The Maker Speaks
■ I see. The movie looked to act smoother than older ones released in the time when Fujiko F Fujio was alive, probably because of the courteous description.
Y: Yes, needless to mention, old ones were already enough. “New Doraemon” since 2005 has gone more naturally and softly. This time again, we regarded daily performances like the scene that Shizuka squeezed a towel, as more important than flamboyant actions. It is very difficult to describe casual acts smoothly. I owe the success to a gathering of the animators who think a great deal of trivial movement.
■ You said “more important than flamboyant actions.” I was impressed most by the camera work, however. The older are supposed to have been produced based on basis of camera work and then, lack punch. On the other hand, this film is, for example the battle scene of Doraemon and Tsuchidama, moving so much.
Y: We can get skilled animators and rich appropriation when get to make a film. So I showed them thrilling continuities for raising the morale. The more usual I describe, the more cheerless the film will be. My method was right, I know.
■ I know.
Y: Animation is perfectly going on a plane surface. However, we never want to give in to live action works.
■ The old works are, in that sense…
Y: There was technical limitation compared to the present when the older were filmed. Moreover, Shibayama the director is guessed to have intended to build intelligible composition for children. Speedy camera work tends to leave kids alone. “Doraemon” is basically a tale for children. I believe we should always remember the fact.
■ Supposing the film weren’t a remake, you did not put humanely-oriented dramas upon the stories?
Y: Yes. So in any stories I direct. I believe fictional characters must also be humanely-oriented. Mankind have feelings, you know. There must be also among the fictional characters. That is why I described hearty interaction of Nobita and Kukuru in the film.
■ I have got it. How do you guess about the late original author, Fujiko F Fujio as a maker?
Y: I believe Fujiko F Fujio had the greatest faculty to lead the audience to mystery well.
■ To the mystery?
Y: There are lately a lot of anime stories whose main characters jump to the unusual world and see many personalities more mysterious than Doraemon at the opening scenes. Fujiko F Fujio politely described daily scenes and never omitted them, on the other hand. It causes the audience assimilate the main characters like Nobita and Suneo. I believe people never feel excited at all without the arrangements.
Y: Yes, needless to mention, old ones were already enough. “New Doraemon” since 2005 has gone more naturally and softly. This time again, we regarded daily performances like the scene that Shizuka squeezed a towel, as more important than flamboyant actions. It is very difficult to describe casual acts smoothly. I owe the success to a gathering of the animators who think a great deal of trivial movement.
■ You said “more important than flamboyant actions.” I was impressed most by the camera work, however. The older are supposed to have been produced based on basis of camera work and then, lack punch. On the other hand, this film is, for example the battle scene of Doraemon and Tsuchidama, moving so much.
Y: We can get skilled animators and rich appropriation when get to make a film. So I showed them thrilling continuities for raising the morale. The more usual I describe, the more cheerless the film will be. My method was right, I know.
■ I know.
Y: Animation is perfectly going on a plane surface. However, we never want to give in to live action works.
■ The old works are, in that sense…
"Doraemon: Nobita and the Birth of Japan" Release Dates: 11 March 1989 |
■ Supposing the film weren’t a remake, you did not put humanely-oriented dramas upon the stories?
Y: Yes. So in any stories I direct. I believe fictional characters must also be humanely-oriented. Mankind have feelings, you know. There must be also among the fictional characters. That is why I described hearty interaction of Nobita and Kukuru in the film.
■ I have got it. How do you guess about the late original author, Fujiko F Fujio as a maker?
Y: I believe Fujiko F Fujio had the greatest faculty to lead the audience to mystery well.
■ To the mystery?
Y: There are lately a lot of anime stories whose main characters jump to the unusual world and see many personalities more mysterious than Doraemon at the opening scenes. Fujiko F Fujio politely described daily scenes and never omitted them, on the other hand. It causes the audience assimilate the main characters like Nobita and Suneo. I believe people never feel excited at all without the arrangements.
