“Gintama: Yoshiwara in Flames” previewed at Lucca Comics and Games in the week leading up to November 1, ahead of a theatrical release in Italy. Speaking with Variety at Europe’s largest Comic-Con, director Naoya Andô and producer Ryo Nakamuray described how they adapted a familiar storyline for cinemas while preserving the series’ character.
The franchise originated with Hideaki Sorachi’s manga, which he both wrote and illustrated. Its setting is an alternative, science-fiction version of Tokyo in the late Edo period, where an alien species called the Amanto has invaded Earth and three friends embark on a personal mission. The manga subsequently became a 367-episode anime series. The new film is the franchise’s fourth cinema outing.
With numerous action sequences planned from the outset, Andô said the filmmakers chose the ultrawide CinemaScope format and used 3D to expand their camera options. That approach allowed more movement and variety while also letting the camera stay farther from the characters, giving the setting and design more room within the frame. The adaptation also makes a literal change to the previously televised story: Yoshiwara actually burns. Andô said the team reached that creative decision after he raised the question with Takashi Maekawa, a producer who also worked on the television series.
Nakamuray acknowledged that the storyline had been especially popular in both the manga and anime. In returning to it, the filmmakers felt they had sufficient time and the advantage of working at a different scale. Andô said five years separated the completion of the anime from the start of work on the film, allowing the production to draw on advances in technology, particularly 3D animation. The soundtrack also includes substantial new music.
The Japanese release underwent further revisions after its February debut, with another version released in September. Andô said the February film was complete and ready for its deadline, although the team knew some shots could be improved. The opportunity presented by the DVD release prompted another round of work, during which more than 200 shots were retouched.
The credits reflect collaboration with studios in countries including China, Indonesia and Vietnam. Nakamuray explained that animation work is divided among teams according to their specialties, with collaborators selected for particular elements, such as characters or action. Each group has a team leader responsible for its contribution.
Comedy required a separate kind of attention. Andô said humor, especially across cultures, was difficult to convey, and one director focused principally on that aspect. The approach was to let characters joke with one another, allowing viewers to share in the exchange without explicitly signaling where they should laugh.
Andô also welcomed the reception in Lucca, saying the franchise’s films had not previously been brought to Europe. He described the Italian fans’ enthusiasm as a source of happiness for the visiting filmmakers.
