Interview with Kawamori Shouji

The Vision of Kawamori (continued) Kawamori on ESCAFLOWNE
EX:		What are some of the influences for the story of ESCAFLOWNE? (For example, American and Japanese science fiction novels).
KS:		For ESCAFLOWNE, I don't think there was any special influence on my own planning. Originally, I think incorporating the shoujo manga style was probably one of the influences, but [ESCAFLOWNE] is completely different from the typical fantasy storyline. (laughs)
EX:		According to Bandai Visual's Takanashi Minoru, you read works by English author Colin Wilson before the project of ESCAFLOWNE, right?
KS:		Oh, that's true. I did read his nonfiction works, as opposed to his novels. Instead of his books influencing [ESCAFLOWNE] though, I used his books to explain ideas that were similar to my ideas to Takanashi.
EX:		Which titles, such as ENCYCLOPEDIA OF UNSOLVED MYSTERIES (Japanese title: SEKAI FUSHIGI HYAKKA)?
KS:		I don't think that was it. The books used were Colin Wilson's books on psychics and humanity's mysterious powers because I have a very avid interest in them. His ideas are similar to mine.
EX:		And the mystery of Atlantis?
KS:		Yes, that's right. There wasn't a direct influence, but I had an interest in this and other areas before [ESCAFLOWNE].
EX:		According to [character designer] Yuuki Nobuteru, [Sunrise producer] Minami Masahiko, and [Bandai Entertainment vice-president] Ken Iyadomi, Sunrise is planning to turn ESCAFLOWNE into a movie. If you can talk about them, please describe the plans about movie production and story.
KS:		The story plans are still in development at the studio so I can't describe it. (laughs) However, do you remember the differences between the [first] MACROSS series and film? The differences [between the ESCAFLOWNE series and film] will be even greater. (laughs) I am still rewriting the scenario, so I'm not sure quite yet what the story is going to be.
EX:		I was wondering about the origins of the name Escaflowne and Mystic Moon [Maboroshi no Tsuki]...
KS:		The origin of the name ESCAFLOWNE... hmm, it's a little interesting... Before the current director, Akane Kazuki, there was different person who was supposed to direct. At that time, this person said, doesn't this name sound interesting? He thought it sound wonderful. But was there any meaning to it? (laughs)
EX:		But it has a meaning, doesn't it?
KS:		I think it does but... hmmm, it's probably something like (in English) "escalation," or along those lines. I thought it didn't sound bad.
EX:		And for Mystic Moon?
KS:		Nobody on Gaea [the world in which the story takes place] knows for sure what the Mystic Moon is, although it has the shape of a moon and it looks like Gaea.

The Industry and Future Projects

EX:		Which do you enjoying doing the most, directing, story supervision and planning, or mecha design?
KS:		I like all of these roles, but I like story planning the best. In the Japanese animation industry, I am kind of known as one of those people who spends a significant amount of time in pre-production. For example, in MACROSS, I took two years for just pre-production planning, and three years for ESCAFLOWNE. For me, I consider three years normal. For instance, before this convention trip [in America], I was in Brazil for about eleven days for pre-production planing on a show I'm working on now.
EX:		What is the current state of animation in Japan?
KS:		The state is extremely trying. (laughs)
EX:		Why do you say that?
KS:		There are too many projects. I think half of them are not necessary, and there is not enough resources for everything.
EX:		According to the credits of OUTLAW STAR and COWBOY BEBOP, you assisted their designs. Which designs did you create?
KS:		In OUTLAW STAR, I designed the ship Outlaw Star itself, as well as various cars and air carriers. As for COWBOY BEBOP, I didn't create the designs but I helped create the "world image"—for example, the surroundings of the solar system, since the solar system is vast. For instance, I help create the landscape on Mars and the other planets. I drew a lot of sketches.
EX:		Do you plan to participate in ARMORED CORE 2?
KS:		I'm planning for ARMORED CORE 2—not for the Playstation, but for a planned new machine, the [Sega] Dreamcast. I was very impressed by the digital imagery and computer graphics effects that can be created.
EX:		Can you tell us anything at all about your future projects?
KS:		I've been creating now the trial designs and plans of two television series for next year. But I'm not one hundred percent sure that both will go through. The first is an action series that's... let's see... I'm creating the story and pre-production planning, but someone else will be the director. The other project is a short series that I will be directing, a mysterious type of show that not like anything that's been out. For instance, imagine a combination of MACROSS and SPRING AND CHAOS. There is also an arcade game [SUPER STEEL WAR CHRONICLE KIKAIOH] that will be out in October. I'm creating the mecha design and concept planning. Now I am creating new characters and new storylines for MACROSS [DIGITAL MISSION] VF-X 2. I'm also designing a transforming bomber and attack craft for it. I am also doing design work for several television series. Kawamori Shouji at Otakon.