【Let's Stay Home】BanG Dream! Anime Staff Q&A - Questions Wanted!

For everyone spending time at home, even if just a little—#stay-at-home timeTo help you enjoy your time, the anime "BanG Dream! 3rd Season" production staff will answer your questions!
The following staff members are scheduled to answer questions from you all!

Anime "BanG Dream! 3rd Season" Director Kaki Hirohiro

Anime "BanG Dream!" Series Composition/Screenwriter Ayaina Yuniko

Animation Production Sanzigen Co., Ltd. BanG Dream! Staff

Bushiroad Co., Ltd. BanG Dream! Anime Production

Please submit your questions with the hashtag #BanG Dream Anime Questions and tweet them!
We will select and answer from the questions you submit!

〇What was the most difficult thing during the production of "3rd Season"?
〇What did you focus on when producing the MV for RAISE A SUILEN in "3rd Season" #4?
〇What cuts in the Opening & Ending do you have special feelings for?
〇I want to see location scouting photos besides Kamogawa too!
〇Please tell us your personally favorite episodes.

And more, we're waiting for your questions!

※You cannot specify who will answer. Please understand this in advance.

Question Submission Period

April 22 (Wed), 2020 15:00 ~ April 26 (Sun), 2020 23:59

Q&A Collection Vol. 1

•  How long does it take to produce one cour of anime for BanG Dream!?
• For the anime "BanG Dream! 3rd Season", it takes approximately 9 months from the start of CG animation production to completion.
  The production of character models in the previous stage also takes 2 to 3 months per model, and it takes even more time if you include scenario and design settings.
  (Sanzigen Co., Ltd. Production Desk Tasaki Hideyuki)
• Where did you struggle the most during the anime production phase? 
• It was adjusting the storyboards.
  With 30 main characters alone, a large cast, and when it comes to understanding their personalities and situations and adding layouts and acting,
  Unless you're a huge BanG Dream! fan or a storyboard artist who has worked on this series for a long time, it's difficult to fully share in a short meeting,
  Also, because it's a 3D work, things that are easy and difficult in 3D differ from traditional animation, so I struggled with those adjustments.

  (Anime "BanG Dream! 3rd Season" Director Kaki Hirohiro) The live scenes were difficult every time.
  Especially up to around "2nd Season" #9, I was animating by hand, so I felt like crying every time.
  By the way, the ED of the final episode of anime "3rd Season" is also hand-animated. There's a sense of accomplishment.
  (Sanzigen Co., Ltd. CG Supervisor Mimura Atsushi)

• Please tell us Yukina's periodic test results.
• I don't think it's a failing grade...（laugh）
  While band activities are tough, it's impressive that everyone is also working hard on their studies.
  (Anime "BanG Dream!" Series Composition/Screenwriter Ayaina Yuniko)
• Why did Pareo's hometown become Kamogawa, Chiba?
• We first decided on a location near the ocean, and chose Kamogawa, Chiba because it was a reasonable distance to Chu2's house.
  It's also a place with memories from when I went location scouting with Goto Midori, the screenwriter & literary staff, when I was just starting out as a screenwriter.
  (Anime "BanG Dream!" Series Composition/Screenwriter Ayaina Yuniko)
• How did you come up with the band names appearing in "BanG Dream! Girls Band Challenge"?
• We had Bushiroad employees think them up. Each one might reflect their personal hobbies.
  (Bushiroad Co., Ltd. BanG Dream! Anime Production)
• Are there any plans to produce stories that deal with Afterglow, Pastel＊Palettes, Hello, Happy World!?
• It's not decided at all, but there might be opportunities to create such animations in the future.
  (Bushiroad Co., Ltd. BanG Dream! Anime Production)
• Are you currently considering a sequel?
• Whether it's a TV series, Web anime, or theatrical version, we're not sure of the format, but we want to continue producing BanG Dream! animations indefinitely.
  So I don't know what form it will take, but I think there might be an opportunity to deliver a series anime to everyone after the announced theatrical version.
  (Bushiroad Co., Ltd. BanG Dream! Anime Production)
• What did you think about the character dialogue in the next episode previews posted on YouTube?
• We created dialogue with the rule that they talk about something completely unrelated despite it being a preview.
  (Bushiroad Co., Ltd. BanG Dream! Anime Production)

 

Q&A Collection Vol. 2

• Throughout the entire work, I felt that the good aspects of CG, such as meticulousness and delicacy, were utilized in the backgrounds and the facial expressions and gestures of the characters.
  What kind of magic did you use to remove the digital feel from the CG?
• There's no particular magic, but we check and correct frames that look too CG-like and the timing of movements frame by frame.
  We also spend time making the facial expressions lively like hand-drawn animation.
  After that, it's the staff's love...…
  (Sanzigen Co., Ltd. CG Supervisor Mimura Atsushi)
• Basically, I don't think sound effects are added when characters appear, but in "2nd Season" #1, I'm curious why only the scene where Sayo appears has that ｼｬﾗﾗﾗ~ﾝ sound effect.
• You're right, the only sound effect attached to camera work other than gags is Sayo's cut.
  Among us, including camera work, we call it a "Beautiful Girl PAN". To fully express Sayo's cool beauty in one shot, it became that kind of cut and sound effect.
  (Anime "BanG Dream! 3rd Season" Director Kaki Hirohiro)
• When producing anime "2nd Season" and "3rd Season", are there specific points or scenes where you incorporated the opinions of the first season's production staff?
• The biggest point is Poppin'Party's atmosphere. It's an image that continues unchanged from the first anime season, connecting seamlessly.
  "The Great Girls Band Era" and "Budokan Live" were actually ideas that came up during the first season.
  Finally reaching them in anime "2nd Season" and "3rd Season"...is deeply moving.
  (Anime "BanG Dream!" Series Composition/Screenwriter Ayaina Yuniko)
• I was amazed at the impressiveness of the live scenes in anime "2nd Season" and "3rd Season". I'd love to hear about the commitment and behind-the-scenes stories that are unique to 3D!
• Actually, we held back on large-scale camera work that's only possible with 3D, like in the final episode of "3rd Season",
  instead we're exploring a line that makes even normal camera work look subtly luxurious by adding elegant angles and movements.
  In exchange, we asked for the characters to move abundantly.
  (Anime "BanG Dream! 3rd Season" Director Kaki Hirohiro)

  In live scenes, we try to include as many 3D camera work cuts as possible.
  It's unique to 3D that we can apply lighting to match the model's shape.
  (Sanzigen Co., Ltd. CG Supervisor Atsushi Mimura)

• What was the point you were most particular about in the MV of 「EXPOSE 'Burn out!!!'」 in Anime 「3nd Season」 #4?

• While establishing common ground with Poppin'Party in the next episode, I adjusted it so it had a completely different taste.
  From the concepts of being in a box and shooting a finger gun, I aimed for the result to convey: 'If the creator is different, could an MV turn out this different?'
  I asked both to make them go to both extremes.
  (Director of Anime 「BanG Dream! 3rd Season」 Hiromasa Kakimoto)

  Speaking broadly, with the addition of Rikka, I aimed to create visuals that convey an overwhelming passion as RAISE A SUILEN.
  With facial expressions, monitor graphics, colors and more, all staff were able to create something with a different flavor than before.
  I hope you find them appealing as formidable enemies.
  (Sanzigen Co., Ltd. Anime 「BanG Dream! 3rd Season」 #4 RAISE A SUILEN MV Direction Shinsuke Ikeda)

• Whose idea was the stylish font in the OP credits?
• That was Umezu.
  (Edits Co., Ltd. OP Direction/Storyboard Tomomi Umezu)
• I heard that the scriptwriter themselves moved in and conducted research at the Osaka bathhouse that served as the model for Rikka's boarding house 「Asahi-yu」. I would love to hear about that intention.
• I wanted more realistic portrayal, and since I proposed the setting of living in a bathhouse, I felt a sense of responsibility... (laughs).
  Since I loved bathhouses to begin with, it was fun.
  When I shot a video of putting sweet potatoes into a boiler, I was happy that it was incorporated into the anime.
  (「BanG Dream!」Anime Series Composition and Scriptwriting Yunico Ayana)
• Please tell me about your dedication in making 「FIRE BIRD」 the ending in Anime 「3nd Season」 #7.
• When ordering the song, I got enthusiastic with Agematsu about making it a song with dialogue, among other things,
  From the anime side's approach, the fundamental idea was to try changing the dialogue in 「FIRE BIRD」 to match the situation, which led to this kind of direction.
  It was ordered as a song for Anime 「2nd Season」 #13, but the song and lyrics were so great that,
  I was thinking I definitely wanted to do a story that fits this song, and a perfectly fitting story came together.
  (Director of Anime 「BanG Dream! 3rd Season」 Hiromasa Kakimoto)
• If you have any behind-the-scenes stories or secrets from anime production, please tell me.

• For 「Avant-garde HISTORY」, with cast member Aiba's request, we received reference videos of choreography from them and manually added the movements.
  Thanks to that, we created wonderful animation.
  Also, it's not really a behind-the-scenes story, but I had a dream during production where the company president called me and yelled at me.
  Even though I don't usually feel it, I wonder if there was pressure...
  I've never actually been scolded. Really, really.
  (Sanzigen Co., Ltd. CG Supervisor Atsushi Mimura)

  The drum performance scene of Masking in Anime 「3rd Season」 #1 didn't have motion capture recorded, so
  An animator with drum performance experience manually added the animation by hand.
  I think it turned out very cool with the movement unique to hand animation.
  (Sanzigen Co., Ltd. CG Director Kouki Morita)

  Small objects are often drawn by hand, but since we started creating them from Anime 「2nd Season」, models of small objects have been increasing,
  The scene of bringing food to Sayo in #7 was almost completely made in 3D. I hope you'll take a look.
  (Sanzigen Co., Ltd. CG Director Haryo Ogawa)

  In the final episode of Anime 「3rd Season」 only, the colors of the cyalumes have actually increased.
  Since each band has different colors, it might be fun to look closely at that as well.
  (Sanzigen Co., Ltd. Cinematography Director Mari Inoue)

  I think there are actually quite a few scenes where it's not revealed that they're hand-drawn.
  For example, all the pajamas and jerseys that characters wear are hand-drawn!
  (Sanzigen Co., Ltd. Animation Director Takuya Chanohara)

  Coordinating movements and composition with CG was really challenging.
  For clothes and small objects for which character models weren't created,
  We in the digital drawing division drew and animated them all.
  Everyone worked hard, so please look closely at the fusion of CG and hand-drawn animation!
  (Sanzigen Co., Ltd. Animation Director Yuka Yamori)

• Please tell me the scene you were most particular about.

• All of the scenes! If I had to choose, it would be from when Poppin'Party went on stage at the Budokan to when they finished singing 「Mirai Train」.
  While working on it, I was moved.
  (Sanzigen Co., Ltd. CG Supervisor Atsushi Mimura)

  It's the scene in the second half of Anime 「3rd Season」 #3 where Rikka jumps out of 「Galaxy」 and heads to 「Chu2」's studio.
  To express Rikka's earnest nature, I focused on her facial expressions.
  (Sanzigen Co., Ltd. CG Director Kouki Morita)

  Not particularly this scene, but in Anime 「3nd Season」 #5, I was particular about positioning the camera so the faces looked as cute as possible.
  (Sanzigen Co., Ltd. CG Director Haryo Ogawa)

  Episodes with live scenes were shot with extra care, so I'd be happy if you watched them carefully.
  In particular, the live scenes of the 3 bands in the final episode are a must-see!
  (Sanzigen Co., Ltd. Cinematography Director Mari Inoue)

  We worked hard on the ED.
  In particular, Anime 「3nd Season」 has a huge amount of information, so I'd be happy if you watched it while pausing.
  (Sanzigen Co., Ltd. Animation Director Takuya Chanohara)

  It's difficult to pick just one, but I also designed the front cover and back cover of 「Snappy-chan」 that Masking is reading.
  It appears only briefly, but since both the director and I were particular about it, I definitely hope you'll see it!
  (Sanzigen Co., Ltd. Animation Director Yuka Yamori)

• If there's anything you referenced in the MV production for Poppin'Party and RAISE A SUILEN, please tell me.
• Not particularly, but I like Director Chris Cunningham's MVs, so I think I was influenced by them.
  (Director of Anime 「BanG Dream! 3rd Season」 Hiromasa Kakimoto)
• How well-known was Death Galaxy as a band?
• I think it was the kind of indie band that was famous nationwide.
  It didn't go major, and it seems they decided their direction through discussions among the three members (though one is quiet).
  By the way, it's a death metal and thrash metal style band, but it seems they also have some very cute songs.
  (Director of Anime 「BanG Dream! 3rd Season」 Hiromasa Kakimoto)
• Where was the owner who closed SPACE in Anime Season 1 #13, and what was he doing, until he appeared as a special advisor in Anime 「3nd Season」 #1?
• It seems he gets called out as an advisor from time to time, like with this tournament. In private, he's devoted to his grandchildren.
  (「BanG Dream!」Anime Series Composition and Scriptwriting Yunico Ayana)
• While the original novel and manga versions depicted it somewhat, what was Kasumi specifically doing and feeling, especially during her middle school years in the anime?
• I think she was doing all sorts of things while searching for that sparkly, thrilling excitement.
  With a strong sense of curiosity, she loved exploring unfamiliar places.
  During her middle school years, she went to karaoke with friends and was fulfilled through club activities, but
  Since 「Star's Heartbeat」 was such a vivid experience, I think she was living days that felt somewhat unfulfilled.
  (「BanG Dream!」 Anime Series Composition and Script by 綾奈ゆにこさん)
• In the original work, 「BanG Dream!」 comes from the song title of Arisa's father and others, but where does the word 「BanG Dream!」 come from in the anime's storyline?
• In my mind, it's a coined term by まりな.
  まりな wanted all the girls band members participating in the competition to experience
  There was first the phrase 「夢を撃ち抜く」, and by making it cool (intentionally), it became BanG Dream! in my mind.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)
• Could you tell me the reason for selecting 「ぽっぴん’しゃっふる」 and 「EXPOSE 'Burn out!!!'」 in the respective MVs for Poppin'Party and RAISE A SUILEN?
• The song for the MV was originally intended to be newly created, and the order concept was being solidified when
  It was decided because the image of 「解放」「ぶち壊す」 matched the direction of the other new song 「EXPOSE 'Burn out!!!'」 that was being created at the time.
  「ぽっぴん’しゃっふる」, like 「Happy Happy Party！」 from the anime 「2nd Season」,
  It was adopted as a song that truly embodies Poppin'Party.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)
• After seeing the shadow of Michelle in anime 「3nd Season」 #8, what happened to Yukina?
• What happened to her… I heard she ate breakfast the next morning though….
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)

  She got overheated and ended up bedridden in the rose room….
  (「BanG Dream!」 Anime Series Composition and Script by 綾奈ゆにこさん)

• Is there also a reference location for the hot spring that appeared in anime 「3nd Season」 #8?
• I heard from the director that he envisioned an established traditional inn with character, with a bath that has an atmosphere of being in nature, so
  We referenced the exterior design based on hot spring inns around Yugawara, and the open-air bath based on the naturally surrounded feeling of Kurokawa Hot Spring.
  (Sanzigen Co., Ltd. Setting Director: 神原浩輔さん)
• When did you start planning for the anime 「3rd Season」?
• By the stage of June to July 2017, the concept of holding a tournament in anime 「3rd Season」 had already been decided.
  As for the detailed content, it was worked out in detail with the production staff, including anime 「2nd Season」.
  (Bushiroad Co., Ltd. BanG Dream! Anime Production)
• Besides their relationship as colleagues, do Yoshiko from Galaxy and Marinas from CiRCLE have any other connection?
• They're friends.
  (「BanG Dream!」 Anime Series Composition and Script by 綾奈ゆにこさん)
• There were many bands participating in 「BanG Dream! Girls Band Challenge」, but were there any band names besides the main bands that you liked?

• 「あの日髪を切った日」, 「†滅ビヨ世界†」, 「やめたい気持ちと、やめられない僕ら」
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)

  「午後17時のお昼寝」. The fact that it's not 5 o'clock in the afternoon is nice.
  (「BanG Dream!」 Anime Series Composition and Script by 綾奈ゆにこさん)

• Were there any scenes where you couldn't help but smirk during production?
• There are lots. For example, the ハロハピ episode in anime 「2nd Season」 #4, or the rock banter of マスキング in anime 「3nd Season」, etc.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)
• Do you like チョココロネ?

• I don't really eat sweet bread, but I like it.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)

  When I see it at a store, I end up buying it….
  (「BanG Dream!」 Anime Series Composition and Script by 綾奈ゆにこさん)

• Is there anything you started doing because you were inspired by BanG Dream!?
• A mobile app game. ガルパ.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)

Q&A Collection - Part 3

• What was the most challenging aspect of showcasing the characters?
• It's following the characters' personalities, situations, and emotions meticulously according to each scene and event.
  I believe the unique expressions and actions that emerge from this make the characters charming.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)
• I'd like to see the storyboards for RAISE A SUILEN's 「EXPOSE 'Burn out!!!'」 MV!
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• Besides live scenes, are there any scenes where you felt you could achieve expressions that don't lose to 2D animation?
• Since 2D drawing and 3D have different strengths and weaknesses, rather than pursuing expressions that don't lose to 2D drawing, I'm pursuing expressions that are unique to 3D.
  For example, to create an illustration-like three-dimensional effect, we apply expressions like light wrapping to each character, and I think this can also be said to be unique to 3D.
  I believe that regardless of whether it's 2D drawing or 3D, performance and expression depend on how much soul the animators pour into it, so I think they can't be compared.
  (Anime 「BanG Dream! 3rd Season」 Director: 柿本広大さん)
• Which instrument was the most difficult to create CG for? During creationstruggled withIf you have any anecdotes, please share.
• Since we make efforts to faithfully reproduce the atmosphere of actual instruments as much as possible,
  it's necessary to gather a lot of reference materials, and honestly, all instruments were challenging.
  Especially for the patterns and textures on the instrument surface, the information from reference photos alone is hard to convey to the modeler, so we had the person in charge complete it through trial and error.
  (Sanzigen Co., Ltd. Setting Director: 神原浩輔さん)
• Is the vehicle that appeared in anime 「3rd Season」 #11 modeled after the JR East 209 series?
• The vehicle that レイヤ and others were boarding in #11 was based on the current 209 series train used on the Sotobo Line for both exterior and interior.
  We actually rode the Sotobo Line from Awa-Kamogawa Station during the relatively less crowded afternoon hours,
  Being able to photograph the interior of the train and the scenery outside the windows may also have contributed to a more realistic expression.
  (Sanzigen Co., Ltd. Setting Director: 神原浩輔さん)
• Was the Budokan footage in the final episode of anime 「3rd Season」 based on real live performances?
• Yes. We actually attended a live performance and referenced the impressions of the stage and such.
  I'd be happy if people who watch the anime want to go to a live concert or want to go again.
  (株式会社サンジゲン, CG Supervisor, Atsushi Mimura)
• In the anime 「3rd Season」 #13, in the final exchange scene of Mirai Train,
  Was it intentional that the scenes cut back from Arisa to Kasumi, Rimi to Kasumi, Tae to Kasumi, and Saaya to Kasumi in the order Kasumi met them?
• Because I wanted the development to trace Poppin'Party's story from the first season,
  I wanted to show the members of Poppin'Party in the order they joined and have everyone reflect on the path they've taken. I'm happy you noticed.
  After I finished the storyboard for this scene, I got so emotional that I couldn't work for a while.
  (株式会社サンジゲン, CG Supervisor/#13, Poppin'Party Live Part Storyboard, Atsushi Mimura)
• What kind of qualifications and skills are needed when making anime?
• Many people join after studying animation at a vocational school.
  The software we frequently use is as follows.
  CG Animation → 3ds Max, Compositing → Adobe After Effects, Digital Drawing → TVPaint, CLIP STUDIO PAINT.
  And passion!
  (株式会社サンジゲン, Representative Director, Hiroaki Matsuura)
• When creating the models for Sayo and Hina, were there any parts where you were conscious of them being twins? Also, I'd like to ask about the differences between the two.
• Although they have the setting of being twins, design-wise they don't have much in common besides color,
  Rather than emphasizing their twin-ness, we needed to express each character's individuality, so I created them with Sayo's and Hina's characteristics in mind.
  (株式会社サンジゲン, Modeling Director, Yasuhisa Takeuchi)
• For the Budokan performance in the final episode of anime 「3rd Season」, did you actually conduct location scouting on site?
• On the third day of 「TOKYO MX presents BanG Dream! 7th☆LIVE」, we were able to visit the locations that appear in the main story, such as the stage and waiting rooms.
  In particular, the space below the circular stage that was used in the final episode's Poppin'Party appearance scene
  was a scene we could only draw because we actually visited below the real stage.
  (株式会社サンジゲン, Setting Production, Kousuke Kambara)
• When creating live footage for each band, is there anything you're conscious of?

• We cherish the song being performed and the atmosphere the band has.
  Also, throughout anime 「2nd Season」 and 「3rd Season」, the story often culminates in live performances, so we're careful to weave that solidly into the songs.
  For the camera work in Poppin'Party's Budokan live, since stars are key to the story, I thought about how we could express that and gave it a try.
  (株式会社サンジゲン, CG Supervisor/#13, Poppin'Party Live Part Storyboard, Atsushi Mimura)

  For Roselia, we basically don't cut much, no tricks! Raw and honest! We're conscious of emphasizing that live feeling!
  For RAS, we do our usual dynamic approach, and since 「Beautiful Birthday」 is a song that emphasizes the bonds between members and emotions, we wanted viewers of the live to be able to immerse themselves in that,
  we didn't cut as much as we usually do for RAS.
  As a result, 「Avant-garde HISTORY」 allows immersion in the world view, and 「Beautiful Birthday」 allows immersion in emotions, so the cutting might be less than usual.
  (株式会社エディッツ, Editing/#13, Roselia & RAS Live Part Storyboard, Tomomi Umezu)

• Are there any challenges or difficulties with 2D drawing in 3D animation?

• When 3D characters are combined with 2D drawing, our draftsmanship is tested, so we draw more carefully than usual.
  (株式会社サンジゲン, Animation Director, Takuya Chanohara)

  For drawing, we start work after deciding on the acting etc. in CG, but matching CG's unique thin lines and movements is very difficult.
  Depending on the acting, the composition and layer order also become complex, so it requires a lot of thought.
  (株式会社サンジゲン, Animation Director, Yuka Yamori)

• Are there scenes where you incorporated and reflected the voice actors' opinions?

• For movements on stage for Aya and Yukina, Maeshima and Aiba come up with the choreography even for songs that haven't been performed on stage yet.
  For Chu2 as well, we use the acting from Tsumuki.
  Also, in terms of production process, the voice acting is recorded based on the storyboard rather than the finished animation.
  Since we add acting after listening to each voice actor's voice, the acting created by the voice actors is reflected on screen.
  For ad-lib lines and such, the voice actors create them throughout,
  particularly, we like the scene in anime 「2nd Season」 #6 where Poppin'Party is taking a photo in front of the Budokan,
  or Pareo's concern for Chu2's body in anime 「3rd Season」 #4.
  (Director of anime 「BanG Dream! 3rd Season」, Koudai Kakimoto)

  The spoken accounts of those with Budokan experience, and RAS's circle formation 「Let's do this our way!」,
  the idea for the title 「Miracle Drum☆Snappy-chan」, and so on.
  (「BanG Dream!」 Anime Series Composition & Screenplay, Yuniko Ayami)

• Was Kasumi originally good at music?
• I think her grades were decent. Especially, she liked singing and probably went to karaoke with friends often.
  (「BanG Dream!」 Anime Series Composition & Screenplay, Yuniko Ayami)
• In anime 「3rd Season」 #1, Poppin'Party and Roselia were made into dango, but if you were to really make dango, what would you want the filling to be?
• Mitarashi dango would be good.
  (「BanG Dream!」 Anime Series Composition & Screenplay, Yuniko Ayami)
• In anime 「2nd Season」 #6, when the 5 members of Poppin'Party were choosing bread, which bread did the 4 except Rimi choose?
• Kasumi: Melon bread, Arisa: Croissant, Saaya: Ring bread, Tae: Sweet bean paste bread. The ones other than Rimi chose based on their mood at the time.
  (Director of anime 「BanG Dream! 3rd Season」, Koudai Kakimoto)
• How much is the rent for Chu2's apartment?
• It's apparently a owned home.
  (株式会社ブシロード, BanG Dream! Anime Production)
• Regarding the messaging app screen that appeared in anime 「3rd Season」 #6, could you tell me the icons for Yukina and Sayo?
• They might appear in the future. Look forward to it.
  (Director of anime 「BanG Dream! 3rd Season」, Koudai Kakimoto)
• I think anime 「3rd Season」 was conscious of being a 「battle-focused」 work,
  were there any scenes in the script or motion where you particularly felt you could express the characteristics of a 「battle」-focused work?
  Conversely, were there points where you wanted to do more to show the battle?
• #6's Chu2 in general.
  Particularly, the scenes with rule explanations for the match and the psychological warfare felt like a battle work and were fun to write the script for.
  If we leaned too much into the battle aspect, it would become an unpleasant story, so balancing was difficult.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)
• I have a question about the subtitles.
  Season 1 had titles like "(Character) Did It!," Anime "2nd Season" had titles related to "BanG Dream! song names,"
  Anime "3rd Season" uses "dialogue from that episode" as subtitles, which is a different approach. Why did you decide to use subtitles in this way?

• Since Season 1 had a consistent subtitle format for the series, we maintained the same format for Anime "2nd Season" and "3rd Season".
  For Anime "2nd Season," we had a goal of including at least one live performance scene per episode, so
  we thought about titles in the form of the drama that the song expressed.
  For Anime "3rd Season," we realized when we could see the overall drama that it should serve as a counterpart to Anime "2nd Season," so we used dialogue-based titles.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  For Season 1, we wanted to bring out the fun and cuteness.
  Anime "2nd Season" had live performance scenes as the main selling point, so we tied it to the songs. Anime "3rd Season" prioritizes drama, so we based it on dialogue from the main story.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• In Anime "3rd Season" Episode 13, Masuki mentions the name of the band that 都築詩船 formed during their active years. What was that band name?
• Former SPACE owner 詩船 once formed a band called 「ミラキュラスカーレット」 (abbreviated as ミラスカ).
  (株式会社ブシロード Anime Production)
• In this work, the new song 「ミライトレイン」 incorporates the guitar phrase from "キラキラだとか夢だとか～Sing Girls～,"
  Such as Otae's line 「人、書く?」 before the finals in Episode 11, I felt there were many storylines based on past episodes.
  If there were any past episodes you were conscious of during production, could you tell me?

• Since we were conscious of the continuity from the past, we included such scenes throughout.
  Especially each band's origin story and initial drive are the very essence of the band's personality, so we wanted to cherish them.
  Since Anime "3rd Season" was about Poppin'Party fulfilling their dreams, we discussed about 香澄 and 有咲's encounter,
  the source of 香澄's sparkling excitement, and other details—we discussed thoroughly how the current 香澄 and the others feel.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  The scenes with 香澄 and 明日香 in Episode 12, and 香澄 and 有咲 in Episode 13 were consciously referencing Anime Season 1.
  Since the present continues from the past, rather than thinking "let's have them say the same thing," we decided each time based on "what would they say in this situation?"
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• In Anime "3rd Season," the owner appears in certain scenes. Could you tell me what process during production led to the decision to include the owner in this work?

• Since 「BanG Dream! Girls Band Challenge!」 was まりな's idea, when we followed her thinking,
  she would certainly know about the legendary live house owner in the neighborhood (詩船),
  and would likely seek advice from the owner who is their idol. That's how the owner's appearance came about.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  The owner's appearance was a proposal from the series composition.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• In the Budokan scene of Anime "3rd Season"'s final episode, what was 紗夜 silently thinking about?

• I think she was contemplating something like "the meaning of being here now."
  She was thinking about the experiences and feelings she could only gain in Roselia, and about the upcoming "FUTURE WORLD FES." and so on, perhaps?
  I think she was realizing that every stage Roselia stands on has meaning.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  I think she was thinking about their own live performance while watching RAS's rehearsal.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• I'd like to know the origins of the names of RAS members other than ロック and パレオ that haven't been explained in Anime "3rd Season"!
• We plan to touch on it in RAS's stage. The origins of their real names are also hinted at.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)
• Did Galaxy's store manager 美子さん also form a band in the past?
• I have the impression she didn't.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)
• I believe BanG Dream!'s essence is in the link between real live performances and the characters. When integrating the history of real live performances with the anime,
  were there any difficulties or points of reference during anime production that you could share?

• We don't separate the existence of the characters; instead, we think of them as the same existence existing in both reality and in anime and games.
  We tried to make the experiences of the game and real band members become part of the characters, creating a sense of human connection.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  The experiences and feelings of the cast and staff are very helpful in deepening the portrayal of the story.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• How did the staff manage to secure the Budokan as the finals venue for BanG Dream! Girls Band Challenge!?
  Was it largely due to the owner's influence, including the budget and schedule?

• The Budokan's schedule for BanG Dream! was already booked for over a year in advance.
  This time, we managed to secure it by leveraging the efforts of the owner and acquaintances of まりな to fill a suddenly available gap.
  By the way, regarding the budget, the usage fee for the public-interest Budokan wasn't particularly high; the bigger challenge was preparing the stage and such.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)

  It was more about the venue operator's connections than the owner directly taking action. We negotiated hard to secure a date that originally had a scheduled show cancel.
  (Writer and Series Composition for 「BanG Dream!」 Anime: 綾奈ゆにこさん)

• In the ending of Anime "3rd Season" Episode 13, who were the two people standing beside ますき's father?
• They were 宇崎宙 (うざきそら), the bassist and vocalist of デスギャラクシー, and 太田陽 (おおたよう), the current owner of ラーメン銀河 who plays guitar.
  (Director of Anime 「BanG Dream! 3rd Season」: 柿本広大さん)
• In the "Pastel＊Palettes's Pride Corner" at the beginning of Anime "3rd Season" Episode 8, who was performing the water escape technique in the hot spring?
• It's the handle of a stick used for stirring hot water. I think Shirasagi-san mistook it for something standing like that.
  By the way, unlike when it was Eve, there are no breathing sounds included.
  (Anime 'BanG Dream! 3rd Season' Director Kakimoto Kōdai)
• While many bands have been depicted, with Poppin'Party leading the way, what is it that the staff valued when depicting daily life?
  Are there any character interactions or gestures that you would like BanG Dream fans to see?

• We value considering every scene and story from the perspective of every character.
  The interactions and gestures are filled with the staff's meticulous attention throughout the entire series, so please find your favorites!
  (Anime 'BanG Dream! 3rd Season' Director Kakimoto Kōdai)

  Cuteness and liveliness.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)

• What is the name of the middle school that Paleo attends?
• It's Kamogawa Central Middle School.
  (Bushiroad Inc., BanG Dream! Anime Production Department)
• Even though the Poppin'Party members became busy starting with the '2nd Season' anime, in the '3rd Season' anime they even went through the 3Weeks live, didn't they?
  What kind of ideas and concepts did the members come up with to find time?
• We woke up early and used commute time and break time for exam preparation, naps, and practice, while working hard to maintain our health. I think family cooperation was also necessary.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)
• Galaxy is a live house within the shopping arcade, but it appeared that Masuki didn't have much familiarity with the people of the shopping arcade.
  Why didn't Masuki interact with them during childhood? And if possible, please tell us why they enrolled in Shirayuki.
• Masuki enrolled in Shirayuki on the recommendation of their mother, who was a Shirayuki graduate.
  The school start time was early, and before getting a motorcycle license, they commuted by train, so they arrived at school much earlier than the local children.
  The school rules were strict and stopping by places on the way home was prohibited, so they probably didn't spend much time buying food at the shopping arcade.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)
• I cried while watching the anime, but did the production staff also cry while making it?

• It seems that Matsuura, the president of Sanzigen, cried.
  There were apparently staff members who became strangely quiet during checks.
  During production, the greatest support was hearing the staff say things like 'that was interesting' or 'that was moving.'
  (Anime 'BanG Dream! 3rd Season' Director Kakimoto Kōdai)

  I write while crying. If I can't cry myself, no one can, so when I can cry, I feel relieved.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)

• This is a question for Ayano Yuniko, the series composition and screenwriter.
  How do you decide the story composition for the BanG Dream anime series?
  There are many characters with their own stories, and I think it's difficult to fit them into 13 episodes each from the 1st season to the '3rd Season' anime, so I'd definitely like to ask about it.

• First, we decide on the goal for Poppin'Party, who are the protagonists.
  At the same time, there are various conditions at the commission stage (for the '2nd Season' anime, a live performance every time, and Tae supporting a new band as a guitarist), so
  While considering how to depict those, I think about what we want to show, what's fun (happy or thrilling moments), what's necessary, and how to depict it so it gets across—then compose the structure.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)
• Many screenwriters have participated in each season from the 1st period to the '3rd Season'.
  Including Ayano herself, what was the point in assigning and distributing the screenplays for each episode to each screenwriter?
• I did have the feeling of wanting those who 'have depicted that character before' to take on the role as much as possible.
  As the series composition person, I mainly handle the episodes that I need to keep in check.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)
• Which episodes had scenes that moved the staff as well?

• I guess it would be '2nd Season' anime episodes #3-5 and #11-13, and '3rd Season' anime episodes #3, #5, #7, #10, #11, and #13...I love all episodes.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)

  It's episode #12 of the '2nd Season' anime.
  There was something touching about seeing Poppin'Party, who didn't know anything, preparing for their hosted live.
  (Sanzigen Inc., CG Supervisor Mimura Atsushi)

  It's '2nd Season' anime episode #11. I was moved by the depth of Poppin'Party's bonds.
  It was an episode where I was the CG director, and even though I should have watched it many times during checks, I almost cried when I watched the broadcast.
  (Sanzigen Inc., CG Director Morita Kōji)

  Scenes from '2nd Season' anime episodes #11, #12, and 'Returns' had music that fit the story perfectly and moved me.
  (Sanzigen Inc., CG Director Ogawa Haruyō)

  In both '2nd' and '3rd Season' anime, I was moved by the process where, after problems occur in the band, the members come together again with strong bonds.
  In both '2nd' and '3rd Season' anime, I was moved by the process where, after problems occur in the band, the members come together again with strong bonds.
  (Sanzigen Inc., Photography Director Inoue Asari)

  The scene of Michelle and Kokoro flying in the sky still stays in my heart.
  (Sanzigen Inc., Animation Director Chanohara Takuya)

  I was deeply moved by the scene where Paleo and Chu2 make up.
  I think it was a very good episode where RAISE A SUILEN's bonds, which had been scattered, came together strongly.
  (Sanzigen Inc., Animation Director Yatsumori Yūka)

• In your work creating the BanG Dream! anime, please tell us something that you can say 'I really did my best on this!'

• Series composition and communication.
  ('BanG Dream!' Anime Series Composition and Screenwriter Ayano Yuniko)

  When the '2nd Season' and '3rd Season' anime ended, I felt like we had done everything we could for both daily scenes and live scenes, but
  when I think about it more, I wonder if there are still more things we could do...
  (Sanzigen Inc., CG Supervisor Mimura Atsushi)

  I think the '3rd Season' anime opening turned out very cool. The 3D camera work was challenging.
  (Sanzigen Inc., CG Director Morita Kōji)

  There are places where I feel we could have done more, but I think we managed to express the absurdity of Hello, Happy World! in '2nd Season' anime episode #4.
  (Sanzigen Inc., CG Director Ogawa Haruyō)

  I approach each episode with the feeling of doing my best, and the final Budokan live in the '3rd Season' anime is something I feel I really did my best on in particular.
  I approach each episode with the feeling of doing my best, and the final Budokan live in the '3rd Season' anime is something I feel I really did my best on in particular.
  (Sanzigen Inc., Photography Director Inoue Asari)

  I worked hard and finished drawing the ending artwork!
  (Sanzigen Inc., Animation Director Chanohara Takuya)

  What I'm proud of is that we were able to deliver every episode while maintaining quality.
  Even though the schedule was tight at times, everyone really tried their best, so we were able to safely deliver the anime to everyone.
  Even though the schedule was tight at times, everyone really tried their best, so we were able to safely deliver the anime to everyone.
  (Sanzigen Inc., Animation Director Yatsumori Yūka)

• What is BanG Dream! to everyone?

• A purpose for living.
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)

  It's like an endless snack or something...
  (SanJigen Corporation CG Supervisor Mitsumura Atsushi)

  For me, BanG Dream! became my debut work as a CG Director and Producer, so it will be a work I can never forget in my lifetime.
  (SanJigen Corporation CG Director Morita Hiromi)

  There are many episodes full of laughter and emotion, and I never get tired of watching it, and it gives me energy.
  (SanJigen Corporation CG Director Ogawa Haruyo)

  It's a presence that takes on various challenges while bringing out the cuteness and coolness of each band.
  (SanJigen Corporation Director of Photography Inoue Asahi)

  It's a content that allowed me to challenge myself in various ways, like a benefactor.
  I want to continue to be involved with it for many years to come.
  (SanJigen Corporation Animation Director Chanoha Takuya)

  It's cute but not just cute, the music is wonderful but it's not just about the music,
  there are many characters, and each one has a proper axis and story,
  There were painful moments but it was such a fun work.
  (SanJigen Corporation Animation Director Yamori Yuka)

• 「BanG Dream!」completely changed my life. I want to work with such BanG Dream!. What is necessary to make that dream come true?
• What is most necessary is passion!
  By all means, pursue your dreams and work with us!
  (Bushiroad Corporation BanG Dream! Anime Production)
• I would like to see if there are any rejected proposals or anything like that that could be released.

• There are many rejected storyboards in the storyboards for the mini-anime 「BanG Dream! ガルパ☆ピコ」(laugh)
  I would like to set up an opportunity to discuss this somewhere, including with Director Miyajima.
  (Bushiroad Corporation Producer Nemoto Yuki)

  I apologize that I cannot disclose specific details, but anime 「3rd Season」 #13,
  there are approximately 8 minutes of scenes that were reluctantly cut from the original script. (To scriptwriter Ogawa Hitomi, I apologize.)
  Personally, I would like to see a complete director's cut version.
  (Bushiroad Corporation BanG Dream! Anime Production)

• I would like to know what kind of work is done daily in the production of storyboards and animations.
• Mainly, pre-production that creates plans, scenarios, and storyboards, production that creates CG animation, backgrounds, digital drawing, etc.,
  and post-production that performs all rush, original version, V editing.
  Within these, there are many various meetings and tasks.
  (SanJigen Corporation Production Coordinator Tasaki Hideyuki)
• Please tell me the most difficult character to draw in animation and the easiest character to move respectively.
• The difficult one is Kasumi. The easy to move or rather fun one is the members of Hello, Happy World!.
  (SanJigen Corporation CG Supervisor Mitsumura Atsushi)
• How much time does it take to do dubbing for one episode?
• About 3 to 4 hours. In addition to overall dubbing, we sometimes do individual voice actor recording sessions.
  Also, in the case of SanJigen, the pre-score method of recording the voice first and then creating the visuals is often used.
  (SanJigen Corporation Production Coordinator Tasaki Hideyuki)
• In continuing the story of the BanG Dream! series, do you want to depict Poppin'Party and their friends' college life in the next season?
  Do you think it would be difficult to depict if they were no longer high school students?

• I think even if they become college students, their essence won't change, so I think we can depict them.
  But I think their glamorous high school life still has a lot to go, so I want to pursue that.
  (Anime 「BanG Dream! 3rd Season」 Director Kakimoto Koudai)

  Personally, I would like to depict Poppin'Party after high school graduation.
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)

• Please tell me the episode or scenario that was the most fun to produce.

• Masking's school life (Anime 「3rd Season」 #10)
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)

  To answer honestly, it's all episodes, but it would take too long to explain... Speaking of the episodes I was in charge of the script for, anime 「2nd Season」 #13 and anime 「3rd Season」 #8.
  There were difficult parts like organizing information, but writing about everyone gathering and having fun together was very enjoyable.
  (SanJigen Corporation Literature/Script Goto Midori)

• Anime 「3rd Season」 had many events, so it felt very dense.
  Was it difficult to depict all these episodes within 13 episodes? Were there stories you wanted to depict more?
• It was difficult to balance comedy and seriousness. I'm glad we were able to make the hot spring episode.
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)
• What was the intent in producing the Budokan live episode in the final episode of anime 「3rd Season」? What points should viewers pay particular attention to?

• It is precisely the Dream of 「BanG Dream!」, so the desire to depict dreams was a major theme.
  I created the final episode hoping that when a big dream is realized, the scenery that becomes visible would be something that Kasumi and the staff and all the viewers could see together.
  There are no particular points to note. I would be happy if you watch your favorite character, favorite song, and favorite story.
  If I had to say, backstage areas and such that are rarely seen even at live shows are recreated based on research, so I would appreciate it if you enjoyed them.
  (Anime 「BanG Dream! 3rd Season」 Director Kakimoto Koudai)

  Since the time of anime Season 1, there has been a desire to have Poppin'Party stand on the Budokan stage.
  I think that now that Poppin'Party has grown as a band, they were able to stand there.
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)

• Please tell me your favorite or most surprising relationship among the new characters.
  I was surprised that Masking had actually become a fan of Asahi!
• Rock and Masking became an even better pair than expected.
  The trio of Ako, Rock, and Asuka are also cute and my favorite.
  Masking's eyes sparkling towards Asahi was cute, wasn't it!
  (「BanG Dream!」Anime Series Composition and Script Ayahiro Yuniko)
• I would like to know the background of how 「Initial」 was chosen (produced) as the OP theme song for anime 「3rd Season」.
  I felt that it has a slightly different color than the theme songs of Season 1 and anime 「2nd Season」.
  What kind of emotional impact did 「Initial」 have on the production and the work?
• 「Initial」 was a proposal from Elements Garden, who handles the music,
  with a different taste from 「Kizuna Music♪」 of anime 「2nd Season」,
  and has become a cool song that forms a Poppin'Party trilogy alongside 「Teardrops」 and 「Time Lapse」.
  I wanted to depict the harshness of pursuing dreams as well, so I think this is a perfect fit for the anime '3rd Season'.
  (Director of anime 'BanG Dream! 3rd Season' Kakimoto Koudai)