The third season of “Towards the Mountain” has just finished playing, and the website CreativeVillage has interviewed Yamamoto Yusuke, the supervisor of the series of animations. Yamamoto recalled that he was close to his 30-year career and also talked about his experience in the industry. .
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Yamamoto Yusuke.
Born in Shimane Prefecture in 1966.
Graduated from the Faculty of Arts, Faculty of Arts, Nihon University.
I started my career as a creator in production, and then I was supervised by the in-house show.
Initial supervision works: OVA “The ancestor of the ancestors”.
Early TV animation supervision works: “Naughty little white 貂”.
Other supervision works: “KERORO Gunso”, “Welcome to join NHK!” “, Dark Night Magic”, “Type B H”, “Toward the Mountain”, “Youth Maid”, “Knight & Magic”.
To do the performance work, we must first supervise.
In the middle school era, Yamamoto likes animation, and Yamamoto discovers through the ED’s staff table. According to the different performers, you will find different interesting things. In particular, the animation of the performer Lin Zhongxing is particularly remarkable at this point, and his single episode of performance is extremely interesting in Yamamoto’s view. Since then, Yamamoto discovered that the performance must be an important position in animation production, so at that time Yamamoto made it clear that his goal in the future was to be a performance, not a supervision. .
At that time, the boys of the same time, everyone likes to watch animations with sf and robot elements. Among them, the most popular one is “Saint Warrior Dengyin”. When Yamamoto entered high school, he recorded every week and watched it again before the next episode. “Saint Warrior’s Boarding” is also the most influential work in the performance of “Knight & Magic” (supervised by Yohji Yamamoto). .
However, Yamamoto originally chose to start his career from Sunrise, not because of SF and robots. Yamamoto University studied at the University of the Arts in Japan, and there were many jobs in the real-life industry. However, there were only two Japanese and Dongying animations. Yamamoto found that there was a “doing production, and then it could be a performance” on the recruitment of Risheng. This happened to be what Yamamoto wanted to do, so he chose Risheng. .
But taking the regular upswing channel, it takes three to four years to become a set-up production from the beginning of production, followed by a performance assistant, and finally to become a performance. Yamamoto has come down with this process, and it is already 30 years old when he was on the show. However, there is not only one way to become a performance, because there will be insufficient performance at the production site. At this time, people who are not good at business ability will be selected to try to perform, but can this model be a performance? Look at luck. .
Yamamoto is a performance that has been made in such a way. Yamamoto also evaluates himself as a production. It is really not very suitable, so I am very grateful to the seventh branch of Risheng, the olive branch that Tsuyoshi Hideyoshi has thrown at himself. After the work of the production of the seventh studio “Magic King” and “God Heroes 2” of Risheng, Yamamoto resigned from Risheng and came to the animation company lead project along with the well. .
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“Magic King”.
Lead project is a small company, the president is in the well, the performance and deputy director is Kondo Shino, and the scripter Yamaguchi Hiroshi at the same time as Yamamoto, and then there are only four people in the mountain lead project. Yamamoto is in this small studio, under the guidance of the well and Kondo, do not do other work, hold a fixed salary, and concentrate on drawing a collection of episodes. Yamamoto believes that this is the ideal environment for newcomers to perform. .
After working in such an ideal environment for five years, the well suddenly said to Yamamoto: “You should be slowly independent”, “Only by yourself to make money.” Yamamoto is 30 years old, independent. At the beginning of the period, Yamamoto felt very uneasy, so at that time, Yamamoto took the job as the performance director, and finally guaranteed his life through independent work. “Imperial Vampire” participated in the production as the performance director. At that time, Yamamoto believed that the burden of supervision was too heavy, so he chose to pick up the work as the acting director, but later the decision made me regret it.
Although the title is the performance director, there is no difference between the content of the work and the supervision. However, the instructions issued by the supervisor and the instructions issued by the performance director will react differently. The same request, from the supervisor’s mouth, the staff will give feedback, compared to the performance director, the work is much easier. .
Also, thanks to the discovery of this problem, Yamamoto also understood that to do the performance work, we must first do supervision. Therefore, after the offer of the supervision of the “Zhujiang”, Yamamoto decided to accept the supervision. This “Yu ancestor Zanjiang” is an R18 OVA animation. For the first time, when the TV animation was supervised, it was the 2001 animation “Naughty Little White Stork”. .
You have to see and feel with your own eyes.
Yamamoto has done a lot of adaptation animation, and the recent “Towards the Mountain” is a comic adaptation. For an original animation, the analysis of the original is very important. Although there are differences between novels and comics, in order to turn the original into an image, you must first construct a “background.” The so-called background is the place where the characters live and the air. .
Take “Upward Progress” as an example. If you only have the beauty of the mountain, you only need to find it online. But there must be countless “slightly ordinary views” in the story, in order to collect these scenes, you must visit the field. The original author of “Towards the Mountain” comics described mountaineering from his own experience, but Yamamoto experienced quite a lot of different impressions after his own experience. Yamamoto believes that it is not only the mountains, but wherever the characters are waiting, if you don’t go as far as possible, I am afraid I can’t describe them, because only the field visits can get the most important “real feelings.” .
For example, in the third season of the mountain to the third mountain, climbing the imagination of the difficulty, Yamamoto really feel the mountain of this difficulty, even if it is not a sunflower, of course, will complain. .
Also, climbing Sancha Mountain is to surprise the sunflower (see Mount Fuji on Sancha Mountain), but Mr. Yamamoto found in the field trip that he would see Mount Fuji in various places on the Sancha Mountain Road. Therefore, the surprise of the Japanese to the sunflower can not be achieved. For this reason, I had to add it to the animation. When I saw Mount Fuji in Kwai Express, I used to sneak in the sneak peeks of other characters. After I discovered the Mount Fuji, I chose the silent story. If there is no field visit, it may be done directly according to the original plot. .
In the animation of Xiangshan, Yamamoto chose to assign work to people who are trustworthy in terms of quality and work efficiency, and also pay attention to the task of giving staff a degree of relaxation. Because the pursuit of the quality of perfection for everything, not only can not do, but also make the funds shortage, the schedule has problems. Moderate compromises and smooth animations are the top priorities for Yamamoto in animation. .
There is more time than the supervisor who likes to spend time in the splitting step, Yamamoto wants to leave time for the staff of other processes. Even if the pre-stage process such as split mirrors and scripts took too much time, Yamamoto did not want to cut the working hours of other staff. Similarly, painting takes too long, and it also compresses the working time of the background such as background, coloring, photography, and sound. Therefore, in order not to have such a situation, it is necessary to have overall control over the entire production site, to make timely adjustments, and to maintain the overall quality of the work. This is not something that can be done by one person, and it is necessary to help each other. .
Thanks for helping yourself in the well.
Can achieve today’s results, in Yamamoto’s view, thanks to the grace of fate, let him meet with the well. There is also the work that I will try to complete the arrangement in the well, which reflects my efforts. The well is a person who has a strong awareness of others, so the homework will be arranged for the person who wants to perform. At the beginning, in the plot of the “Magic King”, the work of writing scripts and paintings was given to Yamamoto. Yamamoto was doing the work of making and doing the work of the well. .
Let’s not talk about plans and scripts, whether it is now or now, drawing a mirror to the supervisory level, has always been a shortcut to the show. Yamamoto believes that those who want to become a performer and not want to draw a mirror should choose the wrong career direction. In Yamamoto’s view, the process of enjoying the mirror is the most important qualification for the performance of the show.
As long as someone draws a mirror and gives it to Yamamoto, Yamamoto will definitely read it, and write down the comment and hand it back. Yamamoto originally benefited from the well, and now naturally believes that he is obligated to do the same thing. Regardless of whether you are doing “KERORO Gunso” or “Towards the Mountain”, some people take the mirror of their practice and ask Yamamoto to see it. Yamamoto doesn’t hate looking at the mirrors at all, so I hope everyone will take their own practice glasses to see for themselves. Yamamoto also joked that they can’t be trained too much, or they will come to grab their own jobs. This kind of emotion is still very complicated, but it is a very happy thing to evaluate the acquaintance’s mirror. .
In addition to the well, the famous Tomino Yuki also has a great influence on Yamamoto. In the well, he is a master who is taking care of Yamamoto in public and private, teaching Yamamoto as a work method for the performance, and treating the attitude and professional ethics of the work. Tomino teaches Yamamoto the necessary way of thinking when painting the mirror. A biased reality game theory. .
The reason why Yamamoto had the opportunity to get Fuye’s guidance was also brought to the production team of “Mobile Suit V Gundam” in the well. At first, I heard that Tomino was a terrible supervision, and both Tono and Yamamoto graduated from the same university, so they were afraid that they would lose the face of their alma mater, so although they liked Fuye’s work, Yamamoto was also very embarrassed. Working with Tomino, but this was the order of the president and had to go. .
At work, Yamamoto changed his mind. Although Tomino is indeed very strict, Yamamoto found that Tomino is also a supervisor who likes to teach people. For example, in the editing stage, in order to make the lens look better, Fuye will return to the mirror stage to think about how to change the mirror, which will make the compilation better. Yamamoto sincerely learned this technology around Tomino. According to Tono, Yamamoto studied ten years in the past six months. .
However, when I sent Yamamoto to Tono, I saw that Yamamoto was very arrogant at the time, so I needed to send it to Fuye to beat it. Now Yamamoto looks back, and what he has learned in the past 25 years is still useful. Yamamoto is still very grateful to the well. Because of the influence of Tomino, Yamamoto likes to teach the performance of the Japanese rising department, but recently Yamamoto found that the communication of the staff is gradually decreasing. .
If you feel that it is fun to meet different people, then the animation industry will definitely make you feel happy.
Recently, the performances that are not resident in the studio have begun to increase. In the past, supervisors and performers often communicated in the studio, so everyone’s relationship will be good. There are also a lot of people who communicate by phone and online, and there are fewer opportunities to meet with each other online. Yamamoto also heard that the recycling of the card bags will be done in other industries, and will find the original artist through twitter. Although Yamamoto does not think this is a bad thing, if you want to continue to improve your business capabilities, you should still face the face-to-face communication with people. .
Although it is difficult to establish a credit relationship, it is difficult to establish a credit relationship. However, the use of the Internet and telephones will also reduce the overall overtime and overnight work in the industry. Yamamoto has been working at 8bit recently, including Yamamoto himself, and indeed the number of overnight all-night staff is decreasing. However, in Yamamoto’s view, what matters is how to use it in extra time. .
Yamamoto is an example of a person who wants to perform a show. Practice drawing should be done outside of working hours, so it is good to use the extra time to draw a split. Yamamoto believes that those who use their rest time to draw a mirror are suitable for performing. In addition, watching movies, etc., will certainly be beneficial if you accumulate various experiences. .
Yamamoto personally wants to work with people who can enjoy their work. Because I can see the way this person enjoys when I work, I will feel at ease. Because no matter how the supervision will be for the work, and become the instigator of other staff, Yamamoto hopes to establish a working environment that allows the staff to work happily.
Yamamoto recommends that people who aim at performances and productions should be a person who can make others feel happy when they work with themselves. In particular, it is very important to have the idea of entrusting various people to work, so it is very important to let others create the work that is entrusted by this person. The work of the performance is similar to that of the production. Regardless of the creative part of the performance work, there is no more emphasis on character than the performance. Because the industry relationship with the status is good, you can ask others to help the fire, and then have the opportunity to get the job easily, and it will be easier to improve your level. .
Finally, Yamamoto is aiming at young people who are aiming to animate. If you can find fun in your work and repeat your work, then you are definitely suitable for the job. Although the animation industry does have a bad treatment, the environment is not so bad when it is produced and performed. Of course, it depends on the individual’s efforts. Work hard, and then gain the trust of colleagues, then naturally there will be opportunities to become producers or supervisors. .
Also, it is important to have a person who deserves respect. There are many people in the industry who are worth learning. Learning from these people and occasionally returning to them will make the work more interesting. Therefore, the relationship between people is really very important in the production scene. If it is interesting to meet different people, then the animation industry will definitely make you feel happy. .
References: . TVアニメーション『ヤマノススメ』山本裕介監督インタビュー「出会いを面白いと思えるなら、この世界は絶対に楽しい」