Akira takashi


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Takashi Nakamura has worked in the anime industry for more than three decades, starting as an animator before moving into direction. Younger fans may know him as co-director with Michael Arias of the shocking, cerebral science-fiction film Harmony. Since then, his film director credits have ranged across the board. Hello Mr Nakamura, thank you very much for talking to us today. As an animator, you seem to have often created awesome action images.

How did you develop such a talent for this kind of image? Was it mostly instinct, or were you always studying the work of other animators and manga artists to improve your images? Yes, I do research animation, like Disney, Fleischer, these past masters.

I am influenced by these great movies, technically speaking. Also I like movies, I watch lots of movies.

The directors had a really vivid, clear image about what they wanted to do. I wanted to ask about some of the anime you worked on in the s. For example, do you remember it as being an especially stressful production, or was it just normal for anime? Yes, it was stressful, but it was great to be involved in it. He really is a very attractive, interesting, great person. Looking back, Nausicaa is a great work, so it was wonderful to be able to experience it, to be involved in it.

According to one website, you animated a scene in Nausicaa when an airship breaks out of a huge cloud and chases Nausicaa through the sky, firing at her.

I thought it was an amazing image. When you are creating that kind of scene, how much of it comes out of research — for example, researching aeroplane battles — and how much does it depend on having a good visual imagination?

Yes, I did that scene where Nausicaa is rescued by the gunship and taken back to the valley. But the answer to your question is basically no. Some animators might try to do something similar to live-action, so they might get some footage of a real explosion. Pretty much everything is my imagination, based on my own experience and movies I saw in the past, things just coming out of my head.

Disney did great research — for example, the animators studied real deer for Bambi. You worked on Akira, which still looks incredible today.

When you were working on it, did it feel like it was going to be a special film? We really wanted to see what this was going to be. The movement on Akira is painstakingly detailed and intricate, far more than other anime. Can you say why the film took this approach, and how difficult was it to achieve?

It was hard because of the sheer volume of work was massive…Yes, even adding one line makes it more difficult. He knows what he wants, which is very complicated and multi-layered.

Akira is pretty much SF; I think if Akira had been American, probably it would have been made in live-action. Mr Otomo mostly works in manga, not anime. What were your impressions of him as a director on Akira? It was a great experience to witness his passion and enthusiasm about his own work. Otomo loves his manga, so I think his attitude was that he wanted to see everything through; he did this manga, Akira , and he really wanted to create the anime version as he wanted.

Also in the s, you reportedly worked on the TV series The Mysterious Cities of Gold, which many British people still remember today. That was a co-production between Japan and France. Did the fact that it was a co-production make working on it more complicated? But I had always wanted to do full animation, like Disney, so it was interesting and I was really excited about it.

Later you began to write and direct your own anime. Did you always aim to become a director, or did you decide to become a director because you felt restricted in your creative freedom as an animator? Not really. I was an animator for a long time, but I think as I went along, I had stories that I wanted to tell, and how do I do that?

So it was more like a result than my aspiration. The films that you have written and directed all seem very different from each other.

Is this just accidental, or do you prefer to do something very different each time that you direct? For example, with Catnapped, I wanted to make a movie for children, so I did; and Harmony just landed in my lap, so I did it. Harmony is bleak, but it had really good drama and characters, so I wanted to do it. When you created the film, what kind of ideas and intentions did you have in your mind yourself? I was influenced by Fantastic Planet , and also Pinocchio , I wanted to put in that aspect of spiritual growth.

Your new short film Ylion and Callysia is made in 3D animation, with no dialogue. Did you start with the intention of making a 3D film first and then think of a story, or did you create the story first and then decide it was suited to 3D animation?

The 3D came first. I had to make a short movie in 3D, and then I came up with the story. It was inspired by a French tapestry, The Lady and the Unicorn.

The tapestry itself is a story element in the SF anime Gundam Unicorn. The film is short, so I wanted to keep it simple, to keep the atmosphere going, so in a way dialogue would be obstructive. So I really thought the less the better, and I used music to tell the story. There are mythical elements in the film, and an incestuous undercurrent with the characters. The main difference between 3D and 2D animation is that I had to tell the 3D operator on Ylion and Callysia that everything had to look hand-drawn.

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Akira Takashi

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Takashi Akira

akira takashi

Nakamura conceived, designed, storyboarded, and directed the all-ages fantasy short at the studio Shirogumi Inc. The story centers around two close siblings, Ylion and Callysia. One day, because the siblings' father tried to capture a unicorn, Callysia is spirited away. A decade later, Ylion has grown up to become a powerful warrior. With a sword of unicorn horn from the king, Ylion sets off for the mid-air garden where unicorns live.

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While we've done our best to make the core functionality of this site accessible without javascript, it will work better with it enabled. Please consider turning it on! Remember Me. Neo-Tokyo is going to explode, and the unloved youth is all that there is to fight back against these malevolent forces.

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Takashi , designated No. He plays an important role in Tetsuo Shima's psychic awakening as well as Neo-Tokyo's destruction. Takashi is a young boy with very wrinkled skin and short white hair and has a skinnier body compared to Masaru, who is overweight. Despite having the body of a child, he has premature aging, which makes him appear between his late 40's and early 50's. While he was in the outside world, Takashi wore a bomber jacket with a circle with a capital 'B' on the left front of his jacket, a dark blue shirt with a yellow collar, dark blue pants and a pair of normal shoes. His clothes were most likely supplied to him by members of the Resistance, who mistook him for Akira.

Takashi Nakamura has worked in the anime industry for more than three decades, starting as an animator before moving into direction. Younger fans may know him as co-director with Michael Arias of the shocking, cerebral science-fiction film Harmony. Since then, his film director credits have ranged across the board.

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