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8/20/2007
- phofa
- In Ga-Nime’s first featured production, “Fantascope ～tylostoma～,” we heard that you drew over 200 artworks. That must have been one serious work?
- Amano
- I used sumi-ink on Japanese “washi” paper, so to tell you the truth, I was able to draw them rather quickly (smile). But having said that, both “Fantascope ～tylostoma～” and “Bird's Song” (respectively) took about an year to complete.
- phofa
- Was this the first film you’ve complete all by yourself?
- Amano
- I received strong support and cooperation from the Directork, Soichi Kimura.
- phofa
- What about the creation of the story? Was this done by yourself?
- Amano
- Yes. I started the process by drawing my high leveled ideas on to the image board. In hindsight, I guess I was thinking of a different conclusion in the beginning… In creating Ga-Nime, it was important for me to incorporate “fun" in to the whole process, rather than just thinking of this as a picture-making “work." Fortunately for me, I was really starting to get absorbed in to the sumi-ink drawing at that time, so when the request to create Ga-Nime surfaced, the “stance” and the timing matched extremely well.
- phofa
- So by just “drawing” in between your work, things accumulated quickly, and before you knew it, you had 200 pieces of artworks (smile)?
- Amano
- That’s correct (smile). Before I received the Ga-Nime offer, I already had 10 pieces of sumi-ink drawn artworks that I drew just out of fun. These 10 pieces became the foundation of Kimura Director’s “pictured story contents,” and as I continued drawing additional pieces, we ultimately had too many pictures at the end (laugh). However, the shooting toward the end was extremely tight, and I remember drawing additional “cuts” at the studio to supplement the story.
- phofa
- You drew during the picture shoot?
- Amano
- Yes. Since the artworks still contained moisture (immediately after the drawing), we had to wait until they were dry to see how they turn out. Some of the artworks turned out “unusable,” since the ink bled during the drying process, and ultimately blurred the lines (smile). Furthermore, the drawings become 20 percent thinner after they are dried. And there were reversed cases where the ink bleeding actually improved the atmosphere of the artwork -- that’s what makes sumi-ink drawing interesting.
- phofa
- So this was when you became infatuated with the charm of the sumi-ink drawing.
- Amano
- Because it is black and white, it forces you to imagine the colors. For instance, Akira Kurosawa Director’s “Red Beard' was made in black and white, but because the title specifically states “red” beard, most of us automatically imagine that the beard was indeed red (laughter). And memories and dreams, they seem to appear in black and white if you really think about it. And I tend to think that it is people’s imagination which automatically places colors into their memories and dreams. This imaginative process is what makes it good, since artworks with colors places restrictions within the imageries. I definitely believe in the power of colors, but I was attracted to black and white because of this reason.
- phofa
- Did you always draw artworks on Japanese “washi” papers?
- Amano
- No, you can pretty much say that this was my first attempt. Story’s going to jump a little, but I’ve been working on ceramic art...not so much the actually ceramic making, but I’ve been drawing on them for a while. And I went to Kyoto to make an official insignia stamp for the ceramic art boxes, I just happen to find Japanese “washi” paper and brushes at the same store. It seemed interesting, so I went ahead and purchased it, and found drawing on washi paper entertaining. I wanted to draw with softness and depth, much like that of a sumi-e…and sumi-ink -- it provides this depth in which you cannot express with words. I wanted to challenge sumi-ink as one mode of expressing artwork.
- phofa
- Based on the quality of paper and the density of the sumi-ink, many different variations can be created, correct?
- Amano
- Definitely yes! At a given time, I must’ve drawn over several hundred pieces (laughter). In spite of that, I still have plenty of Japanese “washi” paper remaining. I purchased several variations of papers while I was in Hong Kong, and since washi paper is thin, a given role can contain hundreds of pieces.
- phofa
- When drawing with sumi-ink, do you feel that your sense of speed and tension differs from your other drawings? For instance, how does it differ from the time you draw characters for, say, Final Fantasy?
- Amano
- To tell you the truth, the time it takes me to draw the Final Fantasy characters are relatively short as well. However, you need to draft the images with pencil, and the additional time it takes to add its colors. When drawing with a brush, no draft is required, and the drawing starts directly. In that respect, different senses are probably required. Last night, I must’ve drawn about 100 pieces. I cannot stop, unless I’m pre determined to quit drawing at 1 AM in the morning (smile).
- phofa
- Do you think that sumi-ink drawing will become a standard for you in the future?
- Amano
- It is likely to become one of my several variations. Art painters are the same way, and for artists, anything goes. There is no rule which states that you need to express yourself in a singular methodology. I find it amusing that when I draw a character, a 3rd party client uses my drawing as an inspiration source to come up with something new. My job is to create a base for what ultimately becomes a “product,” so in the most extreme sense, you can say that my original artwork is something of no value. Even this sumi-ink artwork, if it is filtered and ultimately becomes an inspiration source of a given “product,” the fact that it was drawn with sumi-ink will no longer be relevant. I’m sometimes placed in that type of a predicament, but that’s the type of job I’ve accepted. But in the case of Ga-Nime, the artworks are not altered, and it is directly reflected into the film. Every piece can ultimately become an artwork. That’s the reason why I am so attracted to Ga-Nime.
- phofa
- So this is a different attraction from animation?
- Amano
- In the case of animation, your viewpoint differs depending on which aspect you are involved in. Animators draws to make the images move, and producers draws the story contents, and views it to enhance the “story.” Many people are involved to ultimately come up with the finished product (although there are a few rare individuals who can create everything alone). In the case of Ga-Nime, still pictures to create a sense of consecutiveness seem to be prevalent methodology. Personally, I require a reason for every artwork I create. The artwork’s reason for being, to imagine the sequence before and after that artwork, and to make the viewers feel the surrounding story is of utmost importance to me.
- phofa
- With a given artwork, you’d like to spread the sense of imagination to its viewers?
- Amano
- That’s correct. I enjoy Eugene Delacroix's artworks, and whenever I go to the Louvre Museum, I always find myself staring at his artworks for a long time. I sense vigor and movement, and I can also feel the “before and after” scenes within all of his artworks. Every time I see Delacroix's work, I realize that you can create a make-believe world. Movie is also the same. Whatever the case, I truly enjoy the world of art.
- phofa
- I’d like to discuss your second Ga-Nime, the “Bird's Song” at this time. “Fantascope ～tylostoma～”was black & white and with a western taste, but “Bird's Song” was colorful and Japanese in nature. These two films were very contrasting in its style -- what was the reason for this change?
- Amano
- The reason was quite simple. I just wanted to express things by using colors this time. Furthermore, I never had an opportunity to create Japanese-styled artworks, so I wanted to challenge myself through this opportunity. In “Fantascope ～tylostoma～,” the main characters were that of a young man and a woman, and in some sense, this is a very typical setting for myself. But with “Bird's Song,” the setting is about a young boy and a girl, and I was particularly interested in capturing the sense of this girl. And in order to accomplish that, I felt that that color was necessary. Despite wanting to challenge this, I honestly did not have the confidence at that time (smile). Looking back, the young boy was much more difficult to draw compared to the young girl.
- phofa
- I agree. I often see young male and an adult woman in many of your past works.
- Amano
- That’s right. When I attempted to draw a young boy, it always comes out to too cute and/or like a fairy-like character. I never really had the opportunity to draw a regular young boy, so this really was a challenge to me.
- phofa
- So while you were drawing, the character transforms itself to a direction you originally wanted to avoid…were you ultimately able to obtain that sense as you moved to completing this film?
- Amano
- I first started creating the characters by rough drawings. I was thinking things like whether I should make the boy's eyes with a cool impression, or not to make him look too handsome. Even for the girl character, I changed her hairstyle from straight short to long…it rapidly changed as I progressed with the draft. For a regular typed film, there is a pre-established setting, and things such as hairstyle and clothes remains static. But this is Ga-Nime, and the “Bird's Song” is all about memories of a man of his childhood. My thinking was that I really did not have to stick to any one format. At the end of the day, I disregarded all of my original thoughts, and drew the girl with a dress on (smile).
- phofa
- So that’s why the story appeared to be of a dream?
- Amano
- In a dream, there are scenes when characters abruptly have different clothes on. The person visualizing that dream will not feel any strangeness, and the story will automatically move on. But without prior explanation, this type of thing will never happen in a regular animation. The creator ultimately draws out every scene, so you’re simply resolved to just follow logic. One more thing...I get bored easily when I’m forced to repeatedly draw out the same image (laugh). Whether clothes or armor, I much rather draw something different each time. With Ga-Nime, this is all permitted.
- phofa
- So you chose to remain as a true creator, correct?
- Amano
- In a straight setting, with many people involved, this type of behavior is unacceptable. But with Ga-Nime, I’m the only artist involved. Furthermore, by disregarding what is known as the standard, and drawing unnecessary imageries, I was able to discover new things from this process. That was a very fun experience for me. To be able to drive through an artist’s ego was in hindsight, a good thing for me. Without having to self-endure all the time, and just doing what you like to do.
- phofa
- Your artwork usually has no boundaries, filled with fantastical impressions. Drawing on a pre-established “line” will result in losing that fluctuation. These do not seem to be your drawings, so that’s probably why it was a good thing to you. This will be the last question for this interview: will there be a third Ga-Nime production from you in the future?
- Amano
- To tell you the truth, there is a third. But I’m still thinking about what to do. There is no set rule in Ga-Nime, so anything is possible. Depending on how I execute things, I may be able to express in ways I was never able to before. Nothing is decided, so I suppose I’ll create it through trial and error.
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