A unique animator Shinya Ohira talks about past work Machi Asobi Talk Event Report, it is necessary to ignore settings and scenarios for animators to show individuality
Shinya Ohira , an animator and director who has received high acclaim both domestically and internationally for his unique and powerful depictions, talks about his work, ' Animator Shinya Ohira Talk Event! -Looking back on all his work- ' is
gore play
https://www.machiasobi.com/
The venue is the cafe space at the ufotable CINEMA entrance. The event was free and open to the public.
Mr. Shinya Ohira and Mr.
The following is a rough summary of the exchanges of the event content so that the nuances and atmosphere can be conveyed. The two of you did not speak literally.
Mr. Shinya Ohira (hereinafter referred to as Ohira):
I'm Shinya Ohira, an animator. I am glad that you have come all this way to gather here. thank you.
Hiroshi Matsuyama (hereinafter referred to as Matsuyama):
I am Matsuyama from CyberConnect2. I will proceed today. thank you.
(audience applause)
Matsuyama:
Ohira-san, how about Tokushima? first time?
Ohira:
Basically, I'm in Aichi Prefecture, and I've never been to the west.
Matsuyama:
Mr. Ohira lives in Nagoya. There are quite a few west of Nagoya (laughs)
Ohira:
I'm 55, but it's my first time here. It feels nostalgic and reminds me of the good old days of Japan. Bicycles can be parked here and there, the smoking rate is high, and it feels like a snack.
Matsuyama:
People in downtown were also seen (lol) Ohira-san, do you usually come to Nagoya?
Ohira:
I agree. I entered Studio Pierrot as an animator, quit after 8 months and became freelance, then returned to my parents' house, and since then I've been working in Nagoya.
Matsuyama:
I think that everyone knows that 'animators' are amazing people who are making animation, but after all, they are sole proprietors, freelancers, and they receive one job at a time.
Ohira:
yes. I received offers from various companies for original drawings and so on.
Matsuyama:
Every studio has a person who has the role of collecting animators for production, and they call out. Mr. Ohira is a person with a great track record, and at first he belonged to Studio Pierrot, where he was making 'NARUTO', but he quit after eight months...? I quit pretty soon.
Ohira:
I got angry....
Matsuyama:
I got angry Are you new? How old were you?
Ohira:
at 18.
Matsuyama:
18?
Ohira:
I was told that after three years of video experience, I would be able to work on key animations, but I wanted to draw key animations. I pushed hard and was allowed to draw the original picture in half a year, but it seems that it was a bit from above.
Matsuyama:
Eh... so you mean that impertinent newcomer got into a fight and quit?
Ohira:
Well, to put it simply, it's like that (laughs)
Matsuyama:
You're young! Were you such a hot-blooded young man?
Ohira:
That's right. Well, it's like this, but it's selfish.
Matsuyama:
Yes, I know about it (laughs). I met Mr. Shinya Ohira about 10 years ago, when we made a game together at Capcom called 'ASURA'S WRATH'.
Matsuyama:
The interlude episodes were not CG, but were made entirely with animation and incorporated into the game. When I went to STUDIO4°C and asked, 'I want you to make an anime with amazing drawings, could you please bring in that kind of animator?'
(Venue laughter)
Matsuyama:
I managed to persuade 4℃ to make it. Mr. Ohira and Mr. Kazuto Nakazawa , who are also amazing animators, will do one episode each. By the way, at that time, the person in charge of 4℃ Producer was Manabu Otsuka, who is now the president of MAPPA. Did Mr. Otsuka contact Mr. Ohira?
Ohira:
It was from Eiko Tanaka (Representative of STUDIO4℃).
Matsuyama:
Is that so. Everyone wants to see what kind of work Mr. Ohira has been doing. But the demo reel I put together was about 20 minutes long.
(Venue laughter)
Matsuyama:
It's without sound, so I think it's easier to get into your head if you talk while watching this. Well, if you watch the video, I think everyone will go over there and you won't be able to understand the story, but please just look at me. First of all, it's '
'AKIRA 4K Remaster Set' (4K ULTRA HD Blu-ray & Blu-ray Disc)' on sale on April 24 PV - YouTube
Ohira:
When I was about 22.
Matsuyama:
The effect where the flying platform comes out. Wow!!
Ohira:
Although I was a newcomer, I brought it to Mr. Katsuhiro Otomo.
Matsuyama:
Bring it in...? Did you get the information that you're doing an 'AKIRA' movie?
Ohira:
I received information that I was going to do an 'AKIRA' movie, but I didn't have the connections to participate, so I brought the drawing to Mr. Otomo and had him look at it in person, and said, 'Well then.'
Matsuyama:
Eh! For our generation, first of all, the ``AKIRA'' manga was something we couldn't ignore anymore, and it was amazing. At that time, the serialization in Young Magazine was suspended because I was doing a movie. During that time, Mr. Otomo was working on animation production. We were waiting impatiently. At that time, Mr. Ohira had already drawn something like this.
Ohira:
Super animators gathered.
Matsuyama:
It felt like Team Japan. How long have you been working on 'AKIRA'?
Ohira:
Maybe a year or so.
Matsuyama:
Next is ' Porco Rosso '.
Ohira:
It was the first time I participated in Hayao Miyazaki's work.
Matsuyama:
I've heard about it before, but I'm worried about receiving work requests by letter. A letter from Hayao Miyazaki?
Ohira:
Yes it was a letter.
Matsuyama:
what is written?
Ohira:
It's a job request. Perhaps writing the letter yourself would be more effective.
Matsuyama:
'Actually, I'm doing this kind of work, so can you help me?' I'm going to do something amazing...
Ohira:
This was ' Junkers Come Here ', and I was the first character designer and animation director for the pilot, but due to scheduling reasons, it was only the pilot. I rarely draw women and girls, but that's the kind of work I do.
Matsuyama:
I've been an amazing animator ever since I knew Mr. Ohira, and I don't know what to do to become such an animator, but um... have you been drawing since you were a child? elementary school, and junior high school.
Ohira:
Well, I like drawing and art, and I certainly watched anime, but I wasn't thinking, 'I want to be an animator,' but I was just watching it normally.
Matsuyama:
Well, how did you get to the direction of 'I want to draw by myself' and 'I want to move'?
Ohira:
When I was making an independent film in my high school art club, there was an idea to include animation along with the live-action film. So, for the first time, I drew one by one with magic on video paper.
Matsuyama:
Take one photo at a time. It's a so-called paper animation. Did you know the fun of animation at that time?
Ohira:
At that time, I wasn't thinking about becoming an animator yet, but I was wondering what I should do after graduating from high school.
Matsuyama:
So you jumped into Studio Pierrot. If you want to become an animator, now there are animation vocational schools all over Japan, and I think that while learning the basics of animation production, they will help you find a job, but back then. how was it?
Ohira:
At that time there was also the Tokyo Designer School. But at the time, animators were not only high school graduates, but there were also many animators who had never been to high school.
Matsuyama:
I remember ' Furikuri ' very well! I was watching while thinking that it was definitely Mr. Ohira. An animator starts with a video, draws the gaps between the original drawings, and when the animation director gives a bad review, he makes corrections, and so on. I think that if you are recognized somewhere, you will do the key animation and step up to become an animation director, but Mr. Ohira, don't you step up quickly?
Ohira:
I agree. Basically, I think the standard flow is to name names in the TV series.
Matsuyama:
Isn't it?
Ohira:
When we were young, OVAs were very popular, and there were some works that didn't have a play, so I think I was able to do a special job.
Matsuyama:
From a fairly early stage, I was asked to direct and ``Mr. Ohira for each scene''.
Ohira:
that's right. Well, it was a bit of a tough start.
Matsuyama:
Ah, are you in agony again?
(Venue laughter)
Matsuyama:
What type of anguish is that?
Ohira:
Um... not drawing according to the settings...
Matsuyama:
That's no good!
(Venue laughter)
Ohira:
Or ignore the scenario.
Matsuyama:
You can't do that either! Eh, did you do that!?
Ohira:
I think that's why I am who I am today.
Matsuyama:
Is that the opposite? Instead of being quiet and simply doing the work given to you.
Ohira:
I think it has to be.
Matsuyama:
Really, yes! After all, the work belongs to the director. That's why there is a director, and people are assigned to aim for effects, so ignoring it is outrageous.
Ohira:
But I thought it would be interesting if there were one or two such guys out of 100 people. I want to be part of that.
Matsuyama:
So, from a very early stage, I was able to show that appeal, or rather, my strength.
Ohira:
I see.
Matsuyama:
But some people won't tolerate ignoring instructions, right?
Ohira:
Of course of course. Both the company and the director said, 'Hey...!'
Matsuyama:
Oh, is that so?
Ohira:
Banning is common.
Matsuyama:
It will be. But is that, two sides of the same coin... By repeating this process, I wondered whether it would be possible to say, ``Ohira, there is a rather energetic guy, so let's leave it to him.''
Ohira:
I think some people will find it amusing. I love that kind of thing.
Matsuyama:
When I myself asked STUDIO4℃ to make an animation 10 years ago, they said, 'Mr. Ohira will do it.' To be honest, the script doesn't even exist.
Ohira:
that's right.
Matsuyama:
I prepared a part like that on purpose. The main character, Asura, wakes up in a rage and destroys it with an outrageous super-destructive power.
Ohira:
yes.
Matsuyama:
Even now, if you search for 'Asura's Wrath Anime' or something like that, you'll find that an outrageous, super-destructive anime was directed by Ohira. It was distributed in the form of download content, so it's not included in the package, but the data is so heavy that it can't be put on a disc. That's why I put it outside and put it in the form of DLC. It's a legendary episode in a way that is watched and praised by people all over the world.
Ohira:
We had some pretty amazing creators and animators come together.
Matsuyama:
That is 'if Mr. Ohira does it'. Animators are like 'Stand users are attracted to each other', so they gathered together saying 'I want to work with Mr. Ohira'. Wow, this smoke from Howl 's Moving Castle. The skills of Kamaji in ' Spirited Away ' are also good, but when I look at Mr. Ohira's work, I can see that he uses cloth, hair, and many arms, and effects that ordinary people would never like. Or, aren't you happy to do the most troublesome part?
Ohira:
For some reason, you are given a job with a strong image.
Matsuyama:
Of course, you know what is expected of you.
Ohira:
It's a bit of a one-pattern, though (lol) It's like 'Ohira again'.
Matsuyama:
No no. Did you draw this by hand? I don't understand it at all (laughs).
Ohira:
'Innocence' initially said, 'I will not participate.'
Matsuyama:
Really?
Ohira:
Only at Batou's place, 'I might be able to do it if it's one character.' 'If it's a one-man sumo wrestling, I'll do something about it,' he said.
Matsuyama:
Oh~.
Ohira:
I don't want to do where there are a lot of characters (laughs)
Matsuyama:
But still this is it. It moves so much just by saying 'run with a gun'.
Ohira:
Actually, it seems that you shouldn't move so much when you have a gun, but it's a deformed animation.
Matsuyama:
Cheeks. Ohira-shiki and I got excited.
Ohira:
It seems that the bridge scene was actually in 3D, but he said, 'Ohira-kun, draw it.'
(Venue laughter)
Ohira:
'Wait a minute, I said, 'If it's easy, I'll do it!''
Matsuyama:
What's going on with this wave?
Ohira:
This is a TV series ('
Matsuyama:
You did well in the TV series... So, this time, ' Tekkonkinkreet '.
Ohira:
I was drawing with colored pencils.
Matsuyama:
This was a really hot topic. 'What is this scene!?' Is it a colored pencil drawing?
Ohira:
Colored pencils, not processed at all. Although some of the transmitted light is taken. Sometimes I draw with crayons. I enjoy doing things like that.
Matsuyama:
After all, this cannot be done with CG. The comfort and comfort of animation. Isn't this what good handwriting is all about? It doesn't come out by calculation. In this way, when it comes to movies, animations, and the story of `` Ohira-san, this whole scene, '' I think that the scripts, storyboards, settings, and other materials will come, but first read it. Do you sometimes break down what is expected of your part and make it according to the storyboard, or do you sometimes suggest 'Why don't you do this?'
Ohira:
No, I won't make detailed suggestions. Because it can be stopped. 'Please stop.'
Matsuyama:
If you say it, it will stop you. So, have you already moved your hands to draw and said, 'I've done it'? (smile)
Ohira:
It's kind of like, 'I love you now.'
Matsuyama:
Yeah!
Ohira:
Otherwise, as an animator, it would be difficult to show individuality as a job. If I tell them in advance, they will say, 'That's no good, this is no good.'
Matsuyama:
I think that the people concerned are gathering today, so I would like to ask, what should I do if I want to work with Mr. Ohira? letter?
Ohira:
For the time being, we used the name Studio Break .
Matsuyama:
A company called Studio Break is the window, and if you say 'I want to work with Mr. Ohira' there.
Ohira:
A person named Takahashi, who is coming to the venue, is doing the window and also doing Twitter.
Matsuyama:
I'd like to have a bit more of an image, but when I was working on Asura's Wrath, I said, 'I'd be happy if you could do it in about a year.' Is there a guideline for how long in advance should I start thinking about it?
Ohira:
Is it a guideline?
Matsuyama:
For example. It's October now, but if you say, 'I'd like to ask for a little help by the end of the year, and the deadline is December,' it's not possible, right?
Ohira:
Well yes.
Matsuyama:
But I think that the people in the anime industry are desperate and ask, 'Can you do something about it?' In the case of Mr. Ohira, how much is enough? If it's a job for the rest of the next year, can I talk to you about it?
Ohira:
Well ... Depending on the volume, I have to do the work to the fullest, so I don't know if I can get the schedule, but I think I can handle the details in a couple of months or so.
Matsuyama:
I see, if it's a job from around spring next year, I can still consult.
Ohira:
I agree. I will consult with you, but I don't do it easily (laughs)
Matsuyama:
Do you want to do it! (Laughs) What do you mean by 'I can do it' type of work and 'It's a little ...' type of work?
Ohira:
Hmmm, not for now...
Matsuyama:
I wonder if it's a little different between the late-night beautiful girl anime series and the light novel series. In the first place, Mr. Ohira would not give such a job.
Ohira:
I don't have one, but there are a lot of them, so I come from time to time. 'Eh, to me!?'
Matsuyama:
What do you expect?
Ohira:
There is also something like, 'For this price for one cut? Please do a little more research.'
Matsuyama:
Do you get requests like that!? By the way, I have a strong impression that Mr. Ohira is a 'theater person' from his previous work.
Ohira:
I'm slow. Unless it's a long-term job, it's hard to get accepted.
Matsuyama:
Is that so?
Ohira:
However, it didn't take that long for a certain work, and although I only did about 3 or 4 cuts, it took about a week to 10 days. The number of videos is thousands, and the original images are about half or 500. I'm doing it at that pace.
Matsuyama:
Mr. Ohira seems to think that 'instantaneous maximum wind speed' is amazing.
Ohira:
I think it has speed.
Matsuyama:
But there are times when you don't work at all, do you?
Ohira:
I'm working, but there are times when I'm not drawing. Inflate the image.
Matsuyama:
At that time, I met quite a few times and drank together, so I thought, 'This person is someone who drinks all the time' (lol) When I work, I drink when I drink That's what I thought, but I was doing it at such a speed. By the way, what is your latest job?
Ohira:
There are some things that information is not quite out, but one has finished delivery. I've been doing this for about 4 years.
Matsuyama:
4 years!
Ohira:
The other one took a little longer, about 5 years. I'm doing it from the pilot.
Matsuyama:
This is the one from the TV series, right? Is it okay to spend that much time?
Ohira:
I don't know what...
Matsuyama:
Either the producers are crazy or they're already overwhelmed. Not too complete. It's the same with anime, games, and movies, but everyone is looking at completed things, but they're starting to make but haven't started yet, frozen, completely shelved, pilot films It's just that it's over, isn't it? With games, too, there are many cases where the whole project disappears just by making a prototype.
Ohira:
There are many. He said that he had made it this far.
Matsuyama:
The length of the production period is abnormal ... ....
Ohira:
I'm sure it will be finished properly and unveiled, but I can't say anything... After all, I want you to take a look at it, so I want it to take shape somehow. So for the last four years, no name has appeared at all.
Matsuyama:
That's what it is! Is it OK to talk about what kind of scene you are doing in that movie?
Ohira:
It's still not good. But it's a very personal scene.
Matsuyama:
Ah, another troublesome scene that people don't like at Mr. Ohira's place (laughs) Conversely, it's also because young people can't draw. It means that there is now a break.
Ohira:
Yes, that's when I got the job from Mr. Matsuyama.
Matsuyama:
What are you announcing? (Laughs) We are a game company, but for example, we draw the effects of Tanjiro's Hinokami Kagura in ``Demon Slayer: Kimetsu no Yaiba: Hinokami
(Venue laughter)
Matsuyama:
I've already said it all (laughs), so Mr. Ohira will continue to work on animation.
Ohira:
Yes, we have a big title coming up.
Matsuyama:
We will be doing new things in the field of games as well, so please look forward to Mr. Ohira's future success.
After this, a collection of materials and a sale of signature sheets were held at the venue, and Mr. Ohira signed the purchaser on the spot.
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