Hideaki Anno interview on Khara’s 10th Anniversary – English Subs


[Khara 10 year anniversary.Eva’s past,
Eva’s future, and Studio Khara today.] It’s a pleasure to have you. It’s pleasure… It’s a pleasure to be here. First off, congratulations on
the studio’s 10th anniversary. Thank you. Congratulations. Yes. How does it feel? I’m glad it’s lasted 10 years. Lasted? Very glad. I’m glad we’re able to
have an exhibition like this. I’m very thankful. What does this
exhibition have in store for us? Yes.
What does this
exhibition have in store for us? What does this
exhibition have in store for us? Well, it’s everything our company has worked
on these last 10 years squished together. We wanted it to be obvious at a glance. There are a lot of pieces on display, Yes.
There are a lot of pieces on display, but is there anything you as
a director, or just you yourself, want people to pay attention to particularly? There’s a lot of content available. But it’s not straight from the movies. It’s the
intricate process behind what you see on screen. I think that’s where I want people’s attention. Following that, I’m
curious about about one thing. Yes.
Following that, I’m
curious about about one thing. Following that, I’m
curious about about one thing. The Shin Godzilla models. Ah, the maquette. Yes. What is the story behind those? Originally we just planned to
make Godzilla in CG form. All of it. But we thought it might be
better to create a physical model and then scan that model
instead of starting from CG. Instead of creating a CG model out of nothing,
we wanted to start with a physical model. There were no original sketches? I had the rough drawings that I jotted down, but Takeya Takayuki made the physical
model. Then Shirogumi Inc. made the CG model. and that became the face of our project. I like having a physical model. The CG is very impressive. Thank you. Was there any challenges
with turning the model into CG? Yeah, there was. I mean it’s difficult
to give CG the same air as the maquettes, but they have indicators that
made it easy to point out what we wanted. The direction we wanted to go in was
much more defined than if we started from CG. It was reassuring. Without an object, it feels wrong. Because it wasn’t just in our heads, because we were working with something
right in front of us, the CG Godzilla turned out ok. So, what was the reasoning behind
Godzilla’s 2nd, 3rd, and 4th forms? Yes.
So, what was the reasoning behind
Godzilla’s 2nd, 3rd, and 4th forms? So, what was the reasoning behind
Godzilla’s 2nd, 3rd, and 4th forms? From what I remember,
it’s nothing all that special. It’s not as visually or cinematically
interesting if Godzilla didn’t transform. Toho was originally against having it. Godzilla is so iconic and
they didn’t want to threaten that. That’s where an Bandai stepped in, very
excited about the prospect of 3 products. Because of that, we managed. Like, look, look, look it’ll sell like crazy. We struggled, but eventually
got the 3 forms approved. What’s the meaning behind
“Eva’s past, Eva’s future”? It reflects our representative piece. Our
company has only been around for 10 years. When we decided on opening an exhibit, it made
the most sense to make Evangelion the main focus. That’s why it became so centered around Eva. There are a lot of points to focus
on when looking at keyframes, Yes.
There are a lot of points to focus
on when looking at keyframes, There are a lot of points to focus
on when looking at keyframes, but is there anything
particular to keep in mind? Keyframes are pre-motion, so they
stand as the base for movement. The layouts of each
drawing have their own quirks. Oh and silhouettes. Silhouettes? Silhouettes. The expression in the silhouette of each
frame as well as the placement of the faces. Keep that in mind while going through. The face placement is essential. In what way? Viewers find faces first. Within the first 3 seconds of a frame,
their eye goes straight to the face. Only after that do they begin
to see the rest of the screen. The immediate line of sight is
on the face – or really, the eyes. You search for the eyes in the frame. Once you find them you
look where they’re looking. This is a question long in the making, but
where did the idea for Evangelion come from? The idea was from 20 years ago. The TV
version of Eva was – wait more than 20 years. Eva was… well robot anime was my specialty. I wanted to try making something
I could approach with confidence. That’s… that’s what ended up becoming Eva. I wanted to make something entertaining. Congratulations on having Shin Godzilla
nominated for buzzword of the year? Thank you. How do you feel? I don’t feel one way or another. What if you won? It won’t. They should choose someone else. It won’t be me. What would you say has been the hardest part
of these past 10 years as a manager and creator? After Evangelion 3.0 was tough. Probably the hardest. Which part exactly? Honestly, I ran out of ideas. I overworked myself. In the following 10 years, is
there anything you want to do? I want to keep creating entertaining media. I was wondering about the next Eva movie,
or well the last film. Yes.
I was wondering about the
next Eva movie,or well the last film. I was wondering about the
next Eva movie,or well the last film. We’re working on it.
I was wondering about the
next Eva movie,or well the last film. I was wondering about the
next Eva movie,or well the last film. We’re working on it.
I was wondering about the
next Eva movie,or well the last film. When do you think that will debut? I’m not sure. It’s not a
decision just for our company. The distribution companies and
such have a say in it, so I’m not sure. I look forward to seeing it. Thank you.
I look forward to seeing it. Thank you. I apologize for the interruption,
but that’s all the time we have for today. It’s fine.
I apologize for the interruption,
but that’s all the time we have for today. I apologize for the interruption,
but that’s all the time we have for today. Is there anyone you have your eye on? Nope.
Not just in the production world. Not just in the production world. None, really.
Not just in the production world. No athlete or TV personality?
None, really. No athlete or TV personality? No.
No athlete or TV personality? No. A producer? No. Really? No. By the way… I’m sorry, that’s all the time we have for today.

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