Oshii:
Commercial films cannot be separated from the society. They have themes because of their social backgrounds. They have social backgrounds because they need to appeal to the current audience. Commercial films, Evangelion or whatever, have sociality and contemporariness.

https://twitter.com/neilworms/status/1709344055459520740

Oshii:
But we didn't have an opportunity to check the difference between art and commercial. There are few animation film festivals like NIAFF. Annie Awards and AIAFF are close to art. JIN-ROH was kind of accepted in Annecy just because it has an auteurist atmosphere.

Mamoru Oshii:
Birds always represent something exist in the upper layer. Something we look up to. Something in another world. Maybe they're just such symbols, but I rather feel that the concept precedes everything... Oshii:
... It is not that the metaphors or symbols of animals exist in the language system. I read in a book that words were invented from animals. "Run like a dog" or "sniff like a dog." Some people say such recognitions of animals made words or adjectives...

Hayao Miyazaki:
Nobody had tried the layout system in TV shows, so we decided to fully draw layouts in Heidi.

Animage:
What did you do when you developed konte into layouts?

Miyazaki:
In Heidi, we needed to depict the characters' slice-of-life emotion, ... Miyazaki:
... so I made the angles as natural as possible. When konte artists drew extremely low-angle shots, I changed the camera height to natural eye-levels. I often changed camera positions. Low-angles feel like stageplays rather than cinema.

The interesting thing is that Miyazaki said he doesn't want to do key animation check because it makes him want to redraw them.
Miyazaki said that directors shouldn't do such things.

I wonder what the current animator-directors would think about it.

https://twitter.com/combattlerRickV/status/1657870393913253888

Miyazaki and Oshii talked about layout in the interview.
Good animators are not necessarily good layout artists.
Miyazaki said he wanted a younger version of himself as a layoutman.

One of Hideaki Anno's biggest talent is that he chooses perfect terms from academic or other pre-existing vocabulary and drops those terms in perfect ways. The audience imagines that some important things are behind them. It's called "hattari" in Japanese.

https://twitter.com/htGOIW/status/1648939150790512640

I'm praising Anno in the thread, but it is not conveyed well to other fans. Hideaki Anno can choose perfect elements without ideological or philosophical background. He can show empty shells and move us with them.

Finished B-CLUB vol.75, Majokko Ultimate Special, 1992 Feb.

The title says "majokko," but it covers all types of magical girls. It starts with Sally as expected.
It seems that Sally and Akko count as Toei Majokko series in any version of explanation.

"The psychology fad stands out most in pop culture. The trigger was a TV show called Soreike Kokology. It was adapted into a best-selling book. Psychology got so popular that it became one of party jokes. But the psychology fad covers broader and deeper realms."

https://twitter.com/htGOIW/status/1648939149423153154

"The inflation of trauma is remarkable in Hollywood movies too. It's difficult to find Hollywood movies without stories about trauma today. In Japan, anime has such a tendency."

Pepole are discussing "whether Jojo was unpopular before the anime series or not" again. To the kids who read manga only on
tankobon in the '90s like I did, Jojo was invisible in those days.
After I got access to the Internet, I noticed that many people were parodying a weird gekiga-like manga in their fan-art. It was on Shonen Jump, but I didn't know the series.

Watched the making documentary
of Shin Kamen Rider.

As some people said, it's not so different from the 3.0+1.0 documentary. The only difference is that we can see the physical stress on stunt performers and actors. Takumi Saito smiled when Anno said, "Move 5 centimeters."

The use of iPhone cameras.

The most interesting part of this book is Isao Takahata's story from the afterword:

"'That speech is true only of our good days.' Miya-san murmured after the funeral. The early part of their 55 years old history was good, but the later part was not."

https://twitter.com/htGOIW/status/1641996077359599617

"Miy-san said their honeymoon period continued in Horus, Panda Go Panda, and Heidi. They were a golden duo. They understood each other even without a word. Takahata-san called it business
partner.
'But I couldn't understand him after that.' said Miya-san."

Read through Toshio Suzuki's nonfiction about Kanyada.
I saw many twitter users saying it's a disgusting book, but I don't think so.
Suzuki's writing style is amateurish, so it's difficult to consume the story. It includes a lot of leaps of logic and weird snippets. To put it bluntly, it's a story in which Suzuki is attracted to a Thai woman's personality, and he and his staff are swayed by her planless launching of a restaurant.
If the news about the conflict between Suzuki an President Hoshino is true, it's pretty understandable.

Read a nonfiction book "The Guys Enchanted By The Mask" by Yasumasa Makimura.
It's a document of the creators of the original Kamen Rider.
It includes an interview with Hideaki Anno. It's a must-read for Anno fans and Shin Kamen Rider watchers. The main story of this book is the life of Yusaku Uchida, the producer of Kamen Rider series, and Toei Ikuta Studio made by him.

It covers the history of Kamen Rider series and people involved in Ikuta Studio, including its dark, sad, or unclear aspects.

The origin of Kamen Rider (memo based on the video):

MBS was losing in the rating competition of Saturday 7:30 PM slot, so they consulted Toei about a new show. Yoshinori Watanabe from Toei consulted Toru Hirayama from their tokusatsu division.

Spo-kon, sports konjou genre, was very popular in those days, but there were too many spo-kon shows.
Watanabe advised Hirayama to make "a masked hero story," which was a very classic idea.

I bought a kamishibai collection, so I'm comparing Suehiro Maruo's Shoujo Tsubaki with the source material. In Maruo's manga, Midori's father leaves home and her mother dies. She is taken by a freak show master.

In the kamishibai, Midori's father leaves home. She tries to help her mother by selling flowers, but she is kidnapped by a revue theater. She becomes a revue star.

Kazuya Tsurumaki:
I joined Studio Giants because I loved Gu Gu Ganmo. I think my key animation debut is a Japan-US joint project called Galaxy Rangers (1985) Tsurumaki:
I have not prepared a chronological order of Gunbuster universe yet. We've made some backstories like the Mars terraforming, but such chronological tables should be made after finishing the show.

This interview is included in "All Films Will Become Anime" too.
Oshii talked about the relationships between anime and anime magazines in it:

https://twitter.com/Petsuchan/status/1639371606844686337

"Before Animage, anime creators knew little about other studios' situations before airing. We came to learn the information thanks to Animage's monthly articles like, 'They're doing such a thing huh?' Or 'Their project looks interesting than mine.'"

LRT:
In some communities, yuri is currently regarded as a concept which includes both lesbian representation and depictions of broad woman-woman relationships.

There has been some similar concepts like lesbian continuum, but "yuri" doesn't have such political context. Of course, it is also a very commercialized term. Plus, it's consumed as a pornographical and romantic genre for heterosexual fans too, so it's not free from criticisms.

I'm thinking of this because Hideaki Anno said "Aim for the Ace is not spokon. It's a story of a love between mentor and pupil."

That difference is obvious in its later part, but I was wondering if it really started as something different from spokon.

https://twitter.com/htGOIW/status/1638732103356649473

It's true that its impression is pretty different from other spokon manga even in the early part, but it doesn't mean that it didn't have any genre stuff.
It has normal rom-com tropes, and Munakata doesn't show his theme at first.

The origin of "lolicon" is vague. Some people started to used the shortened word in the early '70s, but the originator is not found. It's not otaku-originated word.

https://twitter.com/Thunderfang7/status/1636095434786471936

Russell Raymond Trainer's "The Lolita Complex" was translated into Japanese in 1969. The first Japanese child nude photo book was released in the same year even though it was not supposed to be porn.

Hideaki Anno:
I was almost mentally broken after the end of the Evangelion TV series, so I once consulted a psychiatrist, expecting something like talk therapy. I had a lot of surficial information about psychological jargon, so I expected an interesting conversation. Anno:
I wanted such a thing rather than curing myself, but he just prescribed some medicines and that was all. I was shocked and went home. That was so boring.

I was hoping I would have a good conversation. I still had such energy in that phase. I overcame the neurosis with it.

Finished Naoki Yamamoto's "Red" standard edition.

If you read through the series and remember the early part, you will feel, "Why did they come to this ending?"

In the final page/ epilogue chronological table, the assassination of Shinzo Abe was added. The interesting thing is that Yamamoto's art is dry and calm in the early part, but the characters are more human and lively in that phase.

Later, the story becomes tense and it gets more close-up shots. The characters gain more humanity, but they're objectified in the story.