Kære alle,
Vi fik hos Animanga via vores netværk i Japan mulighed for at stille den kendte anime-instruktør Tomoki Kyoda et par spørgsmål. En stor gruppe af animangianere satte sig sammen og fandt på spørgsmål, oversætte dem til først engelsk og derefter japansk, og oversatte derefter svarene fik tilbage til engelsk som vi tænkte i alle kunne læse.
Kyoda er mest kendt for at have instrueret de forskelige historier i Eureka Seven universet, men har ud over det haft andre vigtige kasketter på produktionen af kendte anime som for eksempel: RahXephon, Fullmetal Alchemist, Ouran High School Host Club, Full Metal Panic! og naturligvis Evangelion: 1.0 You Are (Not) Alone
Særlig tak til L.Mathaisen med hhv nogle af spørgsmålene og indledningen, samt til psyg og LiseR med diverse oversættelser.
Stor tak til Shima - vores japanske ven - som gjorde ovenstående muligt!
Referatet er nedenfor
Mvh
Animanga
Interview med Tomoki Kyoda
Interview med Tomoki Kyoda
www.gogonoter.dk
Re: Interview med Tomoki Kyoda
med et minimum af insats så her er det i en bare nogenlunde læsbar version også
1) As an audio engineer who's been working with TV and games, I'm curious if most anime studios do their sound design and sounds effects in-house in collaboration with the animators, or do they simply out-source it?
generally anime studios aren't a place where sound is made, we delegate the production to a sound director affiliated with another company. sound effects are likewise normally handled by that companies specialists as well.
2) Sometimes I get the impression that more and more anime is created, which is intended to sell a lot of copies, at the expense of being daring and unique. Do you feel that economic choices have started to overrule artistic freedom in the creation and production of anime lately?
Rather, there are no such thing as an anime production that is not limited by budget. The restriction of freedom in due to concerns of investment recovery and that sort of business related reasons are another problem entirely. but there is generally other things that limits the freedom of a given work more than money related issues.
3)A lot of your works have been mecha productions - is this just coincidence, or does this have something to do with your childhood and the anime series shown on TV then?
I have been working on a lot of mecha/action series…… and that is also how I have gained the knowhow to do such series…… I dont really think theres any other specific reason than that.
I have been watched and loved some wonderful mecha/action since I was a child, but I dont think that necessarily have been put towards my works.
4)Much of anime is now being produced to sell Blu-rays rather than to become popular on TV. What does this mean for how you produce your works?
the sales oriented business structure hasn't really changed much. its just that its is now that you can watch it multiple times, the surface layer had to rapidly increase in quality, and producing works has some harder obstacles now. as an example it is no longer just the animation that is important for a work, if someone hits the pause button (and captures a single frame) that also has to look good. but maybe that should always have been the case for animation, or it might only be like this for the transition periode.
5) We know about JAniCA mainly because of the Anime Mirai movies. In what other ways do they work to improve conditions for workers in the anime industry?
Apart from being a member of JAniCA im not really that deeply affiliated with them, so I think it would be better to direct that question elsewhere. in regards to the betterment of work environments, this is not only an issue with the animation industry but a problem deeply rooted in the japanese industrial structure, so its not something that is easily explained.
6) If you compare Eureka Seven with older mecha animes, it seems deeper and with more layers to it, as well as with more focus on character development and interpersonal relations. Is this so that the series may appeal to an older target audience, or to appeal to people that are not normally mecha fans?
It is both. basically modern japanese animation is primarily targeted at people in their 30s so I think its natural to reach the conclusion that its for an older target audience, and from a commercial stand point the amount of people in that group who buy mecha DVDs and BluRay are limited, so in order to appeal to people outside that group we implemented themes and designs which are not often seen in mecha, and in that sense I think it might have become a bit of an unique anime.
7)As I understand it, your next project is Rakuen (etc.) What is your role in this production, and what kind of anime is it?
so what is my role in Rakuen Tsuihou? and further what kind series is it?
I was asked by director Mizushima to make a part of the storyboard and to direct that part of the story. It is a cell-shaded CG animated movie, but in terms of content I think it will be an elegant and powerful science-fiction movie.
1) As an audio engineer who's been working with TV and games, I'm curious if most anime studios do their sound design and sounds effects in-house in collaboration with the animators, or do they simply out-source it?
generally anime studios aren't a place where sound is made, we delegate the production to a sound director affiliated with another company. sound effects are likewise normally handled by that companies specialists as well.
2) Sometimes I get the impression that more and more anime is created, which is intended to sell a lot of copies, at the expense of being daring and unique. Do you feel that economic choices have started to overrule artistic freedom in the creation and production of anime lately?
Rather, there are no such thing as an anime production that is not limited by budget. The restriction of freedom in due to concerns of investment recovery and that sort of business related reasons are another problem entirely. but there is generally other things that limits the freedom of a given work more than money related issues.
3)A lot of your works have been mecha productions - is this just coincidence, or does this have something to do with your childhood and the anime series shown on TV then?
I have been working on a lot of mecha/action series…… and that is also how I have gained the knowhow to do such series…… I dont really think theres any other specific reason than that.
I have been watched and loved some wonderful mecha/action since I was a child, but I dont think that necessarily have been put towards my works.
4)Much of anime is now being produced to sell Blu-rays rather than to become popular on TV. What does this mean for how you produce your works?
the sales oriented business structure hasn't really changed much. its just that its is now that you can watch it multiple times, the surface layer had to rapidly increase in quality, and producing works has some harder obstacles now. as an example it is no longer just the animation that is important for a work, if someone hits the pause button (and captures a single frame) that also has to look good. but maybe that should always have been the case for animation, or it might only be like this for the transition periode.
5) We know about JAniCA mainly because of the Anime Mirai movies. In what other ways do they work to improve conditions for workers in the anime industry?
Apart from being a member of JAniCA im not really that deeply affiliated with them, so I think it would be better to direct that question elsewhere. in regards to the betterment of work environments, this is not only an issue with the animation industry but a problem deeply rooted in the japanese industrial structure, so its not something that is easily explained.
6) If you compare Eureka Seven with older mecha animes, it seems deeper and with more layers to it, as well as with more focus on character development and interpersonal relations. Is this so that the series may appeal to an older target audience, or to appeal to people that are not normally mecha fans?
It is both. basically modern japanese animation is primarily targeted at people in their 30s so I think its natural to reach the conclusion that its for an older target audience, and from a commercial stand point the amount of people in that group who buy mecha DVDs and BluRay are limited, so in order to appeal to people outside that group we implemented themes and designs which are not often seen in mecha, and in that sense I think it might have become a bit of an unique anime.
7)As I understand it, your next project is Rakuen (etc.) What is your role in this production, and what kind of anime is it?
so what is my role in Rakuen Tsuihou? and further what kind series is it?
I was asked by director Mizushima to make a part of the storyboard and to direct that part of the story. It is a cell-shaded CG animated movie, but in terms of content I think it will be an elegant and powerful science-fiction movie.
svar på japansk: vis
「タダより高いものはない」
Re: Interview med Tomoki Kyoda
Jeg skal beklage - at det var ulæseligt - klippe klistre foregik fra arbejdet og via iphone. Tak til psyg for den læselige version
www.gogonoter.dk
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