One Piece (Live-Action)
Summary
One Pieceseason 1 apace became one of Netflix ’s most - watched resilient - action series when it debuted in 2023.One Piecemanaged to capture the unique feel of Eiichiro Oda ’s far-out source material and adapts around 95 chapters or 10 volume of the original manga . WithOne Pieceseason 2 in development and the manga series still being created after over 1,100 chapter , there is quite a lot of chance for future live - action account .
The unique macrocosm ofOne Piecewas translate from pageboy to screen thanks to a large group of creatives include developers Matt Owens and Steven Maeda , the amazingly intentional composersSonya Belousova and Giona Ostinelli , and editor Eric Litman . Litman was one of a number of editor who worked on the series , and primarily lent his natural endowment to the pilot episode and episodes 3 and 4 . Litman also work on Marvel ’s long - runningAgents of S.H.I.E.L.D.,ultimatelyputting together 40 episode of that series .
A new photograph has been released from the readiness of One Piece season 2 , teasing the comer of a familiar literary pirate ship from the source material .
Screen Rantinterviewed Eric Litman about his work onOne Piece . Litman discussed using redaction to improve already strong script moments , taunt time of year 2 , and touched on his work onAgents of S.H.I.E.L.D.
Screen Rant : I know you were one of three editors to lick on the pilot . Is that vulgar in your field , or does that imply drama ?
Eric Litman : No , no dramatic event . We had a great team on One Piece . I was brought in ab initio toward the death of production to do by episodes three and four . When I came on , Kevin Ross was cutting the pilot . Tessa Verfuss , who I ’ve exploit with , was over in South Africa . I ’d worked with the South Africa crowd on a former show , Black Sails , and that ’s where product was . She was handling her own set of episodes .
On One Piece , all the episodes were a very long shoot and post - production physical process . We had tons of optical effects , so it fill a longsighted time to get the episodes finish . Everybody was handling their own specific episodes , and as we catch closer and closer to premiering , we did sight of notes and Oda gave us his thought . Various the great unwashed came and conk out for scheduling reason , Tessa took over the pilot for a period of time , and I took over the pilot for the end . We all handle specific aspects of that of that pilot . Everyone was a great squad .
Litman Focused On Keeping One Piece Grounded & Emotional
You ’re working with this property that also has an anime and a manga . How much does the look of the manga or the rhythm and yard of the anime influence what you do ?
Eric Litman : I manifestly retrieve about that stuff , but I try not to be beholden to that . On every show I ferment on , I let the stuff mouth to me . It will tell me what ask to be done .
You want the character ’s emotional resonance to come through , and you want things that feel grounded . With anime and manga , there are certain thing they can do in those metier , but in a show like One Piece and other shows I ’ve work on , you want the audience to link . If it gets too dotty , multitude may not be able to link to and tie in to the drama that ’s happening on blind .
Custom Image by Yailin Chacon
How does that play into your work on action sequences?One Piecehas such great combat prospect , and there ’s a raft of mad stuff happening .
Eric Litman : We had a great action squad over in South Africa that really plotted out the competitiveness sequences , and we had terrific directors . Emma Sullivan shot the episodes that I cut — episodes 3 and 4 — and we had just great stunts . Everything was storyboarded , well thought out , and planned , so I had a moderately good idea what the objective was with the fight sequences . That being tell , you just do n’t require day-and-night action or nonstop stunt . You desire to have some levity or some form of excited instant so that people can connect with what ’s bump .
In sequence 4 , we had this grownup competitiveness with young Zoro and untested Kuina fighting . He require to be the honorable swordsman , and he ’s being out maneuvered by Kuina . He finally relinquish to her and says , like , “ Just kill me . I ca n’t match you . ” And they have this terrific instant where she shares her thoughts — “ I ’m not pass away to be able to be a swordsman . I ’m a girl , but when I become a woman , that ’s not how this humans works . ” He aver , “ No , that ’s crazy , and we ’re both going to be the best . ” It ’s a great consequence between the two of them when they make a pact .
Custom Image by Yailin Chacon
Unfortunately , Kuina ’s journey ends suddenly and tragically , and he takes the mantle for both of them . You connect with the overall spark of his character , and it specifically came into romp in his flashback and when present - age Zoro is climbing out of the well . He ’s retrieve about what happen in his past and why he has to get out of this . He owe it to Kuina . It ’s grand action , but it ’s not just all action . There ’s a lot of a lot of big dramatic event there .
And in those sequence , you also have the Usopp and Kaya story and that romance . How do you approach those ? I imagine it ’s different , making sure those breathe in the right way .
Eric Litman : amazingly , the Usopp / Kaya scenes and the Zoro well setting were make in a very similar agency . Both were script , shot , and burn in a linear manner . We got note from Oda and our showrunners , Matt Owens , and Steve Maeda — terrific storyteller , all three of them — that tell , “ These are capital shot , they ’re shot attractively , and they ’re act superbly . It ’s just assume some time to get through all this . What can we do to make that workplace ? ”
So with Kaya , Nami , Usopp , and Luffy in episode 3 , when each one of them is endeavor to pretend that they do n’t love the other or care for the other , what we ultimately did in stake is we read those things and intercut them , so it became a enquiry - answer department . Usopp and Luffy are speak , and then Kaya would answer the question , and vice versa . We did that in the edit and changed a line here or there , and it came out so , so beautifully .
The Zoro well scene was scripted , snap , and cut in the accurate same fashion . We were also give a note of , “ Is there a way to intercut this ? ” We were able to figure out in the edit , “ Well , we had all this extra footage that our film director , Emma Sullivan , guess , and we have close - ups of Zoro ’s face , ” and we were capable to really land these moments . It made the sequence really sing , and you really get in touch with these character on their journeys .
Eric Litman Discusses His Relationship With VFX
I ’m peculiar about your human relationship with VFX . How final are the outcome as you ’re edit , and how much are you put across with that department ?
Eric Litman : On a good deal of the fully grown ocular effects show that I work on , I ’m constantly talking to to visual effects . I have a pretty good idea what the plan is before they pullulate something . Then , once they photograph things , obviously matter change , and we talk about that . Once we ’re deep in post and we ’re trying to finalize things , I ’m always talking to them .
A pile of multiplication I ’ll have pre - visualization shot that I can put in — very rudimentary nontextual matter to get an idea of what we ’re looking to do . Then , there are times where I will babble to them and endeavor to estimate out , “ What ’s a better way to tell the story ? ” OnOne Piece , one of the things we did on the pilot burner was , “ How do we get into this world ? What ’s the best way to earthly concern - build the macrocosm of One Piece ? ”
I had a tidy sum of discussions about that with our visual essence team about how to set up the possibility of this world , specifically Loguetown . Through our discussions , we came up with a lot of different variations of shots for that opening chronological succession . I had some thought that they at last temped . Not all of those idea stuck , but what was cracking about those conversations was that they springboarded into something else . We had a really with child collaboration that at long last became what we saw .
Nothing Big Was Left Out Of Episodes 3 & 4
Do you have a scene or view fromOne Piecethat you were saddest to not have in the last edit ?
Eric Litman : Wow , that ’s a good motion . No . I ’m so proud of how the episodes bend out . I really am thrilled with working with everybody on the show , and the quislingism . I ’m highly gallant of the funeral scene and the climbing out of the well in episode 104 , “ The Pirates Are follow ” . I rewatched the episode the other day , and I was watching the end sequence with Kuro , Nami , and Kaya and I was like , “ Wow , this is such a great succession . ” He ’s stalk them and it was grand shadow play and great latent hostility .
Eric Litman Teases “Terrific” One Piece Season 2 Scripts
The second season is protrude production next calendar month , and people are marvel about everything from locations to fibre to sequence count , because people are hopeful that it ’ll be foresightful . Can you verbalise to anything about time of year 2 ?
Eric Litman : I will say that I ’ve read some of the sequence and they ’re rattling . That ’s about as far as I go . I do n’t want the Netflix police to come after me . It wo n’t disappoint .
Eric Litman Reflects On Agents Of S.H.I.E.L.D. And Deviating From The MCU
As I watchedAgents of S.H.I.E.L.D. , I remember there being so much discussion about whether or not it was Marvel Cinematic Universe canon , and at one point the serial just seemed to be abandoned by the MCU . Do you remember take the same interrogation of , “ Is this canyon ? ” and was that a frustrating matter to try and figure out ?
Eric Litman : I recall it was exciting . In the early days of that show , we were definitely link up into the Cinematic Universe . We had the spill of S.H.I.E.L.D. , which definitely was a huge storyline of time of year 1 . The Ultron plot line sort of moderate into our storyline for season 2 . For whatever reason , I was always involve in those episodes , and they were always the tightest docket — you’re process around the clock , and it was exciting . We had a pot of fun with that hooey .
As the show progress , like when Ghost Rider came into play , we were sort of … I do n’t need to say we were left to our own devices , but we sort of deviated from what was hap in the moving picture universe . That was a caboodle of fun . Suddenly , a great deal of freedom opened up , and we were able to do some pretty cool stuff .
time of year 4 , which I ’m extremely proud of , had the premiere of Ghost Rider . I got to veer that episode . The whole Ghost Rider storyline , I ’m so proud of . And then , at the end of the run , we talked about a Snap with Thanos . So , it was referenced . We were never frustrated . Agents of S.H.I.E.L.D. was such a nasty - rumple family . We were excited to come to work every day , and it was a wad of fun . That was a good mathematical group of citizenry .
In the same vena asOne Piece , were there any dropped scenes or storylines fromAgents of S.H.I.E.L.D.that you wish had made it in there ?
Eric Litman : The Agents of S.H.I.E.L.D. finale was in the beginning like an minute and 20 minutes . It was a really long finale . It was huge , it was epic , [ but ] it was on electronic web television , and you have to adhere to certain episode lengths . We were able-bodied to get a lot of that in , but there was just a lot of material that at long last go on the cutting off elbow room floor . I do n’t suppose it hurt the episode , but it was stuff that initially [ made us go , ] “ Oh serviceman , that was such a great view . I ’m sorry see that go . ” With that one , I wish there was a variation of it out there that we could have played a piddling spot longer , but at the end of the day , I ’m very proud of all the episode I did on that show .
Custom image by Yailin Chacon
About One Piece
free-base on Japan ’s highest - sell manga series in history by Eiichiro Oda , ONE PIECE is a legendary high - seas adventure unlike any other . Monkey D. Luffy is a young adventurer who has longed for a animation of exemption since he can remember . Luffy sets off from his modest village on a perilous journeying to find the fabled fabled treasure , ONE PIECE , to become King of the Pirates ! But for find the ultimate trophy , Luffy will postulate to gather the crew he ’s always wanted before finding a ship to sail , searching every inch of the vast blue sea , outpace the Marines , and outfox dangerous rivals at every act .
One Pieceseason 1 is out on Netflix now .
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One Piece follow young pirate Monkey D. Luffy and his diverse crew as they embark on a daring quest for treasure . turn in 2023 , the moving picture brings the adventuresome world of the popular manga to life , capture Luffy ’s unrelenting chase of the legendary One Piece treasure .
