The Epic of Gilgamesh: The Fan Cast chosen from Anime Characters and Voice Actors

Dear …………. Production Team,
I sincerely thank you for making my dream come true by giving me the opportunity for production of The Epic of Gilgamesh. I insist you on looking to this proposal since I am confident for this piece’s success. I thought of having the main theme based on philosophy of immortality and transformation. Both of these themes play a crucial role in the epic by leading the story. And for the further knowledge about motion graphics of action movies, I highly recommend to work with Tetsurou Araki, the director of serialized anime of the famous manga Shingeki no Kyojin (Attack on Titan). As you might already know, he directed over eighty series and movies. The main point in my desire to work with Araki-sensei is because he made movies from books before, Japanese classics to top it off (Aoi Bungaku series). He has experience in how to realistically reflect the story with its details and emotions without changing anything from the real piece.
My choice of places regarding the data I collected are mostly in Turkey, near Fırat River – which is connected to Euphrates River that once the real Uruk is built. The scenery there is near to what is drawn to the stones from ancient times which makes our work easier to figure out and examine the topography of area. Uruk will most likely to be in Gaziantep borders next to Fırat River. For the cedar forest, I thought of Karataş forests in between Gaziantep and Osmaniye. This great forest has no road to go in and is left untouched. It seems like a jungle in the first look and it really is a labyrinth-like forest to begin with. Since forest is very wide, many of the wild life animals live in and its weather is mostly hot – I imagined the forest in which Enkidu used to live in was almost like this. If we examine the area of the real Uruk city located we can figure out how dessert-like its weather is and how hot the forest near them can be. Also, I prefer Heaven-Hell twin holes in Narlıkuyu, Mersin for the end of the world and the sea that leads Gilgamesh to Urshanabi. Since twin holes are pretty near to the sea, I prefer using the whole area from holes to sea as scenery. Best part about Narlıkuyu is its sea is just like a perfect sea we all love, starting from sky blue and ending with black depth of Mediterranean: it is actually pretty near to the Deep Sea image I have in my mind. If you look at them in a map, you’ll see all these places are not so far from each other and we can examine them at once and for all.
I planned the very first scene to be a common opening like many anime movies: the scene opens with world scenery from space, zooming to Uruk in fast motion. Camera moves curvy as it reaches a hilltop near Uruk, but the difference comes when the actual first scene starts: there are two men standing on the hill who are looking to Uruk and we see their backs. This is important for showing viewers where the transformation progress is mostly going to be held on. This scene is, in my imagination, the continuation of epic’s end in Tablet XI, line 323 to 329 which is exactly the same of epic’s start in Tablet I, line 18 to 23. So, I want to start with the end as the first scene:
“O-Urshanabi, climb Uruk’s wall and walk back and forth!
Survey its foundations, examine the brickwork!
Were its bricks not fired in an oven?
Did the Seven Sages not lay its foundations?
A square mile is city, a square mile date-grove, a square mile is clay pit, half a square mile the temple of Ishtar: three square miles and a half is Uruk’s expanse.”
As lines are being said by Gilgamesh to Urshanabi, camera will continue to zoom to city, passing between two men’s heads. As the lines say ‘walls’, we’ll see walls being rebuilt by many people and when ‘brickwork’ is mentioned we’ll see bricks, passing them while they become transparent and we see buildings and people – a daily life of Uruk people at its finest. This scene is important to show how content citizens are after the change. We see some people’s faces very clear in the streets and they will be important afterwards. Suddenly screen turns to black and a simple white text appears: “Immortality.” Then city’s streets appear again and suddenly turned black again, “Is it even exists?” This is, as you can see, similar to one of your productions, Gintama in aspect of opening scene in the second movie. I chose this because it is an eye catching opening, pointing out immortality from the start and make watchers think about immortality’s role in the movie. I also want to stress on the happy faces we see at first because after we see the last black screen, city goes back to date BC 2800, where Gilgamesh was still brutal, young and irresponsible man – then all the faces we’ll see would likely to be unhappy and full of discontents. This way, viewers can see the diversity between old and new Uruk. The new Uruk formed by Gilgamesh is disappeared now; we are faced with a city where king takes the newlywed brides to bed before their grooms, fights as fun, orders as he pleases. Camera shows Gilgamesh from behind, standing in a fighting arena, ordering another strong man to come and face him. Now, the real story starts with the “Epic of Gilgamesh” title is shown in the screen. Before starting the story, I must define who will be the protagonist (Gilgamesh) and who his voice actor is in my opinion. I have two characters in my mind which fits to be Gilgamesh in different ways: One is Daiki Aomine from Kuroko no Basuke, other is Levi Ackerman from Shingeki no Kyojin. First, I want to start with why I have Levi Ackerman in my mind: he is considered as “humanity’s strongest”, he lived two different lives and changed his personality in between. He was first an orphan with high level fighting skills and he was originally part of underground crime before he became a soldier in Scouting Legion division. He is found by Erwin Smith (Commander of Scouting Legion) and brought to the headquarters to get education for his high level skill against his will by being threatened of getting his friends killed. Then, he changed from being rude, arrogant non-caring man to a trusted soldier, elegant, strong and skillful. This transformation is similar to Gilgamesh’s personality. Levi also believes that definition of ‘bad’ is human suffering. After changing he has never undervalued a single soldier under his command and whenever he saw someone in pain or trouble he helped if he had the chance or prayed for them to get better in he couldn’t help. He protects Eren Jäeger by being violent to him on the court but afterwards he visits him and examines Eren’s healing state from close just to make sure Eren has no grudge against him and is healing safely. Thus what I expect from Levi is to act with his character change experience since he can understand Gilgamesh in this aspect. For voice actor of Levi, I want to continue working with Hiroshi Kamiya. He is awarded with many ‘Best Seiyuu’ awards and voiced out over 200 characters; most of them were main characters. Those 200 characters were mostly had very different personalities and voice frequencies, which made Hiroshi very skillful about changing his voice as he wants and giving the right feelings and emotions with his voice. He even gave emotions to Levi Ackerman, a cold-hearted and poker face character, leading Levi to a man with many feels and emotions hiding in a mask of stone-hearted bastard. He has the matured man voice which I imagined Gilgamesh would have. But I don’t insist of using Levi because of his physical properties. Levi is only 160 cm tall and 65 kg despite of being humanity’s strongest. Gilgamesh in the epic is described as a “wild-bull” which means he is well-built and has a big body aside from meanings of hot tempered, easily angered and overly powerful. And we see from ancient picture tablets that he has a beard and other manly features. Levi is not a character I imagined to have a beard in any aspect. So, in physical conditions, I cannot suggest Levi but in characteristics, he is the most fitting one.
Other character I have in mind for Gilgamesh is Daiki Aomine. In physical properties, he is way better than Levi since he is a professional basketball player with 192 cm height and 85 kg weight. He enters the so-called ‘Zone’ during basketball which is the ultimate weapon for a player and a unique power to obtain. He is considered as the strongest in Japan. His skill, agility, unusual speed and formlessness in play make him very unreachable in power and skill. He is aggressive, does what he wants, egoist, self-centered coming from his hopelessness of not finding a valuable opponent. He is ace of the team in both Teiko Middle School and Touou Academy. He knows so much about basketball and experienced so many matches to make him unreachable. In this aspect, Aomine is just like Gilgamesh, a wild-bull. He is aggressive and doesn’t listen anyone if he thinks he is right. The first Gilgamesh image I obtained from epic is like that too: a little bit childish, capricious, aggressive, irritating and egoist. The deiform of Gilgamesh can fit to Aomine with his built and characteristics in this case. If Aomine had a beard it would fit him too, so physically I suggest him. On the other hand, he changes in the anime from being a cruel, rude and arrogant player who knows everything but can’t achieve the “ultimate zone” to a man of quality after losing to Seirin High School in Winter Tournaments. He now is aware of what he can and can’t do and learnt to wise up by listening. At the end of the manga, he cries when he realizes how Kagami (from Seirin High) entered the “ultimate zone” while he can’t do it. It was because of his own self-centered personality to do everything by himself, playing, winning, being awarded that he couldn’t understand the meaning of being a team and playing inside a team. He realizes he has to be a part of his team, because what makes him enter the zone is his own team; without the team, he is nothing special and he will be remembered with his team in the end. This is a tiny bit similar to what Gilgamesh faced: he was afraid of becoming like Enkidu when he dies, he only thought of himself and went to a journey of searching the immortality for himself only. He wanted to be recognized by gods in order to have immortality when he accepted the not-sleeping-for-7-days bet of Utanapishti. At the end he realized that the immortality is not for the individual and is for the whole humanity: he can’t be immortal by himself (like Aomine cannot play by himself), and all the mankind is already immortal by reproducing and making monument (like Touou Academy Basketball Team is all together will be remembered as the strongest and best, not only Aomine). Therefore Aomine loses his chance to go to quarter finals of Winter Tournament because of his self-centeredness and this alone deeply wounds him. Similarly, Gilgamesh loses Enkidu and this deeply wounds him. Looking at similarities, Aomine is an experienced character with the ability to reflect the transformation and its suffering all the way to the end without a problem to do empathy. Thus, Aomine messes around with girls, not caring whether they have boyfriends or not; similarly, Gilgamesh messes with newlyweds, taking the bride to bed before the groom. Also, Aomine can show the physical transformation of Gilgamesh as starting from a clean-faced man to a dirty bearded, suffered man. For Aomine’s voice actor, I have two men in mind and they both have the same qualities for voicing Gilgamesh: Junichi Suwabe (his original voice actor) and Ono Daisuke, the legendary voice actor of over 200 characters just like Hiroshi Kamiya. They both have the ability to voice out a strong and egoistic character and miserable, hopeless character. Their voice comes out powerful and they are very dominant over their voices, having the ability of expressing everything they should in an epic. Gilgamesh is a king, his voice should be strong and efficient to order his people and rule the city of Uruk. That is the reason why I highly recommend you two choose between these two voice actors. Continuation from Tablet I, we see the unhappy faces under the burden of king Gilgamesh; the same happy faces we see during the opening scene are now discontent of their ruler’s brutality. It is important to make viewers realize that these people are the same characters from the start to give a hint about how the citizens were before the transformation of Gilgamesh. Therefore, we see them praying to Anu, the god of the gods, for making Anu to do something to stop Gilgamesh. Anu is the most important god in the whole epic and he should be pointed out. But I don’t want to show gods in physical states, since we don’t know their true shapes or have any picture tablet to have a hint to know so. When they remain in their formless state they give more mysterious air than they do in their physical state. Anu being the highest ranked god told in epic, I think his appearance in a body form will only cause him to be undervalued. So, I just want to voice him and not give him a character. Thus, for his voice, I thought of Jouji Nakata, the voice actor of Alucard from Hellsing series. He has a deep voice and talk not just very calmly but also slowly, showing him like a mysterious creature with lots of secrets to have. When Nakata was the voice actor of Alucard whosek dark and tragicKpast lurks beneathkhis cool and heartlesskexterior, he awakened all my curiousness to the mystery of Alucard. He is capable of talking in a husky and manly voice and making it heard like a god is talking to people. In Hellsing, there were some scenes where we couldn’t see Alucard but heard his voice, when I think of these scenes, I surely suggest you to invite Jouji Nakata for the Anu voice. Alucard was pretty indifferent to all kinds of people except Integral Hellsing, his master, and this is a plus for using Nakata, since Anu is indifferent to all of his surroundings and does not care about what happens on the Earth too. I’m sure he will fit to the character.
I have one person in mind for Enkidu: Oda Nobunaga from “Nobunaga the Fool” series though they are very different in case of the era they lived and its conditions. But the first character I thought when I read the Epic of Gilgamesh was Oda Nobunaga and no other. Yes, as you can imagine, this character was created by inspiring from the real Japanese warlord Oba Nobunaga. Two things make me think that he’s the one: first, his wildkand unconventionalkway of life, second he becomes a man who bringskrevolutionkto the way of warskforkdomination. Nobunaga is a wild warrior with a rather unsociable personality because of going alone to hunt enemy forces and animals in the forests. He is a real legend though, he fights like nobody ever seen before and he can predict movements of others. The Enkidu image I have, since he grew up in wilderness, is similar: Enkidu is always aware of his surroundings since he lives in wild that is why he can predict moves also knows the path of forest and his danger. Nobunaga, similarly, knows every path which goes to the enemy cities secretly and also the paths to the forests, he is the only one that has the courage and knowledge to go to forests since he is the only one used to it; just like Enkidu has the knowledge and courage to go cedar forest because he grew up there. He is wild, doesn’t know what culture is and what education is. Nobunaga is slightly different, he is educated but he never obeys the rules and he is wild in nature, hunting like a madman as others describe him. He doesn’t care about becoming the next warlord, until the news of his town is pillaged and almost all his family members are murdered. Then he feels the need of revenge and the despair of not having a family and makes a journey to the towns which damaged his town. Enkidu acts similar when he learns that Gilgamesh is going to bed with the brides before grooms and decides to go Uruk and stop Gilgamesh. Also, Nobunaga is stubborn and does what he has in mind but in the same time very cautious of its consequences, in this mindset, they are alike with Enkidu. Enkidu protects animals from hunters and for this cause he harms hunters coming to the cedar forest. Nobunaga is a hunter but values the animal life and protects them from war. As his voice actor, I prefer Tomokazu Seki, the voice actor of Gilgamesh character in Fate/stay night series. He had always been a voice actor of supporting characters except a few series and I think we should give him a chance. His voice is loud and he voiced wild and Tarzan-like character Toujou Hidetora from Beelzebub so after watching Beelzebub and Fate/stay Night, I think he is very skillful in talking both uneducated and very elite styles. So he can reflect Enkidu’s transformation of wild an untamed ma to a great hero.
Returning to the scene, we understand Anu has an idea about stopping Gilgamesh by seeing the camera slowly shifting to a jungle-like forest where a light ball from sky falls and a baby voice is heard in between the trees. That baby is Enkidu, the wild and uneducated. As he grows up in the wilderness, we see shifting scenes between Gilgamesh and Enkidu. Scenes are switching between as Gilgamesh starts to see nightmares. While we see changes of scenes of Enkidu learning hunting and other natural things from animals in fast motion and Gilgamesh seeing nightmares, we hear Gilgamesh’s voice, telling the nightmares he saw to his mother (also a god), Ninsun and Ninsun’s answers to his son. We won’t be seeing Ninsun in a body since she is a god too and I don’t want to undervalue the meaning of god by giving them bodies. (By the way I thought of Kaori Mizuhashi as the voice actor of Ninsun because of her performance in Integra Fairbrook Wingates Hellsing role in Hellsing series. Her voice is strong and bold but at the same time calming and caring. She can order around but show her motherly care in the same voice. I couldn’t find many hints about Ninsun except of her being “Wild-Cow”, clever and wise in Tablet I, line 186. But Because of her role of Integra, I know she experienced to voice a wise and intelligent woman who has both a merciless and caring sides.) So, while we hear the conversation of mother and son in the background we see Gilgamesh continuing to his brutal ruling and Enkidu growing up without knowing anything about outside world. At the end, fast motion camera slows down and we see Gilgamesh talking to a man - a hunter that went to cedar forest a few times to hunt and saw a human-like creature destroy his traps, troubled by the creature and came to Gilgamesh for reporting what he saw. Then events follow each other fast, Shamhat (a substitute) is given the order of going to the forest and seduce Enkidu in order to lure him. Shamhat goes to her journey and finds Enkidu in forest, seduces him and they have embraced each other for 6 days and 7 nights, the perfection and completion number. To stress out to the number 7, I want to show the skies in very fast motion for 7 days, sun/moon going up and down very fast. For the role of Shamhat, I thought of Runa Satsuki from Aki Sora OVA series, they are both substitutes for luring someone out of their caves. Aside from this point I couldn’t find anything about Shamhat to represent in the movie especially so I don’t have any other character to suggest. For the voice actor of Runa, her original actor, Soyogi Tono is a pretty good voice actor with many experiences so I don’t want to change the actor. Since Aki Sora is famed with its love scenes and skilled voice actors for this, choosing Runa and Soyogi Tono would be a pretty good choice for ratings. Resuming the movie, Shamhat invites Enkidu to Uruk and Enkidu realizes that animals are not reaching him anymore, that he is not belonging to forest anymore and he has changed. For the forest as I stressed in the start of the proposal, I want to use Karataş forest near Mediterranean Sea and in between borders of Gaziantep and Osmaniye. This forest is like a jungle and has a wide range of animals, also trees are aged over hundreds of years so they are really huge and tall. The way to the forest really passes through a shepherd village in a deserted and long road so the scenery and environment would be close to what I imagined it would be.
Next scene will be about Enkidu living with Shepherds for a few days on the way to the city of Uruk. The most important point is to show the viewers that it is important to eat bread and drink ale since they are symbols of “civilization” in Mesopotamian civilizations. So I want to make a scene like Enkidu observing and listening how shepherds move, talk and behave so that he can become like them too while eating and drinking. In my opinion we can show this in a fast motion too, or rather with a peaceful but fast-rhythm instrumental music playing in background without any conversation going on. After Enkidu learns everything about cultures and civilizations of humankind, he saw a man passing through and asked why he’s here. The man said he’s going to attend a wedding and then complained about how Gilgamesh treats brides. This news makes Enkidu angry and he goes to Uruk to face with Gilgamesh before he makes love to the newlywed woman. The scene of Gilgamesh and Enkidu fight each other should be screened as a legendary battle, and as the tablet describing these two’s fight is lost in the standard version, I will describe the fight according to Old Babylonian Pennsylvania tablet. This fight needs a lot of action and have to make viewers excited about the result so we need a lot of effects made into the scenes. I am truly fond of your production’s effect and digital SFX designers as we can see in all of your productions. After the long fight we should also show Gilgamesh kneeled down, sweats dropping to ground from his body and Enkidu standing, sweating really hard, but in a way pointing out neither of them won over the other. Also during the fight, we should show surroundings, cheering ups for Enkidu, complaining about Gilgamesh being the self-centered king, damaged shops and houses. Then from Gilgamesh’s mouth, we hear they become really close friends with Enkidu while seeing them eating bread and drinking ale for again showing they are civilized. Then the scene turns to a cloudy day’s afternoon where Gilgamesh suggests going and killing Humbaba with Enkidu. First Enkidu, then elders oppose to this idea but Gilgamesh insists on this matter so much that Enkidu agrees at last. Then elders once more warn them and pray for their glorious return, so do the citizens while they are leaving the city with their clothes and swords of war. When they are on the road, they look up the sky and see the clouds are reaching to forest. The scene of Humbaba talking at last is important because of Humbaba’s behavior: he tries to take Gilgamesh to his side and leave Enkidu alone by insulting and hitting Enkidu’s weak spot (of not having a family and never drinking a mother’s milk). That is why I want to shape up Humbaba in an inhumanly way so I chose Judar from Magi: The Kingdom of Magic series: Judar is a magical creature who is very powerful, cruel, arrogant and a little bit childish. He has shapes of human and magic, I want to use his magic shape because of Humbaba’s nature. Judar is feared by people both because of his behavior and powers, so do Humbaba. Therefore Judar is intelligent and sly like Humbaba. He doesn’t let anyone to go in forest and disturb him by frightening them or killing them. For his voice actor, I can suggest Yuuichi Nakamura, also the voice actor of Muramasa from Bleach. He has a bold voice with Kansai accent which I think fits Humbaba. Humbaba has always been in the forest so I don’t expect him to talk like a person who lived in a city. In this aspect Nakamura can voice him perfectly with his Kansai accent – where even the words change aside from their pronunciation. He has many experiences about magical creatures from his main roles in Fairy Tail, Guilty Crown, Gintama, Tokyo Ghoul, Magi, Last Exile, Donten Ni Warau and such. He is very capable of changing his voice tone and level.
When they reach to forest, slowly an action music starts with ups and downs in it, like a war-scene music but more classical. They face with Humbaba, running after him and at last catching him. Scenes shift between their journey days and their chase in the forest before catching Humbaba. We should show the nightmares of Gilgamesh in between the forest scenes because these nightmares are important for the future of Gilgamesh and Enkidu. Then we go to the scene where Humbaba talks to Enkidu and Gilgamesh, I suggest adding few more sentence to his talk about how he heard them coming and how he knows about Gilgamesh even though he never saw him before, so that he shows his intelligence and agree with rumors of him hearing everything near the forest. Shamash, the sun god, helps Enkidu and Gilgamesh to kill Humbaba, we can show her help by putting sparkling light effects to winds and clouds. At the end of this part, we’ll see the gates for Enlil’s temple made out of cedars taken from the cedar forest. I especially want Gilgamesh to state that he gained three things: saying the scary Humbaba does not exist anymore, Gilgamesh and Enkidu achieved immortality of having a monument for their name and protecting Enlil’s temple more efficiently.
After returning to Uruk with their glorious win, Gilgamesh and Enkidu celebrate their win. In the same time, Ishtar, the principal goddess of Uruk city proposes herself to Gilgamesh and when Gilgamesh refuses, Ishtar, being selfish and childish, cries fouls to her parents to give her the Bull of Heaven for getting revenge of what Gilgamesh did to her. Since Ishtar have a big scene in the movie, I think of making an exception of showing her in a humanly body but I leave this choice to your hands, if you find this right, I suggest Yuki Cross from Vampire Knight for this character. She is a crybaby who runs to her big brother in every trouble and she seeks revenge by her little power. In this aspect Ishtar and Yuki are alike, unable to have enough power to take revenge and hiding behind their relative’s tail. They both also have a womanly charm with them that normally makes men look at them with desire. Her voice actor, Yui Horie is a good voice actor with a lively and high pitch voice, Ishtar is a lively goddess and when she cries out loud with a jealousy and seeks revenge, her voice has to be loud, a tiny bit unclear from crying and girly – which are present in Horie’s voice. Resuming from the previous scene, now Ishtar sends the Bull of Heaven to Uruk. The bull kills many people (mentioned in Tablet VI) in city and damages many places. Actually, this is the second part that the enemy dies without a decent fight in the epic (first was Humbaba), but I want to give viewers a good action movie, so I want this scene to be a real fight with lots of good fighting moves. Thus, I recommend that we’ll use many effects to create a unique Bull. My design would be according to what the Bull is like in the book cover of The Epic of Gilgamesh of Penguin Classics Publishing: a great and wild bull with beautiful features unexpected from it, plus, grey wings. Since it is named after heavens, I expect it to be a beautiful creature. Thus, the fight starts, it is a hard fight against a bull in rage, but the end was decided from the start: bull dies and they celebrate it but while we show the celebrations, I want a fade shifting to a scene where Enkidu starts seeing nightmares, and in the background slowly the celebration songs fade, allowing Enkidu to talk about what he sees in his nightmare. The lines might be like: “Anu… Enlil… Ea… Shamash…” he breaths heavily for a few times to show he’s out of breath, and continues whispering: “Let me die… Gilgamesh... Live…” Then the scene breaks to a morning lighted room where Enkidu wakes up suddenly, sweating, eye pupils are very little. He dresses up in a blink of an eye and runs as fast as he could to his ‘brother’s side to tell him what he saw. I think the next scene is important on showing Sumerian people has a belief of talking to objects, aside from humans: Enkidu goes near the gate of Enlil’s temple they built from cedar tree and talks to it, I suggest taking the lines exactly from Tablet VII, lines 39 – 50. These lines are a hint that Enkidu regretting what he did and saying if he had known what the consequences were, he wouldn’t have done it. Then we should show Gilgamesh and Enkidu crying as written in line 64 – 67. Enkidu’s next nightmare comes after their crying faces, again Enkidu speaking in his sleep, telling The Netherland. Since there are no gods to show in The Netherland, we can show an example world: the dusty, heavy gates open slightly, darkness is all we can see inside, then we see crowns and cloaks on ground. We hear Enkidu’s voices, telling this dark land, as he describes in lines 191 – 197 of Tablet VII. Then the god of Netherland seems to appear so I want to make the scene change like this: While looking around from Enkidu’s eyes, we see a dim light in a half-body-like shaped: this is Ereshkigal, the goddess. We see her voice, asking the lines 206 – 208 to Enkidu, and the dream ends, Enkidu wakes up, ill. With much suffering, Enkidu dies after the nightmares. Gilgamesh doesn’t let anyone bury him for seven days but he saws how Enkidu’s body is rotten and moldered. Seeing this, Gilgamesh frightens that he will be like that after death too and this fear makes him go to the journey. This journey starts from Uruk, Gilgamesh having a bit of beard, going to Mashu’s twin mountains (in this case a chain mountain should be useful so west of Osmaniye, Taurus mountains start, we can use Taurus mountains for Mashu’s twin mountains.) and meeting a couple of scorpion-man and scorpion-woman; they try to stop him but they couldn’t stop Gilgamesh. For the scorpion-couple, a modified version of Scorpio and Aquarius from Fairy Tail with same voice actors would be good. Since Fairy Tail is a series made by your production, you can imagine why is the main reason I chose them, their characteristics and voices fit themselves as they are guardians of Lucy. They protect a girl there and they can as well protect an entrance with their powers. The only thing left will be modifying their bottom parts to real scorpion-like creatures.
After scorpion-couple let Gilgamesh go, Gilgamesh’s race with Sun starts. But for modern viewers, Sun chasing a man would be ridiculous so I thought of changing it to this: he should reach the end before Sun goes down because after sun goes down, he won’t be able to go back to ground and will be trapped in the tunnel forever. So, Gilgamesh runs as fast as he could and reached to the other side of tunnel. This tunnel, as I said at the beginning, will be the twin holes in Narlıkuyu, named as “Heaven and Hell Holes”. They are very deep and hidden in underground and protected by environment. At the entrance exists an ancient building made of stone columns and a roof with half of it standing. I suggest of putting the scorpion-couple there and so Gilgamesh will immediately start running through the holes. After he reaches to the end, Gilgamesh will enter to a beautiful garden before going to Waters of Death. The lines between 1 and 91 should be in a fast motion so that we don’t bore the viewers. The first appearance of Urshanabi becomes rather unimportant when we look at the end, where he got fired by Utanapishti because of taking Gilgamesh to him; he becomes an important companion to Gilgamesh on the way back to Uruk. In the meantime every new day Gilgamesh will have a longer beard showing his knowledge in increasing and he’s looking like more of a wise man than a king.
For the role of Utanapishti, my opinion is using Zeref from Fairy Tail. He possesses a very dangerous magic, in order to stay away from hurting any living creature, he lives alone in the Tenrou Island. Utanapishti stays away from all humankind since he is the only immortal human and shouldn’t be known by normal humans. For the voice actor, I strongly advise to choose Akira Ishida. Ishida-sensei has 14 awards for best voice actor, his voice is bold, giving a feeling of wisdom. His role as Katsura Kotarou in Gintama series of your production is one of his hits, as you know. He is capable of giving a mysterious air and from his role in Kamisama Hajimemashita, I can clearly say that he is experienced in slow and cold-hearted talks. For Utanapishti’s wife, I’m thinking of choosing Tsukuyo from Gintama series. She is a strong woman, experienced rough times during her teenage times and a loyal woman to her man. Nevertheless she is capable of taking care of others. Since I couldn’t find any information on how Utanapishti’s wife is, from the image I have in mind, Tsukuyo is the best. For her voice actor, Yuko Kaida should fit the image. Her thin but calming voice feels like she is a wise and clever woman with many experiences. Since wife is immortal too and lived the flood days with Utanapishti, voicing her as calm and matured woman is important in my opinion.
When Gilgamesh faces with Utanapishti, I suggest making the conversation short and skip to the bet Utanapishti offered to Gilgamesh. The viewers will understand that the seven days are again the completion in this case, and that a human can’t stay without sleeping for 7 days by the wise words of Utanapishti, slowly telling that it is impossible not to sleep for a human, sleeping is a state of being a mortal and no human ever can stand it. And also we should show Utanapishti’s wife baking the breads for every day for Gilgamesh sleeps while we show Gilgamesh sleeping as days go by in the meantime hearing Utanapishti’s words. When Gilgamesh wakes up, we’ll exactly create the scenes according to the epic, and when Gilgamesh asks Utanapishti how he gained immortality he seeks, Utanapishti starts to tell the story; we will show this like a flashback. The story of the flood and Deluge will be told by Utanapishti’s voice, scenes showing the flashback at the same time. But as the movie’s policy, we shouldn’t show gods, so gods who were afraid of the flood they created running away to sky, to Anu will be shown as light balls flashing to sky, into the dark clouds. For the flood scene I want to use a lot of effects, showing the disaster and chaos with all its might. We should also stress on how Utanapishti describes gods as animals and insulting them because this is an important matter for movie’s morale. At the end of the story, we see the black screen with a simple white text on it again: “Price of immortality?” and we hear the sighs of Utanapishti, then text changes as Utanapishti’s voice reads the next text on the screen: “All the humankind.” Then we see Utanapishti’s wife cleansing and dressing Gilgamesh like a king.
For the role of Urshanabi, I have a character in mind, it seems weird to choose him but his characteristics and the air around him makes him very mysterious and isolated: Xerxes Break from Pandora Hearts series. He seems to know a lot but never shows; I feel the same when I think of Urshanabi. He got fired when he let Oz go inside Abyss, making the big mistake that starts the anime. Urshanabi lets Gilgamesh pass the Sea of Death and got fired by Utanapishti. For his voice actor, Tomokazu Sugita will be the best. He has a timid voice but also shows he has a rare wisdom but afraid to talk.
The scene ends here and next we see Urshanabi and Gilgamesh retuning from Sea of Death, Urshanabi telling Gilgamesh there’s a plant deep in the sea that makes the man who eats it juvenile. Gilgamesh’s hopes come up again, he ties heavy stones to his feet and goes deep inside of sea, he swims, swims and at last founds what he’s searching for: Plant of Heartbeat. But in the way when Gilgamesh stops in a lake to clean himself, a snake eats the plant and Gilgamesh, with the only hope he left is now gone, returns to Uruk with Urshanabi empty handed. The last scene of the movie should be the same scene in the start, we see their backs,
“O-Urshanabi, climb Uruk’s wall and walk back and forth!
Survey its foundations, examine the brickwork!
Were its bricks not fired in an oven?
Did the Seven Sages not lay its foundations?
A square mile is city, a square mile date-grove, a square mile is clay pit, half a square mile the temple of Ishtar: three square miles and a half is Uruk’s expanse.” as lines are being said by Gilgamesh to Urshanabi, camera will continue to zoom to city, passing between two men’s heads. This time we see the walls of Uruk first and the happy people celebrating the return of city’s real king, cheering him up instead of complaining. Then we see happy faces of citizens as the camera slowly getting away from the city. The scene fades to black and Gilgamesh says with a proud voice: “Humankind has already found the immortality. I was wrong and selfish to search for it for myself alone. We will be remembered by next generations, we will be remembered in the world, and we are already immortal.” Then the film ends.
After giving information about my plans for the movie storyboard and cast, lastly I’d like to talk about movie’s soundtrack. For the opening theme, Kalafina can be a good group with their instrumental and symphonic music mixing. All four girls have beautiful and silky voices and this can be used in aspect of making the viewer feel like they will be watching an ancient epic. Also Kalafina uses local music instruments for making their music a bit more traditional than what the world usually does. I strongly advise you to listen to their “Kagayaku Sora no Shijima ni wa” song before suggesting another band if you find necessary to do so. For the ending theme, Yuki Kajiura can be legendary! Kajiura’s songs are poetical, sad and give an overwhelming feeling. For a movie with this much sadness and philosophy, her voice and piano tunes would fit perfectly. The songs in fighting scenes should be made by Hiroyuki Sawano, I’m sure you will agree with me after hearing his pieces for Shingeki no Kyojin! His pieces are making you feel like you are the one going to war yourself and have so much action and ups-downs in it so he will be perfect for those scenes. For a bit of help to compose music according to Sumerian melodies, I suggest Nima Aziminejad to come and join us while composing the music. He has many experiences in composing for TV movies, series, video arts, animations and theatre plays.
Therefore, I want to say I am really grateful to you for giving me the chance to do this filming. Thank you for giving me this opportunity again.

Sincerely,
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