Go Nagai Explained Why his works “Mazinger Z” and others are accepted all over the world on 2015.

 

 

Mazinger Z

 

Explanation:

From “Mazinger Z” to “Cutie Honey”, with masterful world-building skills, impactful stories, and a turn of phrase that does not fear the taboo, Go Nagai is a charismatic figure who is popular not only in Japan but all over the world. As a star of the manga world, how will he interpret the “love letters of Japanese manga”, which were sent from all over the world?

 

Go Nagai

 

Remarks of Go Nagai

 

Q: What particular element do you think has made your works, such as Mazinger Z7 or UFO Robot Grendizer8 so successful overseas?

 

A: First, I think they were surprised at the sense of… reality.

Even if you create a fictional world, it still needs to be convincing.

Regardless of how much the story escalates, or how large-scale it is,

when there’s an eating scene, people need to say “delicious!” or a girl needs to squeal and say “That’s so embarrassing!”

It’s the accumulation of these emotional expressions that give birth to a convincing reality.

Just like in Mazinger Z, you can see the people who are harmed by the robot’s activities and it has an amazing impact.

Perhaps that part felt very fresh to them.   Source

 

Who is Nagai?

If Osamu Tezuka is the father of manga, Go Nagai (永井 豪, Nagai Gō, born September 6, 1945) is the cool uncle

who lets you sneak sips of his beer and always tells the funniest dirty stories.

Active since 1967, he has had a great influence on the world of Manga and Anime;

he effectively created many of their tropes, such as the Super Robot Genre.

While best known for his Mecha and Horror series,

Nagai has also created a lot of comedy and erotic material and even a Magical Girl series aimed at children.(more)

 

 

Leiji Matsumoto, The Author of “Space Battle Ship Yamato” the Nature and longs for feeling it.

 

the space battleship Yamato

 

Explanation:

The work of manga artist Leiji Matsumoto mixes historical periods, themes and technologies, often in a science-fiction setting:

His signature comics involve steam locomotives and reborn World War II battleships sailing among the stars.

These grand flights of fancy, which have found fans around the world.

 

Leiji Matsumoto

 

Remarks of Leiji Matsumoto

“When I was a child, and indeed throughout my life,

I was always thinking and reading about the Earth and sentient beings in the past, present and future,” Matsumoto says.

“I grew up watching many American cartoons like Mickey Mouse and movies, especially ‘Gone With the Wind,’

and that memorable scene in which Scarlett O’Hara swears, ‘I’ll never be hungry again.’”

 

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Leiji Matsumoto (born January 5, 1938) is one of the great names of anime and manga, primarily for being the principal creator of what is probably one of the earliest shared continuities over several anime series, creating a unified arc commonly referred to as the Leijiverse. The characters and settings, combined with a strong reception in the West, meant that his early series were often the primary introduction to anime for Western viewers of the ’70s and early ’80s.(more)

 

 

Katsuhiro Otomo explained his short Animation “Combustible” (Hi no Youjin) on 2012.

 

Katsuhiro Otomo

 

“Combustible” (Hi no Youjin) is made by Katsuhiro Otomo in 2012.

It won the Grand Prize at the 16th Japan Media Arts Festival and the 67th Noburou Oofuji Award at the 2012 Mainichi Film Awards.

Winner of the Platinum Grand Prize during the 2014 Future Film Festival, held in Italy.

 

a shot of “Combustible” (Hi no Youjin).

 

Remarks:

Q: “Akira” was set in Neo-Tokyo, “Combustible” is set in Edo and you’ve created a number of other works that are also set in Japan. Is the Japanese setting a personal preference?

A: Not really. It’s just that I understand Japan, so it’s easier to create works in this setting. “Steamboy” is set in London but that was much harder.

 

Q: What aspects were you most particular about with this latest work?

A: I really struggled to try to make Edo look realistic in animation. I collected various materials and visited museums,

but the more I researched the more things just kept coming up.

It’s not up to historian standards, but by being too accurate with the portrayal it begins to look a little too strange and unfamiliar to regular people,

so rather than a realistic approach, I mainly focused on trying to achieve an aesthetic close to the style of Japanese picture scrolls.

 

 

 

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story:

The city of Edo, the 18th century.

Owaka, the daughter of a merchant family, and her childhood friend Matsukichi. The two were drawn to each other, but Matsukichi has been disowned by his family and is working for the city fire brigade. Meanwhile, negotiations begin for the arrangement of Owaka’s marriage.

Unable to let go of her thoughts of Matsukichi, her mad emotions make her bring about a massive inferno which razes Edo. By chance encounter, the two meet again amidst the fires.

It is an epic spectacle set against the stage of the massive metropolis of Edo.(more)

Hideaki Anno talked on ‘Neon Genesis Evangelion’ in the year of 1997.

 

Not exactly the kind of words you’d expect from director Hideaki Anno about his 1995 production ‘Neon Genesis Evangelion’.

Taking him by surprise, it’s been hailed by critics in Japan (and later in America and Europe) as the landmark Japanese animated TV series of the 90’s.

The modestly budgeted production has also become a commercial success,

grossing over 800 million dollars in video sales and 400 million in merchandise in Japan alone.

 

Evangelion

 

Remarks of Hideaki Anno: 

“Shinji does reflect my character, both the conscious and unconscious parts,”

“I wasn’t thrown out by my father or anything”

“Anime makers have to try and reach out and truly communicate with others.

I would guess that the greatest thing anime has ever achieved is the fact that we’re holding a dialogue right here and now.”

 

Hideaki Anno

 

Hideaki Anno (庵野 秀明), born May 22, 1960) is a Japanese animator, film director. He is best known for his part in creating the popular anime series Neon Genesis Evangelion. His style has become defined by the bits of postmodernism he instills into his work, as well as the extensive portrayal of characters’ thoughts and emotions, often through unconventional scenes incorporating the mental deconstruction of those characters.(more)

 

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Isao Takahata Told on his Last Movie “The Tale of The Princess Kaguya”

Acclaimed director Isao Takahata’s first film in fourteen years is the Academy Award nominated The Tale of The Princess Kaguya on 2015.

 

Princess Kaguya under the cherry blossom

 

Q: What is significant about Kaguya’s interest in nature?

A: I don’t think it’s any particular interest in nature, but the fact that she grew up surrounded by nature is very significant,

and really that’s what we have – the world around us is full of nature.

Even in the West, poetry is full of nature – British poems are full of nature – or love and human feelings;

those are the two main subjects of poems. We’re dealing with the fundamentals of human beings.

 

Isao Takahata

 

Isao Takahata (高畑 勲)is one of the most famous directors of anime or Japanese animated films.

Born in Ujiyamada (Mie Prefecture, Japan, he is a long-term colleague of Hayao Miyazaki and co-head at Studio Ghibli.

His four animated films at Studio Ghibli have spanned a remarkable range of genres:

war-film (Grave of the Fireflies), romantic drama (Only Yesterday), comedy (My Neighbors the Yamadas),

and ecological adventure (Pom Poko).

Of these Grave of the Fireflies, in particular, is widely considered one of the greatest animated films ever made.

He is amazing at capturing the feelings and emotions of the audience.(more)

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Kenji Kamiyama remarks his new Animation “ULTRAMAN”.

 

ULTRAMAN

 

News:

A Manga “ULTRAMAN” –Eiichi Shimizu (清水栄一)write the story, Tomohiro Shimoguchi (下口智裕) draws—is decided to make into the full 3D CG animation.

Kenji Kamiyama (神山健治) is in charge of the director. Production I. G and SOLA DIGITAL ARTS make it.

Kamiyama who entered the stage of the production presentation touched on the fact that the broadcast of the first “Ultraman” started in 1966 when he was born

and stated as follows.

 

Kenji Kamiyama

 

Remarks:

“Ultraman is truly long history and my favorite work, I am looking forward to being involved.”

“I think that there are many fans not only in Ultraman of special effects TV programs but also ULTRAMAN of the manga.”

“we all are doing our best to make an animation that those people can enjoy Please wait in anticipation of completion. ”

 

Ultraman in special effect TV programs

 

Kenji Kamiyama:

Kenji Kamiyama (神山健治) Kamiyama Kenji, born on March 20, 1966, in Saitama Prefecture) is a Japanese anime director. He has worked regularly with the anime studio and production enterprise Production I.G, such as his work on Jin-Roh, Patlabor, Blood: The Last Vampire, and for whom he has directed the Ghost in the Shell: Stand Alone Complex anime television series, which was followed on into a second season, Ghost in the Shell: S.A.C. 2nd GIG and a TV movie, Ghost in the Shell: Stand Alone Complex – Solid State Society.(more)

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Mai Fuchigami explained her first impression of Grils Panzer the Stage on 2017

 

Q: What was your impression of reading the script of the first chapter “Final Chapter”?

 

Mai Fuchigami(渕上 舞):

“I felt it was fun the first time.

That is because scenes of television animation that was depicted as evolving stories such as school disturbance and stories of Nishisumi family became serious and that “(Girls & Panzer) theater version” was a battle – dominated scene I think that it was because it was a lot.

As I got used to it, the first story of the “final chapter” thinks that everyday scenes are amazingly attractive.

The relationship between people and people, communication between characters was the main impression than the relationship with tanks.

I learned the feeling that I came back to the comfortable place the first time of TV animation.

I enjoyed it with healing and calm feelings.”

 

Mai Fuchigami
Girls Panzer

Girls und Panzer (ガールズ&パンツァー Gāruzu and Pantsā) is a 2012 Japanese anime television series created by Actas. It depicts a competition between girls’ high schools practicing tank warfare as a sport. The series was directed by Tsutomu Mizushima, written by Reiko Yoshida and produced by Kiyoshi Sugiyama. Takaaki Suzuki, who has earlier acted as a military history advisor for Strike Witches and Upotte!!, was involved in the production of the anime.The series initially aired in Japan between October and December 2012, with two additional episodes airing in March 2013 and an original video animation released in July 2014. Nine manga series and a light novel adaptation have been published by Media Factory.An animated film was initially announced for release in 2014, however, was pushed back to Summer 2015. The movie was released in Japanese theaters on November 21, 2015.A six-part theatrical anime series has been announced, with the first film premiering in Japan on December 9, 2017.(more)

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Makoto Shinkai Explains His Works and Thoughts (A Selection of Interviews)

 

Voices of a Distant Star

1.Makoto Shinkai’s international smash your name. is approaching the $300 million dollar mark at the international box office

So with all of that combined, I felt like, when I set out to make this movie, I really wanted to incorporate elements of comedy as well as unpredictability for the audience. In doing so, I came up with this very complex timeline narrative structure. At that point, I didn’t necessarily feel like understanding the complex structure and timeline was necessary for the audience. If anything, I wanted to shift the focus to the relationship between the two main characters, our protagonist and romantic interest……It’s interesting you bring that up because I get asked that question a lot: “have you intentionally made this for a much broader audience?” But throughout my entire creative process and career, that was always my intent, to create something that people would be able to engage with, not just a very specific market. So I think at any point and time, I made a movie that was the best I could do with what I had at that moment, both creatively and team-wise. The people who end up supporting it were just a result of what I was able to create. (more)

 

Mr. Hosoda at the conference

 

2.Makoto Shinkai interview: how Your Name restored director’s faith in Movies

“It was of course a very simple boy-meets-girl narrative, and I don’t think that narrative has been told in an anime medium in quite some time,” Shinkai, musing on the film’s success, tells EW. “We had no idea that it was going to be received as well as it was and produce the numbers it did. Our initial goal was to aim for about the equivalent of $20 million, and that alone would have been considered a huge hit.”(more)

 

3.Interview with Makoto Shinkai, Director of Kimi no Na wa.

Yes, I know there are some classics with a switching bodies plot. Back then, the plot of a boy and a girl switching focuses on genders. For example, a girl turns into a boy inside, and the film comically describes “Huh? Isn’t she a bit boyish today?”…and she tries hard to get back to herself. However, this is not the case in 2016. People would rather say, “So what? It’s just gender swapping”. On top of that, the audience would already know how the story goes. So, Kimi no Na wa may seem to start similar to those classic body-switching stories, but as the story unfolds, it actually develops to a completely different theme with unique scenery and unique relationships.(more)

 

4.Makoto Shinkai: ‘You can’t be Miyazaki, you can only be the second Miyazaki’

Shinkai: I wanted to make a boy meets girl film, but I didn’t want the meeting to come at the beginning of the film, I wanted it to come at the end. The focus of the audience has to be on this boy and girl, and we want the audience to love them. The sci-fi and fantasy elements are there to strengthen those emotions.(more)

 

5 Centimeters per Second

 

5.Now Shinkai is back with his latest release, ‘Your Name’ – a tale that crosses bridges and borders with its deep human drama. Check out his exclusive interview with ZTOKYO below.

After completing ‘Garden of Words’, I worked on a few TV adverts and novels. Those experiences opened my eyes up to the power of a good story. It was like I had gained the ability to look down on the entirety of a plot from a birds-eye view. So when I got started on ‘Your Name’, I wanted to focus on the storytelling side of it. I put my entire heart and soul into the plotline, and I’m pretty proud of the result. This is probably my favorite work that I’ve done to date.(more)

 

6.An Interview with Makoto Shinkai

I wanted to describe those exciting emotions you have as a teenager. The main theme here is these two people have met, and then meet again at the end. But the ‘body swap’ isn’t the main element of the film, they could have met through social media, it was just a prop I used, it didn’t have to be via the body swap…When I started working on this movie, the one important thing I wanted was the audience to leave the cinema with a smile on their face and I also wanted to put some comedy elements into my script, that was the first time I did it.(more)

 

7.Interview: A Conversation with Makoto Shinkai; the Director of Your Name

We had a series of script meetings once a month for six months, with the producer Genki Kawamura and a team in Toho [one of Japan’s biggest film distributors]. I did the script myself, but every month I met up with them and we talked about it, and they would say, ‘This is boring’ or ‘That’s a bit too complicated.’ So I would update everything and meet up again four weeks later…..Kawamura gave me really good suggestions and a fresh perspective on the structure of the film. For example, Your Name starts with Itomori (a mountain town in the country), where the girl Mitsuha lives. Kawamura said, ‘You’ve got to keep (the opening Itomori sequence) within fifteen minutes; any longer will be boring.’ I agreed that was a good idea.(more)

 

8.Interview: ‘your name.’ director Shinkai ponders film’s success, own motives

Shinkai: I’ve been making anime for 14 years, and I don’t feel that anything has suddenly changed with this work. There were gradual changes over time. Up until “5 Centimeters Per Second” (Shinka’s third cinema title, released in 2007), the audiences consisted mostly of males. With my next work “Children Who Chase Lost Voices” (2011), there were more females. There may have been elements that women can enjoy, but I also feel that the way anime is received in Japan has changed. I think it’s become more casual, and that they’re not just for the guys……When I went on a TV program the other day, a high school girl asked me, “How can a middle-aged guy in his 40s understand how we feel?” — a bit of a rude question. (Laughs) I didn’t interview any young people and I don’t think I’ve depicted the “true reality.” But the things that were tough for me during my teens are still tough for me now, even though their intensity has faded, and the things that I intensely yearned for, though I may not have gotten them, still dazzle me. The girls that ask “why” don’t just suddenly become adults either, but continue on until our stage in a process of progression. The human differences between each person are bigger than the differences between generations and gender. I don’t think there’s any use thinking about the differences.(more)

 

9. Please don’t see my film, says Your Name director Shinkai – I don’t want anime body-swapping megahit winning an Oscar

Of course, I’m happy when people mention his name and mine in the same breath. It’s like a dream. But I know they are overpraising Your Name because I am absolutely not at Miyazaki’s level.“Honestly, I really don’t want Miyazaki to see it because he will see all its flaws. ”Despite the rave reviews, Shinkai insists his film is not as good as it could have been – a refreshingly novel approach for the man who is supposed to be promoting it.“There were things that we couldn’t do,” he said, explaining that his team of animators led by one of Miyazaki’s greatest disciples, Masashi Ando, wanted to keep working on it but with money running out he had to cry stop.“For me, it’s incomplete, unbalanced. The plot is fine but the film is not at all perfect. Two years was not enough.”(more)

 

Hayao Miyazaki

10. Under a Lucky Star: Makoto Shinkai Talks Your Name, The Highest-Grossing Anime Film of All Time

In terms of the digital vs. hand-drawn argument, when I did “Voice of a Distant Star,” I created all of the backgrounds digitally. Because the ultimate medium through which the film was going to be produced and rendered was a digital format. You’re dealing with data, and it seemed like a natural pipeline to already have the backgrounds done and rendered digitally. As far as characters are concerned, frankly I think if we could digitize that process a little more, it would actually be more efficient and better for the pipeline. But that being said, a lot of the staff and a lot of the more experienced people in the industry prefer the pencil and paper method. It’s almost like a legacy artifact from ages before. However, if we can slowly transition to a pen and tablet, that might improve the efficiency of the pipeline.(more)

 

 

 

Hayao Miyazaki talks about his works and thoughts (A Selection of His Interviews)

 

1. Hayao Miyazaki Interview PONYO

Miyazaki: The greatest challenge we have right now is that my staff has aged along with me, and so we need to get some fresh blood into our studio. And we’re making those efforts, but that’s a big challenge we have. But of course I don’t want to fire my old staffs, so I want them to stay on, and we are trying to figure out ways where they can continue to work, as well as have [bring on] new staff. So the waves weren’t as difficult as I thought they would be. So as I was drawing, I thought, “Well, I should have done this from the beginning.” I realized that I should do it like an Ukiyo-e woodblock print, draw them that way. (more)

 

Hayao Miyazaki

 

2. Hayao Miyazaki Wants You To Know Why Nausicaä Has Large Breasts

Miyazaki: That’s not only so she’ll be able to feed her children, or for sleeping with the guy she likes. They’re when she embraces the old man and old ladies in the castle when they are dying. I think her bosom is something like that. That’s why it had to become big. (more)

 

3. A god among animators

In 1997 the director signed a distribution deal with Disney. It was to prove a springboard to global renown, paving the way for a dedicated exhibition at New York’s Museum of Modern Art and helping him secure the 2003 Oscar for Spirited Away. Even so, the nature of Miyazaki’s films has been tweaked in transit. In Japan, his films are blockbusters the whole family can enjoy. In Britain and the US, he remains a predominantly adult, art-house phenomenon.

Miyazaki taps a cigarette from a silver case. The Disney deal suits him, he explains, because he has stuck to his guns. His refusal to grant merchandising rights means that there is no chance of any Nausicaa happy meals or Spirited Away video games. Furthermore, Disney wields no creative control. There is a rumor that when Harvey Weinstein was charged with handling the US release of Princess Mononoke, Miyazaki sent him a samurai sword in the post. Attached to the blade was a stark message: “No cuts.”

The director chortles. “Actually, my producer did that. Although I did go to New York to meet this man, this Harvey Weinstein, and I was bombarded with this aggressive attack, all these demands for cuts.” He smiles. “I defeated him.” (more)

 

spirited away

4. The legendary director talks about his final and most controversial animated film, ‘The Wind Rises.’

HM: As I was growing up, I remember the last years of World War II. The period before Japan entered into World War II, this is the period of my parents. All of that is a grey color to me. I don’t know what happened. I didn’t know that much about that era. Jiro Horikoshi and Hori Tatsuo were two people that were very interesting to me. Both experienced very sad things in their lives during that period. From the tragedy they experienced, these two people, as I continued to look at them, became the one protagonist in my film. (more)

 

 

 

5. The following interview below is a report of the debate/press conference Miyazaki gave in Paris in late December 2001

Is it true that your films are all made without a script?

That’s true. I don’t have the story finished and ready when we start work on a film. I usually don’t have the time. So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. We never know where the story will go but we just keep working on the film as it develops. It’s a dangerous way to make an animation film and I would like it to be different, but unfortunately, that’s the way I work and everyone else is kind of forced to subject themselves to it. (more)

 

6. Miyazaki On Miyazaki: The Animation Genius On His Movies

Miyazaki on Miyazaki “I wanted to make an adventure story with the kind of boy hero who starts out fighting and has a lot of dreams. And I was able to confirm that people don’t come to see that kind of film! After the time, a lot of people started saying, ‘I love Laputa,’ but at the theatrical release, it didn’t attract much of an audience. A male is recognized as an adult when he has a job, an occupation. For a woman, her physical presence itself makes her a character, but a man needs to have this social occupation or some kind of status, or some kind of fate — something that you can’t see.
(more)

 

7. Animerica Anime & Manga Monthy magazine interview with Hayao Miyazaki
Copywrite 1997 Viz Communications, Inc.

MIYAZAKI: It’s because I wouldn’t want to draw a character like that as a human being. :: LAUGHS::

ANIMERICA: I’ve been reading MODEL GRAPHIX since the serial began. When Porco Rosso first showed up, I thought that it would make for some interesting animation…

MIYAZAKI: Pigs are creatures which might be loved, but they are never respected. They’re synonymous with greed, obesity, debauchery. The word “pig” itself is used as an insult. I’m not an agnostic or anything, but I don’t like a society that parades its righteousness. The righteousness of the U.S., the righteousness of Islam, the righteousness of China, the righteousness of this or that ethnic group, the righteousness of Greenpeace, the righteousness of the entrepreneur…. They all claim to be righteous, but they all try to coerce others into complying with their own standards. They restrain others through huge military power, economic power, political power or public opinions.
(more)

 

8. Hayao Miyazaki: Modern movies are too weird for me

“I can’t stand modern movies,” he winces. “The images are too weird and eccentric for me.” He shuns TV and most modern media, reading books or traveling instead. It is no surprise to find that the multimillionaire director’s car, parked outside the Ghibli studio, is an antique Citröen CV, an icon of minimalist, unfussy driving. ……”Young people are surrounded by virtual things,” he laments. “They lack real experience of life and lose their imaginations. Animators can only draw from their own experiences of pain and shock and emotions.”
(more)

 

 

Hosoda Mamoru talked about his second movie “Summer wars” on 2011

 

– Congratulations on winning the Grand Prize at the Media Arts Festival / Animation Division 2009 (13th) for the movie ‘Summer Wars‘(サマーウォーズ). I was surprised at the combination of the digital world on the Internet and the earthly world of a rural town. The story starts with a high school student Kenji Koiso(小磯健二). He accompanied his senior friend Natsuki(夏希)to go back to her hometown. He is loving her, so he was happy when he was asked of the suggestion by her. They traveled to her hometown in a rural part of Japan. Then he was suddenly begged to pretend her fiancé before her families. Why did you make this story?

 

Mr. Hosoda at the conference
Jump to the Movie Homepage

 

 

 

 

 

 

 

 

 

 

 

Hosoda: The reason why is that I got married. Frankly speaking, I had guessed that marriage would be not good. It could be troublesome or it could confine me to the contract. However, I felt it very fresh and wonderful to become a family with a people of my fiancee’s family, who I had never have seen them until I had visited them on that day. I came up with an idea to make this experience into a movie.

– These days, the close ties among family members tend to lose in the society. On the contrary, this movie describes the relationship of the large family and many relatives. I felt it was a fresh theme.

 

Hosoda: I intended to make Summer wars as a movie of relatives not of a family. There are many movies draws the story of family, but there are few movies tells a story of relatives. Moreover, this is the first movie that has relatives as main characters. Though, I was worried that no one comes to watch it. I wondered who want to watch it, while I was making it.

 

Natsuki in oz
Natsuki in reality

 

 

 

 

 

 

– But in reality, more than 1.23 million people came to watch it. This movie was a hit of this year. By the way, the place of this movie exists in reality, and it is a city Ueda in Nagano prefecture. This is a hometown of your wife. Why did you choose this real place for this movie?

 

Hosoda: At first, I had another idea, but I learned about the history of Ueda and visited many places of it. Then I was getting to think that my movie should be played in Ueda. Historically, this city is ruled by Sanada family and this family defeated Tokugawa two times in the 16th century. The people of this city are proud of it even now. I was very expressed of their heart and their proud passed the story of the movie.

this article is cited from here.