2024年 10月 05日
Interview (2013)
Harada appeared on the official DoCoMo mobile phone program due to his participation in the production of "Japanese Folk Tales." Since we do not own the copyright, we cannot introduce the footage, but we will post only the text here.
*Harada also talked about other traumatic childhood experiences (as described in this blog), but they were all cut.
Recorded in 2013. Streamed in February 2014.
-What made you start making animation?
Harada (hereafter referred to as H):
A long time ago, the American artist Windsor McCay made a black-and-white animation called Gertie the Dinosaur. I saw it on TV when I was in the second year of junior high school.
This animation didn't use cels, it was drawn frame by frame with pen on paper. The background art was also drawn frame by frame on the same paper.
That's why the backgrounds tremble.
I thought, "I can make something like this, even I can."
A friend of mine in junior high school knew a photo shop, and he lent me an 8mm camera and projector, and I started making animation.
I made about one film a year.
By the time I entered Tokyo Designer Academy, I had already made several.
-What advice would you give to young people who want to become anime directors?
H: First of all, get out into the world and gain a variety of experiences.
Rather than watching new films, I recommend watching old domestic and foreign films from around the 1960s and 1970s. Everything (important things in making a film) is condensed there.
That was the golden age of Japanese cinema, and excellent works were produced overseas as well. And individual experimental films too. First of all, you need to watch all the footage from that era.
And (for TV anime) teamwork is important.
So communication is important. I couldn't do that in the past.
And (directors) need to be strong.
If you receive criticism from others, you shouldn't get discouraged, but you need to think about the criticism and have the vitality to overcome it.
And the fundamental motivation for why you are doing this job. In other words, it's important to know that you are doing it because you have something to say.
I don't think viewers will find a work made mechanically by inertia interesting.
I think viewers want to see something that the creators made with all their effort and sweat, including the embarrassing parts of the creators, even if they made embarrassing mistakes.
I think a video work is a medium that naturally conveys (even those intangible parts) to the viewer.
Harada (hereafter referred to as H):
A long time ago, the American artist Windsor McCay made a black-and-white animation called Gertie the Dinosaur. I saw it on TV when I was in the second year of junior high school.
This animation didn't use cels, it was drawn frame by frame with pen on paper. The background art was also drawn frame by frame on the same paper.
That's why the backgrounds tremble.
I thought, "I can make something like this, even I can."
A friend of mine in junior high school knew a photo shop, and he lent me an 8mm camera and projector, and I started making animation.
I made about one film a year.
By the time I entered Tokyo Designer Academy, I had already made several.
-What advice would you give to young people who want to become anime directors?
H: First of all, get out into the world and gain a variety of experiences.
Rather than watching new films, I recommend watching old domestic and foreign films from around the 1960s and 1970s. Everything (important things in making a film) is condensed there.
That was the golden age of Japanese cinema, and excellent works were produced overseas as well. And individual experimental films too. First of all, you need to watch all the footage from that era.
And (for TV anime) teamwork is important.
So communication is important. I couldn't do that in the past.
And (directors) need to be strong.
If you receive criticism from others, you shouldn't get discouraged, but you need to think about the criticism and have the vitality to overcome it.
And the fundamental motivation for why you are doing this job. In other words, it's important to know that you are doing it because you have something to say.
I don't think viewers will find a work made mechanically by inertia interesting.
I think viewers want to see something that the creators made with all their effort and sweat, including the embarrassing parts of the creators, even if they made embarrassing mistakes.
I think a video work is a medium that naturally conveys (even those intangible parts) to the viewer.
*Harada also talked about other traumatic childhood experiences (as described in this blog), but they were all cut.
credit: Docomo
by kiyubaru2020
| 2024-10-05 00:10
| Life and history
