As I described in my previous post, the Ultraman and Ultraseven episodes directed by Akio Jissoji included the ones that are much talked about among fans for their unusual features that can not be found in the episodes by the other directors while his style of making each story look like what makes us wonder whether the events are really happening to the characters or just something like an illusion as it is often referred to as “Jissoji Magic” in later years.
Jissoji seems to have stated that Mamoru Sasaki and Jissoji got to throw a breaking ball at ease because Tetsuo Kinjo, the main script writer and planner of the original Ultra Series, fought it out with a straight ball.
Jissoji who ended up disobeying the rules, regardless of whether they were the officially set ones or tacit ones the producers and staff were supposed to abide by, brought about such episodes as the ones in which Ultraman hardly used his finishing blow Spacium Beam, Ultraman appeared twice in one episode with the appearance in the first half and one more in the latter half or with something very much like Japan featured going against an agreement among the producers not to have things typical of Japan appear while having the export of the show in mind so that people outside of Japan could enjoy it easily.
What is especially noteworthy is that, above all, Jissoji depicted Hayata to mistakenly try to turn Ultraman with a spoon with which he was eating curry rice instead of the Beta capsule (Ultraman Episode 34).
About this, Toshihiro Iijima who was also one of the directors from TBS says he thought “how dare he do this!” and tried to find and get Jissoji throughout the TBS building to reprove him (Iijima was a senpai/senior to Jissoji. Being a senpai can tacitly have a responsibility to take care of a kohai/junior in Japan or even substantially control one). Nevertheless, Jissoji didn’t show up by hiding himself somewhere.