“I’ve always been blessed with roles. The first TV anime I had the leading role in was Gurren Lagann, a robot anime. Gekidan☆Shinkansen’s Nakashima Kazuki-san, who was responsible for the composition of the series, taught me many important things about acting, just like if I were standing on stage. The next project I had the lead role in was Fairy Tail.
Fairy Tail, the guild that Natsu belongs to, is one where the members share a strong sense of fellowship and have bonds like that of a family. The cast playing these characters are also from the same generation, and are talented people capable of taking up lead roles. Meeting friends like these were vital in helping me build up the core of my acting.”
Kakihara voices Natsu of Fairy Tail. He was reading the manga when he auditioned about 8 years ago, but Natsu’s voice did not come to mind. When he entered the room where the auditions were being held, and greeted everyone with “good morning” using his natural voice, a commotion arose among the judges. He thought that he would be asked to continue with his audition, but his audition for the role of Gray was declined with “It’s fine (you don’t have to do it)”. Some time later, his agency informed him that he would be voicing Natsu, and he later learned that it was because all the judges thought “Natsu is here” the moment he said “good morning” upon entering the room.
“If I hadn’t been chosen with my natural voice to voice Natsu, I wouldn’t have had the experience of challenging things with my natural voice, and might have become an actor who can only put on a show by acting cool. I’ve gained many things because I met Natsu, and I have strong feelings about walking together with him these 8 years. The present Kakihara Tetsuya might not exist if I had not met Natsu. Mashima-sensei’s Natsu is gradually becoming an attractive man, and I have to keep up.”
Shinagawa Hiroki’s (品川 宏樹) illustrations for the light novels of Tengen Toppa Gurren Lagann (天元突破グレンラガン), which was written by Kazuki Nakashima (中島 かずき), screenwriter of the series, as well as KILL la KILL !
If you know me for any amount of time, you would know that I love Houka Inumuta. He’s obviously pretty cute and well designed and I have a type for pretty asshole characters, but when people ask me why I actually like him, I have a hard time explaining it. In truth, I think he’s a very interesting character, for several different reasons. This character analysis is kind of me trying to truly and completely explain all the different aspects of him that I really like and also maybe bring light to what he’s like as a character since the majority of the klk fandom either ignores him or makes him just the ‘tech guy’.
(look at this smile he’s so cute but anyway let’s begin)
In an interview Nakashima said that “Satsuki” originally meant “killing spirit”, written like 殺気 (kanji for “kill/murder” (satsu) and “spirit/will” (ki)) instead of 皐月. But he changed that considering the fact that Satsuki was supposed to be a “double heroine”, saying that 殺気 would be too inhumane. (It still sounds the same though.)
He chose 鬼龍院 “Kiryuuin” as her surname because of its similarity to 着る (“kiru”), which means “to wear”. In the beginning the name was only 鬼龍 (“Kiryuu”) but it sounded really bad so he added 院 (“in”).
Yoh Yoshinari (animator) single handedly sketched, designed and created the first OP because no one in Studio Trigger were free to do it, it sacrificed a whole day of not eating and pure determination to complete it.
Nui is designed it a sense where the designer commented that “It would be fun if Nui is designed to look spooky or scary”. The first draft was sort of rejected because she looked far too sadistic or ill-natured.
By July 12, 2013, Animation for ep.1 is almost done, Kazuki Nakashima, the series composer (script writer) was requested to fix some parts for ep.7 by the director because the director faces some problems advancing the story.
The whole story and its script was already done a year before.So changes are done when needed.
Hiroyuki Imaishi (the director) personally supervised the animation for ep.3, and rejected some cuts because “it had too many movements”. The keyframe animator was surprised that he had to reduce the cuts ( usually it’s the other way round). Imaishi’s message to the keyframe animator: “Sorry”
The 1st OP animation post production is achieved in only 2 days! (Composite the cuts -> Color -> Send it to Sanzigen for video production and effects -> Put in music -> Broadcast). Imaishi commented that this particular process is the biggest hurdle of the whole KLK process.
EVERYTHING was mentioned on the “KILL la KILL Making Of” Documentary