This position is called the commando captain who rushed to the front line of the battlefield. Specifically, it is because there are too many characters in the TV version of "Beijing Blossom" and there is also a blowing part.

2025/04/2923:07:38 hotcomm 1512

Author: HB/Anitama Cover source: "Liz and the Blue Bird"

Yamada and Takeda are because of the TV version "Blow it! "The Bass" often meets each other, and Yamada holds a series of performances in the TV version. This position is called the commando captain who rushed to the front line of the battlefield. Specifically, it is because there are too many roles in the TV version of "Kyoto Blossom" and there is also a blowing part. All of these have made Ishihara supervise a person's inspection work too much, so it was set up such a position to help Ishihara share the work. The planning of the

theatrical version started very early. At the end of the second episode of the TV, Takeda was creating the plot of the previous and next chapters of "The Second Movement of the Waves". After Takeda wrote the plot carefully, he handed it over to Kyoto for full responsibility.

At the beginning, Ishihara only planned to make "The Second Movement of the Bo Ran" into a theater version. However, after reading the plot written by Mr. Takeda, Yamada had a strong love for the characters Matsu and Nimi. But since Ishihara wanted to make a regular theatrical version with Kumiko Huangmae as the protagonist, Yamada thought it would be good to take out the story of Shimo and Nimi alone to make a theatrical version, so the theatrical version of "Liz and the Blue Bird" was born.

Since the second volume of the original work, "Kei Uji High School Blowing Hot Summer", Yamada has always liked the roles of Matsu and Nimi very much. It is not easy to meet a work that is so straightforward to put on the table by the same-sex intimate people.

The interviewer asked Takeda to describe Yamada's image in his heart and wanted to evaluate Yamada in front of Yamada. Takeda was a little shy at first. With Yamada's encouragement, Takeda said that he has been pursuing creating novels that are naturally decorative, but it is quite difficult to achieve this goal with words. However, Yamada can express his words beautifully through images, so watching Yamada's works can always be moved.

Yamada said that he was always creating with the idea of trying to move the audience's unconscious. Yamada has accumulated a lot of inner touching experiences by enjoying music, paintings, and movies on weekdays, so Yamada feels that she is studying how to touch people's heart every day.

Takeda is a goal achieved through words as weapons, and Yamada needs to be achieved through the combination of colors, sound, air, time and other elements. For example, when expressing coldness, Yamada's values do not allow the character to say "very coldness" directly, so they need to keep thinking about what methods to achieve in order to express a certain feeling.

Starting from the creation of the second volume of novel "The Second Chapter of the Bo Ran", Takeda felt that Norimi and Wu began to develop in different directions. Their emotions were unstable and would constantly change in good or bad directions, so he wanted to describe the state of their relationship changes. While thinking about how to change the relationship between the two people into a work, Takeda came up with the idea of designing the story by using the liberal song "Liz and the Blue Bird" as the theme. When the umami said "I like Nigami the most" in the original work, Nigami responded to "I also like the oboe of the umami," which impressed many people. Takeda said that his novels tend to express the characters freely and casually, but when Nicholas said "I also like the oboe", he must have shown all his sincerity. This sentence is the maximum concession that Nicholas can make, and it is the expression of Nicholas's emotions that want to recognize the things that should be recognized in the turmoil. It can be said that Nicholas' limit.

"Blue Bird" is a work that is fully close to the daily life of two teenage girls, so Yamada believes that the delicate hearts of girls who are truly dreaming should be expressed on the picture. Also, because the perspective of the story is frequently switched, in addition to the sight of Wu and Nimi, there are three perspectives except for the two. Therefore, special attention is needed to be paid to the awareness of hiding around the girl with caution, and concentrate on taking pictures of the privacy between the girls without any effort.

Compared with the original work of Kumiko discovering the emotional changes between Shimo and Nima, the roles of other characters in the animation are obviously less.This is because Yamada wants the troubles of Shin and Nomi to be expressed from his own mouth rather than guided by a third party. From this point of view, Yamada hopes to lurk next to the girl and shoot it so that the girls can simply tell all the secrets that no one has discovered.

mentioned emotional resonance, and Takeda mentioned that he understood Nimi quite well when he wrote the second chapter. Takeda believes that he and Kumiko are completely different. Kumiko's perspective on the world is completely different. Perhaps Kumiko's position is closer to the turmoil. So every time Kumiko protects the turtle, Takeda will think in her heart, "It's obvious that Nimi is not such a bad child."

Yamada said that whether it is Wu and Nimi, Liz and Bluebird, they don’t quite understand the mood of their desire to spread their wings and fly, but Yamada empathizes with the emotions they are reluctant to leave.

Yamada believes that Nimi is a character that makes people feel at ease. She is always worried and thinking about various things. Nimi is asking for help from the other party, but she always acts on her own and talks to herself, and it will always affect others. Others will also worry about Nimi's uncomfortable appearance. This is why Yamada feels that it makes people feel at ease. On the other hand, Shin-sama has no interest in everything other than himself and Nomi, so in Yamada's view, Shin-sama is more like a decisive man. Takeda also believes that Nicholas is the character who can arouse people's desire to protect himself, and he is obviously working so hard. When designing a character, Takeda will look for materials from his acquaintances and friends around him, and then use the selected materials to combine them into the character. However, "Blue Bird" does not design Nimi and Matsu by splicing the materials of friends, but rather the inspiration that Takeda got from seeing all kinds of unsatisfactory friends when he was a student.

Takeda expresses his emotions of "Why did it become like this?" through the relationship between Nigami and Tsubasa. Takeda gave an example of the so-called "Why did it become like this?" emotion. For example, five people chatted on the tram together after school, but they only had a good relationship with one of the others. At this time, the atmosphere became worse because of their own words, and they felt lonely. This was probably the emotion.

In Takeda's view, the theatrical version of "Blue Bird" is a completely different movie with an independent world view than the TV version and the novels he wrote. Especially the fairy tale part is very different from the novel. It is just a simple outline in the novel. It turns out that the image looks like this, which makes Takeda feel very fresh. Takeda feels that "Blue Bird" lets him bathe in a quiet, beautiful but slightly turbulent youth. When

was made in the TV version, because Takeda wrote the garbage, dust and other things that Kumiko saw in detail, Yamada also attached great importance to the dust and garbage that Kumiko saw, and these must be carefully inspected. What Yamada cares more about in "Blue Bird" is the mood of Nimi when she said the line "It's better to have a happy end". In the previous event of

, Yamada once said that he didn't know how to express his feelings for "Blue Bird" in words. Yamada said that he should want to take the "throbbing before the character's growth moment" into an image, but when he was painting the storyboard, Yamada always felt something in his heart that was blocked in his chest, and he also wanted to ask everyone to name his emotions that blocked in his chest.

In Takeda's view, "Blue Bird" is like taking photos of the previous bubbles, capturing beautiful moments. As a novelist, Takeda also admitted that it is a bit difficult to describe this feeling in words.

"Blue Bird" was not affected by this theatrical version, which is the pure story of Kumiko. However, if you watch "Blue Bird" first and then "Beijing Blow", you may get some thoughts.

Takeda felt the power of the image through "Blue Bird". "Blue Bird" touched himself, but he could not be described in specific language. When making the TV version, Yamada will find inspiration from the new short stories written by Takeda, and Takeda will also borrow various characters from the animation to the novel. So compared to direct language communication, Yamada feels that she and Takeda are more like exchanging diaries. Ishihara is also very happy when she sees the characters in the animation appear in the novel.

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