All in a One Piece live-action season's work.
Summary The showrunner of Netflix's One Piece Live Action series, Steven Maeda, has accomplished the impossible. He's not only proven that the live-action anime adaptation can work, but he's done it with one of the world's most popular manga series of all time. His previous credits involved writing and producing for shows like X-Files, LOST, and CSI: Miami, but his most recent series has skyrocketed to the top of Netflix charts and remained there weeks after its debut.
Editor's Note: This interview was conducted during the 2023 WGA and SAG-AFTRA strikes, and the show covered here would not exist without the labor of the writers and actors in both unions. When [Luffy] talks about his dreams, we didn't want it to feel juvenile or like something that everybody would like to believe. [The actor] really has to buy it, and he has to get you to buy it. He has to get those characters, very cynical characters like Zoro and Nami, to believe in what he is saying without feeling like he's selling something. So that was, I think, what came across within Iñaki was just that wonderful sense of sincerity.
The One Piece world is filled with many anthropomorphic characters that seem very challenging to adapt realistically. Like a certain sentient reindeer doctor who I've heard is your favorite One Piece character, Tony Tony Chopper. What about him makes Chopper your favorite character? Steven Maeda: It's always very tough. For example, one of the things that we were dead set on was trying to do as much practically on the show as possible for budgetary purposes. CG is very tough, and very expensive. We wanted the show to feel as grounded as possible, given that the world is so large, wild, and wacky.
Steven Maeda: I think that in just focusing on the first season, we didn't want to get into haki. We knew it existed, obviously and wanted to hint at it, which I think is absolutely right. You know, when Shanks says, "Get lost," and you see the Lord of the Coast's eyes contract, we had a lot of discussion about how much should something pass between them.
Steven Maeda: Oh, sure. We would talk about the manga quite a bit, especially if something really big happened. We had a lot of discussion when Wano ended, about that arc, and about Kaido. But it's stuff that is so far down the road from where we [are]. But it's good to know what's happening. What's funny is people really read into [the series], and we knew they would too. And so we tried to make sure that we had ample wiggle room in there. But people are reading into all sorts of things. Some of which was intended, some of which was lucky, some of which were like, "Really? That's interesting!" My feelings on that is that you always bring your own set of preconceived notions and knowledge of the source material to the show. Enjoy it.
Steven Maeda: I have a number of favorites, but I really have a soft spot for Buggy the Clown. Buggy starts off as sort of a minor level threat, and then obviously, in the manga, grows and develops to become one of the Emperors. He's so powerful. But he also has this sense of humor and this huge, huge chip on his shoulder. So I've always loved Buggy. I think that he feels that he's misunderstood. But that, for me, is a great character.
Several live-action animated projects have been in development hell for years, like a Naruto movie and another Netflix anime adaptation for the My Hero Academia series. If One Piece Live-Action does for live-action anime projects what Iron Man did for superhero movies, what advice can you give future showrunners or filmmakers who want to adapt beloved series to live-action?
Steven Maeda: I want to steer clear of any future adaptation stuff. There are so many wonderful moments in the series. And I don't want to overpromise, and eventually, that thing doesn't get shot. So I would just say that the world of One Piece is so huge and wondrous that there are any number of great moments that I'm looking forward to. I just don't want to commit to any of them at this point.
Steven Maeda: A lot of things are solved by budget, and we had a healthy budget on this show. There's always more that we wanted to do and couldn't afford. And I have been bringing up, for example, the character of Hachi. Oh boy, did I want Hachi in the show. We had a whole fight between Hachi and Zorro set up and couldn't do it. And that's no one's fault. It's just a matter of time and money. It would have been so time-intensive and expensive to do.
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