Guiding the Scenes of Jujutsu Kaisen with MAPPA CEO, Guide Scriptwriter – Anime Expo 2022

Following Jujutsu Kaisen‘s well-liked two-cour tv anime, its prequel film grew to become 2021’s optimum
grossing film in Japan. In early 2022, Jujutsu Kaisen was confirmed for a 2nd period that is established to
launch the adhering to 12 months. Despite the fact that further more information on time two has been restricted-lipped, ANN sat
down with Manabu Otsuka (CEO, Studio MAPPA), Hiroshi Seko (scriptwriter), and Hiroaki Matsutani
(TOHO producer) to go over the specifics on how they adapted the primary collection into both equally a Television anime and
movie.

When MAPPA introduced the motion picture, Jujutsu Kaisen , shortly soon after the finish of season one particular, was
there a risk to establishing a motion picture about a prequel to the sequence?

Otsuka: Yes, there may possibly have been a possibility. Simply because if you search at it from the point of view of them
ending two cours of the series—and then going into a movie that isn’t going to have the people that
folks are acquainted with—there may have been a threat. But when we noticed the tale, it was this sort of a
impressive story by alone. We have been very self-confident that the followers ended up going to enjoy it by itself.

Hiroshi Seko has been greatly praised for his involvement for Jujutsu Kaisen‘s anime and film
screenwriting. How did you establish up and acquire Okkotsu from a timid protagonist to a hero without having
elongating his monologues?

Seko: In the motion picture, the expectation is to see Okkotsu’s development as a character. There is certainly only one particular shot to
really exhibit his development as a man or woman. In buy to do that, I needed to make it clearer by changing some of
the scenes from the primary manga to make that expansion clearer to the viewers.

Ended up the film specific scenes proven in the panel part of your system to give far more perception
into Okkotsu’s character?

Seko: Due to the fact the primary manga is only 1 quantity to start off with, we previously realized from the beginning
the movie would be shorter 30 minutes in a film adaptation. Due to the fact we experienced that in head from the
beginning when we had been creating this movie, we knew that there would have to be unique scenes to
fill up that time. To be apparent, somewhat than working with people film-only scenes as a way to clearly show character
development, we were being hoping to make up for the time we required in purchase to make a film version.

You can find a good deal of drama but also comedic banter involving the teenagers, the grownups, and the
cursed spirits in the sequence. How do you strike that stability?  

Seko: It truly is mainly dependent off of the first resources. The authentic dialogue is carrying it suitable into the
anime. Of program, there are areas that may be a lot more emphasis it’s possible, but it’s not that diverse from
the real authentic materials that are there.

The put up credits shorts, Juju Sanpo, is first to the anime. Whose concept was it to have that
bundled? 

Matsutani: Talking from TOHO‘s point of view, when we ended up performing on production, we understood that
there would be products that we desired to generate other than the primary elements we had. When we
had been arranging, we spoke with writer Gege Akutani, and talked over what can we do to include to it and he arrived
up with the draft.

Was Akutani entirely dependable for Juju Sanpo or ended up MAPPA personnel pitching thoughts as nicely? I’ve
seen Akutani’s sketches shared on the Jujutsu Kaisen site.

Matsutani: Workers from MAPPA (these kinds of as Seko) and Shueisha are concerned in the meetings, but it is mainly
Akutani’s concepts. He would draft thoughts out immediately after he and the staff would brainstorm with each other. But he is the
just one generating the materials and then distributing it to the team.

As Manabu Otsuka and Hiroaki Matsutani pointed out in the panel, when adapting manga to
anime, you need to have to insert seem and new music. How did you choose on deciding on composers Hiroaki Tsutsumi and Yoshimasa Terui?

Matsutani: Initially when we had been wondering about the audio for the collection, we would refer to the TOHO
new music producer, Yoshiki Kobayashi. That was the initially step in conversing about what variety of songs way
we are likely to consider for the collection. When it came to additional facts, the director would discuss them with
writer Akutani to appear up with a vision for what kind of seem they preferred to hear in the collection. Soon after
they mentioned it, they recognized that it may well make perception for this sequence to have multiple music directions.
This is why Jujutsu Kaisen experienced a few other composers other than Tsutsumi and Terui.

You have labored with mainstream J-pop/different rock artists—Eve, Ali, and King Gnu—for
Jujutsu Kaisen. Who can we hope for Period 2? What temper can we hope?

Matsutani: The TOHO side will be operating on it as perfectly this time, but we can’t say nearly anything nonetheless. We are
performing on one thing proper now. Taking into consideration what the enthusiasts will appreciate and what they will be expecting.

In promoting, the common assistance is to have vibrant, saturated shades to catch the audience’s
awareness. But the basic colours in the marketing material, and in Akutani’s original manga, are
dim and muted colors. What were internet marketing strategies that you utilised to promote the series?  

Otsuka: The series characteristics a ton of nighttime scenes, which would naturally make points seem darker.
We created positive the coloring and shade configurations would however make the visuals glimpse alluring and catchy.