John UM
On the 3rd and 4th of this month, the 12th New Star Cup Story Original Cartoon Contest and the Mid-Autumn Animation of “Picking the Country” were held in Hangzhou, Zhejiang. .
The conference invited the relevant personnel of Pi Le (Studio Pierrot), Shueisha, and TV TOKYO. Anitama also had the opportunity to interview the animation supervisor of “Picking the Country”, Ida Yongdeng, thank you for the interview. Opportunity. .
——What is your chance to enter the animation industry? .
Ida: Because I like the animation industry. At that time, I entered a special school. I wanted to learn to paint. I found that people around me where better than myself. So I changed my direction to study photography. I was ready to be a photographer. I found out that I was not engaged. The materials for photography can only be found to find out which company is willing to hire me. Just when a company was recruiting an assistant, I went. Later, with the accumulation of experience, I was finally able to compete for the position of the show. .
——After how did you get the chance to become a director? .
Ida: Actually it’s very accidental, maybe it’s a big luck. At that time, I was working on a work called “GTO of Spicy Teacher”. Suddenly the producer came to me and said, “I will challenge the director next year.” .
—— I heard that Director Ida had worked in China before. What kind of work was I doing at the time? .
Ida: 26 years ago, I worked in Shenzhen for about 8 months. At that time, as a performance, I received a mirror from Japan and handed it over to the Chinese company, and supervised the entire operation process from the mirror to the screen, and then brought the finished product back to Japan. .
——When I came to China this time, did the impression of China change at that time? .
Ida: Today’s China, the high penetration of electronic payment methods, and the convenience brought by the high-speed rail, really surprised me. However, if you carefully understand it, you can still feel the atmosphere of good times in the past. .
——When you directed Naruto Ninja, did you expect this process to last for 14 years? During these 14 years, is there any moment that makes you feel that you can’t keep going? .
Ida: At the beginning, I thought it would be broadcast for up to three years. It is very difficult to insist on creating a long-term work. Because the progress of the animation can’t exceed the original, sometimes you need to add some original plots to the animation. At this time, for the sake of the size, how to do it freely is a very grueling thing. .
——I heard that you are not very good at action movies? .
Ida: That’s right. So for the action part, I usually entrust people who are better at this field to make it. In this way, artists who like to draw action movies will naturally gather more fragments of action. By applying it in this way, I believe that the works will be more exciting and interesting. .
—— Have you considered participating in the production of the follow-up animation series of “Naruto Ninja”? .
Ida: Not at all. For the “Naruto Ninja” animation, I put all my energy into “how to faithfully reproduce the world view that Naruto’s growth process and the development of his interpersonal relationship,” so my work is When Naruto of the boyhood gained an opportunity to become a Naruto, it came to an end. After that, it will be handed over to other directors to play. .
——What do you think is the most important point to note when working with Chinese and Japanese animations? .
Ida: I think it is communication with the original author. This time I made the animation of “Picking the Country”, I really hope to communicate more with the original author’s second teacher. The distance and language problems will inevitably bring some obstacles to cooperation between the two countries. .
—— After reading the original work of Picking up the Country, what do you think? .
Ida: I think that “Picking the Country” is a bit like “Naruto Ninja”, which also has a grand story system. I have not touched the works of other Chinese cartoonists. I only say that the teacher of the second year, I think he is not only outstanding in painting, but also in the concept of the story. Japanese cartoonists have a little sense of crisis. .
.
The first public video of “Picking the Country”. .
——What do you particularly value when you start the animation of Picking up the Country?
Ida: Actually, when I was making animations, I was biased to focus more on “people”, so the main line of the “Picking the Country” animation will also be described as The relationship between zeros. Hopefully, this will allow the audience to better understand the two roles themselves and the connections between them. .
——What is your favorite character in “Picking the Country”? .
Ida: It should be Ah. Although it is the number one protagonist of this book, I always vaguely think that A-zero is the “true protagonist”. When I make it, I also bring some such “selfishness”. A little girl like A, who has experienced countless joys and sorrows and how to grow in the future, is really what I expect. .
——What do you think is the biggest attraction of this “Picking the Country” animation? .
Ida: This animation has added a lot of action dramas. In addition, I hope that viewers will be able to feel the cuteness of AZ through animation. .
—— Finally, what do you want to say to the audience who are looking forward to the film? .
Ida: Due to space limitations, this animation is too late to show the whole grand world view to everyone. Therefore, this animation works from the target direction, it is more to lead everyone to know the “Picking the Country” In the world, at the same time, deep-seated the relationship between the characters and A-zero. .
The “Picking the Country” animation is not a work that simply pursues sensory stimulation. Because of some of the acts and some words in the works, it is worth pondering. I hope that this cross-age work will trigger the thinking of the audience.