“Their point of view should be more of the society around them, or even the world.”
I can’t draw to save my life. This was the reason why I felt more nervous than usual when came up to Japanese animator and film director Kitaro Kosaka during Animahanesyon Festival. What if I don’t get to ask the right questions? Well, who wouldn’t be?
As funny as it sounds, I realized that Kosaka felt nervous because I did, too. He sensed this the same way he sensed all of his characters’ feelings through the decades—a.k.a. his key to powerful to storytelling. What I find enjoyable is the “self-battle.” It’s really a battle with yourself; your inner self. Of course there are experiences you go through, they come together, then you make an animation. But for [me], it’s more of, “how can I say it differently from the others?” For me, it’s to come up [with] something that’s different from others’ creations; something new. And that internal battle with myself serves as a step towards it every time. So that “self-battle” is very interesting for me.
I think it’s “to each, his own” when it comes to childhood. When we speak of the movie though, the character may be young but her experiences will pertain to anybody watching. We can’t really set like that one way or a [certain] standard for all the children. Because some children have both parents, some children don’t have parents, some children have one parent. They all have a different environment. So we can’t really set like, “this is what’s best for a child.
Of course there’s the hand-drawn animation, but of course there’s now the 3D animation. So in terms of techniques and technology, there’s that evolution. But aside from that, in terms of the content or the story, a lot are really about the self.
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