Among the many anime that consistently top the rankings, one that always appears is Fullmetal Alchemist: Brotherhood (2009). This second adaptation of the manga is still acclaimed for its outstanding characters, well-executed action sequences, and an emotional, faithful adaptation of author Hiromu Arakawa’s story.
In celebration of the 15th anniversary of Brotherhood, the Italian convention Lucca Comics & Games invited Yasuhiro Irie, director of Brotherhood, who participated in many panels, discussions, and screenings honoring his masterpiece.
We had the opportunity to interview him and talk about his experience during the production of Brotherhood.
Portions of this interview have been lightly edited for clarity. This interview was conducted with the assistance of an interpreter. This interview contains minor broad plot spoilers for Fullmetal Alchemist: Brotherhood.
Q: Irie-san, in previous interviews, you mentioned you were inspired by Hayao Miyazaki. How does it feel to be the one now inspiring new generations?
A: Of course, when I started as an animator, Miyazaki’s influence was very important. Knowing that many young people now look to my work as a reference inspires me. Even if it’s something I haven’t done alone, this achievement fills me with joy.
Q: Before Brotherhood, you were involved in the previous Fullmetal Alchemist (2003) opening animation and Fullmetal Alchemist the Movie: Conqueror of Shamballa (2005). What did you learn from that experience?
A: I began working on the opening for the original 2003 anime series, which led to an offer to join the Conqueror of Shamballa film. Around that time, I also became deeply interested in reading the manga. These early projects provided the resources necessary for my work on Brotherhood, which I began after finishing my participation in Shamballa. Revisiting the series felt like reuniting with a childhood friend.
Q: You have worked on different opening animation sequences, which left a strong impression on the fans. What was your approach when working on an opening, in contrast with working on the series? Does the opening work as a “trailer” of the anime?
A: Significant differences exist between an opening and the series itself. For starters, an opening is very brief. Within that short window, we must establish the characters and give the audience a general idea of the themes of the series. In contrast, during a series, we have more time to develop these elements.
While an opening can function as a condensed trailer, we have to take into consideration other elements. The most relevant is the music, which must be compelling and needs to have its own space and dignity within the sequence. We have to create room for the lyrics and the singer’s voice to shine.
For example, in the final Brotherhood’s opening, titled Rain, we highlighted the characters’ fates. Music served as a tool to characterize their journeys and to show the story in new ways. At the end of this opening, it looked like Edward was going to reunite with his dead mother, which never actually occurs. I also felt that it was fitting to use Rain as the ending song of Hohenheim’s death. When I read the lyrics as a whole, I noticed how it mirrored Hohenheim’s life and how he couldn’t pass away alongside his beloved Trisha.
Q: In Brotherhood, new characters are introduced. Was it hard to convey these additions to fans who only watched the previous anime?
A: Actually, I never gave that much thought because I focused on the manga as my primary source. I also assumed that manga readers were already familiar with these characters, while viewers who hadn’t seen the first anime adaptation would be meeting them for the first time anyway. Since they were part of the original story, adding them later didn’t feel like a problematic change.
Q: Even by today’s standards, Brotherhood is acclaimed for its well-done animation and solid story. How did you accomplish that so many years ago?
A: I owe these accomplishments to the team that worked alongside me, young people with little experience and seasoned professionals as well. This combination fostered an extraordinary production environment. This collaboration allowed us to create an animation that remains enjoyable even fifteen years later.
Our success also stems from the production schedule and organization methods. We worked on each episode, one at a time. While we maintained a master schedule, we focused on making steady progress day by day until the very end.
Furthermore, I relied on the honest, rigorous feedback of my colleagues. The staff frequently suggested improvements to elements I had already approved. What I remember most from that era is how the team managed to exceed even my own original expectations.
Ultimately, everything is due to the people who worked by my side.
Q: Finally, can you please share a message for your overseas fans?
A: I’m delighted that Brotherhood is deeply cherished. Both by those who watched it in the past and by those just discovering it for the first time today. Knowing this confirms that we did a great job, a fact that fills me with pride. I hope the anime continues to be enjoyed for many years to come.
Thank you.
We are grateful to Yasuhiro Irie for taking the time to talk about his work, which introduced many fans to the world of anime. In particular, Brotherhood left a strong mark on anime history, which many of us watched during childhood. There is no doubt that newcomers will continue to enjoy Brotherhood, and Irie-san’s other works as well.
Cover photo: Photo from Parisi Filipo, thanks to Lucca Comics & Games.
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