{"id":17491,"date":"2014-02-10T18:32:15","date_gmt":"2014-02-11T02:32:15","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=17491"},"modified":"2015-02-12T23:29:13","modified_gmt":"2015-02-13T07:29:13","slug":"970","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/970\/","title":{"rendered":"Animage<\/em> #58, March 1983"},"content":{"rendered":"

<\/p>\n

<\/span><\/p>\n

<\/br><\/p>\n

All that’s left is to see it, the movie in spring<\/h3>\n

Final Yamato<\/em> Last Report<\/h3>\n

What is Yamato<\/em> to you!?<\/h2>\n

15 people who served as staff from Part 1 to Be Forever Yamato<\/em>, how they see it!!<\/h3>\n

Telephone questionnaire special feature<\/p>\n

<\/br><\/p>\n

Yasuhiko Yoshikazu, Yoshiyuki Tomino, Noboru Ishiguro\u2026when you think back on the staff list of Yamato<\/em> Part 1, the names form a roster of excellence. But at the time they made Yamato<\/em>, even they were still unknown, young people brimming with zeal and talent who sent their work off into the world without hesitation. What kind of meaning does Yamato<\/em> hold now for the ladies and gentlemen who became influential staff members of the anime world in both name and reality? We interviewed 15 staff members from Part 1 to Be Forever<\/em> about Final Yamato<\/em>.<\/p>\n

To premiere in Toei theaters March 19!!<\/p>\n

Final Yamato<\/em> novelization part 2 to be published March 26!!<\/p>\n

Illustration: Yoshinori Kanada (from Final Yamato<\/em> Part 2 novelization)<\/p>\n

<\/p>\n

Of those who responded, eight out of fifteen people said
\n“I’ll go and see Final Yamato<\/em>.”<\/h2>\n

In the form of a questionnaire, these four questions were answered by phone:<\/p>\n

\u2460 Will you see Final Yamato<\/em>?
\n\u2461 For what reason?
\n\u2462 What does it mean for you to have been involved with the production of Yamato<\/em>?
\n\u2463 What is Yamato<\/em> to you?<\/p>\n

We thank everyone for their cooperation.<\/p>\n

\n

<\/span><\/p>\n

Toyoo Ashida<\/h3>\n

Production supervisor: Series 1, Farewell<\/em>, Series 3
\nKey animator: The New Voyage<\/em><\/p>\n

\u2460 Yes<\/p>\n

\u2461 I want Crusher Joe, Harmagedon<\/em>, and Yamato<\/em> to succeed.<\/p>\n

\u2462 I found out there were various kinds of anime. Heidi<\/em> was in its prime in those days, and when Yamato<\/em> was in the same time slot, it was the “back anime” in terms of its content. That’s been reversed, simply because Crusher Joe, Harmagedon<\/em>, and Yamato<\/em> are the works that come out now.<\/p>\n

\u2463 “Nishizaki-san himself.”<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Shingo Araki<\/h3>\n

Production supervisor: Farewell<\/em><\/p>\n

\u2460 I’m not planning to.<\/p>\n

\u2461 Because I’m busy. And the running time is too long.<\/p>\n

\u2462 When I drew the movements of the mysterious woman Teresa, Yoshinobu Nishizaki gave me his guidance. I think it’s Japanese dance and the gestures of a woman, which gave me the chance to study movements I didn’t know.<\/p>\n

\u2463 “Old and new animation”<\/p>\n<\/div>\n

\n
\n

<\/span><\/p>\n

Noboru Ishiguro<\/h3>\n

Storyboards: Series 1, Series 2
\nTechnical director: Farewell, New Voyage<\/em><\/p>\n

\u2460 No.<\/p>\n

\u2461 With the old Yamato<\/em> there was no spare time and it looked like it. This is clearly a different thing.<\/p>\n

\u2462 I was a big admirer of SF, but anime was considered to be just for children before then, and it seemed like there was a jinx on SF anime. It was Yamato<\/em> that broke the jinx, and I discovered what I wanted to do.<\/p>\n

\u2463 “One monumental work to be conquered.”<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Nobuhiro Okaseko<\/h3>\n

Production, character design: Series 1<\/p>\n

\u2460 Yes.<\/p>\n

\u2461 Because I got a ticket from a close friend. He wants his children to see it. And I also feel attached to the characters.<\/p>\n

\u2462 It had a different production style from other anime up to then, the staff was united, and I tasted for the first time the tension and excitement of having to come through by all means. Also, what style of underwear you needed in a hot room.<\/p>\n

\u2463 Umm, I don’t know. I don’t have an answer yet.<\/p>\n<\/div>\n

\n
\n

<\/span><\/p>\n

Yoshinori Kanemori<\/h3>\n

Key animator: Farewell, Be Forever<\/em><\/p>\n

\u2460 I will probably go see it.<\/p>\n

\u2461 Because I participated in it. It’s only proper.<\/p>\n

\u2462 I did it in a work flow, so I didn’t get much of an impression. But it was toilsome. The experience exhausted me, both physically and mentally.<\/p>\n

\u2463 “Something I’d really like to be done with at this point.”<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Tomonori Kogawa<\/h3>\n

Production supervisor: Farewell<\/em>
\nKey animator: New Voyage<\/em><\/p>\n

\u2460 Unknown.<\/p>\n

\u2461 I don’t know if I’ll be able to, because I don’t know if the time will be convenient.<\/p>\n

\u2462 The human relations, though that’s not limited to Yamato<\/em>. Three of us in particular, Noboru Ishiguro, Kazunori Tanahashi, and me, were always together in the staff room, day and night. I guess it’s because the schedule was so tough.<\/p>\n

\u2463 Yamato<\/em> never had the impression of being “just a job.”<\/p>\n<\/div>\n

\n
\n

<\/span><\/p>\n

Hiroshi Sasagawa<\/h3>\n

Director, storyboard: Series 3<\/p>\n

\u2460 Yes.<\/p>\n

\u2461 It was just a brief bit, but I saw some of the content. I’m curious to see how it turned out.<\/p>\n

\u2462 When I was brought in as a pinch hitter, I thought, “Don’t prejudge it. We’ll eat anything.” It was delicious in its own way. Through the scale of the work and the fighting figure of the young staff, I was able to look into SF, which was different from my world.<\/p>\n

\u2463 It was a “different world,” but not in a bad way.<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Kazuo Tomisawa<\/h3>\n

Key animator: New Voyage<\/em><\/p>\n

\u2460 No.<\/p>\n

\u2461 Because I have more of a fondness toward Harmagedon<\/em>. From what I’ve heard, this Yamato<\/em> isn’t quite polished, so I can’t really get too excited over it.<\/p>\n

\u2462 There was no meaning. It was work I did at Studio Z, so there might have been some meaning for the studio management.<\/p>\n

\u2463 Part 1 was “very shocking.” It gave a clue about the citizenship of anime in the culture of film. From the movement of the picture to the dramatic lines, it was amazing at the time.<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Yoshiyuki Tomino<\/h3>\n

Storyboard: Series 1<\/p>\n

I don’t have any comment at all about Yamato<\/em>.<\/p>\n

<\/br><\/br><\/p>\n

\n
\n

<\/span><\/p>\n

<\/span><\/p>\n

Kazuhide Tomonaga<\/h3>\n

Key animator: Series 1, Farewell<\/em>
\n<\/br>
\n\u2460 If I have time, I’ll go and see it.<\/p>\n

\u2461 I don’t feel very strongly about seeing it. Maybe to kill time\u2026? I do kind of wonder how it turned out.<\/p>\n

\u2462 I belonged to a company called Tiger Project in those days, and I just kind of worked on it like any other job. As a man, I let my youth move me to draw the battle scenes as I liked.<\/p>\n

\u2463 Maybe “it was something I did when I was young.” Because it’s an old work.<\/p>\n

<\/span><\/p>\n

Takashi Nakamura<\/h3>\n

Key animator: New Voyage<\/em>
\nAssistant supervisor: Be Forever<\/em><\/p>\n

\u2460 Maybe 70% I don’t want to go see it, 30% I kind of want to go see it.<\/p>\n

\u2461 Because I don’t think it will have something all that different. What I want to see are Yoshinori Kanada’s drawings.<\/p>\n

\u2462 After I saw 999<\/em>, I was able to meet Mr. Kanada for the first time, and I thought he was an amazing person. I was able to absorb his personality and his key animation slowly and carefully. While I didn’t think it was that great, the timing and movement of the drawings seem to have had an influence on me.<\/p>\n

\u2463 It’s “Something that already ended,” so I don’t want to be involved any more. I’m no longer excited by it.<\/p>\n

\n

<\/span><\/p>\n

Mitsuki Nakamura<\/h3>\n

Artist: New Voyage<\/em><\/p>\n

\u2460 If the opportunity arises, I’d like to see it.<\/p>\n

\u2461 Because I want to see the art. I want to see all of Geki Katsumata’s worlds.<\/p>\n

\u2462 The production system was a new experience. In other words, it’s the “Academy” way for the producer to deeply affect the content. In the end, I couldn’t get used to it, so it didn’t really add anything special.<\/p>\n

\u2463 “Nutritional supplement.” The mecha and backgrounds were wonderful role models, and it was really exciting. It greatly influenced my later work, in particular how to give a feeling of weight to a bridge deck. It’s a pioneering work that became the catalyst of today’s animation blockbusters.<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Toshihiro Hirano<\/h3>\n

Animation checking: Farewell<\/em>
\nKey animator: Be Forever<\/em><\/p>\n

\u2460 Yes.<\/p>\n

\u2461 I hadn’t yet digested anime before Part 1, and I’ve watched every Yamato<\/em> since then.<\/p>\n

\u2462 Meeting Tomonori Kogawa and Noboru Ishiguro on Be Forever Yamato<\/em>. After that, I felt a mysterious fate when I worked with Mr. Kogawa on Ideon<\/em> and with Mr. Ishiguro on Macross<\/em>. As for Yamato<\/em>‘s exposure, I think it was one step that helped Macross<\/em>.<\/p>\n

\u2463 “Meeting with people.”<\/p>\n<\/div>\n

\n
\n

<\/span><\/p>\n

Keisuke Fujikawa<\/h3>\n

Screenplay: Series 1, Farewell<\/em>, Series 2, Be Forever<\/em>, Series 3<\/p>\n

\u2460 Yes.<\/p>\n

\u2461 I’ve been involved with it since the beginning, so I’m interested in seeing how it ends.<\/p>\n

\u2462 Pushing the work forward closely together with the people of the staff had a lot of good meaning. But there wasn’t enough joy in it to do one more. If the producer provided a little more consideration to individual staff members, it might have been more fun. My feeling is that there were a lot of good things about Part 2, but it felt like it became a bit stretched after that. Some parts became boring.<\/p>\n

\u2463 “It was youth.” There was pleasure in burning with passion and meeting challenges.<\/p>\n<\/div>\n

\n

<\/span><\/p>\n

Yasuhiko Yoshikazu<\/h3>\n

Storyboards: Series 1, Farewell<\/em>, Series 2, New Voyage<\/em><\/p>\n

\u2460 I probably won’t see it.<\/p>\n

\u2461 For me, Yamato<\/em> is over. I make a distinction with Farewell to Yamato<\/em>. Even when I was involved on the staff, I felt that Yamato<\/em> should end.<\/p>\n

\u2462 The image of anime has expanded very much. The technique is to go after a target audience, but the variety of things you can do with anime has been widely seen. I found that anime is something you can tackle with passion.<\/p>\n

\u2463 I’m troubled by abstract questions.<\/p>\n<\/div>\n

\n
\n
\n

Text in green box:<\/em><\/p>\n

Event Information<\/h2>\n


\nPhoto from the voice recording, February 22-24<\/em><\/span><\/p>\n

All of Space Battleship Yamato<\/em> Exhibition<\/h3>\n

Date: March 25-31
\nLocation: Keisei Department Story, Ueno, Tokyo.
\nAdmission: 150 yen for Elementary & Junior high students, 200 yen for high school and above
\nContent: screening of Yamato<\/em>‘s 10 Year History on multi-screens. Daily showings of previous works. Free gifts for the first 500 attendees every day.<\/p>\n

Big Space Operation – Yamato<\/em> Launch<\/h3>\n

Date: March 19 to June 5
\nLocation: Takarazuka Family Land, Hyogo Prefecture
\nContent: Introduction of Final Yamato<\/em> through pictures and 3D models.<\/p>\n

Space Battleship Yamato<\/em> Fair<\/h3>\n

Date: March 25-30
\nLocation: Tokyu Department Store, Kichijoji, Tokyo
\nAdmission: 200 yen
\nContent: Song performance and signings by Isao Sasaki, Tranzam, and Tomoko Kuwae.
\nSpecial offer: Please send in your drawing of Yamato<\/em> on a postcard. It will be displayed at the venue. In addition, a souvenir will be presented for excellent work. (Special judge Leiji Matsumoto.)<\/p>\n

<\/p>\n

Promo for Tokuma Shoten’s “AM Juju” novels, including Final Yamato<\/em> volume 2 (illustrated by Yoshinori Kanada).<\/p>\n

<\/p>\n

Left: Ad for Bandai model kits. Right: Ads for Tokuma Shoten Roman Albums for Final Yamato<\/em> (April 1983) and Xabungle<\/em> (May 1983).<\/p>\n

<\/p>\n

Ad for albums and singles from Columbia. Their second Final Yamato Music Collection<\/em> and drama album would be released in April. Also mentioned was a “10-Year Tribute” album narrated by Captain Okita, which would be cancelled.<\/p>\n

<\/p>\n

Promotional poster for the issue with the “Goodbye Youth” slogan and cover art by Yoshinori Kanada.<\/div>\n

<\/br><\/p>\n

The End<\/h3>\n

Special thanks to Neil Nadelman for translation support.<\/em><\/p>\n

Continue to the next article<\/a><\/p>\n

Return to the Final Yamato<\/em> Time Machine<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-17491","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/17491","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/comments?post=17491"}],"version-history":[{"count":9,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/17491\/revisions"}],"predecessor-version":[{"id":17554,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/posts\/17491\/revisions\/17554"}],"wp:attachment":[{"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/media?parent=17491"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/categories?post=17491"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ourstarblazers.com\/vault\/wp-json\/wp\/v2\/tags?post=17491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}