How are Japanese animations that are attracting more and more attention from the world made? Japanese animation website "アニメ! アニメ！」 In collaboration with Tokyo Otaku Mode and Bahamut, we conducted a large-scale project entitled "These Studios That Have Produced Japanese Animation That Have Attracted the World's Attention are Creating the Future", and interviewed many well-known Japanese animation companies and animators.
After the Son of the Dragon and WITT STUDIO, it finally waited for it. "As long as you watch animation, you will not have seen the animation production company of its work", you must have the name of I.G. The object of this scum reversal is Mitsuhisa Ishikawa, the president who single-handedly founded I.G. I.G.
Constant challenge to "how can such a low budget be possible"
The origin and philosophy of Hisamitsu Ishikawa, President of Production I.G
Production I.G masterpieces: Ghost in the Shell series, Psychometrician series, Kuroko's Basketball, Volleyball Boy, Die Neue These, B: The Beginning, Mobile Ultraman, etc.
Production I.G (hereinafter referred to as I.G) is an animation production company that attracts a large number of fans at home and abroad with avant-garde animation such as the "Ghost in the Shell" series, the "Psychometrician" series and so on. Oshii Mori supervised the first and second parts of Ghost in the Shell, Kenji Kamiyama in "East Eden" and "Mobile Ultraman", many creators who can represent the times and I.G. have made works that can represent the times. In addition, I.G. is also the source of animation companies such as WIT STUDIO, which produced Attack on Titan, and Signal-MD, which produced Birthdayland.
I.G's influence on the animation industry is immeasurable.
This interview is featuring I.G.'s highly talented President Mitsuhisa Ishikawa, whose masterpieces are frequently produced because he led us to hear about the past, present, and future vision of this animation company.
[Interviewer Kosei = IsijimaeIwa]
"Animation, 90% depends on the animator"
—— Ishikawa-sensei started his career as a veteran animation production company Dragon's Son, what was the initial motivation to do it?
Ishikawa: I originally studied in a troupe of "car-shaped" puppet shows, the troupe was going to tour everywhere, and once when I wanted to go on an overseas tour, I wanted to take a break and didn't go.
While waiting for the troupe to return from overseas performances, I happened to see information from the part-time magazine that Dragon's Son was recruiting, and I didn't know what job I would do and entered the industry.
I didn't particularly like animation at the time, but I was drawn to the characters in Brave Sansilo and Mach 5. However, I also learned that this is their work after entering the Dragon's Son.
So, because of the incredible fate, I was deeply immersed in the world of animation.
In retrospect, I still prefer the charm of the humanoid pure glass puppet show to the kabuki performed by people. Even though I love to watch live-action movies, it seems inevitable that I'll be more addicted to animation.
—— What did you do in the Son of the Dragon?
Ishikawa: The production of Gold Lightan and Future Police Urashima took about 1 year and 3 months to make it, followed by another 4 years as the production director and production trip management.
In particular, during the more than 1 year of production, I was seriously sleep-deprived, but because I was exposed to a lot of original paintings and animations, I was very happy. I guess it was the happiest time of my animation career.
This time made me understand that 90% of animation depends on the animators. The picture quality is good for arranging daily life, how to get along with animators, it is a victory or defeat that is not too much to gamble on your own life.
There are many people in the production line, there are various departments, there are all kinds of characteristics and personalities of animators, with a single way of getting along with them can not deal with them. It's not enough to simply use a salary increase or a contract adjustment. Therefore, I will put my full energy into contact with them.
—— This emphasis on animators is directly related to the I.G. that can have today.
Supported I.G independent animators and Kyo Ani
- Did you get anything else during the Time of the Dragon's Son? For example, a respected operator should have a business skill.
Ishikawa: Ah, in this regard. At that time, I was still too young, and I felt that "it is rare to have so many excellent animators, but the operators are very incompetent, all eat and drink at the golf banquet, the old guys really can't do it!" ”
He even went to Mr. Jiuli very badly (Jiuli Kazuhei, the representative director of the Dragon Son at that time, served as the director of "Invincible Enemy", etc.), "President, you are very respectful as a creator, but as a manager, you are too incompetent", "What resentment do you really have toward me", I remember all these words (bitter smile).
- He said that (laughs). Should it be said to be hot-blooded, or straightforward....
Ishikawa: Now that I have become the person in charge of management, I can understand the state of mind and thoughts of Kuri-sensei at that time. Although I was the young man's flesh and blood at that time, what did I say...
- So did he leave the Son of the Dragon on this grounds?
Ishikawa: Yes, watching the excellent animators who work in large companies keep leaving, I feel the limits of the organization.
On the other hand, Takashi Nakamura, the painting supervisor of "Akira", invited me to participate in the project of "Future Police", and the supervisor Koichi Mashita also put my name on the opening of the film, and the creators are really very good.
This is one of the reasons, when I thought, "I can accept my resignation anyway, and I will do work around these energetic young creators who can support the animation industry."
At that time, the project with Dragon's Son was "Red Light Bomb", and the excellent animators I came into contact with greeted as much as possible.
Such as Nakamura and Mashita, as well as Goto (Takayuki Goto, director of I.G.), okiura (Keiyuki Okiura, superintendent of "Human Wolf JIN-ROH") and Akira Oshino (Kazuya Huang, chief supervisor of Ghost in the Shell: Rise, director of I.G.), Nishikubo (Mikubo Miyuki, director of Miyuki, Miyuki), and Mori Oshii also joined as part-time.
In addition, Kyoto Animation, which is very concerned about me, also expressed its intention to participate.
For animators, working with so many great animators is a very valuable thing. How is it related to Kyoto Animation?
Ishikawa: I've asked Kyoto Animation's animators in my previous work, and their schedule and budget management is very good and worthy of respect. Even animators with various personalities can always get together with the help of Kyoto Animation, so I went straight to them to ask for help.
Hatta-sensei (President of Kyoto Animation) put it this way, "Wouldn't it be okay for Ishikawa to be president?" I really appreciate their support and funding of I.G.'s founding, and I still appreciate them to this day.
—— Have you not been responsible for any work that has received such recognition? By the way, what was your age at that time?
Ishikawa: 27 years old.
—— What an amazing young man... And then became the producer of "Red Light Bomb"?
Ishikawa: People in sales also said, "Let Ishikawa try it, will you make something very interesting?", but in the end, he cried and negotiated with the company, and finally completed the work independently in the form of "I.G Dragon Son".
It was the first time I had cried in front of everyone (bitter laughter). Funds are necessary, so they also run to borrow money from their parents and brothers.
—— Obviously it has been split, what is the reason why the company name at that time still has "Son of the Dragon"?
Ishikawa: "I.G" is Goto's proposal, which is the first letter of the Roman sound of my name and his name, respectively. Putting in the "Son of the Dragon" was what I asked for.
There are reasons such as adding to it will make it easier to complete the work, but it is still to show gratitude to the Son of the Dragon. The human heart always has two opposite sides.
The animator is the protagonist of the anime
—— The first period after independence was mainly to do outsourced production, is there any impressive work during this period?
Ishikawa: Episodes 3, 9, 12, 13, 14, and 18 of the first episode of The Legend of the Galactic Heroes, episodes 1, 3, and 5 of the initial OVA version of Mobile Cop, and the three super powered Momi.
"The Legend of a Galaxy Hero" was originally the work of Kitty Film, and we had the privilege of participating in the care of Madhouse's Masao Maruyama (now mappa representative director).
Maruyama taught us not to compromise on planning and setting things when thinking about problems.
In works such as "Super Power Magic Beauty" and "Super Big Ear Mouse", many young animators from SHIN-EI Animation also receive a lot of care. "Super Power Magic Beauty" is a work that I personally like very much, especially the 46th episode "Snowy Street" that Sadamitsu Shinya (Crayon Shin- supervisor, etc.) is in charge of.
I.G's goal during this period was to do the "best outsourced production."
—— How does this matter?
Ishikawa: With strict quality control, schedule compliance and budget control, the producer will be able to find I.G for help in everyone, and 10 years later it will be an excellent studio that anyone will recognize.
—— It's the feeling of an animation group.
Ishikawa: Yes, but as I continued to work on the OVA and the first theatrical version of Mobile Cop, I came to realize that the cast list said "production cooperation" was the actual production company, but the most prominent name was Motojo Corporation.
At this time, I feel "don't be funny" (laughs).
Two tangled minds reappeared, with the pure side thinking "I'm going to do the best outsourced production" and the other side thinking "how to eat on such a low budget" on the other side.
Therefore, since "Guardians of the Earth", we have also become the Motoko Company, and we funded the establishment of other companies when making "Mobile Police 2".
—— From the outsourcing company in "Mobile Police 1" to the producer of "Mobile Police 2", even funded the investment.
Ishikawa: Whether it's for people or works, it's all my instinct to invest. Usually the results are not bad.
—— I.G's investment in people, sure enough, is Oshii Shou supervision.
Ishikawa: When I watched the storyboard of Mori Oshii in the first theatrical version of Mobile Cop, I was so shocked that I could cut the camera so interestingly, but I still thought of the animation as an extension of the manga.
But when I saw the second theatrical version of the storyboard, it was as if I saw a live-action movie, or even surpassed the movie. Reach this point, no matter how you are blocked, you will insist on investing.
—— Then came the birth of Ghost in the Shell, was there a proposal for Oshii Mori to supervise?
Ishikawa: No, Kodansha said several times that it was going to be animated, but I refused at the time.
Mori Oshii, who also saw the original manga, also said that this manga is difficult to screen. However, under the continuous promotion of BANDAI VISUAL's Watanabe Shigeru ("Wang Li Cosmic Army: Wings of Onyomis" project, etc.), it took over the production.
Oshii Mori supervisors will bring their own plans if they want to do anything, and they don't need us to give any proposals at all.
However, once Oshii Mori supervises whatever "wants to do something", we have to be prepared to achieve it, especially the painting talent he may want to use, and we can say hello no matter what, which we are very confident to do.
The result is a very outstanding work. Oshii's supervision of the storyboard does not have to be very laborious, the balance is very good, Nishikubo sensei's performance strength and Huang Se's original painting ability are also available.
This work is loved by many people at home and abroad, and Oshii Mori has become a master, which is why he knows who to give the work to.
Both masterpieces and supervisors need to be supported by other animators, and I.G has valued this since the beginning of its business.
Ishikawa: Maybe it's just because I think the work of anime creators is handsome and beautiful, that's why I came into contact with them like this.
Without excellent animators, you can't do good works, and animators are the protagonists and actors of animation. I think they're better than actors in movies or TV series.
The changing organization of the company and the unchanging "I.G" style
—— After the two masterpieces of Oshii Mori supervision in Ghost in the Shell and Ghost in the Shell 2: Innocence, from the 2000s onwards, the number of works produced by TV yuan please such as "Ghost in the Shell" TV version, "BLOOD+", and "Elf Guardian" began to increase. What is the turning point for this change?
Ishikawa: After the theatrical version of "Attack on the Shell" supervised by Mori Oshii, a number of works were widely produced in the fields of games and movies, centered on the TV version of "Attack on the Shell".
The "Ghost in the Shell" TV animation is a contract signed directly with Kodansha, the copyright of the original work, and when the production committee is formed, I.G has the lead.
—— From the lower invitation company to the yuan please company.
Ishikawa: I think it is necessary to change from a contracting company to a Motosuke company. As times change I.G changed the corporate structure, and it was a big gamble.
The results proved that this judgment was correct, and a lot of money entered I.G, which led to a significant increase in TV series, game production and other activities.
As a digression, my most respected producer is Masao Maruyama. Maruyama Sensei is really very good at the above plan and the perfection of the setting, and I would not have been able to reach his level without a hundred years.
If Maruyama Sensei's successor, I think it's Masahiko Minami of the Bone Society, I can't be like him.
That's why I've been fighting to change my role on the production committee, as well as to reform the company's organizational structure. I think this is how I replied to Maruyama Sensei.
—— In terms of structural changes, the establishment of the holding company IG Port, the merger of the publishing house Mag Garden, the establishment of the electronic content distribution company リンガ·フランカ, as well as the full business alliance with Netflix, are constantly expanding the business line.
Ishikawa: IG Port was established for the public. Animation companies have obviously done so many handsome things, and they have always been said that "animation companies are very poor" and "not good". I want to change that stereotype.
Isn't it fun to set up various companies to keep working on new things?
For 30 years, including now, we have been in crisis situations. The frequency of the company disintegrated about once every 5 years, and then it was reorganized with all its might. Now the cycle may have to be changed to 3 years.
Today's productions, more priority than what I want to do, are the intentions of young animators and producers.
After the 2000s, tv animation and adaptations of the original "Shonen JUMP" have increased, which is the result of the above.
Indeed, after entering TV animation, I.G's lineup is a little different from the previous atmosphere. On the other hand, why does every work give people a "I.G style" feeling? In addition to the often said high quality.
Ishikawa: Isn't that because of the importance that animators attach? A good work must have a good supervision, but in order to reflect the ability of supervision, other animators also need to shine together.
The vision of creating a platform that makes animators shine has never changed, and the investment made for this purpose can be made without hesitation.
—— It hasn't changed since the time when it was still the "Son of the I.G Dragon".
Ishikawa: Regarding quality, because we are based on making theatrical versions of works, both TV animation and animators have inherited this standard.
Of course, there are two sides to this, if you do a long series will be breathless, so I.G's TV animation has a lot of works in 1 and 2 periods.
I think companies like Toei Animation, which can work for four consecutive issues, have a different quality.
The efficiency of animation production is an inevitable problem
- Regarding the work plan, what is the most important point of concern now?
Ishikawa: It's not just for I.G., I have a sense of crisis in the way animation is made, and it's not possible to be inefficient fundamentally.
For example, more personnel costs are now spent on production than for supervision, and half the time is spent waiting. It's too inefficient.
—— It refers to the time to wait for the original painting to be completed, and it is really necessary to find a way to use time more effectively.
Ishikawa: To solve the deficit caused by inefficiency, it is useless to rely on all night efforts or increase manpower. Instead, by introducing AI intelligence and workflows to reinvent the animation system itself, the time and labor cost spent on this part of the time and labor costs can ultimately be obtained in quality and revenue.
At this point, I think Kamikaze Animation is doing a very good job, not adding unnecessary classes or reducing the quality requirements, treating employees and works with affection, which makes me respect.
—— Kamikaze Animation has also cooperated with overseas companies, and improving business efficiency is a necessary condition for overseas activities.
Ishikawa: I think so. Background art or character design that companies in Korea or Taiwan can complete in a week can take 2 or 3 months in Japan.
When competing or cooperating with such overseas studios, if the production efficiency is not improved, there may be no food.
And everyone seems to be very good at foreign languages, maybe after 5 years no one will give us a job offer.
- I have been thinking about the situation in the face of a crisis.
Ishikawa: Thankfully, I.G still receives a lot of commissions today, and various revenues are rising.
But if you continue to do the same thing, you can't see the future. The so-called "crisis situation" refers to this.
Conversely, precisely because this is the most difficult time, if you actively deal with it at this time, you can definitely see the opportunity to reverse. I don't like the word patience, but now it's time to prepare for victory or defeat.
The same is true for works, which have been published in the past 2 or 3 years, and have undergone a very painful process when they are produced, so they have the confidence to impress the audience.
So now is the most painful time, but also the happiest and most valuable time.
—— Looking forward to the new work!
"I want to be a small wooden stick that fills the gaps"
—— Finally, I would like to hear about Mr. Ishikawa's personal future prospects.
Ishikawa: I just mentioned the crisis situation and the pain of the production process, but from a personal point of view, it should be said that no one has asked me to do what I want to do.
Of course, if you put aside the objective conditions of the industry, it is also irresponsible to do whatever you want, but what about a person as an individual?
When I was younger, I was a person who had treated others as "old guys", and from this standpoint, I hoped that now I could do something for young people.
—— The reason why Ishikawa Sensei is the leader of the "Animation Egg" of the animation people's breeding business and supports I.G to build an archive room to preserve materials is for the next generation.
Ishikawa: First of all, there are people in our company who are responsible for archiving people like Michiko Yamakawa, who cherish and keep animation-related materials for the future, and there are also people in the Animation Association who are bent on cultivating animators.
For the sake of these people, if my existence and name can be used, let me be a small wooden stick that can fill the gaps.
Is it the meaning of "want to support and contribute to these people"?
Ishikawa: That's not what it means, it's a bit too much to say that support or contribution is a bit too shallow. When people who are full of enthusiasm and dedication to do things come across "where there seems to be a shortcoming", I can do something and want to be this kind of small stick.
—— It is the complete opposite of the "old guy" mentioned before.
Ishikawa: Exactly, I hope to do more in the future that I want to do in my position.
【Original text】The origin and philosophy of President Mitsuhisa Ishikawa of Production I.G. who continues to challenge "I can not eat with such a low budget https://animeanime.jp/article/2019/07/22/47064.html