Hideaki Anno said He had no choice but to collage.

 

Hideaki Anno

 

I think we can not help but to collage other works in making a animation. 

There is nothing for it. If there is an original thing,  it is my life. 

Nobody experienced my life other than me. 

therefore, I have only a choice to exploit my life in creating an original work.” 

 

 

 

Nadia: The Secret of Blue Water

Hideaki Anno, Creator of Neon Genesis Evangelion, Felt He Was Not In The Peace World Anymore.

 

Neon Genesis Evangelion

 

Q: He explained where his early vision of his concept of making animation came from.

 

In addition to the aesthetics of explosions, Anno was naturally drawn to apocalyptic visions as a child growing up during the Cold War, with its ever-present threat of nuclear war.

 

“It was imprinted on my psyche that Tokyo could be annihilated any minute,” he says. “That kind of imprinting expresses itself in my work. I never experienced the horrors of war that my parent’s generation did, but the imagery is very familiar to me, as is the Cold War-era fear of nuclear war. I’ve read many books and seen many TV dramas and movies that dealt with such themes. They’ve influenced me greatly. I no longer think we’re living on the brink of extinction, but the feeling that it could happen is still with me.”

 

Hideaki Anno

 

Japan’s many natural disasters have also had their impact on his work, as shown by the tsunami that ravages the world of “Evangelion.”

 

“That leads to the beginning of something new,” Anno says. “The tsunami wipes out the world and the story then focuses on how the survivors rebuild it. That reflects how I imagine Japan. I don’t know about other countries, but if I were to symbolically tell the story of Japan that’s what it will look like.”

 

Source

 

 

 

Moyoco Anno Told on Her Work “Sakuran”, “Happy Mania” and “the others at NY Comicon 2013

 

 

 

Sakuran

 

Question:  As a female reader, I’m always most drawn to stories with interesting female characters.

One of the things I find so striking about your work, is that you’re incredibly honest about both the strengths and

weaknesses of your female characters and what they must do to survive in the world.

Is this kind of honesty important to you as a writer? Do you find it difficult to achieve?

 

Remarks of Moyoco Anno:

Yes, very much. I always try to be very aware of my feelings,

and I don’t want to live in a way where I think,

well, this is how I should be outwardly,

and therefore I’ll just go along with that and that’s what I’m going to do.

As much as possible I like to avoid that way of living.

But of course sometimes it doesn’t work out,

and I get trapped into y’know what I should do, and I go along with that sometimes.

And if that happens then I always ask myself,

“Why? Why did I do that?”

But that doesn’t make life very easy.

source

 

 

Left: Moyoco Anno, Right: Her husband Hideaki Anno

 

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)

 

Source

Dehogya gallery’ s talk session is took place with Anno Hideaki, Yoshiaki Nishimura etc..

 

Background Art Studio “Dehogya Galleries Shareholder Darling” was established to protect Japan’s hand-drawn background art culture, initiated by Hideaki Anno (庵野秀明), Yoshiaki Nishimura (西村義明) and Nobuo Kawakami(川上量生) and they talked together on the theme.

Dehogya gallary

This event was held in commemoration of the opening of the feature animation work “Mary and the Witch’s Flowers” for the first time after Director Nishimura left the Studio Ghibli. Anano said about the thought that agreed with the establishment of the same studio “The hand drawing will become more severe in the situation from now on. Because the digital one is more efficient and it will work, in that kind of situation, I want to leave things like traditional crafts, I want to say that although it can be said to drawing, so I just want you to get a newcomer anyway, if it keeps even a little new, I can continue even though it is small. ”

As regards the importance of background art,  Anno says, “If there are fine arts, it will be possible to make a long scene without characters, and the direction will change as well. On the contrary it could not, if you do not budget art. In that sense, it is important that art director do well as much as character design do well”. Kawakami also says, “Animation directors do not spend money on art even though they think it is important, but in my sense, it is a good idea to look at web services, there art design is one of the important parts,” he said.

Kazuo Oga (男鹿和雄) who served as a director of art such as “My Neighbor Totoro”, “Princess Mononoke” and the naming person of this studio name Dehogyallyary. “Dehogya(でほぎゃ)” is the meaning of saying “let’s leave it, let’s leave it” appropriately in Akita(秋田) dialect, and it was the name that he thought to use if he launched a studio to support the hands-painting. The all of speakers are on the same point to do a good background art” to draw carefully where is important and to draw less where is not important.” (Akita is a prefecture of japan located in the north part of japan)

oga’s work is famous for Totoro.

From such a trend, Nishimura tolled an opinion from Oga that “Because the character is the leading role, we watch the background draws in the edge of our view”. Anano also said that “Hayao Miyazaki(宮崎駿)drew Perth (perspective) incorrectly”. “Animation is exciting, so there are lots of widths. These days polygons (Pictures) are used well, but hand-drawing is also nice. Dehogya gallary also has hand-drawin like Ghibli. It would be better to have it, so I hope that Dehoga gallary will also cooperate when we make animation. ” this article is cited from here.

 

*Hideaki Anno (庵野 秀明 Anno Hideaki, born May 22, 1960)[1] is a Japanese animator, film director and actor. He is best known for his part in creating the popular anime series Neon Genesis Evangelion.

Hideaki Anno

*Yoshiaki Nishimura (西村 義明 Nishimura Yoshiaki, born September 25, 1977 in Tokyo, Japan) is a Japanese lead film producer formerly of Studio Ghibli and founder of the company Studio Ponoc. He was nominated for the Academy Award for Best Animated Feature in 2014 for The Tale of Princess Kaguya.

 

*Nobuo Kawakami (川上 量生, September 6, 1968 -) is a Japanese businessman and film producer. Kadokawa Corporation President and Representative Director (first generation), Dwango Representative Director and Chairman (first generation), KADOKAWA Corporation Director, Studio Ghibli affiliation, Color Director, Inc., Hiragiri Director, Public Interest Foundation Tokuma Memorial Animation Culture Foundation board director, school corporation director Kadokawa Dwango.

Nobuo Kawakami