Bones president Masahiko Minami and character designer Toshihiro Kawamoto look back on Cowboy Bebop on the occasion of the “Remix” DVD release. Nothing really new here, given the amount of other interviews these two have done, but it’s my policy to archive multiple-page full text interviews regardless.
An interview with Cowboy Bebop’s director/character designer/composer team. Contains a couple nuggets of information (Yoko Kanno was composing ost pieces a year before production started, Ein was modeled after Yoko Kanno, the “new genre unto itself” eyecatch quote was inserted into the show without Watanabe’s permission).
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 one (the first chronologically in the series) President Masahiko Minami talks about the studio’s origins and namesake, Hiroshi Ousaka talks about research trips to Morocco, and Toshihiro Kawamoto talks about using digital effects to produce more effective POV shots.
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.
I wasn’t planning on scanning this until I read it, but this one just so happened to contain some juicy tidbits. Toshihiro Kawamoto not only opens up a little about what the job title “Art Production Director” entails, and has a cool point about the cost of extra lines in character designs for anime movies (the more times you have to draw it, the more expensive it gets). He also mentions that Shinichiro Watanabe tends to be more hands-off in handling his staff, hence some of the fanservice in the motion-heavy scenes (in other words, kind of an entertaining polar opposite to Tsutomu Mizushima in 2012).
Note: I switched to greyscale here because I kept making mistakes in scanning the pages with small margins and it takes significantly less time than color per scan.