Whenever someone creates something with all of their heart, then that creation is given a soul.
In our work, the question is, how much you absorb from others. So for me, creativity, is really like a relay race. As children we are handed a baton. Rather than passing it onto the next generation as is, first we need to digest it and make it our own.
Prizes do not mean anything to me. I think it is more important to make a child aware of the existence of a weird creature like a water spider that breathes through its backside.
Engineers turn dreams into reality.
We get strength and encouragement from watching children.
I’d like to see Manhattan underwater. I’d like to see when the human population plummets and there are no more high rises, because nobody’s buying them. I’m excited about that. Money and desire – all that is going to collapse, and wild green grasses are going to take over.
Virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people.
I am an animator. I feel like I’m the manager of a animation cinema factory. I am not an executive. I’m rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
It would be wonderful if I could see the end of civilization during my lifetime.
Animators can only draw from their own experiences of pain and shock and emotions.
Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.
Airplanes are the most beautiful when they are in the air.
I’d like more of the world go back to being wild.
The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
In order to grow your audience, you must betray their expectations.
We live in an age when it is cheaper to buy the rights to movies than to make them.
Do everything by hand, even when using the computer.
The principle I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don’t quite fit with my backgrounds, I never waste it and try to find the best use for it.
Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!
I get inspiration from my everyday life.