"The World of Hideaki Anno", a special screening at the 27th Tokyo International Film Festival, was made possible by Toshio Suzuki, the producer of Studio Ghibli, who has publicly stated, "After Hayao Miyazaki, there is no one else!".
This is a rare opportunity to experience the talent of film director Hideaki Anno, which Mr. Suzuki guarantees to be absolutely excellent.
At this time, Anno, a director who rarely appears in the public eye, makes his first appearance in an ORICON STYLE interview!
We took a look back at Anno's roots in his past works, and also took a closer look at Anno's creativity.
The reason why he doesn't comment on the "Eva" series.
--The highlight of the 27th Tokyo International Film Festival, where more than 50 films that he has been involved with so far will be screened all at once. A lot of fans are looking forward to interacting with director Anno at the festival!
(Appeared in an interview!)
(The Return of Ultraman: The Order to Launch Mat Arrow No. 1" ,1983)
Anno: Meeting the creator in person is a good and bad thing at the same time.
For the creator, the work is all that matters, so it would be ideal if our faces never came to mind. However, when I fell in love with a work and delved deeper into it, I was of course interested in what kind of person made it. Of course, I was also curious about what kind of person created the work, so I understand the feeling.
I don't want to destroy dreams and imagination too much. That's why I don't comment on the "Evangelion" series. I want to keep the fun of the fans' imagination.
--When you look back on the lineup, which covers everything from the independent films you made as a student to your latest work, "Evangelion: 3.0 You Can (Not) Redo", what do you feel?
Anno: Some of my works have not been reviewed in decades.
When I look at them after a long time, I can see them a little closer to the audience's point of view, which makes me realize that I have made some pretty interesting pieces. Saying Dictionary: Throw dirt enough, and some will stick!" is the first animation that I drew directly on paper with a sign pen.
When I look back at my works from my school days, I feel like I'm young again. It brings me back to the memories and atmosphere I had when I was making those works, so it's nice to remember how I felt when I was 18 or 9 years old. I'm grateful that I was able to make a full-scale movie as an amateur.
"Royal Space Force: The Wings of Honnêamise", for which I was the animation director, was the work that led to the establishment of my previous company (Gainax). It was a great experience to be able to work on it with my colleagues when I was young.
(Royal Space Force: The Wings of Honnêamise, 1987)
-- "Neon Genesis Evangelion" was mentioned at the press conference as an unforgettable work, and there are some treasures that you can't miss, such as "The Invention of Destruction in Imaginary Machines," which is being collected for the first time from the Mitaka no Mori Ghibli Museum.
Anno: It was a rare opportunity to see the TV series of "Eva" on the big screen of a movie theater.
One of my most memorable works was "Nausicaä of the Valley of the Wind," in which I participated as a staff member, and it gave me the confidence to make a living as an animator in Tokyo.
The first commercial animation I directed, "Gunbuster," and the TV animation I directed, "Nadia: The Secret of Blue Water," were tough, but I'm glad I had the experience when I was young. The experience of directing the live-action film "Love & Pop" also left a big impression on me.
The "Rebuild of Evangelion" series was the first film I made at my own studio, after starting my own company called Color. So I did a lot of new things. Rather than saying, "I want to do this!", I feel like I've just been swept along, so I guess I'm lucky or blessed with people, because I couldn't have done this alone.
The direction in which Japanese animation is heading.
--What are the most memorable encounters you've had in your 35-year career?
Anno: From Ichiro Itano, the director of "Super Dimension Fortress Macross", and Hayao Miyazaki, the director of "Nausicaä of the Valley of the Wind", I learned how to create animation. They taught me many technical things, but what impressed me even more was their uncompromising creative attitude. He worked so hard! I was impressed.
When I was a student, I used to stay awake at my desk when I was concentrating on a project, but my concentration and mental strength lasted all the way to the end of a movie or TV series. Moreover, the more I go to my desk, the more I can maintain the quality of my work. On the other hand, if I don't do the work, the quality will go down. Both of them taught me to work hard to the limit of my physical strength.
(Nadia: The Secret of Blue Water, 1990)
(Evangelion: 3.0 You Can (Not) Redo., 2012)
(At the bus stop... 2014 reproduction)
--I understand that with the film festival, you want to show more of the fundamental power of Japanese animation to the world?
Anno: I think that Japanese animation is unique even when viewed from a worldwide perspective. I think that Japanese animation is the only one that takes the strange world very seriously.
For example, Disney and Pixar have a popularity that can be understood by people all over the world, but I have the impression that Japanese animation is going in a minor direction, which is not the case with Eva.
But from a global perspective, I think that the soil of Japanese animation, which continues to produce so many works with such enthusiasm, has the underlying strength, or the power to develop into a major player.
At first, I think it will only be accepted by a few fans (even overseas), but I think we can make a breakthrough there.
Just like "UFO Robot Grendizer" was a big hit in France in the 1970s.
Since this is a great opportunity for film lovers from all over the world to gather as dealers, it is important to promote the film as a work of art, but we should also be more proactive in selling it as a product.
In fact, if the economy doesn't grow, the culture won't grow.
Japanese films, whether animation or live-action, are usually local or domestic, but I think there is a possibility that people from all over the world will be interested in them because they are minority works that are only available in Japan.
--This year's film festival is also focused on promoting the appeal of film to the younger generation. Director Anno, who continues to create works that are imprinted in people's memories, both in animation and live-action, would like to give a word of love to the young people?
Anno: "You just watch whatever you can".
Nowadays, I think that many people who like anime only watch anime. On the other hand, people who don't like anime will only watch live action. I think that's fine because it's a preference, but if you watch both, you can create both.
For me, animation, CG, live-action, and special effects are all in the same league. I think of them as the same visual expression. I like images that have pictures, time lines, and sound.
(Text: Kana Ishimura)
(C) DAICONFILM "The Return of Ultraman" Original Story (C) Tsuburaya Productions (C) BANDAI VISUAL/GAINAX (C) BANDAI VISUAL, FLYINGDOG, GAINAX (C) NHK, NEP (C) 1998 Love & Pop Production Organization (C) Color
Composed and edited by Hideaki Anno : Special Screenings "The World of Hideaki Anno" Special Video
Born on May 22, 1960 in Yamaguchi Prefecture, Japan.
In 1988, he made his debut as an animation director with the OVA "Gunbuster" Anno made his debut as an animation director in 1988.
In 1995, he directed the TV animation "Neon Genesis Evangelion", which became a social phenomenon.
In 1998, he directed his first live-action film, "Love & Pop".
In 2006, he established Color Inc. and became its representative director.
He also worked as the voice of the main character in the Ghibli film "The Wind Rises" in 2001.
Updated on 2014-11-12
<Original JP site: https://www.oricon.co.jp/special/1476/>