Ever since unknown cosmic rays started raining down on the Earth, people have been troubled by monsters appearing every night. GUTS was dispatched to deal with the situation, but they couldn't do anything against monsters that didn't exist in this dimension.
It seems that these monsters appear to be affecting the brain waves of people who are dreaming due to the aforementioned cosmic rays...
The draft script and the final script of "The Dreaming Man"
According to Akio Jissoji, the initial title for this episode was "The Sleepwalking Man" (夢遊病の男, Yumemiru Otoko), but the television station found issues with the inclusion of "Sleepwalking" due to broadcasting regulations. Therefore, it was changed to "The Dreaming Man" (夢みる男, Yumemiru Otoko) in the draft script, and then revised to "The Dreaming Man" (夢見る男, Yumemiru Otoko) in the final script. Ultimately, the decision was made to use the single character "Dream" as the title.
During the filming of this episode, there was an overlap in production time with another film directed by Akio Jissoji, titled Murder on D Street, resulting in several actors from that movie making cameo appearances in this episode.
Kazuma Ikuta was initially intended to be portrayed by Shiro Sano, but due to scheduling conflicts, he was unable to participate.
Originally, Kurita was considered to be played by Kyoko Kishida or Kazuko Yoshiyuki. However, due to scheduling conflicts for both actresses, Masami Horiuchi was cast instead. Despite being portrayed as a male character in the final production, Kurita's dialogue and mannerisms retained a feminine quality, reflecting the original script's portrayal.
This episode, along with episode 37 "Flower," was not produced by Tsuburaya Productions' regular team but by Jissoji’s "Kodai group".
One of the key innovations was the redesign of the GUTS Wing cockpit. The team developed a structure extending from the aircraft’s nose to the cockpit, enabling dynamic external shots using suspension-mounted camera techniques. Jissoji emphasized that this design enhanced the realism of the scenes, which the actors also found impressive.
Jissoji explained that Bakugon’s design leaned toward a traditional monster aesthetic. He initially envisioned a transformation process where Bakugon would "materialize from a dreamscape," evolving from a hazy, indistinct form to a fully defined appearance. However, due to high production costs, this concept was simplified to a color gradation effect. Although the final result did not fully achieve his original vision, Jissoji believed the transformation’s eerie nature successfully conveyed the core sense of fear he aimed to evoke.
While filming Bakugon’s dream sequences, Jissoji aimed to evoke a profound sense of solitude, akin to "sinking into the depths of the ocean." However, due to the time constraints of television production, this sequence was significantly shortened and eventually omitted.
The episode’s opening intentionally featured film reel markers, an idea proposed by editor Yosuke Yafune.
Regarding the conceptual development of this episode, Jissoji explained that he hoped to revisit ideas left unfinished in Ultraman episode 15, "Terrifying Cosmic Rays." In that episode, the monster "Gavadon" initially appeared as a child’s drawing but gradually transformed into a more conventional monster. Jissoji wanted to explore this transformation in greater detail in this episode, but due to time constraints, he acknowledged that he couldn’t fully realize his vision.
As for the open-ended conclusion in episode, Jissoji clarified that it was intentional, leaving the story unresolved, particularly at the moment when Ikuta is subdued. His line, "Please leave me my dreams. At least my dreams!," carried significant emotional weight. Jissoji emphasized that capturing a sense of realism in this moment was something he wanted to highlight.
In the drama, the design drawings made by Ikuta are not of modern architecture but rather depict the relocation of an old building with a thatched roof. According to Jissoji's explanation, he was allowed to use the actual facilities being relocated in the Jidaigeki Bori Park in Setagaya Ward. It was only after Jissoji requested permission from the Setagaya Ward Cultural Heritage Protection Committee that filming was allowed to proceed. Ikuta's prefabricated architectural firm also borrowed the design office of the actual construction site in the park.
Regarding the concept of vanishing dreams in this episode, Jissoji drew a parallel to an unproduced episode he had planned for Ultra Q, titled "Bakutar" (バクたる). In that story, a monster called Bakugon also appears. However, Jissoji clarified that the core story of this version centered on the disappearance of dreams. In this version, Bakugon devours people's dreams, whether good or bad, consuming them all. This concept is similar to Pied Piper of Hamelin, where children, guided by Bakugon, stop dreaming and ultimately vanish.[2]
According to producer Noriko Shishikura, Tadanobu Asano's cameo in this episode came about after he worked with cinematographer Masao Nakabori on a commercial shoot. During their collaboration, Asano expressed a strong desire to appear in a project directed by Jissoji, which eventually led to his appearance as an unnamed minor character.[3]
Nakabori further explained that he had worked with Asano in Thailand or another location for a commercial and had previously collaborated with him on the 1995 film Maborosi. Their familiarity facilitated Asano's invitation to the production through his agency. However, Jissoji's initial reaction to the proposal was humorously skeptical, asking, "Who is Asano?" It was only after Nakabori's recommendation that Asano was given the opportunity to join. Nakabori also noted that Jissoji was not particularly selective about casting actors.[3]
Art director Noriyoshi Ikeya revealed that he was primarily responsible for designing Bakugon. The initial concept envisioned the monster's head resembling a flower, with its face revealed as the petals bloomed. The overall design drew inspiration from plants. However, with another episode being titled "Flower," the design underwent revisions to its current form.[3]
The script for this episode existed in two versions: the draft script and the final version, with only minor differences between them. In the draft, for instance, buildings destroyed by GUTS were restored to their original state after the monster disappeared. Additionally, Dr. Chihiro was characterized with feminine traits from the outset, while Ikuta's superior, Miyagawa, was portrayed as a straightforward male character, with his dialogue reflecting a more masculine tone.[3]
The draft script for the episode was meticulously crafted, with many details established from the outset. For instance, specialized terms like "Morpheus D" were already present in the draft, resulting in minimal changes during the final revisions. However, Munakata’s line in the episode, "Call me Detective," was originally written differently. In the draft, Rena referred to him as "Leader," and Munakata responded, "Don’t call me Leader. Call me Detective." The term "Boss," which appeared in the final version, was a newly added line during production.[3]
As for Bakugon’s design, it was conceived from the beginning to have three distinct forms, evolving from a monochromatic state into a vividly colorful monster. However, the script did not provide detailed descriptions of its specific transformations, leaving those aspects to the design team's interpretation.[3]
This episode aimed to emphasize the dramatic performance, telling the story of a young man lost in his own dreams and the impact he has on those around him, as well as how Ultraman Tiga enters these dreams. If there had been more time, the story could have been simpler and more straightforward, but due to time constraints, the presentation became somewhat more complex.
As for the title "Dream" and the portrayal of destruction in the visuals, Jissoji admitted that he felt it wasn't as sharp as he had hoped and didn’t fully achieve the desired effect.
Doctor Toshihiro's room was filmed using architectural scenery designed by Japanese architect Von Jour Caux. During the filming of this episode, the Jissoji team used Von Jour Caux's architecture as the basis for the imagery and incorporated it into the actual scene settings. The filming location, Mundea Animus Otsuka, was demolished in 2007.[5]
References[]
↑Earth Is Ultraman's Planet: Ultraman Tiga, Dyna, Gaia pg 196-207
