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Isn’t it a cool cut? Even when I rewatch it nowadays I find it super cool. Pretty impressive that you figured that out, Anime-sama! H: For that cut, the rip-off was clear and intentional (laughs). O: (laughs) It’s just like Gojuu Eimon in Mamo, right. O: During the goldfish scooping trial, the cut where Zorro draws his sword… The shadeless drawing, the fact that the action relies on tricks… I said that we should make that film with Mamo as an ideal. H: I said « Let’s do something like Mamo ». And then, in comparison to Lupin the 3rd, Baron Omatsuri would be Mamo’s chapter (nt: the first Lupin film) then. H: So it’s as if I ripped-off of Ikuhara-san, right? (laughs) I accidentally ended up copying my sempai, eh? That’s not a very pleasant analysis (laughs) So it becomes a fight between people who don’t have friends… It’s pretty much the same, isn’t it (laughs). H: Oh, and there was something about how the Sailor Warriors actually don’t have friends either, right. O: The alien girl Fiore, who’s being controlled by the Xenian flower, is a kid without friends.
#Sushio one piece movie movie
I only saw the R movie once, so I don’t remember the details very well. O: The fact that people on the good and the bad side bear the same sort of painful feelings is also similar. And we talked about how having a flower as the enemy was a thing that occurred quite a lot in anime, like in the Sailor Moon R movie. H: In the scenario, the last boss was already going to be a flower. O: There was something of the Xenian flower, too. Indeed, it looks like the Swords of Hatred. There was even something like the Swords of Hatred. O: The final part of the movie felt very Hashimoto Katsuyo-like, or rather, it felt like the last episode episode of Utena. H: Isn’t it perhaps the contrary? That’s the way it may look like in our works, but in real like I feel like it’s the opposite… What am I even saying about myself (laughs) O: You’re a director that deals with things in a composed, rational manner, while Hashimoto Katsuyo is more a man of passions. O: You two have fairly similar styles, but this movie, even though you’re the director, felt a bit Katsuyo style. I moved away recently, and he’s been helping me for the move. But it’s someone with whom you’re closely acquainted, right?
Of course we’re different people (laughs). O: Are director Hashimoto Katsuyo and you the same person? Fans will not want to miss this comprehensive account of one of today’s most talented and prodigious animators.This is the second part of the Animestyle Interview of Mamoru Hosoda about his One Piece: Omatsuri Danshaku movie.Īs I said before, those parts focus more on staff and animation.įirst part of the interview can be found here.
#Sushio one piece movie full
The book showcases not only full color illustrations but also rare rough sketches that provide an illuminating glimpse into Sushio’s creative process. The illustrations from EVANGELION merchandise for the movie will amaze fans as never-before-seen rare works of Sushio. This book also features Sushio’s illustrations of AKIRA: two original illustrations depicting the imaginary post-AKIRA world, which was officially approved by Katsuhiro Otomo himself, and two illustrations taken from Otomo’s tribute book. It features notable works from Kill La Kill, Gurren Lagann, Momoiro Clover Z, along with a panel illustration of Anime Matsuri 2015, his work overseas for an annual anime convention held in Texas, and much more. This book is his long-awaited first commercial collection that looks back over his career to date.
#Sushio one piece movie series
After drawing animation for many renowned anime series and movies such as One Piece, in 2013 he did the character design of the internationally big hit anime series Kill La Kill which took him to the pinnacle of his career.
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Sushio is a Japanese animator and illustrator who started his career as an animator at studio Gainax working their world-famous TV animation series Neon Genesis Evangelion (1995).
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