A: The S.A.C. series, when compared to MiniPato, was not only a total copy of Director Oshii’s style, but I also wanted to express my respect for Shirow Masamune. So I decided to make something that was like a “cousin” to the movie and manga versions. At the time, people were also working on Innocence at I.G, so I decided that I would not cut ties with the Oshii Ghost in the Shell. Even then, the finished product showed a slight but definite deviation. In the first Patlabor movie, Oshii-san made Noa, the main character, say, “There are no humans!” And 15 years later, he made the movie Innocence where there are almost no human beings. I felt that human beings had finally disappeared from Oshii-san’s consciousness. For the past four years, while working on the S.A.C. series, I tried to avoid speaking with Oshii-san. Even when I had questions, I didn’t ask him for his ideas. The result was that Oshii’s Ghost in the Shell world and this includes Innocence, no longer had humans in it, while my S.A.C. decidedly featured “humanity.” I wasn’t actually conscious of it, but I asked the voice actors to portray the eager members of Section 9 as 15 years younger than the characters in the Ghost in the Shell movie. I also tried to turn Motoko and Aramaki into more down-to-earth characters. (more)
Akira Toriyama explains how he gets ideas for Dragon Ball Z and GT.
Remarks of Akira Toriyama:
Q: You have an incredible ability to draw anything in the world in your own distinct personal style. Do you often use reference material to draw different objects, places, or things?
A: I almost never use reference material for places, but for objects-for example,
if there’s a particular model of car that I like-I’ll use a book as a reference to draw from.
Q: I hear that Dragon Ball was inspired particularly by a trip to China. Out of all the places you’ve been, which are particularly memorable? Do you do much sketching when you travel?
A: I’ve been to many places, but Australia,
with what I felt was a pleasant balance between its cities and its magnificent natural spaces,
moved me very much.
I don’t sketch anything in particular on my trips. (Source)
Akira Toriyama is mostly known as the creator of the popular anime “Dragon Ball”, the most popular series of which is Dragon Ball Z: Doragon bôru zetto (1989) (released in the West as Dragon Ball Z (1996)).
Enjoys watching movies starring Jackie Chan.(more)
Nanase Okawa (大川七瀬 Ōkawa Nanase, born May 2, 1967) is a member of the all-female manga-creating team Clamp. She is the director of the team and is primarily responsible for writing the stories and scripts for Clamp’s various works. (more)
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?
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.
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)
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)
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.
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 (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)
Gamon Sakurai(桜井画門)’s popular anime “Ajin: demi-human”(亜人) is made into a live action film, is directed by Katsuyuki Motohiro (本広克行) and is released on September 30 in Japan. Takeru Sato(佐藤健) who played as a main character Kei Nagai (永井圭) and Tsuyoshi Ayano (綾野剛) who performed as a character Sato(佐藤) were interviewed about the movie in this September.
In the original manga’s story, an immortal first appeared on an African battlefield 17 years ago. Later, rare, unknown new immortal lifeforms began appearing among humans, and they became known as “Ajin” (demi-humans). Just before summer vacation, a Japanese high school student named Kei Nagai is instantly killed in a traffic accident on his way home from school. However, he is revived, and a price is placed on his head. Thus begins a boy’s life on the run from all of humankind.
Q: your action was really cool in the movie. what did you think of it?
Sato Takeru: I put the emphasis on the point that how to fight more intelligently than physically.
Actions I want to show in this movie is not the same in the movie I played before(Rurouni Kenshin ).
Ayano Tsuyoshi: There were two important action scenes, the beginning scene and a fight with SAT. As a person named Sato is a guerilla and good at approaching battle, I had to make audiences curious to know how main character Nagai wins Sato. So I show a devastating power of Sato at the first scene. On the contrary, Audiences cannot determine who wins in the battle between Nagai and Sato at the end of this movie and I played intelligently in the battle. This last battle is a game of brains of the two characters.
Q: A scene that Sato follows Nagai who was escaping at the beginning was truly exciting.
Ayano: Ken proposed an idea for this scene that he will express a large pressure while chasing like the movie Terminator. Thanks to his idea, I could make a direction for my perform clearly.
Sato: Somehow I thought that this movie is imitated the two movies: Terminator and Mission Impossible. Tom Crouse did excellent actions in the movie. He did cool not only on the battle scene but also on every small act such as jump or running. so I wanted to make the Movie Ajin also cool totally.
Q: It is exactly Tom Cruise! You have performed with almost no stunt. What is fun to do stunt -scene by yourself?
Sato: There are professional stuntpersons. of course, but I think I am also a man as a stunt-person. so I can do by myself. I had this idea since I debuted. I like to perform by my self.
Ayano: Because I also like playing action. I thought that It was possible to do stunt scene if I practice well.
Q: Have you had any hard time because of the action scene?
Sato: In this movie, I was always chased and attacked by Sato. So I had many passive roles such as being thrown against the storage rack. Only once I was hit on it, it is not painful. However, I was thrown away many times and I felt pain gradually. I was a little hard.
Ayano: I never got tired. Rather, It was difficult to play with an “Invisible black matter”, which is a way to record a 3D scene. I could not see the matter while fighting against it, so I have to imagine how it looks real fight with Sato after this scene is made into CG.
Q: What kind of impression did you feel with each other after playing together?
Sato: I thought Ayano is very stoic. He plays much better than the other people anticipated him.
I trusted him during shooting, so I did not have anxiety at all with him. It is easy to say but is difficult in reality to get trusted by during shooting.
Ayano: Sato has a strong will and seemed always to be diligent and fine in the shooting place. It made me relieved. Of course, he surely had difficulties about playing in his mind, but he showed his will strongly, so I could find what to do on the scene easily.