#shin'ichiro watanabe

[cinematitlecards]

"Blade Runner" (1982) Directed by Ridley Scott (Action/Sci-Fi/Thriller) . . "Blade Runner: Black Out 2022" (2017) Directed by Shin'ichirô Watanabe (Anime/Sci-Fi/Short) . . "Blade Runner 2036: Nexus Dawn" (2017) Directed by Luke Scott (Sci-Fi/Thriller/Short) . . "Blade Runner 2048: Nowhere To Run" (2017) Directed by Luke Scott (Action/Sci-Fi/Short) . . "Blade Runner 2049" (2017) Directed by Denis Villeneuve (Action/Mystery/Sci-Fi)

[rikeijo]

Today's translation #675

Go Yuri!!! Go, official fanbook, Tominaga Keisuke interview

Part 2.

-- Among your conversations with Yamamoto Director and Kubo-san concerning the music production, were there any that were particularly memorable to you?

Tominaga: This project was mostly the first time I had the opportunity to work with Yamamoto Director. It's not about Yuri!!! at all, but long time before I've met with the Director for the first time, I read her interview about "Michiko and Hatchin" (2008~2009) and in that interview she said such things as: 'All men that appear in this story are useless assholes', 'Women that behave in such a convenient for men way like Shizuka-chan from "Doraemon", or Minami-chan from "Touch" just don't exist', 'The idea for this story came to me just after I broke up with a guy'. My impression of her after reading that was: 'What a tough female director... So cool, but also maybe a bit scary...' When Watanabe Shin'ichiro Director introduced us to each other during the production of "Space☆Dandy", however, my reaction was: 'What? Is it really the same person...? But no, I can't let my guard down just yet' (laugh). Working with her this time, though, my impression of her changed 180 degrees. She always shared my perspective when we were talking, and as a fellow creator I respect her very much, because she's a humble and very attentive director, who does her job very thoroughly.

As for Kubo-san, I've known her works before, but this was the first time I've met with her. I feel that she's an amazing creator, who has a deep love and overflowing passion for creating things. When we were talking about how painful it may be to give birth in this creative sense, she told me that a creation is a 'container', and it's important to make this container big enough, so that it's not filled to the brim with thoughts and feelings of the creator only, but every single person, who sees it, can put inside their own personal thoughts and feelings. Her words left a deep impression on me, and I admire this philosophy of hers very much.

[monstrenke]

Samurai Champloo [2005] Shin'ichirō Watanabe

[50ansdepopculture]

Animation / 1998 / Cowboy Bebop de Shin’ichiro Watanabe et Sunrise

[filmlababry]

21.

カウボーイビバップ 天国の扉 (2001) | Dir. Watanabe Shin’ichirõ & Okamura Tensai

[messaggioinbottiglia]

Cowboy Bebop; Shin'ichiro Watanabe; 1998-99. Con un occhio rivolto al presente ed uno al passato. Non si può essere felici in questo modo, e la serenità si nasconde dietro una spessa coltre di noia. Dietro un velo di inutilità ed illusioni. Costantemente alla ricerca di una soluzione, di un significato, di qualcosa che riempia le nostre esistenze e le renda degne. E ciò risiede magari in un ricordo perduto, o in un amore abbandonato. Situazioni così assurdamente importanti, e fragili, e che si sbriciolano sotto i colpi del tempo. A quel punto davvero non resta nulla. E la morte non fa più paura. Anzi si rivela come unica salvezza di un animo rimasto oramai vuoto. In una volta si pareggiano i conti col passato, col presente, col futuro. E chiudendo finalmente gli occhi si scopre magari che era tutto un folle e particolarissimo sogno. See you space cowboy...

[tubersloth-blog]

C'era una volta un gatto, un po’ speciale. Nel corso dei secoli era morto e rinato più di un milione di volte. Era stato allevato da generazioni di uomini verso cui non aveva provato che indifferenza. Non temeva la morte. A un certo punto decise di diventare un libero gatto randagio. Incontrò una bella gatta bianca e vissero insieme felici e contenti. Passarono gli anni e la sua candida compagna, ormai vecchia, si spense. Lui pianse per più di un milione di volte, e poi la seguì. Non rinacque più.

Spike Spiegel:the real folk blues part 2-Cowboy Bebop(shin'ichiro Watanabe)

[forgottenbones]

Shin'ichiro "Cowboy Bebop" Watanabe ha fatto uno spinoff animato del nuovo Blade Runner ¯\_(ツ)_/¯ https://t.co/BUTQlx3aIU

— Elisa Poggese (@_poggy) 15 settembre 2017

[cinematitlecards]

"Cowboy Bebop" (1998) Created by Hajime Yatate (Anime/Action/Adventure) . . "Cowboy Bebop: The Movie" ("Cowboy Bebop: Tengoku no tobira") (2001) Directed by Shin'ichirô Watanabe, Tensai Okamura, & Hiroyuki Okiura (Anime/Action/Crime) . . "Cowboy Bebop" (2021) Created by Christopher L. Yost (Action/Comedy/Sci-Fi)

[rikeijo]

Today's translation #615

Febri vol. 41, Tominaga Keisuke talking about Yamamoto Sayo

[Yuri!!! on ICE music producer]

Part 1.

That we had the opportunity to work together, was thanks to Watanabe Shin'ichiro, who was responsible for music in Yamamoto Director's previous works, introducing us to each other. The first time when we've met, if my memory serves me right, was at a studio, when working on episode 20. of "Space☆Dandy" (known as "the ROCK" episode) - I was the music producer, and Yamamoto Director drew ekonte and was the Episode Director for that episode. I don't think that we talked a lot at that time, but I asked Okamura Yasuyuki-san for music for the opening, and Yamamoto Director worked on music video for that song, and on the ending animation (a collaboration between Yakushimaru Etsuko and Sugano Yoko)... So it was indirect, but we were working just right next to each other on the same, busy production team.

My impression of her [was based on], an interview about 'Michiko and Hatchin' that I happened to came across before meeting her in person, in which she said: '[The show] is full of assholes. Only really shitty men are in it." and "The idea for this story came to my mind, just after I broke up with a guy". Reading that I thought: 'Just like the style of her works, what a tough and rockstar-like female director. I may be actually scared of her..." and in my head, I imagined her as a mix of Tsuchiya Anna and Nishikawa Miwa. The thing is, when I actually met her, my impression was that actually, she is humble and her way of directing is so thorough. It was also easy to talk to her, because we are close in age. I felt a great peace of mind, when working and communicating with her, so it was an actual pleasure to work with her.

[rikeijo]

Today's translation #394

Ferbi vol. 41, Sayo Yamamoto's interview

Part 6.

-- That's also very intense, isn't it!

Y: Yeah. After that experience, the desire to cross the studio's fence and work with more diverse cast of people appeared in me. After around 3 years in the studio, I started to think that as a studio's employee, I'm not able to choose what I'm working on, so if I just stayed there, I wouldn't be able to develop my skills - even though, that was an extremely impudent thing to think. And when I was pondering on that, Watanabe Shin'ichiro contacted me.

-- I see. So this is how it happened that your first work after you left Madhouse was "Samurai Champloo". 4 years had to pass before you directed your first work, "Michiko and Hatchin", but were you thinking then, that you would like to direct your own work someday?

Y: I didn't really think that I want to "become a director". But I wanted to work on things that I really find interesting. And I was sure that things that I "want to watch" are for sure "interesting". I thought that to be able to express [create] those things, I needed to learn the necessary skills, and to do that, the only way is to do a lot of directing [as episode director etc., not as a main director]. Also, when I started to work with manglobe animation studio on Champloo, my name hasn't been known at all yet, and they didn't have trust in me, so for the time being, I was submitting a lot of storyboards. The CEO (Kobayashi Shin'ichiro) liked one of those storyboards, and he proposed to me right away that we should make a project out of it. That project turned into "Michiko and Hatchin".