Confession from the Mastermind Behind ‘Girls Band Cry’ Addresses Doubts About That Scene and Answers in Episode 13

‘Girls Band Cry’ is a girls’ rock anime themed around music and youth. It aired on terrestrial TV channels like TOKYO MX from April to June 2024, and is currently being streamed on various platforms such as Amazon and ABEMA.

In Skilled Band Girls Challenge Themselves as Voice Actors in Anime ‘Girls Band Cry’, we interviewed Mr. Tadashi Hirayama, the producer from Toei Animation who was a central figure in promoting this project, about the process of creating ‘Girls Band Cry.’ In Part 2, we will delve into Mr. Hirayama’s responses to fan theories and talk about the sequel.

――This work challenges various unprecedented attempts. How were you feeling about whether it would be accepted before the television anime broadcast began?

“I was very scared. We had worked hard on it for five years, but there was always the possibility that it could be rejected by the audience.”

――Honestly, it seems that there weren’t many positive reactions before the broadcast.

“First, I didn’t know if the look of the work, that is, the appearance, would be accepted. I couldn’t predict how the protagonist, Nina Iseri, would be received either.”

――She is a straightforward and pure heroine with sharp edges who doesn’t compromise once she has made up her mind.

“I thought there was a possibility that people would be divided between those who accept her and those who don’t, but I’m relieved that it seems to be loved.”

――When did you first feel a response?

“After the finished product was completed, we first had internal screenings, and they were almost always full. This is unusual. Normally, they don’t fill up, and the number of people decreases with each screening. However, ‘Girls Band Cry’ was full every time we had a screening. It’s a phenomenon that doesn’t happen unless the people who saw the internal screening go back to their seats and spread the word saying ‘It was interesting.’ I started to have a little confidence that this work was interesting. However, everyone who watched the internal screenings is a professional in anime, so they have a different sense compared to general customers, and I thought it wouldn’t be clear until it actually aired.

I was also anxious because this spring had a lot of competitive titles. There were many highly anticipated works with popular original sources like ‘Demon Slayer’ and ‘Kaiju No. 8’. For girl + music-themed works, there was also ‘The Jellyfish Can’t Swim at Night,’ which was creating buzz even before airing, and the third season of ‘Sound! Euphonium,’ which was written by the same scriptwriter, Jukki Hanada, as ‘Girls Band Cry.’ I was worried, thinking, ‘In such a situation, an original CG anime probably won’t get much attention; people will be too busy watching popular and talked-about works.’”

――The Jellyfish Can’t Swim at Night is a music-themed story that begins with the encounter between a mentor-like woman who once was a professional but stepped away from the stage, and the protagonist who is searching for a place to belong. It was surprising that this work, which has many commonalities with Girls Band Cry, was broadcast at the same time. Even the nicknames, “Garukura” and “Yorukura,” are similar.

“It was a complete coincidence, and we were really surprised too (laughs). While The Jellyfish Can’t Swim at Night is a story about creating music videos, and Girls Band Cry is a band-centered story, I felt there was a kind of empathy, like maybe they were creating it with a similar mindset as us. I was hoping that the audience would compare Yorukura and Garukura and that both would gain more attention. In fact, I’m grateful that the audience did make comparisons. Thanks to that, many fans of Yorukura became aware of Garukura, and I’m really thankful to The Jellyfish Can’t Swim at Night for that.”

――When producing this work, did you have a strong determination to surpass your past projects?

“No, I approached everything from a zero-base perspective. For example, even with Love Live!, the TV anime broadcast started over 10 years ago, and the world has changed significantly since then, so we had to create something that aligns with the current era. I only thought about how to start the project in a way that was necessary for today. So honestly, I didn’t think about other works. I started by considering what kind of work would be properly accepted by the audience today.”

――To be honest, I’m surprised this project got approved.

“Getting the project approved was really tough (laughs). However, Toei Animation has a corporate culture that encourages creating original works, and in 2019, there was a push to create originals, so the company gave us tremendous support, which was a big factor. Toei Animation is a place that allows for experimental projects. Normally, or if it were the production committee method with multiple companies involved, we would have had to coordinate various opinions, and a project like this with such a high budget and unprecedented ideas wouldn’t have been possible. It was only because Toei Animation had the proper financial and personnel structure and the spirit to create something new that we were able to overcome many hardships and bring the project to broadcast.”

――I’ve heard that the development of CG technology required a significant budget, and it took several years to audition for the main characters. What was the pressure like as the budget kept decreasing over the long production period?

“One of the basic tasks of a producer is to consider the balance with the budget. If the budget increases, how are we going to recoup this amount? To recoup it, I thought the only way was to raise the quality of everything. I believed that if we raised the quality of everything and got recognition for even one aspect, we could start to recoup the budget, so I couldn’t compromise. That said, watching the production costs pile up steadily was truly terrifying.”

――Now, I’d like to ask about some of the details that fans are curious about. In episode 11, while Togenashi Togeari performs “Emptiness and Catharsis,” the pasts of the five members flashback, and the figures of people related to them are depicted. Fans speculate that the woman facing the grave in Rupa’s past might be Rupa’s sister. Is that her?

“Yes, that’s Rupa herself.”

――In the ending, there are characters who hadn’t appeared in episode 1, and I didn’t understand the significance of that, but after episode 13 ended, a theory spread among fans that it might have been depicting everyone after episode 13.

“That was the intention. The idea was that even after episode 13, everyone is probably getting along well.”

I was going to say that everyone is still getting along well after episode 13.”

――From the end of episode 12 through the final episode, episode 13, the story continues with a series of shocking developments. Without giving away any spoilers for those who haven’t seen it, the protagonists face continuous trials. What were your thoughts on this?

“We wanted to create a story that felt grounded. So, if everything had been fully resolved, it would have felt dishonest. But there’s a sense of unity with the audience who attended that live performance, and the band Togenashi Togeari, who had been working hard up until that point, was recognized and able to stand on that stage. We wanted to express that moment when the band’s efforts were acknowledged by the audience and they took off. The outcome of the challenge is known, but avoiding the challenge wasn’t an option. And the result does come, but that doesn’t mean that everything they’ve done up to that point was meaningless. That’s what we wanted to convey.

At Togenashi Togeari’s live, people who had been involved with the members throughout each episode gather. From named characters like Kyoko-san to what you might call ‘mob’ characters, they’re all live. I think Director Sakai was particular about showing that what Nina and the others had been doing wasn’t wrong, and wanted to present that as the result.”

――What can we expect in the future?

“The activities of the band Togenashi Togeari will continue. We have various ideas for what’s to come, but it will take some time, so please be patient. The story up to episode 13 has concluded, but various streaming platforms are still airing the series, so for those who haven’t seen it yet, please do. The band’s activities will continue, and the passionate rock story ‘Girls Band Cry’ will go on, so we appreciate your continued support!”

 

Profile: Tadashi Hirayama

Tadashi Hirayama graduated from the University of Tokyo and joined Madhouse in 1999, moving to Sunrise in 2000. As a producer, he has been involved in hit works such as Love Live!, Love Live! Sunshine!!, and Horizon on the Middle of Nowhere. Since 2019, he has been with Toei Animation, where he is responsible for producing Girls Band Cry.

Interview and Text: Miyu Kurusu

Miyu Kurusu is a freelance writer specializing in humanities, social issues, and subculture. She works on research and writing articles across various media, including magazines, newspapers, and online platforms. She has authored numerous books. X
ID: @mewzou

Girls Band Cry

Available for unlimited streaming on Amazon Prime Video, ABEMA, BANDAI CHANNEL, Hulu, U-NEXT, and more.
Official site: https://girls-band-cry.com/
Official X: https://x.com/girlsbandcry