I directed animation for the first time after having only ever made independent animations before. In independent production, data management is much looser, there’s no need to separate in-between drawings from key drawings, and there’s no need to give instructions to anyone, but commercial animation doesn’t work that way, so it was tough. There were at least three major accidents, and I ended up drawing a huge amount of layout, key animation, in-between animation, and backgrounds. In the end, I got heavily involved in every stage except the photography, and for the month leading up to the deadline—34 days—I worked every day for 13 hours while talking on the phone with the art director, making it feel like the three of us, including the photography director, were producing an independent animation. Because my memories of my first time as director were like this, it has become a trauma.

俳優を目指して芸大を受験した玲司は、受験会場にて変わり者の演出家志望・省吾と出会い、 「ジェットスターごっこ」という奇妙な遊びを教わる。 日々の創作のなかで省吾のモノの見方や演出論に影響を受け続け、想像力に満ちた毎日…。 しかし大学卒業後は仲間たちとの交流も遠のき、玲司自身の俳優生活も思うようにいかない日々が続く。 そんな折、玲司は新宿の家電量販店で働く省吾とばったり再会する…。 目に見えない感覚と向き合う若者たちの、上京・挫折・再起の物語。