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crisis:notes_urushibara_satoshi [2014/01/09 23:14]
madoverlord created
crisis:notes_urushibara_satoshi [2016/10/04 14:00]
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-===Urushibara Satoshi=== 
- 
-General Art Director - Part 1 
- 
-Mr. Urushibara got his start at Toei Animation in '84. 
-He became a freelancer in ‘85, and five years later 
-he presented the original work Legend of Lemnear 
-in collaboration with director Yoshimoto Kinji. 
-Subsequently he was active as Anime director for 
-many titles, and in ’90 he also began to work as a 
-manga artist. He is also known as a game character 
-designer. 
- 
-Mr. Urushibara thinks “The attraction of BGC was an 
-interesting dimension, in which its colors would 
-change in an omnibus sort of way as each creator 
-worked on it.” 
- 
-I had just gotten involved in AIC, so this was just 
-after we made Legend of Lemnear. I had special 
-feeling about BGC because I worked on 1 and 6 as a 
-part-time animator. So, I wanted to be fully involved 
-into do it right - my way. The 7th of the series is 
-kind of an oddball in the entire storyline, it was more 
-like a bridge to the next episode. I was not good at 
-doing things in the conventional manner, so I wanted 
-to set it apart from other AlC’s titles. 
- 
-When Takayama~san was selected to be the 
-animation director and director, they showed me the 
-storyboard he made. It was truly interesting,​ and it 
-was really an educational experience for me. I 
-sensed that colors came out in it that were hitherto 
-unseen in Bubble, so I thought that I wanted to help 
-polish the story. 
- 
-However, Takayama-san resigned in the middle of 
-the project, practically,​ we did not have an director, 
-which made for a very difficult situation. 
-Furthermore,​ we were not informed about his 
-departure and kept on working. We could not reflect 
-the essence of storyboard into animation. So to be 
-honest, I felt “I want to do it over again with that 
-storyboard.” We did what we could on the 
-production side. 
- 
-The influence of Takayama-san’s storyboards 
-impact my work even now, and so I have no regrets 
-about my role in the creation of BGC. For better or 
-for worse, it was a typically OVA title. There’s no 
-work today which is as unbalanced as BGC, in a 
-good sense. It's a work with strong amateurism. I 
-had a great time being involved in it. I think that the 
-attraction of BGC was the fact its colors would 
-change depending on the leaders who lead the 
-team. 
- 
-I think that it all boils down to the fact that so many 
-young people got their start with this title. In that 
-sense, its colors are those of unpolished gems. The 
-fifth one that Oobari-san did was rough-hewn but I 
-think it was an amazing story, and I think that in the 
-eighth one, Gooda-san’s execution was very finely 
-cut. 
- 
-As a result, I myself learned a lot, and subsequently 
-my own colors began to change. In that sense, 
-maybe those who see it for the first time will see the 
-work with fresh eyes. I think that viewers will find 
-them interesting,​ because they will see the roots of 
-the staff after having seen their leaves.