ALLES INTERVIEW SHOJI KAWAMORI 1/2

Japanese version is here.


Animation Director
Shoji KAWAMORI

Up to what point is emotion provided to us, and up to what point is emotion something we participate in the creation of? The line has become extremely vague today. It's scary and interesting at the same time.



PROFILE

The term "Japanimation" is receiving attention across the world. Japanese animation, which has marked a unique course in the history of cartoons and animations, is said to already have reached the world's highest level coupled with advanced computer graphics technology. Director Shoji Kawamori broke a long silence following the creation of the masterpiece "Jikuyosai Macross" ("Time and Space Fortress") by announcing "Macross Plus Movie Edition," a new animation film for the theaters. Ten years after his previous work, how has the "Macross" world of director Kawamori changed?



(Quick Time Movie 1.5MB)

What are the themes of your latest work?

Well, rather than themes, there are motifs, one being drawing the sky. There are many aviation movies featuring scenes taken as if a person on the ground was looking up at the sky, but my work shows the sky as if you were flying through it, a really vast sky, so to speak, an infinite sky. So one thing was that I wanted to draw such a sky.

Another thing is that the three protagonists are able to recover a little the friendship they have lost. This aspect is relatively simple, I drew it to help drive the story. However, there is also the theme of human memory, not only memory but also experience, which relates to the main motif. These things are intertwined.

Simulators like virtual reality are more and more becoming a part of life, raising the question of what experience is really about.

The Sharon Apple character, who appears for the first time in your latest work, seems to have a very important meaning...

Sharon Apple represents a virtual reality being. Among the changes that have occurred over the past ten years, this one is the biggest.

An artificial brain, "she" moves people with her songs...Such simulators are more and more becoming a part of life. Games are like that, and in a sense, since the beginning of TV, this sort of simulator has been present in our lives.

There arises the question of what experiences are really about. And also the real sky, one's real self, real memories, real experiences, and real music. About music, up to what point does it move us, aren't we living in an age where emotion is being designed? TV commercial songs are entirely blueprints, they are created based on special blueprints, and they are created so they can almost brainwash.

And in this age where, to some extent, creators can obtain these emotional blueprints, up to what point is emotion provided to us, and up to what point is emotion created by us as we participate as viewers. The line has become extremely vague today. I wanted this aspect to spread throughout the work, which is partially a youth drama, an aviation story, and musical entertainment.

CONTINUE

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