by Anthony Frajman
Making anime that stands out visually is no easy feat. Yet, that is what Itazu Yoshimi has achieved with his first film, The Concierge.
A charming 69-minute feature, adapted from Tsuchika Nishimura’s manga series, The Concierge at Hokkyoku Department Store, The Concierge follows Akino, a young, trainee concierge at a curious department store that caters exclusively to animals.
At MIFF 2024, FilmInk spoke to Yoshimi about his striking debut.
What drew you to adapt this story as your feature debut?
“I liked (Tsuchika Nishimura’s) work, also I thought The Concierge would really adapt well to my style of animation. And as a story, I thought it was interesting that one half would be animals that were facing or had faced extinction. On the other hand, there’s this department store, which is like an image of consumerism.”
You have background as at you illustrator. Did you draw on those skills as a director?
“Yes. My experience (was really helpful) in terms of (planning) the actions and movements of the characters. I tried to grasp the characteristics of the animals, use them, and think about how to express (their characteristics). It was quite challenging. Other than the main characters, there’d be lots of other animals floating around. So, while that was difficult, it was also a really fun part.”
Was it a challenge to be faithful to the original manga series The Concierge at Hokkyoku Department Store but then also make making the film stand on its own?
“(I really tried) to bring out each personality (of each character). What sort of action would they do? And then, think about how I would depict it. So that was fun. I think I was able to bring in something that was not necessarily there in the original manga.”
The film starts off easy-going and fun, and then it becomes a bit heavier. Can you talk about that progression.
“In the latter half, it gets more serious, but I wanted to make the first half light-hearted so that it wouldn’t become too serious. I was very careful that the problems that Akino faces would be linked to what the animal characters face.
“Akino, the girl, I wanted people to follow her and feel close to her. So, I made her actions relatable, and I wanted the people to start with Akino and then get into the movie.”
Obviously, a lot of care was taken with the design. How long was the whole process from start to finish, to make the film?
“From when I started with the scenario – and I started planning to actually releasing it in the theatres – it would be four years from when the producer and myself talked over the whole project over a meal.”
Can you talk a bit more about how you chose the drawing style and why you wanted that particular look?
“The style that I employed in this movie, it was the first time (doing it) for me. So, to be able to get my crew to understand that and share my thoughts, that was the most challenging aspect.
“The style that I employed is basically that the illustrations are 2D, it’s flat but the movements of the characters are quite realistic and that kind of approach is rare. I think that was difficult for the crew to follow at first.
“I suppose when you look at the original manga, I think I just thought the flat 2D approach would suit but also, I’ve always liked a 2D approach. So, I just thought if I could actually incorporate that into animation, that’d be wonderful. So, I linked that flat style to the movement; using my experience.”
How much of the animation process was handmade vs digital tools?
“Some of the closeups of the animals, you can see that it’s got a kind of rough touch, but I think that effect can only be done if you use digital technology.
“It was hard for the animators to adapt to using a tablet to draw. They had a hard time initially, but I think they got used to it and also that really sped up the process.”
Were there any animals in particular that most interested you?
“I suppose it would be Woolly, the mammoth. Of course, in terms of size, he is the biggest character, and for that reason it was the hardest to draw. But on the other, hand, he was very close to my heart. And of course, with Woolly, he has a very long trunk, so how do we actually incorporate that into expression?”
A key part of the film is the score by Japanese singer Tofubeats. How did this collaboration come about?
“I used to always listen to his music every day. The music that he composes uses technology, but having said that, there’s a certain element of nostalgia in it, and I thought that would suit my movie.”
Japan obviously has a rich history of anime and manga, was that something that you were conscious of?
“I was very conscious. I actually took (inspiration) from the Toei Animation, from long ago. I borrowed that style, but then combined it with technology.”
