The dark worldview created by each director is colored by a team of creators including character designer CLAMP, scriptwriter Michiko Yokote, and music composer Akira Miyagawa.
Animate Times interviews Tatsuhisa Suzuki, who plays the role of Jacob, who is responsible for the prologue of all 6 episodes! We spoke to WIT STUDIO about their challenging work and memorable anecdotes.
──This work has assembled an extremely talented staff.
Tatsuhisa Suzuki (hereinafter referred to as Suzuki) who plays Jacob: I was surprised that WIT STUDIO, which has worked on various works, would take on another ambitious challenge. I guess he’s an explorer. CLAMP was the character designer, and Mr. Miyagawa (Akira) was the music composer. I got excited just hearing about the zagumi.
──Actually, from the pictures to the music, there is a lot of attention to detail.
Suzuki: In this work, I purposely tried to do things that would normally take time and effort. For me, I once again realized that you can only create something interesting if you put in the effort. It made me think that maybe this is one of the correct answers.
──Don’t overlook the fact that each episode has a different director.
Suzuki: The style really changes depending on the director, and that is something to behold.
──Did you feel the enthusiasm of the staff up close at the special advance screening with a talk event that Suzuki-san also attended?
Suzuki: As we talked, I was able to learn a lot about the production process. This work is packed with things that the staff wanted to create, so it’s almost twice as long as a normal anime. It seems like there were some difficulties as it took more time than usual, but I can feel the passion that went into it from the stories of Mr. Ninomiya (Genta: Animation Producer) and the rest of the staff.
──Are you familiar with fairy tales themselves?
Suzuki: It’s just the things my parents read to me a long time ago. There were some works that I had been exposed to since then, but I didn’t really recognize them as Grimm’s fairy tales, so when I became an adult, I sometimes realized, “This was also a Grimm’s fairy tale…!”
──In this work, many such fairy tales are rebooted with a dark world view.
Suzuki: There is a lot of red (blood) flying around in the film, which is rare in recent works. It looked very sensational because it was a head-on depiction of an area that is difficult to explore in this day and age. When I was a child, I thought it was appropriate to have such expressions. Moreover, it was the heyday of OVAs at the time, so the expressions were even more extreme. This work has expressions that bring me back to those days, and I felt the difference between the standards of Japanese entertainment and entertainment around the world.
──The tolerance of expression is unique to Netflix.
Suzuki: That’s right. I think this is a unique strength of streaming distribution.
──Are there any episodes that were particularly memorable?
Suzuki: The script for “The Dwarf’s Shoemaker” is very theatrical. Something happened that triggered him to make a breakthrough in a place he didn’t know about, and from there he faced himself again. There are various episodes, but this is the only one that I wanted to play myself.
──Since “Dwarf Shoemaker” is set in the Japanese world of the Showa era, it may be easy to get into the worldview.
Suzuki: That’s right. It has a Showa era feel to it, so I compared it to myself when I was in elementary school.
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