Q&A: Takeshi Koike (Scotland Loves Anime 2025)
Hot on the heels of its release in Japan earlier this year, Takeshi Koike and Telecom Animation’s new Lupin the IIIRD film, The Immortal Bloodline, is doing the rounds in cinemas abroad. With a localised release in Italy, France, the United States, and (possibly) Canada coming later this year / early next year, the United Kingdom was quick to jump on its chance for a screening during 2025s Scotland Loves Anime event.
With showings in both Edinburgh and Glasgow, lucky viewers were able to see the film ahead of any streaming or direct to video releases. To boot, those at the Glasgow showing were also treat to a Q&A session with the director, Takeshi Koike, himself. Both Lupin and Redline were both part of this year’s line-up, with only Zenigata and the Two Lupin’s missing in action. While I was not able to attend myself, friend of the website Douglas was, and they have written up a transcription of the Q&A session below.
The text below is not exactly as said, as some things were lost in translation. I have added a slight editors touch to the wording, to give for better readability. Please keep this in mind.
Please note that the following Q&A contains story spoilers for Lupin the IIIRD: The Movie ~ The Immortal Bloodline. Be aware that by reading on, you are likely to spoilers regarding key plot points from this film.
Question: Cowboy Bebop took some ideas from Lupin III. Is it fair to say the end credits of The Immortal Bloodline are you referencing Cowboy Bebop?
I did not have it in mind. Like with the other Lupin the IIIRD films, the credits were done by Hyperbole Inc.
If they are similar, it is simply because Lupin is similar.
Q: With this film posing as the finale to your four-film arc, did you plan for The Immortal Bloodline to be a Marvel Avengers style of tying up all narrative threads?
I love 1978s Lupin III: The Mystery of Mamo, so I was very happy that we got to tie in with that in particular.
Regarding the structure of the previous films, I mostly took inspiration from the early episodes of Lupin III: Part 1, where there was a new villain for each episode. I also wanted a criminal mastermind behind it all.
Q: The late Kiyoshi Kobiashi showed up in the credits of The Immortal Bloodline, even after his death. Why was that? Does he just have a really good agent?
The flashbacks at the beginning of the film contain clips from the earlier films he acted in. I also have great respect for him, which is why we included him in this film’s credits.
Q: Monkey Punch passed away during the production of the Lupin the IIIRD film series, how did that affect production?
When I was a student, I remember seeing Monkey Punch’s work in magazines, and was inspired by them.
Now, whenever I draw or do sketches, I think back to that time and his work, and put that into my drawings.
Q: Did you ever meet him (Monkey Punch)?
Yes. I met him once, at an awards ceremony after Jigen’s Gravestone’s release.
He said the film was very cool and that I should carry on!
Q: The Japanese media made a big point in mentioning this was the first 2D Lupin film for some time now…
Yes, it’s the first majority hand-drawn release in nearly thirty years.
Q: Younger animators would not remember doing things the old-fashioned way. How did they take to that method of working?
There is a lot of skill involved with drawing, even today. Even if you are using digital media and graphics tablets, you are still using similar drawing skills.
Q: What inspired you to become a film director?
I love Lupin III and have always wanted to be involved. I’m grateful to have been approached by TMS to do these films.
Q: How long was Goemon was hanging around in the rafters in Zenigata and the Two Lupin’s?
Hmm. About half a day.
Q: Can you tell us about B’z and their musical involvement in the film?
The style of music for the films was very dry / bluesy. Initially, I didn’t think that rock would work. However, other members of the team said it would, and I trusted them.
B’z are a big deal in Japan, and I didn’t think they would be interested in helping to score the film. But it turns out they are big fans, and when I asked them, they agreed!
I consider the ending song to this film that they did to be the theme for the whole series, not just The Immortal Bloodline.
Q: Lupin III is a cyclical series with many directors. What do you think was important for your interpretation?
The way the gang interact with one another.
The characters are new to each other and still distant. Each is a professional thief or killer. I wanted to represent that distance they have in scenes like the parachute scene.
Q: Did you have any other inspirations from the wider Lupin III franchise?
The first five episodes of Lupin III: Part 1 were the biggest inspiration.
We wanted these Lupin the IIIRD films to feel like they would slot in among those early episodes.
Editors note: These episodes were direct manga translations by Masaaki Ōsumi, and at the time, were considered “too adult”. This led to the production team changing staff, and the tone of the series becoming more family-friendly. The series took off to greater audience numbers during re-runs after its initial cancellation.
Q: Who would win in a battle: Sweet JP from Redline, or Lupin?
Hard question. If it was a race, definitely JP.
Q: Was there anything you wish you had more time to cover in The Immortal Bloodline?
There was more backstory for the assassins in the film. These were storyboarded, but ultimately cut.
Q: Lupin is usually grounded in reality, even with the likes of Pycal in Part 1. What made you go for the Sci-Fi route for this film?
Well, this was due to the setting.
I wanted to create a challenging foe that could not be easily beat, but who also not unstoppable.
We came up with idea of the island, but added the twist that the villain cannot leave, and that his power is drawn from the island itself.
