Appleseed Alpha

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The origin of this film goes back...

...to when we were shooting

Starship Troopers: Invasion.

That film we were shooting

with director Aramaki...

...who's also the director of this film...

...and producer Joseph Chou,

who's our friend.

We thought, ''Okay,

why don't we do another project...

...you know, together,

and have some fun with it.''

We decided to brainstorm,

look into different titles...

...and we came back to the idea

of Appleseed.

I thought this was a great idea...

...because the former titles worked well

all over the world.

It's very well-known.

And the franchise is something

that we probably should continue...

...because it works well in CGl films.

So that is why, you know, I thought,

"it's a great idea, we should go for it.''

When I went independent

as a producer...

...Appleseed was the first title

that I got to work on.

And that's when I met Aramaki.

And then it led to the following film,

Appleseed Ex Machina...

...that we worked on together.

And that led to several other films

that we created.

But after Appleseed, however...

...a lot of the films that we've done

were ideas or franchises...

...that were not from Japan.

So it was actually very much

a Western-driven project.

But, you know,

when we were discussing what to do...

...for our next project,

we kind of hit upon the idea of:

"Well, what about

tackling Appleseed again?''

Before working on Appleseed...

...we established a studio called Sola...

...and worked on Starship Troopers.

In discussing our next

project with Joseph...

...we had a new studio

and new staff members.

Of course, they were the same staff

from Appleseed Ex Machina.

But that group was at

the core of our new studio.

So we knew certain things.

We made great technological leaps.

We wanted a new challenge.

So we focused on doing Appleseed...

...but in a new way.

That's how we decided.

Personally, it was

the first film I worked on...

...so it has a special significance

for me.

I wanted to give it new life.

That was my main

motivation behind this project.

Well, at that point, I thought...

...it would also be important

to call on my other friend in Japan.

His name is Eiichi Kamagata...

...and he's head of a company

called Lucent Pictures.

And I wanted to bring him on board,

just because, you know, we're...

Sola Studio

is a CG animation production.

But in order to really provide

production companies service...

Because we're dealing with

a Japanese property.

We're dealing with

a Japanese licensor.

So we really needed someone

on the ground...

...who would oversee these issues and

Japanese distribution and whatnot...

...who specialises in that market.

And Tony brought in, obviously,

the international distribution...

...and Sony expertise...

...in trying to craft this film's

distribution or marketing strategy.

I thought we were all a natural fit.

Mr. lshizuka contacted us...

...with the idea of

doing another film.

Mr. lshizuka is based

in Los Angeles, so...

...it was tricky to coordinate.

From 2009 onwards...

...we have been in constant contact...

...regarding this new project.

We acted as producers

based in Japan...

...to get this project off the ground.

So we formed this great team with...

Co-production team with everyone.

Now, the only thing left...

...was to go back to the creators

about making this.

And we went to see,

in Osaka, the creators...

...so that we can discuss

and do something.

It took quite a while

to really make this happen.

But then finally they agreed,

since Aramaki was directing it...

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