<Directed by Mamoru Oshii> Is “Ghost in the Shell 3” going to happen? Producer Mitsuhisa Ishikawa reveals, “It won’t be released unless we recoup the production costs of ‘Innocence'” March 15 (Saturday) 16:57 Distributed by MANTANWEB Shinichiro Inoue and Mitsuhisa Ishikawa appeared at the screening of “Innocence,” the opening work of the “3rd Niigata International Animation Film Festival.” The 3rd Niigata International Animation Film Festival opened on March 15 in Niigata City, with Mamoru Oshii’s masterpiece “Innocence” screened as the opening work. Mitsuhisa Ishikawa, the president of IG Port and producer of the film, along with festival director Shinichiro Inoue, took the stage. The sequel to “GHOST IN THE SHELL,” “Innocence,” was released in theaters in 2004, celebrated its 20th anniversary last year, and a 4K remastered version was released. To commemorate the release, a stage greeting was held on March 2 in Tokyo, stating, “GHOST IN THE…
In a discussion between Director Anno and Director Ikuhara, it was said that Director Oshii does not consider profits and losses at all.
I think it’s scary to say things like that because I believe anime is created by burning other people’s money.
>>1
It’s someone you shouldn’t let work…
>>2
In a good way, it’s the artist type.
The works I actually create follow that kind of direction as well.
>>1
Aren’t you guys also that type…?
>>87
Can it be switched or not?
>>87
“Don’t underestimate them; they grew up watching the backs of bald guys and Shun, so they know how to think about income and expenses.”
>>1
Was Isao Takahata that kind of person too?
>>1
A legend of dine-and-dash? Well, I can’t create something like that otherwise…
I wonder if that sold.
If Oshii had proceeded with Ghost in the Shell 2, he would have received it from Producer Suzuki.
“I was told, ‘The previous work didn’t sell that well, so we won’t let you call it a sequel.'”
I heard that you became innocent.
>>3
Suzuki’s sense of style is really the worst, after all.
>>43
Let’s have Atsuko Tanaka voice a celebrity, says Suzuki.
>>60
But it was Producer Suzuki who brought followme.
>>60
The reason for this is that I want to create some kind of hook for those who don’t watch anime, as I have successful experiences with it.
However, even if they create a hook for Innocence, it was a movie that the general audience wouldn’t come to see.
I’m doing things like Patlabor, so I don’t think I’m using it in a ridiculously stupid way anymore.
>>4
During the time of “Urusei Yatsura” and “Patlabor,” they were not regarded as masterpieces.
Somehow, there were still people around who could hold me back, and I couldn’t go against the big shots of the sponsors.
Since GHOST IN THE SHELL, he has become a master, much like the latter days of director Kurosawa, where there was no one left who could stand up to him.
An artist without brakes.
It’s nice that money is being converted into quality.
>>5
If you invest money and time, they will create something truly great for you.
Whether or not it will be generally well-received is another matter.
Prepare unlimited production funds.
I will use it infinitely and create as I like.
Income and expenses? Box office results? It’s someone else’s money! I don’t care!
It might be right as a creator, but for a producer, it’s a life-or-death situation, so it’s really tough.
>>8
So there aren’t many people who want to work with Oshii.
>>9
Can’t you do something with the power of karate?
Innocence reached a revenue of 1 billion by utilizing the Ghibli brand.
Director Anno is the type who actually thinks about finances and company management quite seriously.
It might be similar to Director Miyazaki in that area.
>>11
I wonder if there are a lot of sponsors who have been completely thrown off schedule and ended up nauseated…
It seems like the type that doesn’t allow compromises in what they’ve created is like an artist.
You’re not a businessman, are you?
It seems there are occasionally people who can’t think about their finances, which is concerning.
I heard that the director of the first season of One Punch Man was expected to continue that way, but ended up not receiving any funding at all.
>>14
That’s precisely why it’s interesting to have people like that.
Customers don’t need to worry about the financial aspects of the work anyway.
It’s much more interesting to see a crazy work made by a crazy person than to have customers worry with a look as if they are industry insiders.
>>20
I thought that, for some reason, when you remove the restrictions, it tends to become a nihilistic work that doesn’t even come close to breaking even, rather than a work that surpasses its budget.
Creators tend to become more interesting and intense when they have some restrictions.
>>14
It seems that despite that, Director Shingo Natsume has been allowed to create quite a few works.
>>14
The leading figure is Mr. Park, right?
The second in line is Oshii and the third is probably Imamura.
>>14
At least in the past, Oshii was the type who created works that did not go into the red (though there were reasons related to the times, it seems even Angel’s Egg, which was once put on hold, was able to break even).
So it seems there are changes that occur after reaching master level.
Above all, if you create without considering the financial balance, will it become a wonderful work?
It seems that recent works by Oshii might end up being just something inexplicable that is merely luxurious, which is not good.
Even though it’s popular, changes in production companies in the second season can happen due to crazy schedules or budget issues mixing in internally.
It’s a typical example where, if no one is holding the reins, they become too obsessed and can’t create anything decent.
If there isn’t someone who keeps insisting that Oshii should make entertainment, he will only create boring things.
But when Oshii makes full-length movies freely, they end up being boring.
Short stories are interesting, but…
Writers of this kind are no good once they become big and lose the producers who can hold the reins.
Anno and Miyazaki are such anomalies; they have ridiculously absurd budgets and tend to postpone projects for years, yet when they are finally released, they cleverly recoup everything.
>>24
Anno made a big splash with Shin Kamen.
I understand that “Innocence” doesn’t sell well, but I can definitely say that it is not uninteresting.
The most interesting work by Oshii is “Labyrinth Property.”
At least in the case of Oshii, it’s clear that his past works, which were much more focused on profits and losses than now, are more interesting and outlandish.
When we were making it with Netflix’s money, I was already calmly saying that the bubble was over, so I have a good sense of money.
Blur drab? Was it?
It was simply too trendy and boring, I couldn’t even endure one episode.
In an interview with Anno-kun
The first job of an anime director is to allocate the budget efficiently to produce the best work possible. There are some people in the world who say it’s bad to run short on funds when they’re being spent like water, though.
I was talking about it, but I wonder who it really is.
Anno seems to be manipulating others, but in reality, he is also being manipulated.
>>31
It’s a common story that one can be both a perpetrator and a victim.
According to the common understanding among the anonymous, Oshii was supposed to complete his work absolutely within the budget constraints.
The era of pouring money like water for outrageousness and unseen visuals, like in the past, has come to an end.
We have entered an era where we must select and choose from what professionals have meticulously created, otherwise we cannot reach a completed work.
>>38
Let’s use the legacy of the former to create and express more efficiently than in that era, which is the timing of the latter, namely the present.
>>38
I don’t think so.
With the current Oshii, even if you pour money into it like water, the outrageousness and unseen imagery just won’t come out anymore.
I don’t know about political correctness, but Oshii’s works haven’t been entertaining at all since around P2.
Has a successor for Atsuko Tanaka been decided?
Didn’t you say that it had become positive in the long term?
Memories?
I want to spend other people’s money like water too.
In the context of sex industries and gambling.
It’s those who are like failed art students that tend to glorify this kind of wastefulness.
I turn my eyes away from commerce and see it only as a work.
>>34
The petty cleverness of those immature fools who confuse themselves with intellectuals due to political correctness is completely on a different vector.
>>46
It’s not about political correctness, but rather about the part where it seems strangely serious and pretentious, like wearing a formal coat.
Oshii himself said that there are about 3,000 people who will look at whatever he creates, which is a slightly realistic number.
Oshii, huh…
There is a mischief that makes everything taste like curry, no matter what is made.
>>48
It would be nice if there was at least a friendliness and approachability like the flavor of curry.
In reality, there is a kind of awkwardness as if the chef’s strict preferences are being forcibly imposed in this restaurant…
By the time you secure 5 billion yen annually, Director Anno is on a different level.
Even if I don’t finish it, I can still be fed…
Wasn’t Oshii often described as a director who, even if his films didn’t hit, would keep them within budget and avoid losses?
Let’s create “Ramen Masters Chronicle 2.”
The groups opposing political correctness have recently become increasingly bothersome.
>>55
When a thread filled with pointless replies that seem to be aimed at catching otaku ends without any reaction at all, I can’t help but feel it was a good thread.
>>176
Thanks to your reaction, it was worth writing this.
>>176
Well… nothing good came of political correctness.
I let Ishii do whatever he wants because he’s an idiot.
It’s free for someone who seems not to exist to think whatever they want.
Well, whether it’s interesting in proportion to the money spent…
Those who can’t stick to the budget can’t stick to the schedule either.
Because you spend money and time on things that don’t matter.
Even so, I think I’m doing entertainment, which makes it worse.
>>61
I like Oshii’s works, but…
I created an entertainment work that caters to the public! That’s how Sky Crawlers was completed.
That’s certainly true…
Director Anno and Director Miyazaki, in one way or another, have created their own companies and are doing things at their own risk.
Director Oshii has others collect money, so it’s with other people’s money.
>>63
If no one is expecting it, they won’t pay for it.
>>63
Anno has also created Gainax and can make what he wants now.
It seems that their main business is real estate…
>>63
When you become a boss, you have to feed your subordinates.
Even Anno-kun learns to control his selfishness.
Accept that work can come from name value.
>>72
Well, that’s a difference in ways of living, so it’s not a matter of which is good or bad.
When creators are able to take the lead and make what they want, it often results in things that are difficult to understand.
It’s better to have something that struggles between selling and ego.
>>64
There’s something interesting about works from the time when people were struggling, like G-Reco that was created freely in the end…
Did Sky Crawlers sell well?
It’s obvious, but even with live-action movies, we’ve been continuously working without interruption, so you are fully aware of the scale and budget.
It only results in a deficit.
One of the American sponsor companies expressed reluctance about the script of Innocence due to its extreme darkness and requested revisions.
Oshii said “uncensored.”
After consideration, the sponsor reluctantly agreed that the popularity of American crustaceans would likely yield a profit.
I have no idea what the dog has been up to since Sky Crawlers…
>>74
It’s just the script and series composition, but it’s a WOWOW original anime (based on a source material) called “The King of Fire Hunting.”
The story is so-so, but the animation was barely managed in parts unrelated to Oshii.
Recently, I feel like I’ve only been saying things like a director of small independent films who doesn’t make any works.
So, you see! A pale-skinned girl with black bobbed hair and a weary, slender figure is not the typical beautiful girl aimed at the general anime fan base!
I like it!!!
As I learned about Hiroshi Debuchi’s wide circle of acquaintances and its origins, I’ve come to think that the reason why he continues to have a bad relationship with Oshii despite their long-standing ties is largely due to Debuchi’s personal charisma.
>>79
Director Buchi really has an image of being friendly with everyone.
You should be able to do what you like with your own money.
>>80
It’s my own money that I’ve gathered through connections and name value…
Mr. Park was spending money freely to create things like Princess Kaguya, and the same goes for Studio Ghibli.
>>81
It seemed like the former chairman of Nippon Television had a wealthy patron providing funding, which reflects an artistic way of doing things.
>>81
Director Miyazaki calculates the income and expenses quite precisely.
Director Takahata was the type of artist who didn’t care about that kind of thing.
Because he was particular about his work, “Grave of the Fireflies” was screened in an unfinished state (at a level that the general public wouldn’t notice) because it couldn’t be completed in time.
I feel that artists tend to showcase their true abilities when there are restrictions.
It’s not limited to movies, but…
The reason why One Punch Man was sidelined is…
Even in a jump anime, the excited producer and director gathered a bunch of famous names like a bunch of fools, saying they’ll show off my best connections.
Our company can do it with the same budget as a regular anime! As a result, we spent 50 million just on the opening animation, and it ended up being ridiculous, so we were entrusted with the second season by a different company.
>>84
It’s unbearable that JC gets blamed for the drop in quality in the second season like this…
>>89
It can’t be helped because it doesn’t concern the viewer.
>>94
Well, it seems that starting off with a high quality impression had an effect that boosted the entire series afterward.
>>84
I thought it was strange that they went to JCSTAFF after such high-quality first season, but it turns out there was a reason for that.
In a way, it’s sad that the second season staff, who were called inferior for using a typically constructed method instead of a self-destructive cheat, are unfortunate…
>>96
It seems like dumping.
>>96
That said, the evaluation of the work is actually good because of Season 1.
It’s truly great that they created “Mushishi” at the expense of the studio, no matter what anyone says, and sometimes breaking the rules is okay.
Anno is promoting and dedicating himself to commercial purposes even with Gekijouban: Zankyou no Terror, which he isn’t very involved with.
Takabata burns the money that Shun earned.
Innocence makes you sleepy.
I think they are an amazing director, but how are they making a living when they haven’t directed an anime in the past few years?
>>93
As expected, he’s not someone who would worry at that level anymore.
>>93
That was written in a manga by Anno’s wife.
“Living won’t be a problem with the royalties from past works and real estate rental income.”
>>103
Wow… Is this person seriously someone who doesn’t have to work?
Still, if you’re going to make something, I’ll be excited to wait.
>>108
In the world, all well-known directors are like that, right?
>>93
It seems that you are writing columns, so you might be doing some writing work.
There are directors like this who take several years to raise funds.
In the first place, the works so far must have brought in enough regular income to make a living.
I think that a 60-year-old person doesn’t have much choice when it comes to work.
Oshii has talent as a writer, so he makes a living in that area.
It’s probably after leaving Gainax that Anno started to think about those things.
I think it’s strange that Anno, with that background and personality, is actually good at business.
Where did you acquire that skill?
>>102
My wife’s support might be significant… she helped me change my lifestyle habits.
>>106
Is it thanks to my wife that I’m making money from real estate investment?
As a result of producing several high-quality anime that can easily compete even 30 years later, it’s unfortunate that we haven’t seen the same level of success.
Whether it’s Ghost in the Shell, Patlabor, or the Kerberos Saga, including the derivatives, they still continue to be profitable both domestically and internationally…
Are you doing real estate, Anno-kun!?
Seriously!?
>>115
I started it as a company project with guidance from my wife.
Mr. Park is the epitome of an artist who burns through not only other people’s money but also the people around him to create his works…
>>117
It’s a work that pushes away audiences who think it shouldn’t be entertainment…
Gainax stopped paying the licensing fees they contracted, and Anno-kun sued and won.
If I can’t live a life of passive income at the level of Oshii, then my dreams are just too bleak…
Do not forgive the nameless who make buradorabu nonexistent.
>>121
It seems like a character that would resonate with people like Kizuna and nameless ones who get affected deeply…
Only strange people can produce works with explosive power, but if the sensibility of those strange people is presented as it is, it becomes hard to understand. Therefore, when it is diluted by harsh realities, it gives the impression of becoming interesting to the general public.
Oshii also proudly claimed that everything would eventually become a plus, but didn’t one of them fall short, and he said he was quite disappointed about it?
Firstly, Ghost in the Shell: Innocence doesn’t resonate with people who usually don’t watch anime, both then and now…
>>127
On the contrary, there are people who usually don’t watch anime but do watch Oshii’s work.
I can output something like this that you want to see, Oshii.
You can understand if you watch the guest episode of Lupin Part 6.
Since Oshii handled Naoto Takenaka well in Gekipato 2, he should be able to do a good job with celebrity voice actors as well…
It’s fine to break the rules, but going as far as to die is going too far…
Because Isao Takahata is consuming the funds for production.
I remember that Shun said he created Laputa to earn money in a hurry.
>>134
Ghibli is a studio created by Hayao Miyazaki and Toshio Suzuki for Isao Takahata.
It’s often heard that Director Imagawa spent the entire budget for the series on the first two episodes of the OVA “Shin Getter.” I wonder if that’s really true.
If Anno has a sense of balance that allows him to manage finances, then Shin Eva wouldn’t have been delayed like that.
>>136
It probably took time because of the lawsuit regarding the withdrawal of rights from Gainax.
The person themselves said something like that this dispute has significantly reduced the time they have left to create their work.
The quality of the animation in One Punch Man Season 1 was really amazing, wasn’t it?
Is Oshii involved with SAC?
>>138
I was relatively involved with 2, but I wonder how it was with 1.
Normally, it is produced with a budget from publishers or production companies that hold the rights.
The current color has an annual profit of 5 billion yen from the real estate that Mr. Anno deals with, so there are no unnecessary complaints in the production.
The current situation is good, but despite spending so much on the old Evangelion movies, it ended up not coming back properly—it’s a bitter experience.
>>139
If you leave management entirely to the upper management, they end up hoarding almost everything for themselves without actually doing much…
>>139
Having financial freedom from asset management, regardless of the work, is amazing…
It looks like a female emperor of Koei.
While Gainax has been going through suspicious times and is facing collapse, it seems that Khara has properly managed its rights issues; I can’t really tell if Anno is handling it well…
>>142
There’s no room for doubt that Anno worked desperately on that.
>>142
Gainax has become a mess, so Anno probably got worried and ran around trying to deal with various issues.
The old Eva is so poorly done that two whole episodes of the master tape went missing immediately and have never been found again, that’s how careless Anno was back in the day.
Unlike games, the production cost won’t fly away like 40 billion or 50 billion in case of failure, so it’s okay, it’s okay.
I can understand if you’re immediately cut off for running away from the site or wasting funds, but…
That’s why there are many people who have been working in the industry for a long time, so it can get confusing, right?
I’ve never heard of an anime company making a profit in a different business while also working on anime production before.
Are there any anime companies that have done similar things?
>>150
Mushi Production
There was a series written by Producer Suzuki in the Yomiuri Shimbun.
Sponsors are not gathering to prevent Takahata from making a movie.
They were trying to ruin the project by coming up with all sorts of reasons.
I understood that every time Takahata makes a movie, Ghibli tilts.
The complicated part about Studio Ghibli is
I believe that within the source of creative motivation for those who earn, there are definitely those who do not earn.
Anno is doing some crazy things that seem to burn through the budget like that…
During the Shin series, there were cases where we spent tens of millions to create specialized costumes for animatronic Godzilla, Ultraman, and Rider, only to change them right before filming and not use them. We even recorded new music overseas but decided to discard it and use the original sound sources instead.
>>155
I think the most serious issue was not articulating what kind of shot I wanted, continuously rejecting takes and causing injuries to the actors.
Why do you want to spend that much of the budget?
>>156
It’s Hollywood’s fault.
>>156
It’s fun to do whatever you want with other people’s money…
>>156
If you can use it, you’d want to use it up and try doing what you like, right?
>>156
Many directors and creators have a tendency to spend their budgets extravagantly to realize what’s within them…
So, what is Oshii earning money from now?
Is it Otsuichi’s kept man?
>>160
There are a large number of royalties from past works.
There’s footage of Mr. Park saying things like, “It’s because of deadlines and other circumstances.”
>>161
Well, that’s actually true, but even so, there’s no end to the misdeeds like competing over Shun and Kondo-san or stealing all the key frames and animation from the Eva team.
I want to see it, but Atsuko Tanaka not being there is too big of a loss…
>>163
As expected by most predictions, will Maaya take over?
You say you’re using the budget, but the conversation scenes don’t move normally, so it makes me wonder where the budget went…
>>164
There was someone who boasted about full animation but drew all the stationary scenes one by one…
Anno-kun’s animation company Khara has an impressive sense of stability in management.
I think Anno has to secure the actors’ schedules, locations, and sets again for additional shooting, so I believe the budget is going to be extremely high.
I think Shin Rider has quite a few incidents.
Regarding Shin Ultraman, it’s much crazier that Higuchi-kun was in a situation where he had to hand over the staff to Godzilla-1.0 and hadn’t done any CG apart from the trailer!
Anno-kun kept talking about the budget during the interview about the sequel plans for Shin Ultraman.
I thought it was too common to waste unnecessary costs every time we create a work and then end up discarding it or not using it.
The result of Shin Ultraman wasn’t something that was that particular about it either.
Our trump card ended everything for us…
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