Yoshiki Sakurai interview the 1st

By David Rasmussen
14th Aug 04

Yoshiki Sakurai

With: David "Manga to Go" Rasmussen

Alright people, I'd like you all to meet Mr. Yoshiki Sakurai (for those of you who has been visiting the Production IG forum board for Ghost in the Shell TV (Stand Alone Complex) he's also known as "Ghostwriter"). But who is he? You're about to get to know him abit more.
So without further ado let's get to it.

David - How did you first get involved with Production IG, and what have you done for them to date?
Mr. Sakurai - I took part in Stand Alone Complex as a scriptwriter while I was a student, and got involved since then. I have only taken part in this series.

David - Is there any other Production IG series or projects that you would, if possible, like to be involved with. And, if so, what projects and why?
Mr. Sakurai - I don't have a particular one at the moment. I want to do a samurai action series or film in Edo era sometime in the future, but that is just my dream.

David - If you had to pick 3 Miyazaki movies you particularly enjoyed, which would those be (and why)?
Mr. Sakurai - Nausicaa, Kiki's Delivery Service, Laputa (Castle in the Sky). I think for most Miyzaki fans, the earlier titles are the most impressive ones.

David - But why? What is it about Miyazaki's earlier works that, as a fan, you find more impressive than his later works? And does that mean you were not as impressed by his present works (Mononoke Hime, Spirited Away)?
Mr. Sakurai - I think the earlier titles have more consistent themes and plots and gadgets that all fix together well. For example, I was amazed with how Miyazaki-san used the policeman in Kiki's Delivery Service. The policeman is first used to ruin Kiki's ambition by warning her not to fly near the streets, w hen she first comes to the town. He is then quickly removed out of the story when Tombo calls "Thief!", thus making Tombo's appearance look natural, quick and smooth. Near the end, Kiki overtakes a policecar in front of her when she is chasing the airballoon with a broomstick, indicating that police are no use against the airballoon accident and only Kiki can help Tombo. And at the end credit scene, the policeman walks across Kiki's baker shop and waves at her and Kiki waves back at him and we all know that they have reconciliated. I felt I wanted to cry seeing this scene. These really subtle scenes are well made and all dialogues and all pieces function superbly. I cannot feel that kind of superbness in his latest films anymore. (Although I am still very very happy that he was finally recognized in the world.)

David - If you had to compare the ecological message from Nausicaa to his more recent work "Mononoke Hime" (Princess Mononoke), how is the message different between these two movies?
Mr. Sakurai - In Mononoke Hime, I think he tried to propose something different from the religiously optimistic ending in Nausicaa. I loved certain phrases that Eboshi or the Okkotonushi said about the relationship between human and nature, but on the whole, I didn't think the theme was consistent.

David - In terms of the approach, how would you compare the ecological approach of Miyazaki's movies in comparison to that of, say, the Anime series Arjuna?
Mr. Sakurai - I haven't seen Arjuna yet. Sorry.

David - Is there a genre of anime that you particularly like? If so , why?
Mr. Sakurai - Not really. I watch all genre, but not many. I like kids TV series like Crayon Shin-chan or Doraemon, I adored Patlabor series. Lain and Bebop are among my favourite. Time-Bokan, Gamba, Konan are my favourite too.

David - On the t opic of the Tachikoma short comedies, do you believe it might be easier or harder to portray these machines in a comedic manner than it would if the Tachikoma were humanoid? And why would it be easier (or harder)?
Mr. Sakurai - Ah, that is really a good question. I think it would be easier to depict comedy when they are NOT humanoids. The reason for it is explained in the 15th episode.

David - Will the comedies draw on the manga for stories or for inspiration, or will it be entirely new stories never before seen?
Mr. Sakurai - The main concept of it, is for 3D staffs to enjoy. They were under a lot of stress making the actual episodes, and we wanted something light that they can enjoy making. I came up with ideas, and wrote them down as a script and then handed them over to 3D staffs.

David - So the main concept of the comedies is to get the 3D animation staff to unwind, right? Did it have the desired effect when they were given the assignment? And is there any particular story concept or storyline that the 3D staff had the most fun working on?
Mr. Sakurai - We wanted to do something we possibly cannot do in the actual episodes. We might have gone off track a little bit. But please forgive us since it is Tachikoma. we loved it so much.

David - What can you, at present, tell us about the Tachikoma short comedies, and how is the work progressing on them to date?
Mr. Sakurai - All of the scripts are finished. The actual 3D progress is half finished.

David - Presently there are three live action "versions" of Animes in the work in America. DragonBall Z (20th Century Fox), Akira (Warner Brothers) and the recently announced Lupin the 3rd (Dreamworks touted as the studio in question that‘ll make this movie). What is your opinion of American filmmakers working on Anime films, and do you think they'll succeed or fail (and why?)
Mr. Sakurai - To be honest, I don't know. But I sincerely hope that the will "succeed" both financially and artistically.

David - The people at Warner Brothers has already made it clear that they intend, when making the Akira movie, to make it their own way (already I've read first draft scripts which seem to alter from the original work). Is this the right thing to do, or should the WB thrive to make the Akira live action movie as true to the original work as possible?
Mr. Sakurai - Oshii-san changed a great deal from the original manga that Shiorw-san did. I'm sure there are certain changes when trying to make a live-action version with a different director, producer and staffs. It is only natural.

David - In your interview with Deacon Blues you talk about stress. How do you de-stress when the stress levels get a little too high? Also, can you give any hints as to how you deal with some of the situations you run into on a daily basis?
Mr. Sakurai - I wasn't trying to complain. May be I drink alcohol (I like red wine a lot) and watch a rental DVD film at home.

David - Could you tell us what a typical day of work for you would be? What kind of duties and responsibilites do you handle on a day by day basis? And do you find any aspect of your job easier or harder than others?
Mr. Sakurai - I usually have 2 or 3 meetings a day. Apart from that I sit at my desk and write. I sometimes go out for lunch or dinner and I also go to book shops as well.

David - Now, do you have any favorite mangas? What are they, and why are they your favorites?
Mr. Sakurai - I answered this in another post by T.K.
(Interview's Notes - I dug through the site to find the post and here it is---)
Mr. Sakurai (in response to a post by "T.K.") - I am worried a little that I might disappoint you, but I don't read comics very much. But now, I like "Real" by Takehiko Inoue, who did "Slam Dunk" and "Vagabond". It is about wheelchair basketball. Also I like "Mugen no Junin"(Sorry I don't know the English title) This is about samurai action entertainment. And I also like "Say Hello to Blackjack". This one is a story of a young naive doctor facing many political/ technical difficulties in the medical world.

David - As the days pass, do you find your work at Production I.G. becoming easier (and more predictable) to manage, or are there always new things to challenge you and keep you on your toes workwise?
Mr. Sakurai - I feel I'm getting busier and busier. I have more scripts to write, and more meetings to attend.

David - If you had to pick one day at Production I.G. that was stranger than any other day, what day would that be (and why was it a day you probably wouldn't forget for at least the forseeable future?)
Mr. Sakurai - Every day is strange to me. Nothing is the same.

David - So far, you've noted that your screenwriter for Ghost in the Shell TV & the Tachikoma comedies. But has any new responsibilities come your way (or is there signs that you'll be asked to take on more projects and responsibilites in the near future that you can tell us about?)
Mr. Sakurai - Ghost in the Shell TV game script. It will be sold at the end of this year probably.

David - From a post concerning Episode 11, you note that you wrote (if I am not mistaken, and if I am I apologize) Episodes 3, 8, 11 & 12, 15, 17, 24 and 25 of Stand Alone Complex.
Of these episodes to date, which one was your favorite to write? Which one was the hardest (research and idea wise)? And is there any episodes that, in retrospect, you wish you could go back and tweak a little more (writing wise)?
Mr. Sakurai - I have spent 2 years for the script and I like them all. But I feel there are episodes that could have been someone else and episodes that only I could have written. Those are 3rd and 15th.

David - Why Episodes 3 & 15? Could you explain further what it is about these episodes that you wish were done differently?
Mr. Sakurai - Ah sorry. I meant I like the 3rd and 15th episode. They might not be interesting or entertaining as other episodes, but this 2 are very "Sakurai" taste I feel. Probably because I used many ideas from my dissertation especially for these 2.

David - Besides the episodes noted above, have you been asked to write anymore episodes or projects since that posting concerning Episode 11?
Mr. Sakurai - No, at that point, all the scripts were done.

David - Would you say that the influences of your writing skills comes from an outside influence(s), or from within?
Mr. Sakurai - Both. I read more critiques than novels, and those influences are in some of my episodes like #15. But Kamiyama-san's influence was great since we spent time talking and talking together. Those influences are in episodes such as #12.

David - When it comes to the brass tacks of the episodes scripts, how much input and control did you have when writing the episodes? Would you say you had more than enough control to write the stories to your satisfaction, or did you wish you had abit more control to tweak some ideas in that you had but couldn't use? (And did any of those unused ideas spill into the Tachikoma comedies?)
Mr. Sakurai - When I first experienced writing a script, I was amazed how much influence a writer has over an episode. Kamiyama-san is strict and stubborn but at the same time, extremely understanding. He was always open-minded to hear other people's ideas. Tachikoma comedies are something totally different. But I enjoyed writing them because it was sort of a break after writing hard & tough scripts.

David - And what about the input by Mr. Shirow? How much input does he put into each episode? And what can you tell us about him?
Mr. Sakurai - He brought us several synopsis which were almost like scripts as they were. These ideas are used in the 1st, 8th, 10th, 14th and some other episodes. But Kamiyama-san and other writers changed a great deal and put in a lot of new ideas, so they might not look even similar. This was because his story was basically too long to fit in 21.5 minutes. Shirow-san is a really quiet nice man who lives in Kobe. I met with him twice but he is always gentle, kind and polite.

David - Any parting words for our readers?
Mr. Sakurai - Thank you for taking your time to read. We will do our best to make GITS SAC as interesting and exciting as possible. And I hope to see you some time in the future, in some foreign anime event. See you then!

-- David Rasmussen 14th Aug 04