'This is such a big world. It was like designing four feature films.'
The Big Picture Manga is a unique art form. What starts as a passion project has the potential to grow into something greater. Mangaka Eiichiro Oda started writing One Piece for Weekly Shonen Jump in 1997, and the series quickly became one of the magazine’s most popular series and eventually grew to become the biggest manga in the world.
RICHARD BRIDGLAND: Absolutely, it was. It was an honor to do it, as well, because I know how passionate the fans are about it, how big the fan base is, and everything. I can't lie to you, it was a huge challenge because not only is the world so unique—although it's based on real life, and I based the designs on 18th-century piracy and then kind of built out from there just to give it a kind of authenticity—but it has these unique fantasy elements and these anachronistic elements.
That's so fascinating. That’s one of those things where if you're reading the manga or watching the anime, you don't really think about it. That's blowing my mind a little bit how some of the simplest things you had to take into account and make it fit within the world of One Piece. Another story that was really important, actually, was the story behind Baratie, and how that came about. Because when you see it in the manga, you have the ship with the fish head, and there's that sort of pyramid on top and everything, which is great, it's such a unique-looking thing, but once you adapt everything into live-action in the real world, you want to make it look credible and authentic and believable even to people who aren't familiar with the manga.
I love hearing you talk about the smile you gave the ram’s head because when we first got set photos and the behind-the-scenes for the show, that's the one thing that stood out to me and many fans of One Piece. The ram’s head looks very similar, but you did have that distinct change. But hearing your explanation of how it's reflective of Luffy’s personality makes me love that new detail that much more. Honestly, I think that's such a creative genius when it comes to adapting that.
That’s amazing. Like you said, every couple of episodes, you are moving to a different set and location. I want to take a second and talk about Syrup Village, the Usopp [Jacob Romero] episodes. Those are very different from the Sanji [Taz Skylar] episode when he's introduced in Baratie. They just feel like two completely different regions, even though we don't see much Syrup Village outside the mansion.
I know you guys did use some CG and blue screen, but still having those physical sets there for them to interact with, I think, played a huge role in making this feel as authentic as possible.
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