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)
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.
“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. ”
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)
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.”
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)
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)
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 Nawa.
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.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 withZTOKYObelow.
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)
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)
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)
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)
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.
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.
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.”
– 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?
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.
– 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.
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.
A press conference on Mamoru Hosoda’s latest work “Mirai no Mirai( 未来のミライ)” to be released on July 20, 2018, was held on December 13th at Tokyo · Toho Headquarters. Mr. Hosoda（細田守） and producer Yuichiro Saito（齋藤優一郎）attended (Mirai ”未来、みらい、ミライ” means future. The title can be translated into ” The Future of the Future).
Mr. Hosoda was also in charge of the original work and screenwriting. The film’s story centers around a family living in a small house in an obscure corner of a certain city — in particular, the family’s spoiled four-year-old boy Kun-chan. When Kun-chan gets a little sister named Mirai, he feels that his new sister stole his parents’ love from him, and is overwhelmed by many experiences he undergoes for the first time in his life. In the midst of it all, he meets an older version of Mirai, who has come from the future.
Hosoda said, “I am the parent of a 5 years old boy and a girl who is going to be 2 years old soon, but when I saw their pure reactions to the world, I thought that the world is beautiful and good. I want to show the fun of the world dynamically not only for children but also for adults from a child’s perspective. ” Saito said, “There was particular attention on the publication day of July 20th, this is the first day of summer vacation in Japan. It is time to think what we will do something fun in the summer when the school is over. I think that it is the best time to put an animation movie that adults can enjoy together with children. ” “We received offers from 57 countries at the Cannes International Film Festival, and distribution has been decided in those countries.”
Being asked what he challenged with his current work at the Q & A session, Mr. Hosoda said, “The hardest challenge is to set a 4-year old boy as the main character”. “When I was making a storyboard, my son was 4 years old. I conceived from him that 4 years old boy has a serious and hedonistic character, which two sides are overlapping.
The child becomes now 5 years old. He is telling now the words “Chin Chin(pennis)” or “Unnko(poop)”. If I would be making a film now, it would be such a movie (laugh). I guess it could be possible to make a good movie at the edge of elegance” and he laughed at. (The words Chin Chin and Unnko are not polite and slung in Japanese and children often use them.)
Regarding the name of the main character “Kun-chan”, Mr. Hosoda explained, “Actually he has the name “Kun”, but if he is Kun, we cannot consider him as ” kun”or”chan”. This problem expresses the fluctuation of hte identity of him. (kun and chan are the words that are added to the end of the name. They indicate the relationship between the two people who use them. Kun is used for adults and chan is used for infants and little children. Kun-kun or Kun-chan is not understandable and is heard strange in Japanese.)
His sister’s name Mirai comes from the talk of how the person with the identity swaying will go into the future (Mirai means future). It is an era when the values in societies are changing very much, for example, most people were married in the past, but now we can choose our way of life. I think that it is an era when our identities are reconstructing in such a society where values are changing. When I was making the movie, I thought about how our future will be, how we will live in such a future. And regarding the title of “Mirai no Mirai”, I gave it various meanings such as the Future from where his sister ”Mirai” came, her future from the past world where she dropped in, or the future after future.
Finally, Mr. Hosoda said “There are some difficulties by making a 4-year old boy as the main character, but all the staff will get through with it and they work hard now. I think that the atmosphere of the workplace is fun and good. I have a hunch that it will be a good movie, so please looking forward to watching the movie”(this article is translated and cited from here and here).
Who is Hosoda Mamoru?
Formerly employed at Toei Animation, Hosoda went to work at Madhouse from 2005 to 2011. Hosoda left Madhouse in 2011 to establish his own animation studio, Studio Chizu. He first came to public attention in the early 2000s with the first two films in the Digimon Adventure series and the sixth film in the One Piece series. From the late 2000s, he earned critical acclaim with several other films, including 2006’s The Girl Who Leapt Through Time, 2009’s Summer Wars, 2012’s Wolf Children, and 2015’s The Boy and the Beast.(source here)