In the opening, the rhythm of the song and the cut blocking are well matched and feel good.
It feels really good. Usually, we set the length of the animation and then add dialogue and sound to match the drawings.
However, the cast of "Kare Kano" was almost all amateurs.
So, we did not set the length of the animation, but rather redid all the drawings afterwards to match the dialogue.
That's why the tempo of the dialogue matches perfectly!
At that time, Anno was saying to Imaishi and the other young production staff at the sound studio, "Be a man who sticks to one or two frames."
It was at dawn when we were tired of working. I remember it well because I thought he had a good point (laughs).
Because of this method of redoing the entire drawing, dubbing that started at midnight always took until the early hours of the morning just to re-paste the lines.
If you include the process of adding music and sound effects, it took until 7 or 8 in the morning. It took a lot of time.
An experienced audio engineer knows how to get things done.
But I learned that just a little brushing up can greatly improve the quality.
"Kare Kano" led me to become interested in audio engineering.
Until then, I had left sound to specialists. Then I have learned that I can pursue a sense of realism and good feeling that suits my and the director's tastes.
The more you do it, the more perfection you get. It's enjoyable.
“Kare Kano” is the reason why I still go to the sound studio frequently.
You said that you worked until morning when you produced "Kare Kano". How long does it take to finish the work using the usual method?
It took us about twice as long to finish work on "Kare Kano" as it used to take us 4 hours at most.
I bought a car at the time because I was coming home early in the morning more often.
I thought it was not good to occupy the company car for a long time every time.
While I was driving in the company car, I heard on the radio shopping that they were selling a car, a special edition car (laughs).
I bought an indigo-colored (Toyota) Starlet.
I thought to myself, "Okay, now I can get Anno home safely to GAINAX without using the company car, even if it's after dawn."
However, the Starlet was not the best car for Anno, who was very tall.
“Matsukura, you know I can't fit in such a small car.”
When he finished the work, he took a taxi home (laughs).
[PS] This happened to me...
Feelings that I don't understand
When Otsuki was making "Eva," the staff involved, including Tatsunoko, told him that they were going to kill him.
I wondered why he would say that to me when I was in the middle of making "Kare Kano".
After-party
Otsuki ordered me to choose a cheap restaurant anyway, so we went to the (yakitori) restaurant "Iseya" in Kichijoji.
A memorable speech
After the project was finished, Anno took the staff and cast on a trip. Skiing in Zao!
“Finally it’s time to open my heaven's door" (referring to his bank account) by Anno
Disaster strikes
The agency went bankrupt during production!
The GAINAX tax evasion case occurred during production.
In May 1998, The National Tax Agency came to inspect the company. In November, it was reported that the company had concealed income of 1.56 billion yen. (approx. US$1,190K)
At the time, I was having dinner with my friends at Nanten (a restaurant that Katsuhiro Otomo frequented) in Kichijoji, and we were talking about the GAINAX tax evasion case.
Then, I was surprised to see Masayuki right next to me!
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A group of stamps used effectively in the anime.
Rubber stamps were made based on Hiramatsu's drawings.
They were stamped on animation video paper and used as shooting materials and image backgrounds.
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