJo's Bizarre Adventure. I went to read it in a dark barn where some agricultural equipment were stored, and I was completely captivated.

Araki: The perfect atmosphere (laughs).

Arakawa: I was scared. But I was still really into it (laughs)! I was still a child at the time, and I imitated the Ripple and the Stands (laughs). Knowing that I was going to meet you, I wondered what made JoJo's Bizarre Adventure so appealing to me. And I told myself that it is the fact that it gives courage.

Araki: Fullmetal Alchemist is also a captivating series. When I read it, it makes me reflect on the origins of humanity. Through the system of alchemy, we go as far as researching the mechanisms of nature and the human world. I found it great.

Arakawa: Oh, thank you very much! When I thought about the origins of mankind, I asked myself what courage and pride was, and I thought I couldn't pass by these aspects. The protagonists of JoJo's Bizarre Adventure, allies and enemies alike, are all proud and live a hard life. I find them admirable, Iggy in particular. Making me cry with a dog who chews gum, it's really ... The scene where Lisa Lisa puts her cigarette upside down also immediately comes to mind. I also appreciate Stroheim's determination. I really love all the characters.

Araki: Ahahah (laughs)! It's because half of his body is made up of cybernetics prostheses. This is not something unknown in the Fullmetal Alchemist universe. Personally, I like Armstrong. I appreciate the characters who let their passion run wild while keeping their seriousness. The scene where he and Sig were staring at each other and took poses was really funny. Conversely, the one where Al is deteriorated is quite intense. His seal could disappear at any time, that kept me going.

Arakawa: Yes, he had to protect him (laughs}.

Was naming your characters "Elric" a risk? The universe of manga in the years 70-80.

Arakawa: Speaking of what makes JoJo's Bizarre Adventure so appealing, I think there is a single speech pattern. I let the JoJo no kimyô na hyakunin isshi CD play at my work place, and I had assistants who could recite it by heart without even having read the manga.

Araki: Unbelievable (laughs). These lines, I created them by thinking about the points of view of the characters and why they confront each other, but I did not take my thinking so far as making my lines popular, cult, or as moving as that. I'm happy to hear you say it.

Arakawa: I ​​would unconsciously come out of lines from JoJo's Bizarre Adventure in my everyday life. You may have brought more readers than you thought. It is a work of powerful words.

Araki: You know, my characters however use a vocabulary that's vulgar on purpose for a simple reason: my manga uses genre elements, like horror, and I didn't want my characters to behave in a polite way. When I draw, the antagonisms are always present with me, the white and the black, the good and evil, the beautiful and the ugly; it was out of the question that the vulgar side of the human would not be represented in my stories.

Araki: But you know, it wasn't until about ten years after the start of the series that I received some recognition. At the time, I was told that it would be complicated to me with a non-Japanese character and a setting of the action set abroad. Such a manga was in danger of being questioned at any time by the magazine's editorial team. I was also strangely insolent at the time: I wanted to defy the rules of shonen manga and the idea that we have of it. As long as I respected the principles of Shonen Jump. "Friendship, effort, victory ”, why not include elements from abroad?

Arakawa: Besides, the story begins with Aztec people.

Araki: It's so confusing (laughs)!

Arakawa: No, for occult lovers like me, it was great!

Araki: At the time, I was told that stories in horror costume would not work not in the manga market. It's a miracle that a editor appreciated my universe and helped me make JoJo's Bizarre Adventure into a series. That's why at the time, choosing the name “Elric” would have been a risk (laughs).

Arakawa: “Refused” (laughs)!

Araki: Was it easy to decide?

Arakawa: I think it was accepted because Enix (currently Square Enix) is a game company. On the contrary, it was intended for readers accustomed to RPGs, names that sound like "fantasy" were not a problem.

Araki: I understand. The times have changed.

Great masters who have become inspirations

Araki: Your style, while remaining modern, gives me the impression that you have been influenced by Mitsuteru Yokoyama (1934-2004). He is both alive and a little nostalgic. Al's armor in particular reminds me of Tesujin 28-gô and brings a retro feel. That's great.

Arakawa: Thank you very much. I love Tetsujin 28-96.

Araki: When Al fights, I feel like I'm seeing the big moves of Mr. Yokoyama, I find that superb. I also like to see the shadows of enemies spread as if they grew, it is a very strong mark of your style. Also, your character's dynamic movements are reminiscent of Sanpei Shirato (1932). This really called out to me.

Arakawa: So I was influenced by Mr. Yokoyama and Mr. Shirato? Now that you say it, it's true (laughs).

Araki: In my case, Jojo's Bizarre Adventure was also greatly influenced by Mr. Shirato. When I was working on Cool Shock BT, my drawing style was not yet asserted. I imitated Mr. Shirato and kept telling myself that this was not my own style. It is with JoJo's Bizarre Adventure that I finally got there. The works of Mr. Shirato and Mr. Yokoyama are a bible for me, reallly like manuals.

Arakawa: I also appreciate what Mr. Yokoyama is doing, I have read The Three Kingdoms and Tetsujin 28-gô. It is strange, because one can easily read them whereas they are historical works with intricate designs.

Araki: Also, when reading Fullmetal Alchemist, it reminded me of Dororo from Osamu Tezuka (1928-1989). The protagonist has artificial limbs and recovers the missing parts of his body.

Arakawa: Ah, I am often told that.

Araki: Are there things that you have trouble drawing as a manga artist? I have always found your designs flexible and your layout fluid.

Arakawa: I was careful not to give a negative impression by paying attention to the words and the drawings. Before, I worked in a rehabilitation center as a security agent and I often came across people who had lost their limbs in accidents. Many of them accepted their fate and tried to be positive, which is extremely important when undergoing such a severe test. I told myself they had to go through a lot of frustrations and difficult situations. This is why I wanted to represent moving forward in life. It was from this that Fullmetal Alchemist was born.

The dignity of characters watching over the hymn to humanity and the principle of equivalence

Araki: I like logical works where rules have been established. In a universe without limits, one cannot carry out a story: it becomes rather difficult to represent. The suspense and horror being actually constructed in a logical manner, I always wanted to make them foundations of my story. This is why I am opposed to bringing a character who's already dead. On this point, the constraint of the principle of equivalence is maintains until the end in Fullmetal Alchemist. I appreciate this.

Arakawa: These are the characters that I created, so I wanted to take the responsibility. If they survive, they will now have a purpose. If they die, I wanted their death to make sense.

Araki: Yes, it's important to give love to all of your characters. JoJo's Bizarre Adventure's theme is “the hymn to humanity”, so I think the same.

Arakawa: In an interview in the book JOJO A GO! GO !, you said you were "drawing for Humanity.” I found this statement admirable and I imagine it has something to do with this "hymn to humanity", am I wrong?

Araki: Did I really say that kind of stuff (laughs)? As you said, the theme of the manga being "the anthem to humanity", I draw for people. In my opinion, they are the first to convince, so leaving the characters dead is also to pay your respect to them. Of course, there is no problem reviving a character if the manner in which he resuscitates follows the established rules of history.

Arakawa: The rules on the Stands are particularly interesting. What determines the outcome of a fight does not depend on a simple comparison of powers or ranking, but from ability to judge the use of these Stands and the capacities of the Stand itself.

Araki: Yes. The strength of Stands lies in the fact that they are difficult to classify. Since the start of serialization of JoJo's Bizarre Adventure, the standard stories in manga shonen were built around a tournament. The higher we went, the more the opponent was strong: it was a world of rankings. I had doubts about this method, so I opted for a road movie type story for part 3.

Arakawa: It is by questioning yourself that new elements come to you.

Araki: I wonder if such a thing is weird or not: this reasoning can become a starting point for a manga artist, so I want to do it. For example, in the Hollywood movie Transformers, cars turn into colossal robots compared to their original form. It doesn't take into account the principle of equivalence (laughs).

Arakawa: Aah, when I am told this, I make the connection between Rohan Kishibe and you. At some points, I happened to blurt out during a meeting with my editor that you had made your debut with Pink Dark Boy (laughs). I think in truth you have both been my models as a mangaka.

Araki: Oh yeah? It's funny (laughs). It's fun to make manga coincide with reality.

A mangaka concerned between trend and individuality

Arakawa: Since Jump included a lot of titles, each with their own singularity, the competition between mangakas must be very tough.

Araki: After my debut, we had to fight constantly. I definitely couldn't draw like other mangakas would, so we can say in a sense that I established my style while narrowing that gap. I think I wouldn't have chosen this kind of drawing, which is deliberately dark, if it was to seek the approval of readers. In my opinion, it is more recognition than popularity.

Arakawa: My editor also said to me "put more your personal touch!" " only to say to me "do it in a more modern way!" (Laughs). What is it then,"my personal touch"? I wondered.

Araki: Yes, I was also told: "your drawings are too dark", "there are too many flaws ”,“ but add your personal touch” (laughs). There was always have something to complain about.

Arakawa: It's very difficult to mix "trend" and "individuality". Because following the trend is ultimately to copy. When I started out in Gangan, there were a lot of titles in neutral and cute drawing style. So a manga with lots of flat blacks, thick lines and with grandpas, it was ...

Araki: It's true that there are a lot of old people in Fullmetal Alchemist (laughs). Just like you, I tried not to follow the fashion point too much. I would like if people who wish to become a mangaka not only listen to what the editor says, but also go forward without losing heart. You should not just receive advice, but assimilate it in your own way. And above all, never read Twitter!

Arakawa: I have no intention of using Twitter. If I could think of anything interesting, I prefer to incorporate it into my work. I don't want to waste the potential of a manga like this. It would be like posting a preparatory notebook before the manga release.

Araki: Hmm. I think it's better to assert what you want to say with your manga when you chooses to live off it. Even if it means being criticized, you should be criticized alongside it.

Arakawa: Speaking of notebook, in my case, I would sleep in my futon at night and would write on it what came through my head while in the dark.

Araki: Ah, that's a bit strange. Was it to relax or out of enthusiasm?

Arakawa: But since I write notes when I'm sleepy, I don't understand a thing when I wake up in the morning.

Araki: Oh! I too had taken notes, and once I had noted: "He keeps on bleeding from the nose, it's scary”. I really didn't understand what kind of story I wanted to write with that (laughs)...

About us ten years from now on. The end of your trip to Italy?

Arakawa: What do you think are the reasons why the manga spread throughout Japan and has become popular abroad? It is of course thanks to great precursors, but I was thinking rather about the qualities and characteristics of manga as a means of expression

Araki: I think the application of cinematographic techniques to manga that Mr. Tezuka's introduced was a first major event. Then I think this is due to the presence of bookstores: they are everywhere in Japan.

Arakawa: The conditions have been relatively favorable. Plus, I think the strength of manga is that you can add various elements to it.

Araki: Manga does not emit sound, but apart from that, it is a fairly flexible. This is exactly what made the Japanese react. Now manga is becoming recognized globally. If there was a system capable of reliably delivering the manuscripts in the editorial department, I would continue my career as a mangaka while living in Italy.

Arakawa: By the way, in JOJO A GO! GO !, it seems to me that you said that you would like to semi-retire in the Italian countryside in 10 or 20 years. And the book has now been released 10 years ago.

Araki: 10 years already (laughs)? In any case my desire has not changed!

Arakawa: No, continue drawing manga, please!

Araki: I wouldn't know what to do if I had to stop (laughs). But I really like Japan, so I will not emigrate to Italy even though it is a country of mystical energies. Me too, I like desert landscapes abroad.

Arakawa: Ah, like in Babel II!

Araki: Yes, there is a scene where the protagonist advances in the desert dressed with his school uniform. This combination had given me tears in my eyes without me knowing why. It is perhaps due to the contrast between death and youth.

Arakawa: It is the feeling of desolation characteristic of the desert. We can go anywhere without being able to go anywhere. I have always wanted to travel the Silk Road; cross the desert and ruins, then arrive in Rome.

Araki: That's great. I also like this kind of solo trip. In the summer, while I was still a high school student, I went in 2 or 3 weeks to Hokkaido by bike, my tent on my back.

Arakawa: I had a similar experience when I was a student. This is why I say that once I set foot on the Silk Road, I would make a manga of it. And you, after having continued your career, how about seeing each other again in 10 years in Italy (laughs)? I will come to meet you on the Silk Road.

Araki: Ohh, what a great idea! Well, it's okay, let's meet in 10 years to talk about manga in Italy. On the other hand, you will not want me if, for my part, I will travel by plane!

UOMO December 11, 2021

高橋一生が岸辺露伴への愛を語る！ ドラマ「岸辺露伴は動かない」２週連続ロングインタビュー（前編）

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昨年に続き、この2021年末にも12月27日（月）、28日（火）、29日（水）の3夜連続で放送される、荒木飛呂彦による人気コミック原作のNHKドラマ「岸辺露伴は動かない」。主人公である奇妙なマンガ家・岸辺露伴を演じる高橋一生が、作品へのありあまる想いを愛情たっぷりに語り倒す。２週連続の前後編でお届けします！

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黄金の精神を持つ人間が一人しかいないとしたら。

――今度の「岸辺露伴は動かない」で放送されるエピソードは、第4話が「ザ・ラン」、第5話が「背中の正面」、第6話が「六壁坂」となっています。「背中の正面」のみ『ジョジョの奇妙な冒険』本編（Part4 ダイヤモンドは砕けない）からのエピソードとなっていますが、このラインナップに決まったとき、どう思いましたか？

高橋　5話がどのように4話、6話のブリッジになるのかとは思いました。ただ、演出の渡辺一貴さんと脚本の小林靖子さんをはじめとした、『ジョジョ』シリーズの世界が大好きな方々が熟考して、さまざまな過程を経て作られている脚本です。大前提として、何の不安もありませんでした。一貴さんとは、「『岸辺露伴は動かない』の舞台である杜王町の世界線には、”黄金の精神”の持ち主がひとりしかいないと仮定すると…」と現場で雑談したことがあります。康一くんがいない世界であり、クソったれ仗助も、アホの億泰も、プッツン由花子もいない世界。つまり「第4部の杜王町とは違う世界線にいる岸辺露伴だとしたら…」と考えたりもしていたわけです。となると、もしかしたら泉京香（露伴の担当編集者）が黄金の精神を持つ人になり得るのかもしれないし、あるいは志士十五（露伴と同じ出版社で連載を抱える漫画家。第2話に登場）が、「くしゃがら」後そうなり得るのかもしれない。そう考えると、このドラマでは「スタンド」という言葉を使わずに、「ギフト」という言葉に変更していることが腑に落ちてきます。

――なるほど。違う世界線にいる岸辺露伴ですか。

高橋　幸い原作者である荒木飛呂彦さんが、“一巡後の世界”（編集部注：『ジョジョの奇妙な冒険 Part6ストーンオーシャン』）という概念を作ってくださっていたので、とてもスムーズにその可能性を露伴に載せることができました。ただ、個人的には「起こるべくして起こること」は、どの世界線でも絶対的なものであると思っています。このドラマでは、杉本鈴美（『ジョジョの奇妙な冒険 Part4 ダイヤモンドは砕けない』に登場）にあたる人物が仮にいなかったとしても、これから先のエピソードが描かれるなら、露伴自身の過去や血脈、運命に向き合う物語が立ち上がってくるはずです。どの世界線においても、運命として避けて通れない事柄は、露伴が乗り越えなければならないこととして現れます。ドラマを観てくださる方には「なら、このエピソードは運命の役割として、露伴が持つ“黄金の精神”の何を補強するものになるのか」と感じてもらえれば、原作のファンの方ならずともおもしろく観ていただけるのかもしれません。

意図してチンチロリンを想起させる動きを入れ込んでいます。

――そういったパラレルワールドというか、マルチバース的な考え方は最初からあったんですか？

高橋　はい。露伴が27歳という設定に対して僕は40過ぎです。年齢と経験は必ずしも比例しませんが、今回の『岸辺露伴は動かない』の世界に、僕の肉体を持つ岸辺露伴をどう立たせるかと考えたとき、一巡した、あるいは別の世界線と捉えることで、自分自身に説得力を持たせることができるかもしれないとは、第1話の冒頭のシーンを読んだときから考えの中にありました。細かいことですが、仗助にあたる人物とこの世界線の露伴はチンチロリンをやったのかもしれないし、火事で家が半焼したのかもしれない。あるいはこの先のエピソードでイカサマにまつわる何かが起きるのかもしれない。そういう可能性を観る方に委ねつつ、“無意識にせよ因縁めいたものをサイコロに感じている露伴”として動きに取り入れています（編集部注：2021年放送のドラマ「岸辺露伴は動かない」第3話「D.N.A」）。

――そうだったんですね。

高橋　もしかしたら違うエピソードとして出てくるかもしれないという可能性を僕なりに示唆したかったこともあります。昨年放送された第１話から、そう考えていました。演出家と俳優の関係性にあっては演出とお芝居で会話ができるので、一貴さんと“一巡後の世界”の概念を直接話したのは事前の打ち合わせではなく撮影の合間の雑談でした。一貴さんも近しいことは考えられていたみたいで、その部分の共通認識を持てたことによって、さらに世界が強固になったのは確かです。

――昨年末の時点では、単純にシリーズ化として続編を期待していましたけど、一生さん自身も当初から先を見越して、いろいろなことを考えていたんですね。

高橋　今後展開するならば、の願望を持つことは、今までのどの作品においてもそうでありたいと思ってきましたし、そうあってきました。今回のドラマにおいては、「シャーロック」のようにシリーズ化して続いていくなら単純に幸福だなと思っていました。ありがたいことに反響が大きかったということもあり早い段階から続編の話をいただいていましたが、実を言うとそれより前から続編の話は出ていたんです。撮影中からチーム内には手応えなのか、不思議と続編を感じている方が多かった。そこに反響があったということを経て、続編決定のお話をいただきました。同じ役を年跨ぎで演じ続けることができるのは、なかなか経験できることではありませんし、それが岸辺露伴という人間だったこと、また岸辺露伴から離れないでいられたことは素晴らしい体験でした。スタッフの方々も、前作とほぼ変わらず皆さん参加してくださってその皆さんが僕演じる露伴を生かし続けてくれていた。露伴としての生活に戻る基盤を用意してくれていたので、それを含めて幸福な時間だったなと。

ドラマの中ではアニメ的なことも取り入れてみました。

――「岸辺露伴から離れないでいられたことは素晴らしい体験でした」という発言（インタビュー前編）がありましたが、今回特に意識したことはありましたか？

高橋　当たり前のことですが、昨年の1話、2話、3話を経ての今回の露伴であるということです。露伴としての実在性をさらに強化するために、昨年から今年まで生きていたことを感じられるようにしたいと考えていました。加えて、好きなアニメーションのことも考えていました。優れたアニメーションは、画面内のキャラクターをコントロールしているように思います。意図してフリーズさせたり、動かしたりすることで、観る人間の視点をコントロールしていると感じるんです。例えばアニメにおいてはしゃべりかけられている相手が画面内にいる場合、静止していることもあるわけです。手間だから動かさないことももちろんあると思いますし、意図してそうしていることもあると思います。ですが、人間が身体で芝居をする以上、相手が台詞をしゃべっているときに自分が台詞を言うときまで突っ立って待っているという状況はないわけです。最終的にはどちらも観る人間に向かっていく「作品」ではありますが、見せていく手法には決定的な違いがありながら相関しているとも感じているので、『岸辺露伴は動かない』では前述のようなアニメ的なことも取り入れています。これはとても面白がりながらやらせていただきました。今後のお芝居においても、重要なことかもしれないと勉強させていただきながら。

鈴美や鈴美に代わる存在が出てくるのを期待しています。

――すこし気は早いですが、また新たな続編がつくられるとして、やってみたいエピソードは何かありますか？

高橋　一貴さんと一致しているのは「ジャンケン小僧がやって来る！」（『ジョジョの奇妙な冒険 Part4 ダイヤモンドは砕けない』に収録）です。

――おぉ、ジャンケン対決！　ぜひ観てみたいです！

高橋　露伴は「夕柳台」（短編小説集「岸辺露伴は戯れない」に収録）でも、第1話の「富豪村」でもそうですが、子ども相手に本気になる描写があります。そこには信念を試される場面に年齢が関係ないことを感じますが、「ジャンケン小僧」では少年の向こうに自分の乗り越えるべき運命を見ています。しつこくジャンケンを挑んでくる少年に対して「何だ、このガキ」と思っているところから、「この少年が持ってきた運命は、今乗り越えなければ何度も起きてくる」と思いはじめていく。側から見たら子どもと小競り合いをしているようでも、実はそこに自分として生き切ることへの真理があると思っています。そういった意味でも、「ジャンケン小僧がやって来る！」はエピソードとして出てきてほしいと思います。

――杉本鈴美とのエピソード（『ジョジョの奇妙な冒険 Part4 ダイヤモンドは砕けない』に収録）はいかがですか？　露伴のルーツにもつながる話なので、ぜひ観てみたいです。

高橋　続編があるなら、いずれ鈴美や鈴美に代わる存在が出てくるとは思っています。期待も込めてですが。僕の考えでしかありませんが、露伴の能力である「ヘブンズ・ドアー」でさまざまな人間の生い立ちや秘密を読んでいく好奇心や興味が向かう先は、どこかで自分に向けられているんじゃないかと思います。寺の住職に言われて初めて鈴美との記憶を思い出していく原作のエピソードは、ドラマが続くのであれば必然性を伴って起こってくるように思います。鈴美や藤倉奈々瀬（「岸辺露伴 ルーヴルへ行く」に登場）のような、自分の過去、露伴という人格を決定付けた影響力のある存在や、ファム・ファタール的な存在が出てくると、露伴の魂の奥行きが見えてくる気がしているので、実現するとますますおもしろくなりそうです。