This Animag article, in addition to providing a contemporary view of the Macross franchise, features a couple of neat anecdotes about Shoji Kawamori having to choose between Macross and college, redrafting the script of DYRL, and reacting to the voice acting in Robotech.
Via a very awesome US fanzine, Leiji Matsumoto talks about his choice of pen name, cultural exchange of ideas in the 80s, and the increased creative freedom afforded by the rise of OVAs. Also, Yattaran is based on the creator of Area 88, which is neat.
Along with an understanding of the broader context of the subject, the most vital ingredient to good anime coverage is a reliable source. So when US journalists actually interview people on the production side in Japan, it’s generally worth noting unless the interview consists entirely of fluff. This is the latest of what will hopefully be a couple more posts archiving articles from Newtype USA’s [inside] series of articles written by Amos Wong. In this feature on Xebec, President Yukinao Shimoji describes how friendship with Mitsuhisa Ishikawa (President of Production IG) led to his founding his own studio and Director Nobuyoshi Habara talks about building architecture and setting in DN Angel.
Note: Pictures are scans of the article made on my crappy scanner, which cover the article text but not the entire page. They’re also in greyscale, because I’m interested in archiving interview text and color scans make the process more of a headache than it needs to be. Apologies for that. Scans after the jump, along with comments on the contents of the article.
Normally, I don’t scan voice actor interviews, because they’re mainly canned puff bits on emotional connection to the character. But this one contains an interesting fact – Rie recorded her FMA lines in a separate room from the rest of the cast, to give Alphonse’s voice a more hollow sound.
Satoshi Nishimura talks about adapting Kodansha Award-Winning manga Hajime no Ippo into TV anime Hajime no Ippo, roughly outlining his stance on this adaptation as a fairly strict “stick-to-the-source” tack.
Along with an understanding of the broader context of the subject, the most vital ingredient to good anime coverage is a reliable source. So when US journalists actually interview people on the production side in Japan, it’s generally worth noting unless the interview consists entirely of fluff. This is the latest of what will hopefully be a couple more posts archiving articles from Newtype USA’s [inside] series of articles written by Amos Wong. In this feature on AIC, president Toru Miura discusses starting up during OVA boomtime and how the studio landed the original Ah My Goddess job in a 3 studio race, while Hiroaki Goda discusses his taste in music and getting a chance to do Ah My Goddess again with more development.
Note: Pictures are scans of the article made on my crappy scanner, which cover the article text but not the entire page. They’re also in greyscale, because I’m interested in archiving interview text and color scans make the process more of a headache than it needs to be. Apologies for that. Scans after the jump, along with comments on the contents of the article.
Along with an understanding of the broader context of the subject, the most vital ingredient to good anime coverage is a reliable source. So when US journalists actually interview people on the production side in Japan, it’s generally worth noting unless the interview consists entirely of fluff. This is the latest of what will hopefully be a couple more posts archiving articles from Newtype USA’s [inside] series of articles written by Amos Wong. This studio Madhouse feature includes Masayoshi Kawajiri and Kazuo Koike talking about their mentor-student relationship (and the differences between movies and TV), Producer Yuichiro Saito talks about the merits of doing all types of projects, and Hiromichi Masuda talks production-side differences between eastern and western animation.
Note: Pictures are scans of the article made on my crappy scanner, which cover the article text but not the entire page. They’re also in greyscale, because I’m interested in archiving interview text and color scans make the process more of a headache than it needs to be. Apologies for that. Scans after the jump, along with comments on the contents of the article.
Hiroshi Nishikiori, one of only 17 directors to helm multiple non-sequel 10k hits, offers some commentary on what was then his latest work, Gad Guard. One sidebar reveals that Gad Guard is actually inspired by Easy Rider. Which makes perfect sense.* (spoilery comment on said point after the article pics)
Carl Macek, creator of Robotech, talks about his production philosophy and what he views as compatibility issues between American and Japanese, as well dubbing Aura Battler Dunbine and the nuances of ‘old’ and ‘new’ when it comes to anime.
I’m going back through the issues I already scanned some articles from, and it turns out that just about every issue has an interview with a novelist, some of them now extremely prestigious. This issue includes one with NISIOISIN a good two years before the Monogatari series, where he mentions about his personal writing speed record – 170 pages in a day.
Animetics 