By The short animated film “さざ波の少女たち” was born from the meeting of young creator toubou. (Mizuko Soma) and Skoota Films, who are particular about their own works.
Despite being an unknown combination in terms of industry achievements, it has already gained global attention, having been screened at the Zagreb Animation Festival in Croatia.
In the second part of the interview, we discussed the creator’s dedication to the work and their unique perspective of viewing creation as a “curse.”
Interviewer: Tarochin
Born in 1985. Real name: Shotaro Oi. In 2008, he started game commentary on Nico Nico Douga as “Tarochin.” After working as a writer and editor for the web news site “Netorabo,” he is now freelance. He was a person who loved alcohol, but after suffering from severe acute pancreatitis in 2022, two-thirds of his pancreas necrosed. He is now permanently abstinent.
The key to completing a work is “spirit” – A relationship of trust born from the creator’s “will”
――The team was formed with Skoota Films due to the talent and enthusiasm of toubou. What was the process leading up to the creation of the short animated film “さざ波の少女たち”?
Ashizuka: “It naturally became ‘let’s start with a short film.'”
toubou.: Yes, I didn’t think a complete amateur could suddenly make a two-hour movie, so as a realistic goal, I aimed to complete a short film first.
――Where did the work begin?
Ashizuka: Initially, Sakoda-san organized the script while interviewing toubou. We discussed theories about visualizing the story, such as “this part is the introduction, development, turn, and conclusion,” and delved into the script, leading to character settings.
Harada: We talked a lot about needing a story. The teaser made for the graduation project was based on selecting parts that sparked toubou.’s imagination and connecting them visually, but since it was going to be a film, we needed a solid narrative structure to convey it to the audience. We approached that carefully.
――As it was your first time directing a team, did you face any challenges in that role?
toubou.: During the time I was creating V-con every day and sharing it with everyone, I was in a position where I held all the answers for this work. I was constantly struggling with how to convey the answers that only I possessed to others.
In meetings about the artwork, I worried that if there were things I couldn’t explain about my own work, it would be very inconvenient for the team. After every meeting, I would hold a self-reflection session and feel down.
――That sounds like a unique struggle for a director working with a team…
toubou.: In a graduation project, as long as I meet the deadline, I can manage even if it’s a last-minute effort. But when working with a team, there are people who can’t move forward unless I provide the answers. I felt the difficulty of imagining beyond my own perspective.
――And you were suddenly a “director.”
toubou.: Yes, especially since I had never made an anime before, I was a complete amateur who suddenly stepped in, so I thought, “I have to fill that gap!” and worked desperately.
At one point, when I felt like I was about to break down, Sakoda-san told me, “You need to provide the answers for us to move forward,” and it felt like a wake-up call that really resonated with me.
――It seems that the experienced team at Skoota Films guided you through that.
Ashizuka: Sakoda-san was quite strict at key points, saying things like, “You still have this much left. What will you do?”
toubou.: I also had the fear of “What if everything I worked on up to this point gets thrown away?” Additionally, I have a competitive streak, so if I received any criticism, I wanted to show through my actions that I had improved significantly next time.
――If you deliver results, there will be no complaints.
When I was going to art school, my parents thought I would fail the entrance exam, so I had to create a situation where I could pass and enroll. When I was told at university, “Can you really make a living from art?” I made sure to say, “I’m already getting paid for my work!” That was something I had to do myself. So when asked, “What’s the key to completing a work?” I would answer, “Spirit!” (laughs).
――I see (laughs). That seems to be the strongest approach, and perhaps that’s the temperament needed for a creator.
Harada: That’s absolutely right, and it was that will that made us trust her. Making a film is incredibly challenging. You mentioned being competitive, but I felt she was putting her all into it. Otherwise, it wouldn’t be possible for one person to draw all the backgrounds.
――By accomplishing that, the trust between both parties has become even stronger. Were there any other memorable moments during production?
Ashizuka: Actually, during the production phase, toubou. created a V-con with her own voice for the dialogue. Her voice fit perfectly.
――Oh, so the director herself recorded the temporary lines.
toubou.: I said no many times (laughs). I thought it was really unreasonable…
Ashizuka: But the sound director praised it a lot, saying, “toubou.’s voice is the correct one, so if a voice actor records it, it might actually feel out of place. I will do my best to eliminate that discomfort!”
――It seems that doing things you wouldn’t normally do is part of working in a team.
toubou.: Indeed, while working with the Skoota Films team, I felt that even though it was my work, the resolution of aspects I hadn’t noticed before was increasing. I intended to portray the character Haruka as a pure and innocent girl, but Ashizuka-san pointed out, “Haruka isn’t really that nice,” and I realized, “Oh, that wasn’t the case.”
For the character Rintarou, I initially envisioned her as a calm, cool girl, but as we worked on the project, she became more human and energetic. That wouldn’t have happened if I had created it alone, so it was a pleasant surprise.
――Was the production mainly done remotely?
Ashizuka: Yes, toubou. participated in online meetings regularly from her home in Aomori. Many of our animators are quite shy, and initially, during drawing meetings, they often kept their cameras and microphones off, which might have made toubou. feel a bit out of place.
At one point, we held meetings in a virtual office called “MetaLife.” It involved pixel art avatars gathering in a web conference room to communicate, and it seemed to help the shy members open up a bit more.
――I see, it seems that anime production involves such creative solutions…
Harada: The fact that we had to come up with solutions for shy individuals might be a unique case for Skoota Films (laughs).
toubou.: But being part of Skoota Films has increased what I can do and think about, and I truly appreciate the strength of not being alone. Even while being in Aomori, I can experience joy and fulfillment.
A commitment to the Cinemascope aspect ratio – “I want it to be seen as a viewing piece”
――By the way, “さざ波の少女たち” was created in Cinemascope from the teaser for the graduation project. Was that a commitment from toubou.?
toubou.: For the graduation project, I initially made it in the standard 16:9 format, but I thought my backgrounds would stand out better in Cinemascope.
――I found it memorable to see such a wide aspect ratio video on YouTube.
toubou.: The 16:9 aspect ratio has a strong sense of déjà vu, for better or worse. I wanted to create a feeling of “watching a viewing piece,” so I chose the less familiar Cinemascope aspect ratio. While it might reduce immersion, I wanted viewers to feel a distance between themselves and the viewing piece.
――I see, having such a philosophy from the start shows that you have a clear vision of what you want to achieve.
Harada: Cinemascope is often disliked because it’s too wide and difficult to compose, but I think that making it work as a piece of art is actually a distinctive feature.
Also, regarding immersion, I think that as devices like “Apple Vision Pro” become more common, watching it on such devices might actually provide a significant sense of immersion.
――How long was the production period for “さざ波の少女たち”?
Harada: From November 2022 to around February 2024. So, we often say it took “about three years,” but in reality, it was just over a year of production.
――”さざ波の少女たち” has been scheduled for screening at the Zagreb Animation Festival, but there are still no confirmed locations for viewing in Japan (as of July 2024).
Harada: Short films face challenges not only in production but also in distribution. It’s rare for a theater to screen just one short film, and even for online distribution, it’s quite difficult to find a way to present it.
――Indeed, opportunities to watch a single short film are quite rare…
Harada: That’s why film festivals have been a crucial focus since we started making it. We are applying to domestic film festivals in Japan, and I hope to share updates on that soon. I originally thought that toubou.’s works and art would resonate more with overseas audiences. There are many short film festivals abroad, so it seems fitting.
Ashizuka: Zagreb is one of the “three major animation film festivals” in the world, so being able to participate there is very exciting.
Releasing a work is a “curse” – The passion of toubou. depicted in “さざ波の少女たち”
――Regarding your first work being screened on such a large stage, what are your feelings, toubou.?
toubou.: Honestly, I don’t really understand…
――(laughs) Is it that you can’t grasp it yet because you haven’t received any reactions from viewers?
toubou.: Yes, there’s a part of me that thinks, “Is this really happening?” (laughs). Completing this work was my primary goal, so I still find it hard to imagine what comes next.
In the first place, I have no desire to “make a name for myself with this work” or “to be successful.” I think my somewhat eccentric nature will gradually be revealed to the world…
Ashizuka: But toubou. said when the film was completed, “I guess I will be discovered by the world” (laughs).
――That sounds quite ambitious (laughs).
toubou.: Ah… but I think of releasing a work as a “curse.” To release a work means to widely scatter the traces of my life and implant them in someone else. I want my essence to gradually seep into everyone’s memories through my work, ultimately becoming someone who remains in their memories. That feels like the greatest project of my life.
――That’s profound; it truly feels like a “curse.” It seems like a much grander ambition than simply wanting to “succeed.”
toubou.: It might be a dangerous thought (laughs).
Ashizuka: We really feel, “That’s the spirit!”
toubou.: I believe that if someone’s memory or record doesn’t remain, the fact that they lived will gradually fade away. If I have the ability to create works, to let others know about my existence and feelings, then I want to pursue that.
――I see. That might resonate with all creators.
Ashizuka: Personally, I think toubou. isn’t necessarily a nice person… which might sound odd (laughs), but I believe the “passion” is depicted in the work through memorable lines. That aspect adds a unique character to the director as a person.
toubou.: I believe that watching “さざ波の少女たち” will help people understand me. Haruka is a part of me, and Rintarou embodies the hope of wanting a friend like her, wishing to live the next life while retaining my current memories.
――I hope people in Japan can see it soon. This work is part of the “さざ波プロジェクト,” which plans various developments beyond this film. What specific plans do you have?
toubou.: Currently, we are releasing new illustrations and texts weekly on the official site. We are expressing the world of “さざ波” that isn’t depicted in the film, so I hope people can feel that this world is still expanding.
Harada: I hope to express that there are many other people living in the world of “さざ波” besides Haruka and Rintarou. One of the animators who participated in this film was originally a fan of toubou. and understood the world, so she and toubou. are creating a new 30-second video together.
There is a short film festival that screens very short films at New Chitose Airport in Hokkaido, and I hope we can participate in that. It will be a video with a square aspect ratio, connected to the world of “さざ波,” so I hope we can do something different.
――I look forward to it. Finally, after completing such a significant project, what are your thoughts on future works, toubou.?
toubou.: I can’t keep the emotions that well up inside me to myself, so I think I create works to release them. I have been turning my feelings into works, burning them, and offering them as a way to mark a conclusion. Now that I have completed “さざ波,” I feel quite “empty.” So, I still don’t know what to do next… right now, I feel sorry for everyone as I live (laughs).
――I see. But that’s a good thing. You created works to help yourself, and you have indeed been helped.
toubou.: That might be true. I always feel that once I have expressed what I want to express, that will be the end for me, and I live in a momentary way. However, after some time, I might want to turn this “empty” period into a work.
Creating works is like extending my own life, or perhaps it’s the reason I live. I think if I couldn’t draw, I would be the type of person who would have perished by now, but I want to love the world, and I create to find that. I believe I will continue to create works with that mindset.
(End)
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