The Netflix series "Tokyo Override" will be available worldwide from Thursday, November 21, 2024. Set in Tokyo 100 years in the future, the series has a pop yet dirty worldview with motorbikes racing around. Honda and Yamaha also cooperated in the motorbike scenes, so we can look forward to some intense realism and exhilarating action.
Webike Plus was able to do a special interview with director Yusuke Fukada. If you learn about the behind-the-scenes aspects of the production, you'll be able to enjoy the world of "Tokyo Override" even more!
Focus on riders seeking freedom in a world controlled by AI
"Tokyo Override" is set in Tokyo 100 years from now, a place highly controlled by AI. At first glance, Tokyo appears to be a peaceful and orderly "ideal society," but behind the scenes there are many absurdities. Kai, a lonely teenage hacker, witnesses the dark side of utopia with a group of misfits who operate "motorcycles," an old, unregulated form of transportation.
The director of this work is Yusuke Fukada, who studied filmmaking in Kyoto and Paris and is also active as a producer on this work. We asked Director Fukada, who has previously worked on short films, about his thoughts on creating the world of "Tokyo Override."
The director of this film is Yusuke Fukada, a Kyoto native who currently works mainly in the United States.
What is the theme you want to convey through this work?
Making use of his experience studying abroad in France and the United States, especially at the University of Southern California (USC), he has worked in various roles as director, producer, and sound designer on live-action films in a variety of genres, including short films, feature films, documentaries, and reality TV. Notable examples include "Ultimate Beastmaster" and "Jonetsu Tairiku," in which Sylvester Stallone participated as executive producer, and the short film "Perfect World," which incorporates experimental visual techniques.
What are the themes you want to convey through this work?
Ideally, you'd just take a look at the product! But if I had to say, I created the worldview and story while thinking about how the "untagged" characters that appear in the work, in other words, those who have fallen through the cracks of a certain system, find their place in the world and discover a way to live.
Going even further, I tried to tackle a slightly philosophical question, such as whether "moving (i.e. riding a motorbike)" is actually their "place to belong," while constructing a story world that could be made into entertainment.
Even in a future world where there are no restrictions, there will still be people who "fit in." This is a major theme of the film.
You have not worked on many animated films in the past. Did you encounter any difficulties with the differences in expression between live-action and animated films?
I felt that there were many advantages to being able to try out worlds, visuals, and actions that didn't exist, but the process to get there was a long one. In this work, we used a development technique called "world building" to create the world view one by one from scratch, so it was fun but also very difficult to specify things like "atmosphere" that would automatically come with choosing the actors and locations in a live-action film.
Why is the story set in Tokyo?
This was one of the proposals made by Netflix in the planning stage when they approached us. Of course, we considered changing to another city, but we settled on Tokyo as a way to make an impact when considering Netflix's global distribution platform and to get people to watch it as an original work that is not based on a manga. On top of that, as we constructed Japan 100 years in the future through world building, we created the necessity of setting the story in Tokyo, a city that still functions as a city and introduces new technologies, even after large-scale natural disasters and a declining birth rate.
However, while properly organizing the world view settings such as what Tokyo in the future will be like and why such a story will take place in that Tokyo, we created the story with the intention of making it take place outside of areas such as Shibuya, Harajuku, and Shinjuku, which have been used in many previous works set in Tokyo.
How does the futuristic world of "Tokyo Override" differ from existing science fiction films?
This was a very difficult but unavoidable problem, but first of all, we decided to proceed based on a "utopian" worldview rather than a "dystopian" one as seen in many of our previous works. However, it would be difficult to develop the story in a simple utopia, so we tried to set up the light side of the world, where the majority of people enjoy this optimized world, while trying to make the dark side stand out in contrast.
In the process, I think the direction was solidified when I came up with the coined word "pop noir," a combination of "pop" and "noir." When you think of the science fiction genre, you inevitably think of blue screens, neon lights, and huge white buildings, but by deciding on vivid colors and effects based on the sensibility of this new genre, we tried to create a different worldview.
Although it is a controlled society, the future of Tokyo is not a dark dystopia, and is depicted with a vivid sense of color.
The motorcycles of interest are the "HAWK11" and "Bonneville Bobber" and the Super Cub was originally scheduled to appear.
When talking about this film, one element that cannot be left out is the motorcycle. These motorcycles, which are impressive symbols of freedom and also appear as icons for various characters in the film, were designed based on real models. But why are motorcycles such an important factor? We asked Director Fukada about the significance of this.
Does the director ride motorcycles? Do you have a particular model that you like?
I myself don't ride a motorcycle, so I had to rely on YAMAHA and HONDA to help me with the technical aspects and the sensibilities of the riders, and there are many riders in the Thai animation team called RiFF Studio, so I incorporated their sensibilities into the production process. We also took into account the sensibilities of the Thai animation team, RiFF Studio, which has many riders.
Of course I have strong feelings for the models used in my works (CB1300, YZF-R1, VMAX), but if I were to talk about my personal taste, it would be quite meek, but in terms of favorite models or styles, I like the retro and free customization of cafe racers. I like the retro and free customization of café racers. In terms of models, I think the HAWK11, Triumph's Bonneville Bobber, and Harley's Forty Eight, which were announced during the production of this work, are also cool. But in a sense, I think YA-1 is the ultimate model. The classic look, color and simplicity of the YA-1 left a deep impression on me.
A motorcycle that Director Fukada is interested in from HAWK11 (2022). The CB1300 in the film is also equipped with a rocket cowl!
Although it's a different direction, I think the R1 and DUCATI SUPERSPORT that we used this time are good sports types, and I also loved the presence of the Africa Twin that I saw when I visited HONDA during the development stage of the work.
The main character in this work is named Oguma Kai, but it's actually a pun inspired by the Super Cub, and in that sense, I was looking for a way to use a Cub, and I found a really cool custom Cub. I really wanted to use it, but there's a limit to how much customization you can make to race alongside the CB1300 or R1, so I gave up with tears in my eyes (laughs).
Initially, the Super Cub was considered, but it was difficult to create a chase scene with a big bike.
Motorcycles were an impressive motif in this work as a symbol of "freedom". Why do you dare to use a motorcycle?
Rather, since the idea was for a motorcycle action movie where a motorcycle races through a future world at the planning stage, I expanded the idea in that order: if a motorcycle races through a future world, what kind of world would it be and what kind of motorcycle would it be? Then, in the process of world building, the image of a motorcycle was created as a symbol of the randomness of humans (the world) in a world optimized by AI.
Then, during a discussion with Honda, we talked about how the act of riding a motorcycle involves both "movement" and "enjoyment," and that while the "movement" aspect may become stronger as automation and other things progress in the future, the "enjoyment" aspect will probably not disappear (or, we hope it will not disappear). Of course, I think this can also be said about cars, but considering the trend toward autonomous driving, we incorporated the idea that motorcycles will be required to have more of an "enjoyment" aspect into the work.
The desire that motorcycles will continue to have the fun aspect even in the future has led to the free-spirited depictions of motorcycles.
Three models of motorcycles will be featured on board (CB1300, YZF-R1, and VMAX) based on actual vehicles, but why these three models?
Of course, it's based on the appearance of the work, but in a world setting where motorcycles are becoming extinct, I thought it would be more convincing to have motorcycles that were once on the market remain in the future world, rather than those used in races or rare ones that are one-of-a-kind. Also, when I thought about how to connect this distant future world with the world we live in, and how to allow viewers to enjoy the work with a sense of reality and physical sensation, I thought that having models that are actually being driven today would give viewers a more intuitive feeling. So, some people may suspect that I chose them for advertising purposes, but in this work, I chose them arbitrarily and prejudicedly as creators, to match the world and story of the work, and to create a physical and intuitive connection with the viewers.
In that sense, I would be very happy if you could feel a connection to the world of "Tokyo Override" even for a moment when you see an R1 or CB1300 on the street (although I think it's difficult to see a VMAX).
Yamaha "YZF-R1", one of the motorcycles featured in the film
Honda "CB1300" also appeared in a customized version.
The Yamaha "VMAX" will also be making an appearance, a delight for owners of the actual motorcycle.
Are there any particular elements of the scene in which the motorcycle appears that you focused on?
We were very particular about the sound. With regards to the sound, we received full cooperation from Yamaha and Honda, and actually borrowed their respective models to record a variety of live sounds. However, in reality, simply using the live sounds as is would not have the kind of exaggerated quality required for entertainment, so we consulted with the sound team and finished the work using Dolby ATMOS.
We were particular about the appearance as well, so that you could fully enjoy the beauty and coolness of the bike's silhouette and texture, but if it was simply made realistic it would stand out as a work, so we were very careful about finding the right balance. We had them adjust it so that it would be realistic while still standing as an entertainment piece.
I also paid particular attention to the presence and weight of the motorcycle. When creating intense action scenes, I made numerous requests to the animators to be as conscious of things like pauses as possible, so that the movements didn't just look light and flickering.
At the preview, everyone saw the animation with sound for the first time, and I was so nervous during the screening that my hands started to sweat for the first time in my life. But I remember feeling relieved after the screening when I heard that everyone was very satisfied with the film.
In addition to being supervised by Honda/Yamaha, the exhaust sound, which was added with the director's own flair, is a must-listen.
There seems to be a fictional model in the race scene, is there any motif?
I think the results of repeated discussions between the Yamaha team and the world-building team were especially evident in the race. The race is not just for entertainment, but also serves as a check on the infrastructure of the city of Tokyo, which has been optimized by AI, and so discussions have progressed to the question of what kind of bikes will be racing there.
Based on that, we arrived at the idea that there will be three types of bikes and riders: fully automated by AI, manually operated by humans (Amarin character and his bike), and a hybrid model of the two. Furthermore, the bikes are designed in a two-layered style, with a basically common base and the upper part customized for each.
Based on this setting, Yamaha designed the only human-driven model, operated by the character Amarin, in the spirit of "human-machine sensuality." This bike expresses the coexistence of humans and machines (bikes), with a skin-like sensor in the seat that allows for sensory sharing with the rider.
The racer in the film was designed by Yamaha in accordance with the "Jinki Sensuality" concept. The photo shows the Yamaha "Motoroid 2" that was released last year, which has the same concept.
Mobility other than motorcycles is very futuristic, but why is the design of motorcycles the only thing that remains the same?
As you mentioned in your previous question, when I thought of the setting of a motorcycle as a special entity in the world of fully automated mobility, I thought that if the motorcycle also had a unique appearance, it would just be a fairy tale. The more strange the other cars and trucks are, the more meaningful it becomes to have a motorcycle that is no different from modern ones running.
In the setting, there is also a thought about various mobility products that may disappear in the future as gasoline regulations and climate change progress. Perhaps, if new models are no longer made at a certain point in the future, the current model may be the "last model." Broadly speaking, I feel that it can be thought of as a kind of secret resistance to the feeling that what exists now is disappearing as living environments and ways of thinking change due to the evolution of technology, including AI.
In recent years, mobility has become increasingly IOT and AI oriented, and motorcycles are no exception. Do you think that the bikes of the future will remain as free as they are today?
During the development discussion, we talked about how, unlike motorcycles, motorcycles cannot even stand without a rider, and this made a strong impression on me, so I reflected this in the work. In reality, autonomous motorcycles have been developed, so of course this may not remain as the identity of the motorcycle or the rider, but regardless of the technology, I think it is certain that motorcycles are closer to the rider physically than cars.
This is a bit off topic, but although something like a touch panel appears in this work, I was conscious of placing machines with "buttons" around the main characters. I think this is because they are people who still value the analog sense of physicality, and for them, a machine called a motorcycle is important, not just as a physical thing that you can touch, but also something that gives you sensations such as sound and vibration, and allows you to connect through them.
Internal combustion engine bikes may disappear in the future, but the director says, "analog sensibilities will never disappear."
I hope that 100 years from now, Tokyo will still enjoy the sight of riders overcoming difficulties on motorcycles.
Finally, we asked him what message he would like to convey to the active riders who will watch this film.
What are your thoughts on the production of this film for the riders who will be watching it?
This work was created by thinking about and imagining from various angles the unique joy of motorbikes and the way people live in a future world.
In it, the protagonist becomes aware of the voice within himself through his encounter with a motorcycle, and learns to express that voice through riding it. I am very interested in whether the experiences of the protagonist, living in a future world, have something in common with what you all feel when riding a motorcycle, and whether you can empathize with them... As someone involved in the production of this work, I am very interested in that.
I hope you enjoy watching a model of a motorbike that you may ride roaring through the motorcycles, cars, and buildings unique to this world, and overcoming various difficulties!
Director Fukada's thoughts on the production of "Tokyo Override" are full of attention to detail and passion that even motorcycle fans can understand. Even if you are not an anime fan, it is a work that all riders should see. The Netflix series "Tokyo Override" is being distributed worldwide exclusively on Netflix.
Netflix: https://www.netflix.com/jp/