Godzilla exists in a world of science fiction, not only of dreams and hopes, but he's a caricature of reality, a satire, a mirror image. Recently, Japan has also been careless in the way it has attempted to depict him. In all honesty, Japanese production budgets and schedules are so tight, compared to the world’s capitol, not to mention the constraints imposed on filmmakers in terms of content. Frankly, I’m not sure how far outside the lines we can go. However, movies have pride, even trifling little films; therefore, just as in the case of the new Evas, I’m going in full force. When I think about what I’ve accomplished, the twists and turns befitting a screenplay, everything has led to this point. I write this with the hope that the reader might understand at least to some degree that no matter what a creator says, it’s just an excuse, but I’m under pressure to make a visual effects fantasy film representative of modern Japan, with the full awareness of our current situation, which will be subjected to intentions both good and bad.
— Hideaki Anno, in his statement announcing involvement with Shin Godzilla
Evangelion is like a puzzle, you know. Any person can see it and give his/her own answer. In other words, we're offering viewers to think by themselves, so that each person can imagine his/her own world. We will never offer the answers, even in the theatrical version. As for many Evangelion viewers, they may expect us to provide the 'all-about Eva' manuals, but there is no such thing. Don't expect to get answers by someone. Don't expect to be catered to all the time. We all have to find our own answers.
— Hideaki Anno
Hideaki Anno (庵野 秀明 is a Anno Hideaki)Japanese animator, screenwriter, and director who is most well-known for writing and animating the popular anime series Neon Genesis Evangelion. He is the writer, editor, and chief director of the film Shin Godzilla.
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As a child, Anno was a fascinated by manga, anime, and tokusatsu, all of which influenced his later work. In junior high, he was a member of the school’s art club and spent his time sketching manga and creating oil paintings. He entered a high school that was known for being a stepping-stone for prestigious universities, however, Anno decided not to participate in major subjects and spent most of his time at the school’s art club. Due to his grades fluctuating between low and high, the school labeled Anno as a problem child. During his second year in high school, Anno filmed live-action tokusatsu productions and cel-animations, which he showed off at the school’s annual festivals. Towards the end of High School, he formed an independent production group known as SHADO with his school friends, but that was short-lived.
During his sophomore year at Osaka University of Arts, Anno participated in the intro animation for DAICON III (or the 20th Japan Science Fiction Convention in Osaka), and he realized how much fun it was to work with other people on big projects. Two years later, Anno participated as a director in the production of the next DAICON animation for the 22nd Japan Science Fiction Convention, and this was when Anno also realized how hard it was to be in a directorial role. He later received an invitation from Studio Nue, who were impressed with his work on the DAICON III animation, and this led to his first huge project known as the television version of The Super Dimension Fortress Macross.
In 1984, Anno moved to Tokyo, where he was hired as a key animator for Hayao Miyazaki’s then-latest film Nausicaä of the Valley of the Wind. Soon after, he worked on another film, Macross: Do You Remember Love?. During production, Anno established Studio Gravitron with Shō-ichi Masuo, which is where he spent most of his time. Later that same year, Anno founded Studio Gainax, where he worked on several big projects while occasionally working with Studio Gravitron on other projects. When Anno accepted the job of being the chief director of the 1990 anime series Nadia: The Secret of Blue Water, he began to sink into his now infamous depression due to the incredible amount of stress he had during production, as well as the cancellation of Uru in Blue (a sequel to the 1987 film Royal Space Force: The Wings of Honnêamise).
Struggling with his depression, Anno was approached by King Records in 1993, who said they would guarantee Gainax a television time-slot for “something, anything.” Thus began the conceptualization of Anno’s most popular anime series, Neon Genesis Evangelion. The production of the series suffered from numerous issues, involving multiple re-writes, poor budgetary planning, and the backing-out of sponsors after they realized the dark nature of the latter half of the series. Once the show finished its initial run, Anno gave into his depression. He didn’t work on anything until 1997, when he wrote and directed The End of Evangelion, an alternate series finale. He then worked on multiple live-action projects, as well as several animated works, before forming Studio Khara in 2006, where he rebooted the Evangelion franchise with Evangelion 1.0: You Are (Not) Alone, and its sequels, Evangelion: 2.0 You Can (Not) Advance and Evangelion: 3.0 You Can (Not) Redo.
Anno wrote and directed Shin Godzilla, with his longtime friend and collaborator Shinji Higuchi as co-director.
- Daicon III Opening Animation (1981) - Animator
- Return of Ultraman (1983) - Director / optical animator [fan film]
- Daicon IV Opening Animation (1983) - Animation director / animator
- Nausicaä of the Valley of the Wind (1984) - Animator
- GAMERA1999 (1999) - Director / cinematographer
- Sinking of Japan (2006) - Mechanical designer
- Giant God Warrior Appears in Tokyo (2012) - Executive producer [with Toshio Suzuki] / planner [uncredited] / screenwriter / optical animator
- Shin Godzilla (2016) - Director / screenwriter / editor / acoustical designer / Godzilla concept designer / image designer / storyboardist / title logo designer / D-unit director, cinematographer, & recordist / trailer director / marketing supervisor / poster & pamphlet designer[note 1]
- Shin Ultraman (2022) - Supervisor / executive producer / producer / planner / screenwriter / editor / concept designer / cinematographer / storyboardist / title logo designer / marketing supervisor / song selector[note 2]
- Return of Ultraman (1983) as Ultraman [fan film]
- Orochi Strikes Again (1984) as reporter
- Sinking of Japan (2006) as Professor Yamashiro's son-in-law
- Monster Magnitude: 9 (TV 2010) as pedestrian [episode 6]
- Death Kappa (2010) as Captain of the State Guard
- Shin Godzilla (2016) as firefighter [voice]
- Shin Ultraman (2022) as Ultraman [motion capture; with Bin Furuya]
Hideaki Anno with Shinji Higuchi
- Hideaki Anno reportedly refused Toho's initial offer to write and direct Shin Godzilla, but was convinced to join the project after his friend Shinji Higuchi signed on.
- Hideaki Anno was frequently on set during the production of the Heisei Gamera trilogy, due to his friendship with special effects director Shinji Higuchi. Anno even directed a documentary about the making of the film Gamera 3: Revenge of Iris, titled GAMERA1999.
- ↑ Editor with Atsuki Sato. Storyboardist with Ikki Todoroki, Masayuki, Kazuya Tsurumaki, Mahiro Maeda, and Shinji Higuchi. D-unit director, cinematographer, and recordist with Masayuki and Ikki Todoroki. Trailer director with Atsuki Sato, Hideyuki Koe, and Taichi Terahara. Marketing supervisor and poster/pamphlet designer with Ikki Todoroki.
- ↑ Executive producer with Takayuki Tsukakoshi and Minami Ichikawa. Producer with Kazutoshi Wadakura, Takehiko Aoki, Tomoya Nishino, and Masaki Kawashima. Planner with Takayuki Tsukakoshi. Editor with Yohei Kurihara. Cinematographer with Katsuro Onoue, Masayuki, Ikki Todoroki, Shinji Higuchi, and Linto Ueda.
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