Sakugabooru circus
Forgot your password? I think not only is Itano Ichiro a living legend, he's like pure rage contained in a human body. Did you know that he only became an animator after seeing a classified ad in a newspaper on the street in Ueno, as he was walking around in Tokyo looking to buy a motorcycle, while his parents thought he was at after-school activities, even though he was actually suspended from school? He turned up at the studio, they asked him "Do you have a CV? I just saw the ad. I actually don't know the first thing about TV manga".
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Black Butler —Book of Circus— : Into the darkness
Forgot your password? I think not only is Itano Ichiro a living legend, he's like pure rage contained in a human body. Did you know that he only became an animator after seeing a classified ad in a newspaper on the street in Ueno, as he was walking around in Tokyo looking to buy a motorcycle, while his parents thought he was at after-school activities, even though he was actually suspended from school?
He turned up at the studio, they asked him "Do you have a CV? I just saw the ad. I actually don't know the first thing about TV manga". He sat down, did some drawings, and they told him "yeah, not bad, but could better". He then asked if he could stay till the evening and keep working on his drawing, saying "I want to be satisfied with my drawing". Hours and many drawings later, he left. He then got a phone call inviting him to do some training sessions at the studio.
When he asked why, they answered "Nobody ever stayed and just drew 'until they were satisfied' with their drawing"! But why stop there, the potential is there for a big-budget Hollywood epic.
I think there are already a couple of threads on him, but if enough people are interested I can post some translations of interviews with him since I have accumulated quite a few by now.
Hopefully most of it will be new material for some. Fire at will. With sauces preferably: I may need them one day for an essay on the guy or on one of the many animes he worked on Please do, I personaly cant get enough of that stuff, interviews, behind the scene looks, production anecdotes, share all you have! It's been a real loooong time since I did this! Anyway, enjoy!
EDIT -- Argh. Never mind, I'll fix it later, gonna go for a drink now. What do you think of the current trends in project planning? In tokusatsu, too, the toy companies generally just design the mecha and planes with toys in mind, while missing the point of the show. As a result, the designs improved significantly. Their philosophy was to invest in a show that is positive for children, and then hope that when the children grow up, they would look back at the show and somehow reciprocate towards the company.
Blassreiter is a project that from the very start I decided to get off the ground with the main condition that I be allowed to do everything my way. I overlooked and cleared the designs, scripts, everything.
On the other hand, the action scenes are really energetic. Itano: Of course. Even reputable directors would come up to us lowly but passionate workers and ask for advice or leave decisions to us.
At the time of the first Gundam, I was about The number of frames should be different depending on the action! Then when the rushes came out, Tomino-san would be beaming.
Also near the series finale, when Sayla shoots the Zeon soldiers. At that time Yoshikazu Yasuhiko-san was sick, so it was total chaos. The drawings that the animation director had corrected were being re-corrected by me, a genga guy laughs.
When I was in high school, I went to a shop in Ueno to look for a motorbike. I went over just to check the place out, and ended up taking the recruiting exam there. And because I was an engineering high school student, I was drawing blueprint layouts, so I could draw mecha fairly well. I was told to come after I finished high school.
But because I was getting suspended and stuff, I ended up going there as training. Though the pay was cheap, we put so much effort into it that Moriyama and I started being referred to by name, and we started being allowed to do work almost at the genga level.
After working freelance, I got a job with a company called Studio Cockpit. Actually, that was the toughest period for me, mentally. This was because I had to do work I had no interest in, just to make a living. It really felt like I was just a cog at Planet Maetel.
Since I was able to do things the way I wanted when I was younger, now as a director, I like to give the young guys room to do things their way, too. In terms of scripts and designs, I want to create an environment where people can express their individual creativity. What are the ways of nurturing and being nurtured that should be passed along from person to person? After reading the script for the Miharu episode, Tomino-san began to cry, and that made Yasuhiko-san cry as well.
We at the bottom of the ladder had to be careful, but then after they left, we too burst into tears. I observed all sides of how they worked.
Itano: Yes, ever since I was a douga-man. It was a place where emotions, passion and motivation got recycled, in a positive sense. Itano: The scene where the Adigo keeps dodging all the missiles until they finally hit, that was never in the storyboard, nor was it ordered by the enshutsu, I just decided to animate it that way. I managed to participate just around the time that Tomino-san was breaking the mold for robot shows. Itano: Yes, I was asked by Shoji Kawamori. While working on the genga for Crusher Joe , Kawamori was coming into the studio once a week to check over designs with Yasuhiko-san.
While Kawamori was being made to do the genga, I was next to him doing clean-up, and he was telling me about the Macross project. Itano: Yes, but Yasuhiko-san apparently wanted me to become some almighty illustrator. That intention really rubbed off on me, and so I was able to avoid limiting myself to mecha, and also work as animation director on Fist of the North Star Itano: Yeah, they hate it. We were few but exceptionally skilled, like The Seven Samurai.
Secondly, because I want to keep a high level of quality within the framework of television. Anime these days has been split up into all these different jobs, right?
And since we missed the opportunity to raise new talent, the Japanese animation workers are deteriorating in skill. However, these days if you want to make mecha move on TV, then CG is essential.
Itano: Yeah, because he is a pupil of the Itano School. Man, I beat the hell outta that guy laughs. The quiet, hard-working guy may be pulled up from above to eventually fulfill his potential, but once he reaches a high level he cannot talk back to a director or enshutsu.
Ideally, I would have wanted the guys in their 30s to stand in front and lead the way, though. Kinda like Bright on White Base laughs. And the adults giving the training have dwindled. Failures are, after all, mere stepping stones to success.
The Adigo flees from missiles in Space Runaway Ideon After dodging missiles left and right, and firing some of its own, it is eventually destroyed. This is the genesis of the Itano Circus, which broke down all preconceptions of mecha action choreography. In Mobile Suit Gundam , too, it was Itano who added robots from other shows into the backgrounds. Most of the Mobile Suits that appear in the latter half of Mobile Suit Gundam had their rough designs penned by director Yoshiyuki Tomino.
In this digital age, this has become a lost stage in production. Recently he was animation director on Evangelion 1. It is a job that, while not particularly exciting, is extremely important. During Macross Zero , Mr. Itano was credited as Special Technical Director, while Mr.
Yagishita was Chief Animator. Born Special Technical Director on Linebarrels of Iron That's pure gold: many thanks, Renato. Thanks for the translation, I love reading interviews and production stories. Especially when the person being interviewed is as candid as Itano. Thank you very much for the translation Renato , its great to read an interview about one of the truly creative people in the business.
OK, I fixed the last and most important line, for some reason a portion was omitted. It makes sense now. Thanks for all the comments, I'm glad I am able to make pieces like these reach a wider audience, or rather, readership. This particular one was published in December , so Frontier had just finished its TV run, just to give people an idea of the time frame. By the way, the writer, Keisuke Hirota, is like the last lone survivor of the anime journalism crowd -- very few people know the industry inside and out now like he does.
Unfortunately, he no longer works for Great Mechanics, but don't despair, his name appears in lots of places, sometimes where you least expect them. For example, he wrote most of the stuff in the packaging for the Aquarion Chogokin toy, etc. This magazine cannot be plugged enough.
itano-circus-mp4_snapshot_00-03_2017-03-01_21-14-54
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Exploring sakuga – Part 1 : Birth of otaku, birth of sakuga
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sakuga mad GIFs
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Ichiro Itano
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T dissolved in , then Graphinica as of In Graphinica he does the role of a Creative Advisor, like guiding and training the staff. He is most known for his technique, "Itano Circus", where a swarm of missiles is launched at once at a flying target, in a dynamic way. It's said that the idea of the Circus came to him after doing a stunt with his bike as a college student, as he mounted a lot of fireworks to his bike and fired them while riding the bike.
February 11, 2 Comments. After the anime-original travesty that was created four-and-a-half years ago for Black Butler [Kuroshitsuji] , many viewers probably never expected to see some of the more interesting later arcs of the manga in animated form. After all, a sequel to even perennial Western fan favourite Fruits Basket has never gotten past the rumour stage. Fullmetal Alchemist did get a reboot, with the cooperation of its mangaka, but that was one of the most successful manga of last decade. From what I understand, Book of Circus is arguably the darkest and most well-written story arc of this manga. After a one-episode reminder of Ciel Phantomhive, his overly capable butler Sebastien, and three other retainers who were selected not for the skills that their official roles suggest, the show segued smoothly into the plot of concern: mysterious kidnappings of children.
All recommendations are made independently by our editors. Services you subscribe to through our links may earn us a commission. Sign up here to get it nightly. All animation, whether it depicts a whistling mouse, a walking dinosaur, or a leaping superhero, is a kind of magic trick. The characters and intellectual properties it has drawn into existence are as relatable as Daffy Duck and as lucrative as Mickey Mouse. Today, vast audiences understand what artists like McLaren were observing: that the invisible holds a marvelous power over us.
The Itano Circus refers to an animation technique where volleys of missiles are fired simultaneously. It has become a signature of the Macross franchise and seen throughout the Macross Timeline. The Itano Circus refers to when variable fighters or other large-scale mechanical units fire excessive amounts of missiles that seek and destroy a target, particularly when the target manages to avoid a majority of or even all of them, looping and spinning their craft like an acrobat through the cloud of missiles.
On this question, say it may take a long time.