It’s more moving than any other Yamato! We’re already excited with anticipation
Space Battleship Yamato, Final Chapter
It’s been 10 years since the TV series Space Battleship Yamato. During that time, the trilogy of films was released: Space Battleship Yamato, Farewell to Yamato, and Be Forever Yamato. All were huge hits, demonstrating their overwhelming power amid the anime boom.
This “final chapter” ties up all the loose ends of Yamato‘s past. The highlights are likely to be the reunion of Susumu Kodai and Yuki Mori, who grew up alongside Yamato, and Yamato‘s heroic end, witnessing their union.
Furthermore, the return of the ship’s original captain, Juzo Okita, and the third appearance of the nemesis Dessler, provide entertaining moments for the viewers, as do the other key characters of Yamato.
Of course, there are plenty of spectacle scenes, too. The appearance of the giant battleship Uruk, the water planet Aquarius, and a fierce battle with the formidable planet Dengil are all on a grand scale, befitting a final chapter.
(For more details, please refer to the interview with producer Nishizaki in this month’s Anime Frontline.)
Anime Frontline
’83 Special Project
Big Producer, talk about anime
Part 1: Yoshinobu Nishizaki, Final Yamato
“It’s been 10 years since the first film. I’ve always been searching for the theme of ‘love’.”
With the completion of Space Battleship Yamato: The Final Chapter approaching, producer Yoshinobu Nishizaki, whose work ushered in a new era, shares his memories of the past 10 years since the first film…
Yamato was the mainstream of theatrical anime for the past decade
Interviewer: Looking back over the past decade, what kind of work do you think Yamato was?
Nishizaki: It’s a work I’ll never forget. At the same time, I believe I was able to accomplish many things through this work.
First, there was TV, then film. The first film was a re-edited work, and the second was the first original film, revolutionizing Japanese animated theatrical films. With the third and fourth films, I began to think more deeply about what constitutes cinematic expression.
What are the minimum elements necessary for a theatrical animation? How much work is required? What kind of plan should I leave for the next generation of creators? In this way, each film has always remained fresh to me. At the same time, I’ve steadily improved technically. So, regardless of its content, I’m proud to say that Yamato has been the mainstream theatrical animation of the past decade.
I’m also very happy that it was created based on the empathy of a generation of viewers. Throughout those years, we’ve consistently pursued a single theme: “love.” That phrase is now overused, but throughout this series, I’ve been asserting an optimistic world. Of course, at the same time, I’m also affirming the harshness of the real world. Looking back on Yamato so far, rather than feeling nostalgic, I feel more like 10 years have flown by in the blink of an eye.
So, I want the upcoming Yamato Final Chapter to be a compilation of those 10 years.
Maybe I’ll try the “Yamato” motif again…
Interviewer: Will this be the last time we see Yamato? Will we never see it again?
Nishizaki: No, I don’t think Final Chapter marks the end of all the elements of Yamato. This is the first time I’ve expressed this feeling, but the story of Yamato that we’ve been telling will reach its conclusion. The drama of one boy, set on the Space Battleship Yamato, that spanned 10 years, comes to an end. Yamato will quietly fade away. I think this is how it should be.
But when you look at it from a broader perspective, I believe the fundamental situation of the work will definitely remain. It’s a variety of situations and expressions that stem from the simple image of a ship flying in the sky, but I’m sure these can be depicted in many more ways.
Whether the main characters live or die in this one film, or whether the ship is destroyed or explodes, I believe the motif of Yamato will live on. That’s why, a few years from now, someone else might think, “Why not use this motif and use Yamato again? Of course, regardless of whether they can use the setting of “a battleship sunk during World War II” at that time, I think it’s fine for someone to use this motif to create a new series.
Perhaps I myself will revisit this motif in a completely different way in five or six years. Perhaps I’ll use a different visual medium rather than animation. Of course, right now, I only have The Final Chapter in mind, but I can’t say with complete certainty that such a possibility is nonexistent.
For the past ten years, Yamato has been supported by countless fans and has walked alongside them. Now, they’ll graduate from Yamato and take the next step. And the next generation may want this subject matter. That’s why I want to preserve this wonderful situation.
I regret not being able to complete Dirty Hero to the end
Interviewer: Apart from the perspective of Yamato, what does animation mean to you as a producer?
Nishizaki: First, it’s about creating visuals without waste. It’s a visual art form calculated down to the last detail. Here, even more than in live-action film, screen layout, shot composition, and storyboards become essential. Furthermore, tempo and music become absolutely critical elements that cannot be ignored.
Conversely, you could say storyboards are the very foundation of film production. When you realize how much effort goes into creating just one minute of animation footage, you truly grasp the importance of storyboards. This is something that would be completely unthinkable in a live-action film.
Interviewer: Finally, about the work you’ll be producing after Yamato…
Nishizaki: Currently, I have a vague image of a subject, and I’m thinking of expressing it as a live-action feature film rather than animation. To help create that image, I will soon be doing some preparatory location shooting with my staff.
Actually, for many years now, there have been two projects I absolutely wanted to work on as a producer. One was The Final Chapter. The other was the live-action Dirty Hero. However, due to the time and cost required for production, I was forced to give up on Dirty Hero. The planning and script were complete, but I had to give it up. That’s what I find so disappointing.
Not because of this, but as a visual producer, I’d like to expand my image with a live-action film. So now I’m hoping to express a world of dynamism different from Yamato in a feature film.