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]]> http://www.brofist.org/a/res/731.html#738 >honki

Japan thinks white people are serious business.

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>1280x1024

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Satoshi Kon
>I think that's okay...Thanks to them, there is room for a non-mainstream creator like me.

Hayao Miyazaki
>Being an old man as usual
>Does not own a computer, fax machine (common in Japanese households), or DVD player
>Likened iPad use to masturbation
>Question: [Do you play] video games?
Answer: No. I once played Shogi (note: a Japanese kind of chess) with a computer and lost. The PC checks all approaches. That’s not fair.

Yoshiyuki Tomino
>Reacted to corporate meddling by throwing a tantrum and killing off the casts of his shows

Hideaki Anno
>Largely responsible for the current state anime is in
>Pledged to "save anime" by... producing more Eva

Yutaka Yamamoto
>directed four episodes of Lucky Star
>got fired for it

Dai Sato
>Failed to point out that Ergo Proxy was actually garbage

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Yutaka Yamamoto, former KyoAni director, on the state of the anime industry:
>Nowadays, good animation doesn't good sales, most otakus barely even notice good animation quality, only sakuga fags happy to see animation
>For example, Denno Coil and Birdy: Decode sale fail to live up to sakuga fags's hype, compare to Bakemonogatari and Railgun win the Otaku market.
>Your anime is always going to end up on Youtube. We're reaching the end of being able to sell home video. We're probably going to back to toy-funded business models of past: give anime away, try to sell toys.
>The lack of originality and the desire for exclusivity by the fandom has created a highly transparent industry. Mr Yamamoto affirms that the creators and the fans are “too close.” This is the biggest reason behind the isolation of the anime industry. The creators feel too obligated to please their fans, and the fans naturally expect the creators of anime to cater to them specifically, as opposed to society at large. This negative feedback loop simply exacerbates the problem over time, and now we have an industry that has boxed itself into a dead end.

Dai Sato, scriptwriter of Ghost in the Shell: SAC, Cowboy Bebop, Samurai Champloo
>“When I see anime today, I realize that we have no pride left.”
>Sato was upset with the lack of respect for stories in Japan. He pointed out that “Ergo Proxy had DVD box sets around the world, but not in Japan.
>Anime has become a “super establishment system,” where nothing can be changed. And the system is moving towards the model of Akihabara – the importance of characters, images, merchandise.. As Sato sees it: “Manga is the last hold out. If that is lost, there will be no more anime.”
>He feels anime will die out in Japan over the next few decades

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Mamoru Oshii's, director of Ghost in the Shell
>"The world of hand-drawn Japanese animation became useless long ago, as far as level of achievement and talent. The stuff airing on television these days can just be churned out, mass produced.

>I certainly think that animation is like a handicraft. If you ask me, it’s similar to the miracle that is shrine carpentry. Do you know how many people are weeded out before a single person rises to the top and becomes a qualified shrine carpenter? How much training is required? That’s why I compare animation to shrine carpentry: you simply cannot mass produce it. But now, we’re reaching our limits. If you want to know why, it’s because all the really talented animators that are sustaining the world of hand-drawn animation, the 20 or so of them, are all over 40. So think about it, in another 10 years, what’s going to happen?

Katsuhiro Otomo, director of Steamboy and Akira
>'The skills of traditional animators have become worse, and notable young animators have not come out to the scene. This is a big issue for the industry. '

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Satoshi Kon, director of Millennium Actress, Tokyo Godfathers, Paprika
>He makes a comment: the disposable nature of anime today; back in the days, there was more anticipation and fans digested each work better.
>"Animation based on popular comic books and giant robots and big-eyed girls with shamefully skimpy costumes will continue to fill the screen. I think that's okay. These productions fill demands; the audiences for them support the Japanese animation industry. Thanks to them, there is room for a non-mainstream creator like me. Of course, I hope many unusual pieces will also appear."

Mamoru Hosoda, director of Digimon Our War Game, The Girl Who Leapt Through Time and Summer Wars.
>To Mamoru Hosoda, the game ideas published by Shigeru Miyamoto (Nintendo), enjoyed by many people throughout the generation with his "suits all tastes" style, is the solution to overcome stagnation in the anime industry.

Hayao Miyazaki, director of Nausicaä, Princess Mononoke and Spirited Away
>"I think Japanese animation is facing a dead end," he said.
>"I think there is a chance that the spread of Japanese animation overseas might only lead to embarrassment."
>And he described younger anime makers as the "copycat generation".

Yoshiyuki Tomino, creator of the Gundam franchise
>"All I can say is that the creative process in Japan is obviously showing a decline."
>Stop buying anime magazine and stop watching anime now.
>If you have time go see some real paintings and watch live performance at theaters.

Hideaki Anno, director of Evangelion
>He feels anime industry is exhausted : A continuing trend of stagnation.
>And said "over the past years, there has been no anime "newer" than Eva."

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