Talk:Tokyo Ghoul (anime)/@comment-24494906-20150828172450/@comment-24494906-20150828192411

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'''AnimeY: To what extent did you try to model the settings after real locations? Which tricks did you employ to that effect in order to build the atmosphere?'''

Morita: For a whole day, I thought about this: What is Tokyo actually, what is characteristic of Tokyo? We chose locations according to this, among others we made many shots in Ikebukuro, because I think it's typical Tokyo, full of variety and subcultural. In addition, my focus was on uncrowded locations, places where ghouls could withdraw to, for example below bridges, next to rail tracks or at the rivers the town was built over.

'''AnimeY: Deviating from the manga, many characters have strange tics and habits in their behavior (for example Jason's finger cracking, Mado's nervous finger tapping or Shuu's sniffing of blood). [T/L Note: Since when are Jason's finger cracking and Shuu's blood sniffing new stuff??? They just took them up to eleven. And removed most of the subtle ones.] Did these tics originate from your social circle or what did inspire you to add these?'''

Morita: I added these tics because they characterize a human very well. They are superfluous movements, but from the start I aimed at giving each character more individuality. Above all, it's a good method to outline a character. I know from movies that characters have a greater presence when they have such tics. However, Jason's finger cracking is also shown in the manga towards the end.[T/L Note: What is probably meant here is: towards Jason's end. But the German phrase is ambiguous and people not well-acquainted with the manga will think Morita means the manga's end here.] In the anime, we added this tic from the start, so that you become immersed in this world as quickly as possible. Mado's finger tapping was an idea of a staff member, Mister Shimida. [T/L Note: Shimida is the director of the Jack OVA.] I added it because I liked the idea. Sounds convey a lot to the viewer and are an important element of anime, so the tics are linked to some sound, the cracking, tapping or sniffing.

'''AnimeY: Which concessions did you have to make in conception and story of the Tokyo Ghoul anime? Especially with respect to the psychological aspects including the accompanying character development?

Morita: The greatest limitation of anime in general is time, of course. But I didn't have these kinds of problems in Tokyo Ghoul's case.[T/L Note: Did he say that with a straight face?] However, we had to cut back on the violence a lot in the violent scenes, as the series was naturally broadcasted on television. But Tokyo Ghoul is no splatter series, there is a lot of interpersonal drama that can be conveyed very well, too. I was relatively free in this respect. But for sure there will be manga fans that would have liked something different.

'''AnimeY: Do you have a favorite character? If so, who and why?'''

''Morita: I deliberately try not to have one, because I think I, as the director, have to be able to put myself in any character's position so that I can portray the character well. That's why I don't have one. Since many characters in Tokyo Ghoul have tics and I have a soft spot for such tics, I find these really interesting.

The remainder of the interview with Morita isn't really interesting for non-German readers.

The producer also showed some of the shots they used for the settings in the anime. I could summarize that later a bit.

There's also something about the music of the first season's last episode, but that's also mentioned in the interview with the other German website, so I'll translate this part when I translate that interview.