Q: How did the collaboration between your co-directors work? Did each of you take a section or did you all work on all sections? Ishii (I): We are all doing whatever we like. Especially Aniki is the one doing what pleases him the most. ANIKI (A): No way, not just me, everyone is doing what we darn well please. I: We did not split our jobs or anything did we? Miki (M): We all did whatever we wanted to do, and then gave it consistency to it afterwards. We talked about how we would combine the stories afterwards. The reason why we started this was because we wanted to do something that we liked; however if it was just that, the film would be just a compilation of shorts films. So we still wanted to do whatever we wanted to do the most, but at the same time make it into one connected film. I: If we make rules such as limiting the piece down to certain amount of minutes, it becomes producer driven. Even if we are told that the piece should be 20 min., the piece that you want to make might not be 20 min., so it was like, who cares about stuff like that! That was our mentality. M: The overall impression was that we want to give it some compassion, human warmth throughout the whole entire film. I: Humanity = Downtown Neighborhood sitcomish (From Ai: Downtown Tokyo is often depicted as story with a human touch, do you know the Tora-san series? If you can find the right word to explain it please change it) that’s what I was aiming for. M: Dance & Music was Aniki’s theme. And the kind of grotesque gags and jokes are mine. I: The ones you want to grunt “Woo, gross…” on a physiological level are usually yours. M: The characters appear and interwine through out all the stories, so it might be confusing, but that would be the basic distinction among us. Q: The visual effects are astounding. How did you achieve the “small-headed bloodsucker” effect? A: Thank you very much. The Tamotsu Yamada effects was made possible by first creati