#interview and commentary

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> Where did Zilkhstan’s KMF came from?

From the scenes in the movie, it can be seen that Zilkhstan owns Britannia-series KMF like Glasgow, Japanese-made KMF such as Gekka, or Europia-series KMF such as Alexander. “Koujiro: Aah, those KMFs are goods they take home from their mercenary business activities. They didn’t just bring home money, valuables, and information on various weapons, but they also invited engineers from other countries.” And so the KMF Nagid Shu Mein that Shalio piloted can be said to be the ‘fruit’ of that practice.

Even though they are outsourced, it’s still unprecedented for a small country to be able to keep their own KMFs. “Koujiro: As a country that go to battles as their source of income, they saw Britannia’s KMF during invasion of Japan, and thought how the next era will be the era of KMF, so they’ve been working on KMF since long time ago.” 

> United Federation of Nations and Black Knights

Led by United States of Japan and Chinese Federation, UFN was originally created to contend with Holy Britannian Empire. Though it can be said that UFN has lost its original significance with Holy Britannian Empire becoming a republic in Kowa era, it’s still needed to maintain the peace in the post-war world, similar to the presence of United Nations in our real world. As the only military division under UFN, Black Knights retained the same name as when it was founded by Zero, but the nature of the organization differs greatly. “Koujiro: Although they just appeared for a bit in “Resurrection”, Glinda Knights that have taken the role as observer at the end of “OZ the Reflection”, exists in a form of mutual monitoring with Black Knights.”

> Is Kowa era really peaceful?

In the opening narration, it was said that after Zero Requiem, from the first year of Kowa to second year of Kowa, peace has lasted for one year. “Koujiro: It’s not that there wasn’t any military engagements. Although there wasn’t any major conflict between nations, there were battles on the level of minor incidents, and some conflicts that were contained by Black Knights.” 

> Lancelot & Shinkiro

For the fans of “Code Geass” series, the representative of Suzaku’s KMF is Lancelot. The citizens depicted in “Code Geass” world also think the same. “Koujiro: Lancelot is KMF piloted by Kururugi Suzaku, Emperor Lelouch’s knight, in other words it was a symbol of evil KMF.  Suzaku once tried to pilot a black Lancelot called Albion, but people were really frightened by it. Therefore, a Shinkiro-series KMF, Mahoroba Type 0 was developed. Yet because there’s a chance people will still be frightened by this, Suzaku used Mahoroba Type 1 that has different color and limited specs, made for ceremonial purpose."

> Nagid Shu Mein

“Koujiro: Nagid Shu Mein is Zilkhstan’s original KMF. That being said, Zilkhstan itself didn’t have the technological capability to develop KMF, so it’s most likely designed by engineers from abroad like Britannia or India. It has feature that made use of float-system technology around its joints. Unlike other KMF it moves as if it has no weight, a bit more like floating, it has innovativeness that can’t be found in KMFs from other countries.” 

> Gekkoei

A large flying KMF. It’s a double seat type and is assumed to be commander type KMF. “Koujiro: The order from Director Taniguchi for this KMF was “A 'stage' where Lelouch and C.C. can stand on together”. In the movie, Lelouch saw the machine and thought it was still incomplete, this is due to the lack of legs. In term of its weaponry too, at present it’s only equipped with machine gun.”

> Treatment on various aspects post Zero Requiem

In the previous decisive battle, UFN came out as the winner while Britannia the loser. Essentially, the losing side will be treated as the ‘villain’ by the winning side. Just like in our real world America (GHQ) as the winner of Pacific War purged Japan’s public officials as a measure, there’s a tendency for people who held key positions in Holy Britannian Empire to be ousted from their position after the war. “Koujiro: Cornelia is a member of royal family so it wouldn’t be strange even if she was positioned as general, but at the moment her rank is that of lieutenant general. The reason being there’s a concern if royal family was given too much power,  it could give rise to another crisis.” 

> Nunnally kidnapping incident in global perspective 

“Koujirou: This incident known as “Puzzlement in Hashvess”, is a small incident that can be covered up by reporting it as Zilkhstan’s military training, which is how it's seen from global perspective. For people who lives in that world, the peaceful times continue with no differences before and after the incident.” 

> Changes in C.C.’s psychology

Initially, C.C. has a strong image as a non-human being with detached attitude, but in this movie she shows quite a deep attachment towards Lelouch. “Koujiro: When C.C. fought with Kallen in her Lancelot Frontier and lost to Kallen, there’s a line “To think I still care about winning or losing...” that she said with self-deprecating sentiment. At that point she has already deeply attached to Lelouch. On the other hand Kallen who responded to C.C.’s “It’s your win” with “Who cares about things like that” and cut the communication line, had temporarily sorted out her feelings.”

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—Shamna and Shalio are the ‘villains’ judging from their characters placement, but judging from their action they are not villainous. 

Koujiro: “Code Geass” has no villain that is evil for the sake of being evil. Each character has their own hopes and desires, and takes action for to achieve that purpose. Shamna and Shalio are also like that. Kidnapping Nunnally and interrogating Zero, are done for the sake of realizing their wish.

—Boys and girls characters with extreme personality who insist to have their own way seems to be very “Geass”-like, however as they became adults, or rather as they grew up, the characters seem to grow milder, actually the characters that appeared in “Lelouch of the Resurrection” give off that kind of impression. So I wondered how the next story will be constructed.

—First of all, now that you’ve completed this movie, I’d like to know how you feel.

Taniguchi: While I was making this movie, I felt how in the 10 years period since the TV series ended, Lelouch’s image in the staffs' mind has changed. That’s why I had to write correction notes for some cuts. Like, “Lelouch is plotting some evil schemes here, stop drawing his face this handsomely!””

—(Laugh)

Taniguchi: In the past 10 years, many staffs have drawn “Lelouch that fits the clients’ order” for various goods and games production, and they also have personal attachment to each production, so in their mind, a different image of Lelouch was born.  Hence in a good way, for this movie there are new staffs who see the work from objective point of view. Even though we are in the same team, each member has their own views. However it was really difficult to re-share the agreements that the old staffs have accumulated over the past 10 years with the new staff and build new relationships with them.

Fukuyama: This time for me, when I read the script before the recording, when we did the recording, and when I watched the final product, my impression keeps changing every time. When I read the script for the first time, I thought the amount of information is too little. During the recording, I thought only the information on the parts that I played that increased, however when I saw the final product, the amount of information doubled. (laugh)

Taniguchi: You think so, eh (laugh).

Fukuyama: It's not that the layout and the content changed during the recording. However, because the recording is done per scene, the flow is reset in each take. Moreover, as the biggest difference from how we dub the TV series, this time I was allowed to say my lines without being cut, so the extent of information that I as the actor can put into my voice is different. When I saw all the scenes connected, the content was largely multiplied. It was truly interesting. I think this is the only work in the last 10 years where my impression when I did the recording and when I saw the final work is this different.

—You think, why did the content feel like it multiplied?

Fukuyama: What clearly differs in how the information is brought out in this movie compared to the TV series, is that the pacing of the scenes where information was condensed and the scenes where information was trimmed down, is quite courteous. I think that played a big part. On the other hand, I was honestly wondering how viewers who see this as a new work of “Code Geass” that continued from the 50 episodes TV series’ cliffhanger would feel. If this is totally different from what they imagined, it must’ve been baffling. But I also think it can lead to more enjoyment. Assuming that a movie runs for about 2 hours, it can be made to be felt like it runs for longer than 2 hours by adjusting the presentation and the amount of information. Because of that, when we finished the work I trully felt "Ah, we really made a movie huh". (laugh)

Taniguchi: The heck you mean (laugh). But, actually, the script that we gave out indeed has less information compares to the animated footage. Some concrete examples would be Lancelot and Guren's add-on armor, and the glasses equipped with Blaze Luminous that Lloyd uses, they weren't included in the script.

Fukuyama: Is that so?! (laugh)

Taniguchi: (laugh) Yes, Okouchi (Ichiro)-san left them out on purpose. In the first place, what a script needs to do is to lay out the dramatic structure and the pillar of the story. That pillar is elaborated in the storyboard, and while referring to it, the information that comes from the voice that is infused into the script becomes feedback for each animators and art staffs. While making the film the information were added one by one, it was such method of production. Whether that results in increase of information or not, I can't tell.

—Was it intentional?

Taniguchi: There are parts that became like that as a result. At some scenes, when I came up with some ideas down the line, I realized that to mix in everything like in "Lelouch of the Rebellion" but doing it in full CG, is impossible after all. On the other hand, there are also ideas that were included in the script but were removed because they turned out to be impossible to realize. One example would be the mysterious martial art move called “Mubyoushi, The Ultimate Secret of Shinozaki’s style” that Sayoko was supposed to unleash.

Fukuyama: Out of nowhere!? That’d just end up as a gag (laugh).

Taniguchi: Exactly. It was so over the top it’s hard to create a balance there, I tried to mix it into the storyboard once but it was completely no good. In the end I apologized to Okouchi-san and removed it from the script (laugh). Ah, also, up to the midpoint, “Lelouch of the Resurrection” was drawn from women, C.C.’s rhythm. At the beginning it was about the world where Lelouch doesn’t exist, then as the story develops, we change the rhythm before and after Lelouch’s awakening. One of Resurrection’s points is to show C.C.’s never-before-seen aspects and expressions. 

Everyone relies on Taniguchi-san very much, though inside they must be thinking “fuck youu!” (laugh)  -Fukuyama- 

—At which point did you come up with the ending of this movie?

Taniguchi: The idea for this ending has existed since the beginning of TV series. So the TV series was also made to head to that direction, but back then we had to actually make the show first before we could figure out whether it’s okay to arrive to that ending or not, in the end we gave up on it perhaps pretty early in the first season. The script for “Resurrection” had already finished prior to the compilation movie trilogy, then we further revised it according to the changes that appeared as a result from rebuilding/restructuring the story in the trilogy. That’s how we made this movie.  

—As for Fukuyama-san, how did you feel when you read this story for the first time? 

Fukuyama: Actually, when the TV series ended, I thought that if there was a continuation, it could only end up like this ending. It was the process to get there that I completely couldn’t imagine. Which is why this time compare to the ending, the process surprised me more. Especially at the first four and a half minutes...”Wait wait, Lelouch, you come out from the very start?!” (laugh)

Taniguchi: Hahaha! No, I mean, no matter where he comes out people will react “He comes out here?!” the same after all. So I thought “Whatever, just make him appear since the beginning.”

—The appearance of the incapacitated Lelouch at the beginning was quite shocking, did you discuss with the director about acting direction and the likes?

Fukuyama: Not in details. In my mind I figured that he’s living with only primal desire and instincts. Not that he regressed to an infant, but he’s in a state where he’s only an empty shell. His nature as a human, as he said himself, is an accumulation of.things, and at the beginning he’s in a state where that accumulation doesn’t exist. He only has fear, hunger, and sleepiness... he operates not with brain but with ladder-like nerve system, like a dragonfly or a larvae, I wonder if that’s correct.

Taniguchi: You’re absolutely on point (laugh). That’s probably the part where the animators such as Kimura (Takahiro)-san and Chiba (Yuriko)-san had a hard time with. It’s not like he regressed to an infant, so there were issues over things like whether to make him sit down or stand up in so and so scene. If he’s tired then he should be sitting down, if he’s standing then there should be a reason for it, things like that.

Fukuyama: As for acting guidance, since the time of TV series, if once in a blue moon I asked something and got an answer, I must follow through with it (laugh), so I don’t ask much.

Taniguchi: Well, that’s my bad point (laugh). I know that I have to answer if I’m asked, but there are times when I think it’s better if I don’t say anything. Thinking that I have to come up with a good method of doing it, I give out cards with “secret” written on it. 

Fukuyama: Nah, that’s Tomino (Yoshiyuki)-san’s method* (laugh).

*Veteran anime director/screenwriter, creator of Gundam franchise. According to the note from this interview he answers questions about acting guidance from his cast with “It’s a secret. Please continue to act without knowing it.”

Taniguchi: Hahaha! 

Fukuyama: Taniguchi-san answers all my questions properly after all (laugh). But if the answer was handed to me, the joy of thinking about it on my own and putting the result of my thinking into my acting would be gone.

Taniguchi: Well, I also have times when I lie on purpose, just like it’s a big lie to say that we can’t make anything unless everyone has one common point of view. The truth is, it’s fine even if everyone isn’t on the same wavelength during the making process as long as we have the same goal, rather it’s interesting that this can give depth to the work.

—Is there a conscious motive behind it?

Taniguchi: Years ago, I was one of the rotating directors for Director Imagawa (Yasuhiro)’s (Mobile Fighter) G Gundam. In episode 6, the mother of the still very young protagonist leaves her son in the care of a mysterious Chinese man. The actress who played the mother role asked “He seems like a suspicious person, what kind of situation made her entrust her son to him?” (laugh). As the backstory hadn’t been established yet, neither I nor Imagawa-san could give an answer, but the music director at the time, Uragami Yasuo-san, gave a remark “Please think that there are reasons”. The meaning of “reasons” is “you can come up with any answer on your own”. At that time I learned that a production is made of combination of factors, and it’s okay to answer with that kind of remark.

—Working with the director at the site, all of the materials for the recording must be prepared at the studio. I wonder if it brings out richness in the performance.

Fukuyama: There’s that, but for me it’s more of an intimidating relationship. (laugh)

Taniguchi: Hmmm? (laugh)

Fukuyama: (laugh) If you asked something they would be there to give you the answer, but if it’s something that hadn’t been established yet, there are only a few who would answer “It’s just been established now, please keep it in mind from now on”. But then that would be just the same as Lelouch’s “The only ones who’re allowed to shoot are those who’re prepared to be shot” line, the only ones who’re allowed to ask are those who’re prepared to do whatever they're told. (laugh)

Taniguchi: Hahaha!

Fukuyama: However, I think the fact that there are many people who can grasp this intimidating relationship is a really blissful part of this work. After all, if you can do as you are told then it’s good, but if you can’t, whether you grasp that sense of defeat as an artist or not, I think it’s important.

—This is thoroughly interesting.

Fukuyama: What I still remember till this day, is the last scene of “Code Geass: Lelouch of the Rebellion” where Lelouch and Suzaku pointed their guns at each other and screamed each other’s name. Suzaku’s “Leloooouch!!!” there is really long, right? At first if Sakurai-san stretched his scream at a length that is normal for human being, the director would ask him to stretch it more, but it sounds unnatural after all, and I think Sakurai-san also gave a thought about it before he acted. But when the director went ‘bang!’ and said “Please do it as a pro”, the whole room was stricken, “Ah, he got told off” (laugh). Me too, because I was right there next to Sakurai-san, I got goosebumps. (laugh)

Taniguchi: (laugh) If the scream there was short, it would've given an impression that Suzaku would really shoot right there and then. Only by stretching it as long as possible, you can hear the doubt in his voice. That way, we can generate a situation where it can’t be predicted which one of them who will shoot. I’m aware of the actors' physiological perception, but because I’m in the position to give direction here, “I get that you do your craft with pride, but this is what I’m asking you to do as a professional.”

Fukuyama: It was an interesting event (laugh). However, I do think it’s very important for everyone to experience that atmosphere where you have to bring forth your passion, commitment, and resolve, and to understand that that was one way to do this job. So in that sense, everyone relies on Taniguchi-san very much. Though inside they must be thinking “fuck youu!” instead. (laugh)

Taniguchi: No no, it was scary for me too. For some reason Wakamoto (Norio)-san (Charles’ VA) is always smiling whenever he looks at me.

Fukuyama: But that’s because his role demands it! (laugh)

—On a different occasion, both Sakurai-san and Fukuyama-san have mentioned that it was difficult to do redubbing for the movie trilogy. In the first place why did you decide to do it, Taniguchi-san? 

Taniguchi: It’s practically impossible to record a partial new dubbing that matches perfectly to the flow of emotion in the dubbing from 10 years ago (laugh). Also, if the route to reach certain scenes changed due to the restructuring of the story, there we had to change the voice performance too. In case of games, they’re linked to the system so it can’t be helped, but here for the sake of the actors...

Fukuyama: ...No, for us it was super grueling! 

Taniguchi: Hahaha! From the very first take of “Code Geass: Hangyaku no Lelouch I Awakening Path”, it shows right away that Fukuyama-kun was so fired up for the redubbing. Around the line “There’s an accident!” (laugh).

Fukuyama: (laugh) If you told me that was no good I could redo it! But for me in playing Lelouch, pushing myself to the limit is the basic, so this time I also started from that level (laugh). 

Taniguchi: Because the rest of the cast had to adjust with such image of Lelouch, the character of C.C and the others gradually broke into a scary territory, and it turned into something like a joint performance of monsters (laugh). 

Fukuyama: We had a mindset to exceed the limit of our age and career. Also, we wanted to challenge the questions we’ve always had in our mind when we voiced the character. Sometimes when we changed the vocal tone even for just a bit, we got commented “It’s out of character”, yet at other times when we ourselves thought that we’re acting out of character, we didn’t get commented. What differs, where does the concept of this character lie, we wanted to challenge those questions. 

Taniguchi: I see. The difficult part is there’s also difference in views with the sound director.

Fukuyama: That’s right. Anyway in Lelouch case, for the TV series I lowered my vocal tone by about half an octave, after that I played another personality in “Code Geass: Akito the Exiled”, then in live script reading at an MBS event I played another completely different performance, yet Lelouch’s image in everyone’s mind didn’t become blurred. The point is, there’s a wide range in expressing Lelouch’s character. So even if I played the old Lelouch once more, rather than completely reverting the character that had grown to this point back to beginning, I wanted to entertain people by playing Lelouch as the current me. Hence in the trilogy, I requested to be allowed to perform to the extent of my current ability. Yet regarding the questions I mentioned earlier, I came to nothing (laugh). In the end, as long as everyone is entertained, that’s the ideal situation. Talking about 'what’s entertaining?’, there are parts that were designed specifically to become so by the production team, and others that became so by accident.

Taniguchi: Then as more and more elements such as the era and so on came into account, it can only be said that this is due to complex factors. In case for “Resurrection”, Tamaki is a good example. (Tanaka) Kazunari-san’s Tamaki in the TV series is of course Tamaki, but Hiyama (Nobuyuki)-san’s Tamaki in this movie is also Tamaki. That the core of Tamaki changed entirely because the voice changed, that’s absolutely not the case. If the person who takes over the role can capture the important points of Tamaki’s standpoint and relationship with other characters that the previous actor had established, I think that’s enough.

—With the addition of new casts, how’s the impression of the recording?

Fukuyama: There are familiar faces like Murase (Ayumu) and (Shimazaki) Nobunaga, and then there’s also Toda (Keiko)-san that I worked together with quite nervously. This is my first time hearing Toda-san’s voice in person, it was really wonderful. I also said this to Sakurai-san after the recording, “Toda-san sounds indecent” (laugh). Even though the wording contains nothing dirty.

Taniguchi: In every lines I could sense the alternation of emotions. I was surprised that she can make such changes in emotion within such span. Also, when dubbing, Toda-san’s voice somehow stands out more. How could that happen, I want to analyze it scientifically. 

Fukuyama: When I listened to the final product, I ended up feeling “Ah, this is why I don’t like people from that generation” (laugh). I’ve been thinking about this ever since I had a chance to work together with Shigeru Chiba-san over a decade ago. Between those who’ve been around before the existence of the current high-tech condenser mic and those who came later, no matter what there will be a big technological difference in how we strain our voice orientation. At the time of TV series I acted without knowing how much volume of my voice entered the mic, so now even if I reenact the old Lelouch again, I can only rely on how I physically remembered it. I didn’t let my body to be on ease at all because it’s Lelouch who I was playing after all.

Taniguchi: I think that’s good, actually. It means you’re giving your all.

Fukuyama: That also leads to me acting over the top. Though from my point of view, “This is the direction you gave 10 years ago!” (laugh). But maybe in that sense, this time I truly play a Lelouch-that-is-not-Zero for the first time. 

—After all, it’s not “Lelouch of the Rebellion”, but “Lelouch of the Resurrection”.

Taniguchi: Exactly.

Fukuyama: In “Lelouch of the Rebellion”, there’s only the Lelouch who’s leading a rebellion, constantly calculating and being in situations where he could end up dying if there’s any slip up. That’s why this time, to be able to play him who is free from all of those things was an eye-opening experience. That was probably how Lelouch is in his ‘plain’ form.

Taniguchi: Perhaps in this movie, the scene where Lelouch felt troubled the most is when they were in the village at night, Ougi came to him alone and he couldn’t avoid having a talk with him (laugh). His eyes didn’t even meet Ougi’s, he just kept staring at the monitor in front of him.

Fukuyama: Hahaha! I won’t tell you here what he did there, but if viewers could guess his intention, I think that was a very interesting scene (laugh). Only in this scene I did it a bit differently from other scenes, I did the correct thing right?

Taniguchi: Yes, well you see, I think Lelouch was in a great pinch there (laugh). Ougi is bad at reading the mood after all, so he’s like ‘just drop it, no need to apologize for every little thing’ (laugh).

Even if Lelouch comes out in the future, it will be in a different title as something new. -Taniguchi-

—I think “Code Geass” is really an amazing work. After 10 years, to be able to draw a continuation on top of reworking the story in a completely new recording as a trilogy movies, there’s no other work like this.

Taniguchi: Originally it was a project that’s planned for evening slot but was dropped because of the competition and changed to midnight slot, we had no choice but to take drastic measure and inverted the protagonist’ standpoint from hero to villain, there are truly many twist and turns in the process of making the TV series.  When we were proceeding to “Code Geass: Lelouch of the Rebellion R2″, suddenly there was a timeslot change, we had to rewrite the first episode again and again that I felt bad to Okouchi-san. 

Fukuyama: The first episode of “R2″ turned out to be really different from what I originally heard (laugh). But a work that initially might have ended in 2 cours—at the time of the audition the project was called “Lelouch of the Rebellion” without the “Code Geass” name attached. I was given the opportunity to star in that project, until now it has became a series called “Code Geass”. It’s a great fortune that it can become such business. Thanks to that I was able to experience many things.

—And for that series, as well as for your own history, what is the meaning of this work?

Fukuyama: Actually, and this might sound a bit cold but, I can’t really see it as anything else but a result of one possibility. I redubbed the TV series, played a not-rebellious Lelouch in a completely new work, and faced the conclusion of one relationship, I think I got to experience something really rare. As I’ve said earlier that at the time of the TV series I didn’t know whether there would be continuation or not, so I ended it in a tattered state. This movie is the result of one possibility that was carried by a work that seems to be able to do the impossible, so just like at the time of TV series, most of all for the most part I just felt a great relief that I’m able to safely send this work off. That is, “one responsibility has been completed” (laugh).

Taniguchi : For me this work means two things, if any. One, this work is an expression of my gratitude for Bandai Namco Arts who kept their promise, though I can’t say what the ‘promise’ is, and second, it’s good that I could lay the foundation for this “Code Geass” project to move forward. 

Taniguchi: It’s one period mark, but it isn’t the end of this series. However, because I think I won’t ever make a story that centers around “Rebellious Lelouch” anymore, this time it’s “the end”. Even if he appears in the future, perhaps it will be in a different title, as something new. And toward the entirety of this project, my sentiment is “For now I’ve put it into a shape, for what comes next I’ll leave it in your hand”.

Fukuyama: We share common point of views. Although between a director and a voice actor, there’s a big difference in how much time we consume to do our work and in the nature of our responsibility, still we’re equals. Though I’m not thinking up to the possibility that “if he comes out in the future he will be some other thing in the new series”, but I am thinking what kind of face I should put on if he appears again in the future (laugh). 

Taniguchi: (laugh) Well, a voice actor could do a 180 degree change after all.

Fukuyama: Yes, that might be true, but this time I really have no other things left to do. I’ve gotten to see nice things as well—like the last scene with Nunnally, it was really wonderful. How “Lelouch won’t grow much, but Nunnally will continue to grow old huh” (laugh). Including that, after 10 years, I was let to see wonderful things.

Taniguchi: (laugh) Nazuka-san (Nunnally’s VA) gives a lot of feedback about Nunnally that Nunnally’s slowly turning into her.

Fukuyama: The thing is, at first I even had thoughts “There’s a possibility this story will end with me killing this girl” (laugh)

 —(laugh) Earlier Fukuyama-san said that in this last 10 years you’ve been hoping to beat Taniguchi-san, and I think that’s a wonderful thought. Now that you’ve finished the recording for this movie, what are your thoughts?

Fukuyama: In the end I still couldn’t beat him. But then again, if the Director Taniguchi really lost to me, that would be the end of his career (laugh).

Taniguchi: Huh? Our roles are different so there shouldn’t be things like winning or losing though? (laugh)

Fukuyama: That’s true, but for me it’s important that my suggestion is picked by the director because it is deemed interesting, and that it’s continuously connected. However ever since the time of TV series the percentage of this happening is quite low, and even if it’s a suggestion I raised I mostly had to follow the director’s way. Of course I think that’s the appropriate order, but even if I was following direction I couldn’t just follow it passively. Even if I'm following director’s direction, I need to think whether I can mix in my own thing without creating disharmony. I’ve always thought that I have to defeat the director in that sense. This time I could do a bit better than before, but still not enough. In the end when I saw the final product, I still think “The impression is totally wrong” after all.

—Then while carrying those thoughts, you can continue to make another work.

Fukuyama: Pretty much. Not only limited to this work, but also in other works Taniguchi-san make and I star in. Not in the same work together though. I haven’t worked with Taniguchi-san again since “Code Geass” after all.

Taniguchi: Yeah, there are several people like that among the ones I’ve worked with. This is just my personal sentiment, but it’s pretty difficult to cast the same actor when the character and the actor are fused somewhere, like with Hoshino-kun the main actor in “Gun X Sword”. I’d hate it if to find out where that ‘somewhere’ is, I halfheartedly cast the actor again and the new character is seen as a parody of their previous character. However, Lelouch’s story has been completed with this “Resurrection”. If I can find out the relationship between the character Lelouch Lamperouge and the actor Fukuyama, then for the next work I would be able to normally cast him again.

Fukuyama: That’s why I never said “Please contact me again” to directors.

Taniguchi: Yeah. The moment someone told me “Please contact me again” inside I would think “You’re telling me to contact you!!”, in my mind I had decided that I won’t call that person again.

—(laugh) Oh you did?!

Fukuyama: (laugh) That's why I won't say things like that. Whether it’s about works or people, I understand that I have to deal with all kinds of personal ethics, regardless, I’m thankful that I’ve been given the chance to participate in such rich work for 12 years. Before this work I had always failed in every audition for Taniguchi-san’s works after all. (laugh)

Taniguchi: There’s nothing I can do about that (laugh). Anyway, back to the “call me again next time” topic, there’s only one person who breaks through it through frontal attack... it’s Inoue Kikuko-san (Cecile’s VA). She always asks “When will you contact me again?” every time we meet (laugh). 

Fukuyama: Maybe she can see a hole in the wall surrounding Director Taniguchi’s heart. Maybe the hole is open. (laugh)

—How was your feeling before the recording for "Lelouch of the Resurrection", Yukana-san?

Yukana: I've been looking forward to the day of the recording ever since the production was decided. The truth is, because the period between the time I received the script till the recording was short, it made me feel a bit impatient. But I took it as a sign of enthusiasm, focused all my strength, and joined the recording.

—Did you receive explanation about what C.C. was doing after Zero Requiem?

Yukana: Along with the script, I received descriptive materials about the new characters, the world view, the chronology up to this point and the current world situation. There were simple explanations on each individual’s circumstances, but not so much on C.C.’s own emotional points. At the beginning of the movie, there are scenes where I could sense what happened after Zero Requiem and what's going on now, so there are also things I learned and came to know there. As for the rest, I learned about them as I performed my part. 

—What points did you emphasize in playing C.C. in the first half of the movie?

Yukana: In the impression she gave off in the early TV series, she might've appeared to be stronger and more independent than she is now. But this C.C. isn't like that. The Lelouch beside her is like "there" but "not really there". As if he's 'something' that resembles Lelouch... Because he's in that "form", there might be times she feels uneasy when he's next to her. There's an indescribable sense of loss. Though she was supposed to believe that "No matter where I am, I'm always alone", when she realized it, his existence had grown so large. Coming from "one-ness" that consisted of two of them, to "one-ness" that consisted of herself, it must've felt lonely. It's difficult to express that feeling that something is missing... I wonder to what extent I should let that out. It was hard to grasp how much the person herself really aware of what she's feeling.

—After that she ran into Kallen and the others, and the story starts to put in motion.

Yukana: Because I like action scenes, I've been secretly envious of Suzaku and Kallen, but this time I got to join them in a fight, and it was fun. It's a cool scene too. I also like this kind of story that's propelled from accidental events. All this time, she must have been traveling under immense mental strain. Being all by herself, she has been safeguarding and constantly holding out vigilance and cautiousness nonstop until she doesn't need to. Thanks to them, even though on one side it means her and Lelouch existence became known, but she was also able to band together with the people she can trust.

—C.C. protects the pre-"resurrected" Lelouch to the end.

Yukana: I think C.C. changes which part of herself that is in contact with others depend on the other person's identity, personality, and proficiency. Because she's multifaceted by nature, in front of the fully developed Lelouch she speaks to him from higher position, in front of the less developed him she turns overprotective. She drives for him, carries his luggage, cooks his meals, puts him to sleep... But, as the sentiment is not reciprocated, it must've felt lonely.

—About C.C. who changes depending on the partner, did you change your performance as C.C. again when Lelouch was resurrected?

Yukana: As Lelouch was resurrected, and friends gathered, C.C. also seemed to return to her original self. However, I was surprised when she pointed a gun at Lelouch who seemed to have given up hope*. Even though it’s a scene where C.C. pointing a gun at Lelouch, I feel like if it's the previous C.C. she wouldn't act in that direction. It appeared that she's clearly moved by different kind of feelings than before.

* When they were up against Chamna in the movie

—Chamna from Zilkhstan who appears this time as a new character is conscious of C.C.

Yukana: No one but C.C. can understand Chamna's feeling of solitude. I think the only one who can surmise the true meaning of always being "there" is also none other than C.C.. As far as I can tell from the story so far, neither V.V., Charles, or Marianne or anyone else would be able do that, and Chamna's ability itself is something that's hidden. Also, even though they met in that condition, I'd like to believe there's a feeling of "I'm glad we get to talk". A sense of comfort and pity towards the person who can understand them. I believe more than what C.C. harbored towards Chamna, there's a part of Chamna that was saved.

—Chamna and C.C. also have contrasting ending.

Yukana: She went to send her off until they went separate ways. It's unclear whether she did it for Chamna, for Lelouch, or for the future, but I think it's C.C.'s own way of wrapping things up. At the end of the movie, everyone goes back to their respective place. They have a place to return to after all. Then what about herself? Thinking how she’s all alone again only made her feel lonelier. To the extent she had to disappear before someone asked her "What will you do from here?", otherwise she wouldn't be able to bear it. Hence when Lelouch came after her, she might kept him in check more than necessary. That right there is a display of emotions. These two, for some reason, looks happy when they call names at each other after all.

—Yukana-san, you seem to fully grasp C.C.'s heart.

Yukana: It's nothing like that... but exchanging needless retorts back-and-forth is fun. Like intentionally choosing strong words. However... harsh comments will be made from time to time. Not in the script, but in the C.C. inside me...

—How was the last scene?

Yukana: It's exactly in that scene that what I mentioned just now occured. When she's asked "How about L.L.?" she asks back "Eh?", but during the rehearsal when she was asked "How about it?" I made a sound with a nuance close to "Huh?". Because the C.C. inside me took an uncompromising attitude "That's not something you should let people hear more than once!" that's closer to a threat rather than a comment... no matter how, I couldn't utter that single syllable that carries that one single honest feeling. After the rehearsal, I received a guidance from Director Taniguchi "I suppose it's hard to understand, but this is actually Lelouch-kun's way of proposing!"... I'm sorry... I think I understood that but I couldn't get the sound out no matter how. I lost to the uncompromising will "Don't even do it twice!". I'd like to take this opportunity to express my deepest apology.

—So what we hear in this movie, is a one-off thing that was done for the actual recording.

Yukana: That's right. Even in the studio it's done just once. The scene just before the "Eh?" line (though it’s due to technical reasons) wasn't recorded separately but together. The feelings of Lelouch in the movie and the love of everyone in the studio were felt quite strongly. After all, that right there is a new determination that is L.L. My chest became so full that I couldn't fully take everything in.

—As you've been watching C.C. for 10 years, how does her life look like from your perspective, Yukana-san?

Yukana: For me it's been a colorful long 10 years, but in her long long life it's only been an instant moment. Even so, it must've been a moment that leaves a deep impression. Then that's good.

—What kind of work "Code Geass" has became for you?

Yukana: For this work, I had so much fun in the working site. Before the recording of the first episode of TV series, me and Fukuyama-san were called to the studio to receive explanation. I remember thinking "It sounds like it's going to be a tough and fun working site" when I heard the story from Taniguchi-san. He explained to us the world setting and the general idea very carefully. However, the recording began without us knowing the characters' own personal info or how things will develop from here, even since then it had always been like that. It was a style of recording where we weren't informed of the next development and learned about it for the first time after seeing the script. It was like we the actors were the avid followers of a serial novel. With a feeling similar to the viewers', we were thrilled with excitement "What will happen next week?". It's a work that made my heart pounds over many years.

—Sounds like a working site that drained your energy for every week.

Yukana: Indeed. But I had a lot of fun. Seeing the strenuous effort of everyone who stood firmly in the face of great difficulties, doing this together with the people who looked like they have fun even when they’re saying "this is hard", I had a really great time. Above all it was a work that required energy, and I also wanted to burn off more, so each week I brought a lot of refreshments to the recording. Back then there was an impression that even Director Taniguchi got skinnier and skinnier. Fukuyama-san always put his everything into his acting, so he entered the studio while bringing a lot of foods so that he could burn as much energy as he needed. Sakurai­-san seemed to be anti-western, so for him it's onigiri. Koshimizu-san came bringing a lot of waters for about at least several days. Every week, I prepared an amount of refreshments that made me wonder whether it was too many, but by the end of the day almost none would be left. I think everyone strained their energy at least that much.

—Then how about the recording for this "Lelouch of the Resurrection"?

”Lelouch of the Resurrection” becomes a story after the movie trilogy. Did you go to the recording site after wondering what might’ve happened after Zero Requiem in “III Imperial Path”?

Fukuyama: Actually after the recording for the movie trilogy, in an informal occasion, Director Taniguchi gave me detailed explanation on what kind of treatment Lelouch received. Things that aren’t planned to be visualized at all. For example like what happened to each relationships and how things became like that. About what happened to the world including UFN, up to things like the organization chart, Taniguchi-san turns them into textual data.

Among them, is there anything that became a point in playing Lelouch in this movie?

Fukuyama: The thing is, they’re not information about Lelouch. Lelouch doesn’t know how everyone have been doing from the time “Zero Requiem” was over until he gets “resurrected” after all. After that, he got “resurrected”, and he coped with his surrounding with his wisdom which is his only ‘weapon’. So the information I received in this regard was just about the script only.

In the first half of this movie, Lelouch appears in a persona that has never existed before. Were you surprised?

Fukuyama: Let's see. I mean, how about you try it yourself? (laugh). In playing Lelouch who's in that condition, he only received C.C.'s words as they are. To put it simply, the Lelouch who has knowledge and experience, exists in C's World. That's why Lelouch in the first half is only the vessel which is his physical body. He only expresses primal desires such as hungriness, sleepiness, and basic emotions directly. In a moment of fear he doesn't put up a brave front and expresses his fear honestly. I thought that part of him is more pure. Because the body was still Lelouch I wasn't feeling uneasy, but the output was really something. In the first half he was in that condition, but after he returned to his original state he just kept talking (laugh). I thought, "This work is really something".

How did you play Lelouch after he gets resurrected?

Fukuyama: I thought how Lelouch deals with the situation from there depends on his innate ability. Or to be precised, his pride. When he manifests in present world, his pride won't allow him to be all "I don't remember what happened before that well". So he racked his brain and tried hard to grasp the situation (laugh). You'll probably take that as his ability, but for me who've been with him for a long time, that is his pride. In that sense, I thought in this movie there's a plenty of Lelouch-like moments.

I felt that the resurrected Lelouch was a little mild, it may be because of that reason.

Fukuyama: Just like after one defeated the last boss in an RPG game, he's now someone who no longer had a mission, so he hadn't thought of what he would do from there. He's in a state where he has pride but no goals. For a man with no goals, what kind of bravado should he put up? For example, should he do something about the world again, or should he show up in this situation because Nunnally is in danger and back off afterwards. When he considers that it'll be bad if the world learns about his existence, he comes to the conclusion "I should stay out of this world affairs".

How did you grasp the newly confronted enemy, Zilkhstan, and its people?

Fukuyama: The new characters in this movie are people who were apart from the TV series storyline. Since Zilkhstan is a mercenary superpower, it's possible that they might've assisted both Britannia and anti-Britannia's force in the Europe warfront. From their standpoint, it's not about what's going on in the world, they simply live on by military power because they have no industry. There was also Geass Cult involved there, and even though this can only be described as bad luck, but because of Lelouch's blunder, Zilkhstan couldn't do succession. They ought to harbor some undue resentment.

Looking at it that way, this is once again Lelouch's destiny to carry.

Fukuyama: The people from Zilkhstan are selfish just like Lelouch, but they're not 'bad guys'. There are people who force their selfishness as warriors to do something about their country, and there are also people who take action so they can have succession and somehow salvage the country. The younger brother does things for his older sister, the older sister does things for the sake of her younger brother, it's a composition that's quite similar to Lelouch and Nunnally. What differs is most likely their self-esteem, that right there is the defining point. As for the 'bad guy' in this movie, as you can see it’s Takagi Wataru-san's Bitul, he's just fighting for enjoyment.

A new geass user named Chamna appears, Lelouch who doesn't know what kind of geass it is is bewildered

Fukuyama: Given the existence of C's World that's like a mental/spiritual world, Chamna's geass is actually easy to understand. A geass holder can access C's World, and because there's no concept of time in C's World, Chamna transfers her consciousness to C's World. As C.C. said, in C's World, one's physical body is rebuild and their consciousness will be transferred to that body. I guess you can think of it as uploading and downloading information to and from the hub that is C's World. But such explanation wasn't included in the script, so I was wondering if it's okay as long as I understood it on the recording site.

Chamna and Chalio siblings is associated to Lelouch and Nunnally's relationship.

Fukuyama: Between Lelouch and Chamna, rather than about which one is stronger, I think it's about the difference in what they were imprisoned by. In Lelouch case, it's him being himself, and he also wants to do something about Nunnally. In Chamna case, in addition to all of those, she also wanted to do something about her surrounding. She could've used more despicable means, but she didn't. Another interesting thing, is the question of how much the act of killing herself affects her mind. It allows her to reset as many times as she likes, but each time she sends her mind back to the hub, there's a possibility she also loses her own humanity. That's why I feel that Chamna is a bit 'out there'. She treats her younger brother with compassion but towards her subordinate she's relatively distant at some places. Lelouch is a man who decided to kill himself, but not until the very end. On the contrary Chamna has been killing herself from the very start. A person who clung to life and a person who clung to death. I think this is also an interesting contrast.

Chamna losing her humanity might be her strength and also her weakness.

Fukuyama: Indeed. On the contrary the younger brother Chalio is very humane. However his humanness is quite perverted. Because he's physically handicapped, only when he's controlling KMF that he can go all out. It's likely that he had died in the past but Chamna returned to the past each time he died. Going with that in mind, I can understand how she comes to have such mentality. I think around there is an interesting point of the new characters.

Regarding Suzaku who reunites with Lelouch and ends up fighting together with him, how did you see him?

Fukuyama: The one who suffers the biggest lost in this series (laugh). Even though Lelouch comes back, he still has to be Zero. He's been made to shoulder heavy burden all the time. He beats the crap out of Lelouch the second he sees his face, that must be his true feelings. Lelouch also understands that, that's why he doesn't resist. I think this time the one who managed to become the most laid back is Kallen. Her position has nothing to do with politics and she fights as a civilian. To Kallen, seeing Lelouch and C.C. together clears up the thoughts that have always been bothering her. Nunnally also gets to reunite with Lelouch, and from now on she can move forward with the thought that her big brother is in this world. However only Suzaku continues to think "Lelouch is alive huh...", and such thought will strengthen the grip of the curse. But, because it's Suzaku we're talking about, it seems he'll beautify memories of Lelouch as time passes (laugh).

Please tell us about the last scene with C.C. who has been walking together with Lelouch for all this time.

Fukuyama: For the last scene, I was worrying as to how I should do it. I had some ideas, but they all seemed to be right but not right at the same time. I wondered whether to convey to the viewers once and for all that this is the end, or to leave some lingering aftertaste. Around the time when Lelouch called out to C.C., just before the last scene, it was a tension I've never experienced before. The pressure and tempo of the bickering were also different than before. I didn't have any specific discussion with Yukana-san, but after doing it, I felt like we probably shared the same idea.

As you've been playing the character Lelouch for 12 years, how do you feel?

Fukuyama: If you told me to do this again 20 years in the future, I won't be able to do it (laugh). This guy won't get old after all. I'm not thinking about anything right now, I'm just looking forward to the day the new "Code Geass" work is released and for everyone to enjoy it.

In the interview for "III-Imperial Path" pamphlet, you told Lelouch "How could you have the face to come back*?! I'm sure looking forward to it", then what would you like to say to Lelouch in this movie?

Fukuyama: "So you came back with a face you didn't want to show the most huh" (laugh). After all, I understand the inside of his heart perfectly.

* どの面さげて is an expression means "how dare you" or "you have the nerve to...", so here this sentence can be translated to "how dare you come back?!"

(Below is from the regular version pamphlet)

How do you see C.C. who up until now has been and will continue to be Lelouch's partner from now on?

Fukuyama: Lelouch who already put an end to his existence no longer has any lingering attachment. However, this story starts as a result of C.C.’ selfishness as a woman. Just before the last scene, it was an impression that C.C. finally talks to Lelouch on the same level. Before she treated Lelouch as someone below her, but now she gets rid of all of those and talks to him on the same level. (TN: the rest of this section is already translated above, about him worrying how to carry out the last scene)

How do you feel now that you've reached the ending?

Fukuyama: 10 years ago when the TV series ended, I thought that it would be better for the story to never be touched again. But it was really interesting to see this "Lelouch of the Resurrection". One of Code Geass' proposition is whether it is interesting or not after all. It's a very joyful thing to close the story with an ending where the characters properly have a future. I don't have any conceited thoughts that I'm the one who made Code Geass, this is something that is done by staff including Taniguchi-san, and everyone including the fans. Once "Lelouch of the Resurrection" has been delivered and another interesting Code Geass work has been made, perhaps then our thoughts will be sublimated. When the new protagonist is appointed, I'll watch it with laughter. "I hope you'll see hell!" (laugh).

That's your special right as the predecessor.

Murase Ayumu (Shalio VA) interview

I’ll just translate the part where he talks about characters.

How did you perceive Shalio?

Murase: Shalio goes as far as remodeling his own body to harmonize with KMF, he’s someone with a strong conviction. For that reason he can give up almost anything, it can be said that his state of mind is precarious. It’s because the country is in that bad of a state that he has that much sense of calling. His enthusiasm, to say whether it’s good or bad, the scale is not very refined. I think he’s an absurdly prideful person.

How about his relationship with the older sister, Shamna?

Murase: Shalio loves Shamna very dearly. He respects her, for him she’s his everything. But Shalio is not a child anymore, he also has obligation to carry the country on his shoulder. The expression of those feelings, combine with the euphoria during battle, can be quite scary.

Shalio shows an obsession towards Suzaku to a scary level.

Murase: You wouldn’t know how strong you are unless you cross with someone else. For Shalio, Suzaku is the epitome of strength, a living legend. I think Shalio is obsessed with Suzaku because he wants to know how strong Suzaku is and how far he can fight with him. Shalio can only ‘reveal’ himself in a battle, so his heart rate rises as he fights against Suzaku. He enjoys taunting Suzaku and watching his responses. I’ve plenty of chances to play villain roles in the last few years, so I can really understand Shalio’s feelings (laugh). In that sense it feels like Shalio said his lines with all his heart.

Motif of human relationships

C.C. (Destiny and Lingering Attachment)

Lelouch who died in Zero Requiem. His body was able to be restored, but his core was left behind. Someone who C.C. signed a contract with and gave Geass to... but to her he’s not just that. Haughty, confident, won’t give up in any situation. C.C.’s journey to regain such Lelouch was a lonely one.

Kururugi Suzaku (Responsibility and Succession)

Together with Lelouch, they planned and executed Zero Requiem. He wielded his sword and killed his best friend since childhood days with his own hands. That fact has been piercing his heart in every second. He erased his name and existence, determined to fulfill his responsibility by becoming Zero. Now that Lelouch has revived, he once again entrust the role of Zero to Lelouch.

Nunnally (Wish and Hope)

Far from not noticing her big brother’s true intention, she hated him, and only realized the truth after he died. Learning that what he wanted to achieve was a future for his younger sister—her—deepens her despair. At the very least, to bring the world to a better direction... Her humanitarian activities are also an act of atonement that contains prayer. 

Cornelia (Blood Relation and Tenacity)

Hateful Lelouch who killed and disgraced her beloved sister Euphemia. If she could confront him again, she was sure to kill him. However, if she’s asked for help to rescue Nunnally, she will give her cooperation without hesitation. She hates him because he killed her younger sister, she lends him a hand because she wants to save her stepsister. Consistently, the happiness of the people who are important to her is her top priority. 

Black Knights (Starting Point and Regret)

Shinjuku incident, Battle of Narita, Todo’s rescue operation... Zero never failed to create miracles. However, Zero’s true identity and actions caused their doubt towards him to gradually increase, and finally they parted ways. The regret of not believing in him, became a thorn in their heart even till this day. Seeing the resurrected Lelouch with their own eyes, they decided that this time for sure they will believe and follow Zero. 

Ashford Academy (Peace and Memories)

--Please tell us the story behind Lelouch's revival following the compilation movie trilogy. Taniguchi: When the compilation movie trilogy was decided to be made, at the same time we also decided to release "Lelouch of the Resurrection". For the sake of continuing the franchise from here on, we thought we should clearly settle the matter regarding this series' world and the man named Lelouch.

--Are you saying that you felt the way the TV series (Lelouch of the Rebellion R2) ended was lacking? Taniguchi: No, that's not it. My position that the first term and second term ("R2") of the TV series are meant to be a completed work has not changed. However, when we view it from a perspective of Code Geass as a franchise, the circumstances slightly change. For example, if in the future someone other than me wants to make "Code Geass", I think it will be hard for them to create new stories based on the present status. Not just limited to anime, but also when you think about other various medium such as novels, manga, games, stageplay, etc. When that situation arrives, what happen to the world after "R2", how do the characters live their lives, how is the man named Lelouch evaluated in history, etc. The TV series ended with almost no depiction on those things at all, so it's necessary to create some kind of logical course from there. An easy-to-understand case in point would be "Char's Counterattack" from "Mobile Suit Gundam" series. It's a work that gave birth to a dilemma of not being able to proceed further unless it gives some kind of closure to Amuro and Char's fate(*), and I think "Lelouch of the Resurrection" also has an aspect that is similar to that. I figured it's the responsibility of me (director) and Okouchi Ichiro (screenwriter) as the people who created this work to write that conclusion.

* Char’s Counterattack SPOILER at the end of the movie, Amuro and Char went beyond the time.

--I see. So the setting "Actually, Lelouch was alive" is a conclusion that is drawn from looking at future expansion of the series. Taniguchi: That's right. Though I wasn't thinking about it at all at the time we made the TV series, in order to make a new history that will become the foundation for the future, I chose a scenario of Lelouch's revival. 

--Did you consider various methods of reviving Lelouch? Taniguchi: We discussed quite a lot. In the end, regardless of what viewers might think, I chose the one that I myself thought as the neatest one. Rather, personally I was concerned about from whom and how will Lelouch earns forgiveness after being resurrected. Since it's important, the portrayal of this part is conveyed carefully. By all means, please check the movie to confirm it yourself.

--The change in Lelouch's personality after being resurrected is also a big point of interest among the viewers. Taniguchi: Changing with experience is the basic worldview of "Code Geass", even Lelouch can't avoid this. If there's no changes happening here then he's just a "character” instead of a “human being”. I won't deny that long-lived works are something that will be more or less be characterized, but at least since that is not what I set out to do with this work, changes happen as part of natural flow of things.

--As a fan, I'm as happy as I can be with a great number of familiar characters appearing. Taniguchi: As a major premise, I deliberately have as many characters as possible to appear. If characters like "Secretary A" among others is going to appear, then I want existing characters to appear. Even though they don't have lines, at least please include stills of them. I asked Okouchi-san the unreasonable and got him to squeeze things in for me. Moreover, because there were many TV series staffs working in this production, there were suggestions such as "Is it alright to include XX in this cut?", but I think because there's love poured even into the most trivial cuts, it resulted in a content that can satisfy the fans.

--On the other hand, how did you come up with other elements such as the enemy country and the new characters? Taniguchi: I thought of drawing up existing factions such as the remnant of Holy Britannian Empire, the unexplored Knight of Rounds, or the survivor from Geass Cult, but as we were discussing about various things, we decided that it would be faster to create a new country instead. Because the new characters have to give off strong presence in such short time, I requested for versatile cast such as Toda Keiko (as Chamna), Ootsuka Akio (as Forgner) and Takagi Wataru (as Bitul). At the recording site, they induced a comfortable tense atmosphere like a breath of fresh air.

--Now I will ask about the story. In "Code Geass: Akito the Exiled" OVA there was a "Caretaker of Spacetime", but this time you don't really delve into the mystery of Code Geass world setting.   Taniguchi: If we bring the story to that direction, there's a concern that the plot will be taken up by mystery solving instead, so this time we daringly made it about simple Geass battles. There's only one or two themes we can include within movie length, and since the big theme of this work is "Lelouch's resurrection", we want fans to be able to enjoy that without getting distracted by other things. Besides, I myself am the type who thinks that the mystery of world setting isn't really that important. At the end of the day the world is a device, a stage for the characters to move and come to life on, so it can be retrofitted in one way or another. There's a saying "If you have any problem with it, blame it on Getter Ray", because it's a method that has already been proven by Ishikawa Ken-sensei from "Getter Robo".

--I see (laugh). On the battle side, in addition to the conventional mecha action, the charm of hand-to-hand combat actions is increased by the appearance of Sayoko. Taniguchi: From the beginning I had wanted to increase the amount of hand-to-hand combat actions, but even this much is already less than what I had planned. In the initial scenario draft, there was a scene where Sayoko unleashes Shinozaki-style's ultimate secret technique and annihilates the enemy. It's a technique similar to Fist of the North Star's Musou Tensei, but no matter how many times I re-arrange the storyboard, it won't fit in with the worldview (laugh). So I removed it while crying... Well, it's my own fault. I should've known what's realized in texts and what's realized in movie medium is different, yet I still had that written in the script. 

--(laugh) Also, I felt from the animation side, the expressions of the main characters like Suzaku and C.C. are carefully drawn in a more striking manner. Taniguchi: On the animation side, that's the part I concentrated our strength on the most. Because feelings that is visible through movements rather than stills is something that's difficult to be done unless it's a movie. We took a great care to create a new surface that can be seen in a glimpse while carefully not leaving out the conventional expressions. 

--To begin with, it's an unusual directive for this series to show the expression play in deliberately slow manner. Taniguchi: That's what I intended to do. Both the TV series and the compilation movie trilogy are consistently constructed around Lelouch's point of view, and the tempo is also quite fast, so in some scenes the emotional play of other characters are often sliced into thin proportion. On the other hand, the point of view in this work is not just Lelouch's but also the women, mainly C.C.'s, so the tempo inevitably change. Besides, this time it has to start from Lelouch receiving the blows from other characters' reactions first in order for the drama to materialize. As a result, I think it leads to the firm drawing of the emotions of each character besides Lelouch.

--Looking from C.C.'s point of view, this work can be interpreted as a kind of love story between Lelouch and C.C. Taniguchi: Yes, it's exactly made with that intention. Viewers are free to interpret it however they want, but at least I think of it as a love story. That's why the OP theme song (Leo Ieiri "Kono Sekai de") contains C.C.’s feelings, and the ED theme song (UNIONE "Revive") is Lelouch's answer to the world including C.C.. Perhaps not in the sense of pure love between man and woman, but in the sense of love towards the world, at least I feel this is the truest love story among my works.