The HIDEAKI ANNO PROBLEM 2
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- Опубликовано: 23 мар 2023
- We're talking about anime auteur Hideaki Anno's Shin Ultraman or IS IT REALLY HIS????
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All Sources In the Pinned Comments
docs.google.com/document/d/19...
Anno played by @TranslatingJapan
Oshii & Jim Ross played by @schemingfox
#hideakianno #shinultraman 
Кино
SOURCES
docs.google.com/document/d/19YHKz3aY4d4hB8eg9pffvn1-XrSod26gJ9lUxrrhGDc/edit?usp=sharing
MEDIA
Daicon's Return of Ultraman
Shin Ultraman
Ultraman
Godzilla (1954)
Shin Godzilla BHS
Gamera 3 1999
Gamera 1995
Sinking of Japan 2006
Shin Godzilla
Cutie Honey
The Complete Tokyo 1964 Olympics Film | Olympic History
Neon Genesis Evangelion
Shinji Higuchi on Shin Ultraman US Premiere Interview @blunova
The men who made Ultraman
Ultra Q
1978年 資生堂CM 口紅「初恋」
Tohl Narita 1983 Painting “Incarnation of Truth, Justice, and Beauty”.
Funky Forest BHS
Hideaki Anno: The Final Challenge of Evangelion
SHIN ULTRAMAN BHS
Godzilla King of the Monsters
Shin EVA BHS
GUNBUSTER
『SHIN MASKED RIDER』 TRAILER
Ritual
Godzilla vs Evangelion
Guillermo del Toro in Japan
Shin Ultra fight
Hideaki ANNO and Hitoshi MATSUMOTO fireside chat
MUSIC
Also Sprach Zarathustra - Classical Rousing- Kevin MacLeod
Shin Megami Tensei IV OST - Members Only Club -
Shin Megami Tensei IV OST - Black Market
Shin Megami Tensei IV OST - End Credits -
SMT 3 - 1-19 Jewelry RAG
04. 悪魔はふたたび 死闘 二大怪獣(M6) 副題〈2022リマスタリング〉
05. 大爆発五秒前 ラゴンの復襲(B3A) 副題〈2022リマスタリング〉
15 Mins Of WWE Crowd Cheer Sound Effect (W Bell)
GTA 3 - I'M COMING BACK WITH DA BLOST
Travis Strikes Again No More Heroes OST - Negative return
as an Anno fan boy I completely agree. i think anno is more like a rick rubin type figure at this point where he's basically a vibe curator who sees the bigger picture and knows who's best for whichever specific job. thanks for continuing to highlight all the lesser-known people who are important in getting these films made! :)
like a taste-maker maybe? kinda fits the narrative that he's a fan first and a creator second as well
@@adamj2340 theres a very editing down curation vibe to what anno does a lot of the time for sure
So Anno just comes in, gives the writers some LSD and then disappears till the last day of filming.
I think the trappings of Auteur theory also is seen with someone like Zack Snyder, who he himself said that film making is a giant collaborative process.(when talking about the themes of an Ayn Rand book, the Fountainhead), whenever we tend to like, attribute certain visual styles, editing(like the infamous constant slow-mo of his movies), dialogue, cinematography, screenwriting, etc. All the decisions and works of dozens of people at minimum.
I don’t really care what he is now. To me, he’s perpetually on a hamster wheel of 1994-99 amusing my need to relate to others in my existential terror and overly meta narcissist self analysis. So….the Anno of my world can NEVER achieve total success or happiness. Oh shit! There’s another letter from a crazy Japanese otaku who’s pissed cuz they just watched the last two episodes of Eva!
The old Ultraman TV show ran back in my country and I only watched and remember small bits, but I can tell the ideas of what Ultraman represents are in the movie, as Anno & Higuchi respected the style and tone of the source material while keeping it relatable to today.
yeah for sure i got that vibe, because the original show to me could vary a fair bit stylistically in interesting ways, especially in comparison to ssay kamen rider og which seems more consistent overall though ultraman sometimes throws you a wild curve ball
@@Stevem kamen rider is consistant, maybe, but it never has anything on the level of akio jissoji ultraman eps.
@@AoiHeartStranger well that's basically what i'm saying ultraman seems willing to fo weirder stuff from what ive seen but i cant really say thats the same for every series of kamen rider since my experience is limited
@@Stevem From what I've seen/heard of Shin Kamen Rider it's story is like a mix of the manga from 1971, Kamen Rider the First from 2005 and a bit of the original series all rolled together
Shin Ultra's definitely my favorite of the two. I loved the heightened optimism and not having a relationship with OG tokusatsu, all the aesthetic throwbacks just made Ultraman and the aliens feel more otherworldly and eldritch. Super unhinged cinematography. I love both for different reasons, but Ultraman rekt me.
Ultraman was really fun
My man, you make these videos at a lightning fast pace. I am in awe of it.
getting better ahahah
@@Stevem dude, the art and animation you do for it as well! Cant get much better than that.
Another great video, thanks again for all of your hard work you put into these videos essays. I enjoy seeing how much your editing, animation, and writing improves with every new video. Keep up the great work, I've learned so much from your videos about Japanese media creators and hope you continue your growth as one of the more unique content creators on this platform.
thank you Chase ill try and keep it up!
Feel like your really honing your craft. The balance of footage, you, and drawings/ transitions is great.
It's getting there haha
What a big, beefy, beautiful boy of a video you made.
Also, props to you for your hand-animated Specium Beam at the end.
didnt need to actually used the version from shin that has been shown off in BHS
I'd interpreted "the Anno Problem" as how his single-minded obsession for animation both gave him purpose but also made him a wreck of a person. This take (the intended one, I mean) is interesting as well. Especially considering that the same guy who would give us quotes like "The parts of my work I like the least are the ones where I see myself." is kind of... Making a brand of his personal style now.
It's contradictory, but most human beings are. Thanks for another deep dive into the man, Steve!
i think that's definitely a part of it for sure to be fair the compulsion, of course i'm shortening the 3 hours here into a soundbite ahahha
Can't believe that cardboard paper Anno leave SteveM in a near-death situation. What legend!
Just like Ultraman you can't keep me down for long
First time commenting just wanted to say that I love your vids and how you always have such creative ways of presenting your research through editing and animations.
thank you!
I'm glad and very happy for you to cover Shin Ultraman here as more people are starting to cover Ultraman and other Tokusatsu topics!!
Shin Ultraman is one of my favourite Ultraman and Tokusatsu movies up to date with its story about hope, determination upon the face of greed and control, and the innovation of the current generation to lead a good future.
If it's possible, I would love to see you do more deep dive into other works related to Ultraman shows as well as Kamen Rider and Super Sentai sometime
I may talk a bit more on it when shin Kamen rider is out but I'm not sure this video isn't doing amazing currently
@@Stevem I will try to help you out by sharing this video to Ultraman fan groups as much as possible
@@neronarancia1090 I appreciate the support
Thanks Lenny, helps a lot!
Thank you so much for talking about Akio Jissoi!
he's pretty cool tbh, interesting fella when you look down all the stuff he's worked on
I think it's funny how the echo-chambers we're in kinda shift our perceptions of larger discussions. Like, instinctively I know there are people who leverage Anno over others, but I'm so in the Gundam community, that I feel most of what I hear is how Anno's work lacks originality, dismissing him in relation to Tomino, etc. Which, frankly becomes extremely exhausting to me - because I think Evangelion is a great mecha series all on its own terms, and I think it does do interesting stylistic things that Tomino's work lacks (and I say that as a huge Tomino fan - I've done multiple videos on his stuff). But if I was in a different eco-chamber, I suppose I'd be equally irritated at the Anno fans you describe in this video.
Personally, I do think you can see a specific style running through Anno's work - particularly when you look at something like Love and Pop. That's definitely the result of a larger team, but I think that's the case in a lot of film. Kurosawa has a strong visual identity, but I think people often attribute storytelling themes to him that are more due to his frequent screenwriting collaborator Shinobu Matsumoto. Something I've found with every director is that, the more you read about them, the more contradictory they become. None of us are very good observers of our own lives.
Anyway, great video.
i think the key isnt to say their isn't similarities in works but rather that those in themselves are not enough to dictate auteurness in a work because we dont know how those have gotten into the work, I dont rate originality as important neither so i think its seems silly that gundam fans would go so hard on that.
Love and pop was made very cheap and faster on digital cameras so i dont know if the production of that was bigger than the entire anime production id have to compare the credits i guess, its a different process nonetheless.
love the energy in this one!
thanks hayden!
It's a coincidence, but it was recently revealed that Jiro Dan, the actor behind Retur of Ultraman (Anno's favorite Ultra show) just passed away. The first of the Ultra brothers to go.
nooooooooo, that's sad
I literally know nothing about Tokasatsu but this was really fascinating, especially the Autuer perspective & all the special effects behind the scenes
I'm glad it was easy to follow that was the plan
Extremely enjoyable video as always.
Godspeed, King
Thank you kindly
Stevem, You’re the anno of youtube. The pirate radio jungle mix was wild
Lol thank you
Fantastic work.
I'm obsessed with this, like, anti-auteurism. It's so much more fascinating to hear about all the people involved in the production, and how impactful each piece is to each other piece.
there's a lot of cool stories out there for sure, like the director serves a purpose but so does everyone else on set and what they do can be just as engaging
This video just boils down to; films are a collaborative effort made by a crew.
Nope, It takes a visionary to make art good. Design by committee is trash
@@cpthardluck I don’t mean a corporate design by committee, I mean a collaborative effort by each respective film department.
@@pootcargo yeah this never happens. You confused the word committee for something corporate. Committees of non-corporate individuals are usually the least effective in producing anything.
The Mitochondria is the powerhouse of the cell
@@cpthardluckWhat great art have you created?
Really good video. I strongly agree with your thesis about Anno being a brand nowadays and I am all in favor of highilighting the work of the team behind these movies.
Still, I'm not sure about discarding the idea of "auteur" altogether because I still think that a unifying vision behind his work can be found and analysed to reach a greater understanding of each of these movies. Shinji Higuchi's previous works as a solo director without Anno were nothing like Shin Godzilla or Shin Ultraman and the latter even felt like an attempt to make a movie that felt as much as the former as possible without having Anno as a co-director: every mannerism the public associate with Shin Godzilla's Anno is played to an excess while Shin Kamen Rider from the trailers seems to be more sober in this respect (it's still "a movie directed by Anno"/"a movie branded as an Anno movie" but it plays with different tools from his toolbox).
Anyway, putting aside my opinions about these movies, what I wanted to say is that maybe we should just start thinking of "auteurs" as coordinators with a strong vision (and we should definitely stop idolising them).
when it comes to animation work especially auteurship is very dangerous lens and not helpful at all, the unifying thing you are talking about is curation.
other films not being like something does not dictate much to be honest either, the mannerism are not strictly annos either thats the other issue there's a level of branding but also mist on which things are actually anno and which are simply from his crew like tsurumaki who is responsible for the long cut approach in much of his animation work.
there was a recent japanese review of Shin kamen rider that said "Even after watching many of Anno's films, we don't get whether each material is a result of a failure, his fetish, or the film's necessity." and i think this sums up the issue with the auteur more than anything else
@@Stevem I think that other works helmed by Higuchi, Maeda or Tsurumaki not being like the ones they made together with Anno has a lot to do with auteur theory, which at its core is the idea of directors having a unique style or a set of themes. I completely agree that Anno's works are the product of a collaborative effort between a lot of different artists, but there still is in the end a unique style and a set of themes that connects them that I think should not be discarded. Anno not being behind every idea in these movies doesn't mean that we can't compare them to gain a better understanding of the techniques, the aesthetics and the themes of each. When it comes to critical analysis Hideaki Anno "the brand/the auteur" doesn't need to coincide with Hideaki Anno "the actual human being" (and maybe the solution would be to not call this idea "Hideaki Anno"... ahaha), the former is just an idea we create after the fact to classify these works and compare them between each other, just like "science fiction" in itself doesn't exist but can be used as a framework to compare different works we call "science fiction".
Wouldn't you agree that it is possible to find threads that run across Satoshi Kon's, Hayao Miyazaki's or Mamoru Oshii's career that can be used as a tool (one of many, of course) to better understand each of their works?
EDIT: Of course acknowledging the contributions of each member of their teams, when it's possible, is also useful to make a critical analysis of these works. Knowing the role Tsurumaki had both on Evangelion Shin Gekijouban and Diebuster helps us better understand some aspects of the former, for example.
@@SenofaneLaura I think it's important to talk about the traps this line of thought falls into,
Anyone that has worked on a creative project especially with others will recall the amount of accident, collaboration, circumstance and trial and error that define it with the original concept rarely if ever being the final.
Even the video i made here many things changed on the way to completion.
Auteur means author it's about the solo vision of a creator.
Through the theory of caméra-stylo saying that if the director is behind the camera and audio they matter more than the screen writer it’s an exercise in vanity. important to say the founder of such thought went onto be new wave french directors.
Another foundational reason why it doesn't apply to medium such as toku or anime because thats not how they are created, there isn't a camera in that way in anime in-fact the way they describe the camera would make every key animator the director for every cut they do on the project. With toku it is such a different bag of worms that has a history of having two major directors on production handling different things.
Anno is not behind the camera neither, at most he’s behind the guy holding the camera for like a day or two in shin goji, who he shouted at.
When we talk about different creator making works with a lack of similarity that’s that is far beyond auteur and can be affected by many things say for example, Mahiro Maeda. There’s Little similarity in Maedas series work at gonzo or his film shorts at 4c.
( Gonzo - monte cristo & blue submarine) (4c shorts - animatrix - The Second Renaissance Part 1 and 2
Genius Party 2 Gia )
I would emphasise the production house and their methods and crew over the director as a whole in that regard, especially in animation.
Maeda has not spent a ton of time in his career as a major director, in fact of late his biggest involvement as a director has been on the rebuilds
This is what he had to say about working with Anno as a director.
“When I asked Anno, "What's this about?" he wouldn't give me a straight answer. He would give me hints, but without specific words, he would say, "Please guess". So, in the past, I would have put a kind of pressure on him, saying, "You're the director, so answer the questions properly". But for ":3.0+1.0", I didn't do it that way. Instead, I took in what he said and thought about it for a while before replying, "If Anno thinks that way, what kind of answer does he want?”-Maeda This is not someone with a strong vision in mind. Maeda is the director of part b of 3.0 and part d of Shin.
Maeda also did the image boards for the entirety of 3.0 so i suppose then are we also counted what his unique vision brought to those aspects in that auteur lens does it negate what may or may not have been anno despite him also giving little direction. His involvement came from the screen play that is also not a solely from him. And if we were to go back to auteur theory then wed dismiss annos contributions for maeda in the traditional sense. Many of the rebuild movies had up to 3 directors on top of Anno as the general director.
this idea of “anno the human being” is also compromised because we physically do not understand the mind of anno, thus we either fall into a form of parasocial relationship or armchair psychology/psychoanalysis, which will colour how we perceive parts of the work. This is very evident of peoples reading of Evangelion based of myths easily debunked about the production.
The idea of finding threads in directors works is possible, because im not discounting these people have effects on the production, but the real question is what is the value of seeing the continuous concepts give us?
Is it also a form of branding, what if those continuous concepts don’t come from the director in question how would we even know?
What is it to understand a directors works?
Are we understanding them, if so again we are falling into the traps prior and about understanding the soul of a stranger. If it’s about understanding the production then there’s better ways of doing that especially in animation. Say for example all the directors you named have studios they’ve basically continuously worked with and a crew that comes with that
Miyazaki > Ghibli
Mamoru Hosada > Studio Chizu (technically Toei for early career tv career into Madhouse for his movie career which splits into studio chizu)
Satoshi Kon> MADHOUSE
there was once an interview that said Kon’s movies were only physically possible at madhouse because of it strong in-house staff which meant they could be made at a much lower cost than what would be expected from their output and how those teams also became more efficient in that process overtime. Because his films never made much money at the time they also would have been monetarily possible outside of the kindness of Masao Maruyama who also saved Hosada’s career.
Oshii > Production IG
Oshii has also worked with other studios especially recently which has lead to work which is quite a departure from his prior IG productions if especially since they were created without production committee.
@@Stevem I get what you're saying about intentionality but I don't think it has a lot to do with this matter. Even the novel written by a writer alone is the result of contingencies, accidents and trial and error. Intentionality should not be a parameter to analyse a work of art.
The "Anno the human being" thing was meant as in "we should not care about Anno as a human being" and not as in "we can understand him".
The value of seeing the threads is in the fact that we can use them to compare those works and develops analysis and theories not to understand the human being, which we cannot know, but to understand them (the works). The theme of flight in the works directed by Miyazaki can be better understood by comparing the different occurencies of the scenes of flights in those movies (just like, on the other hand, we can better understand other aspects of those movies by comparing them to other movies produced by Studio Ghibli). This is not about trying to understand Miyazaki as a person or a director, this is about trying to understand these movies.
Well done Lenny, we love you
We love lenny
When the world needed him most- HE RETURNED!
hopefully to stay
all i can say to this whole video is: yes. since i started studying film, ive never really grasped the idea of auteurship, it always just seemed like an excuse to stroke the egos of those lucky enough to be on top. of course to some its flattering or humbling to have a styled named after you or to be the figurehead of a particular style, but thats literally what it is, a figurehead position; someone who people are aware of and do something, but at the end of the day are moreso just a recognizable name to draw a crowd. as you rightly point out in this video, no matter how many labels someone like anno has in a production, there are still so many unsung heroes in the crew that keep everything going and have their own vital positions to fill, something unfortunately often left at the wayside. especially in the case of this particular film, as a long time ultraman fan, i was honestly very nervous at the amount of people who would inevitably have this movie be their introduction to this fantastic franchise, and praise it as a masterpiece just because anno's name was attached. of course, i welcome all those who were introduced through the film (even if i dont particularly think its the best entry point in the franchise), more people becoming interested in the series is always a good thing. i totally get anno's excitement and passion for this production though, since its very clear its been his dream project for decades, but its important to remember not just all the people on shin's production that did their jobs just as, if not even better then he alone could do, along with the ultra series creators from years gone by that aspects of this film clearly take inspiration from
either way, mini rant over. glad to see you enjoyed both the film and the original series, hope you think about checking out some of the other entries in the franchise down the line, there's plenty of fantastic shows and films within it that you've probably already found out are very accessible to view.
I think in the 60s the idea came from making film directors seem more like authors (auteur is french for author i think?) with distinct style as it wasnt exactly something as brought up in the mainstream until maybe hitchcock (Welles too i guess although ive never gotten that kinda vibe from his actual interviews) but again that's because of his PRESS he literally used his silhouette as his logo and he was in the trailer for psycho.
Yeah and even here I'm super limited by the press that has been released so far in who has done what, this is a movie that absolutely stands on the soldiers of giants
any recommendations?
i saw the ultra Q movie that was cool and ive been thinking of watching return of ultraman sometime
@@Stevem i think its mainly more down to a busniess thing. if you have that one recognizable figurehead, one that is tied specifically to one visual style, production studio, etc, then its a lot easier to A. market their projects because there's a singular person for the public to latch onto and recognise and B. it serves as a position for other inustry professionals to aspire to, if you're compared to then its a compliment on youre own skills. Either way, its a good way to make some capital off of a single person's name or likeness, something that, as you say, makes the individuals come across more as sole authors of a piece. a shame really, but thats just how it is.
in terms of ultra series stuff, q the movie i agree is very cool, its kinda in legal limbo due to co-production stuff though so i dont see it getting an official release any time soon. i would honestly suggest you just keep going along in order from ultraman 66 if youre ok with the older material, especially since the two following series', ultraseven and return of ultraman, are both beautiful works of fiction. its nice to see you expressing interest in return of ultra specifically though, given that literally last night it was announced that show's lead actor has passed away, so its a show on a lot of people's minds right now. if you wanna explore stuff further outside of the older material though, i'd suggest ultraman x from 2015, as its a great show on its own, but for reasons i wont explain its a very good into piece to wider ultraman multiversal storytelling. if you're interest, ive created a public resource cataloging every single piece of ultraman material ever made in chronological order with links to watch nearly everything, can be found in the description of this vid: ruclips.net/video/MkBgsJWakus/видео.html hope its useful
@@cydrixar yeah the fact of the passing might make it something worth having a look at now im guessing its all on their youtube channel
@@Stevem the official youtube account only uploads some of the shows, but the channel "avanaf" has subtitled rips of the bluray release.
That's a lot of information packed into a ... 25 minutes video!?!
Amazing work! Time to watch your 3 hours video. XD
Glad you enjoyed!
Excellent video Stevem!
thank yoU!
The Hideaki Anno problem: rebuild was something I never thought I wanted, but like the Eva rebuild series…it’s what I needed
Anyone from India....I remember Ultraman was quiet big in my childhood days & retrospectively quiet influential in bringing ryukando & Japanese tokusatsu to small screens.
That's interesting
hell ya thank u for the content
Thank you for watching !
Fantastic video SteveM. This really helps shed a lot of light on Higuchi’s contributions and all the others who’ve helped build Anno’s “auteur-ship”. I saw Shin Kamen Rider last week (and posted a review), and it definitely feels a lot more like his Cutie Honey film (minus the comedy), and a lot less like Shin G / Ultra.
The newer trailer gave me that vibe though there's also the factor that it's like quarry toku opposed to giant toku
@@Stevem true. Aesthetically the two formats are very different either way - but I mean in the general overall sense and vibe of the movie, feels far less connected to either of it's "Shin" predecessors and has more in common with the live action Cutie Honey (again, stripped of almost ALL the humor). Need to see it again with subtitles to get the full picture though. I am a Kamen Rider fan, but more so of the 1987 series, Kamen Rider Black (which retells the story of Kamen Rider, but with a darker late-80's flavor akin to AKIRA, Guyver and Japanese Horror - highly recommended, but not to be confused with the new reboot "Black Sun" or the sequel series Black RX).
@@TOKYOTOYBANZAI ill put some of the change on how kamen rider is set up also but for sure but what we're seeing with rider mmaybe entirely different crew with anno has the main curator yeah, but there was this very punchy quote that came out from a review of shin kr ""Even after watching many of Anno's films, we don't get whether each material is a result of a failure, his fetish, or the film's necessity.""
oh ive heard of black and black sun im interested in checking them out, ive only seen kamen rider og and amazon in part
I dont have anything profound to say but I love these videos man. You do such a lovely job.
thank yoU!
RUclips suggested this video because I've been watching old Ultraman episodes here. I have no clue what or who you are talking about but the video production is top
hope you enjoy anyway!
it's pretty cool how much ultraman is available to watch on yt now
good to know there are more ultraman films on the way, I am obsessed with the character
STEVEM don't miss, it's because he's such an auteur
just me no one else ahah
Great Video 🎉🥳
Thank you! 😁
the hideaki anno exhibition was actually strange cause it was more focused on other's work on anno's films than on anno's effective work
Creatively, coming out (and going back into) depression is crushing. So I can emphasize, but at least that fucker found some type of happiness and his creative groove in the end... Shin Ultraman is pretty rad!!
Make sure to check out the tie-in manga for Shin Kamen Rider. It´s in scanlation rn and fleshes out the setting and villains. "There is no true peace in this world: Shin Kamen Rider SHOCKER Side".
Oh okay that sounds cool who made it
saw shin kamen rider twice while in Japan lol, hardly understood but it was a damn fun movie, really feels more like Anna, very personal, small story, and really great fight scenes that kinda improves upon from the fights from cutie honey
It looks to me the story is directly lifted from the original for the most part
@@Stevem yeah I think that’s why I kinda understood the gist of it
Anno after watching: I thought I had enough with one problem, now I have to bear with two?
(Congratulations and thank you Lenny) This is a great video. btw have you heard recently Evangelion:3.0 Prologue Short's Still Teases New Girl Character? Are they trying to set up a spin-off?
Maybe I'm not entirely sure the direction plan I had assumed it was just spin off universes like those shorts they did
Sadao Lizuka still worked on some more recent ultraman shows with one I'm pretty certain he definitely did was X back in 2015
Yeah he continued to work on Ultraman and toku for his whole life although it seems he does use more digital tablet stuff of late to some degree not sure if he's still doing it the 60s for every show now
Congrats Lenny!
where can I watch this Shin Ultraman unreal engine animation thingy?
I watched the Shin Ultraman felt like if Ultra Q meets Ultraman.
Well I guess it begins with the ultra q tribute for sure
🎉congrats lenny
congrats lenny
thanks!
🙏
23:50 Top 10 Hardest Moments in Cinema
Lol
As a Kiwi this reminds me of (Sir) Peter Jackson. His name is the one in lights but there is a whole Wellington area film production industrial complex beneath him that, of course, does the vast majority of the work. Although a big difference is that he doesn't really make big films any more, just documentaries.
yeah i think maybe the hobbit films kinda show how important pre production, planning and staff are
Ok, that Oshii voice is just kino
What a lovely surprise
thanks kev
I think pushing this idea of being an auteur, is indeed auteurship
The marketing itself is transformative and artistic.
Anno's vision is strong enough that some underpaid staff worker, goes out of their way to reproduce Anno's visual aesthetic. Basically, what I am saying Anno's image of being an auteur isn't an illusion, but very real, because the idea resonates with people, by having this effect happen materially this idea takes form and put into practice.
Whose this underpaid worker in question , a illusional like a magic trick can still wow an audience
Shin Ultraman was probably the most hopeful film that I've seen in a long time.
For sure it honestly surprised me since it did seem pretty hopeless for a moment
Great video! Just curious, would you consider directors like Nolan and Sam Raimi to fall in the same camp of auteur as anno?Is there a massive difference between cg films in America and practical effects/miniature? Should movies be credited mostly toward the director in general?
Auteur is a label usually given to a director rather one they always ascribe to themselves raimi hasnt even been in the film industry for about a decade in that way, but it certainly the narrative with his fight with disney on how he would direct strange 2 but he’s also spent a decade or so producing and such most of the stories i’ve heard from Raimi sound like his sets were quite collaborative and chaotic places.
when movie move toward cgi centered works basically it’s own form of animation
it’s even harder to justify this lens as that text says something like this
“…holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay. In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length, rather than plot line,”
all those elements then are controlled by the animators and they’re actually doing the work at that point the director is the producer/curator of said work. if you have a team of 30-50 animators putting in 12 hours in that day how much can the director realistically even be involved in that process. The difference between toku and american blockbuster has always been Time, Money and resources the cost of blockbuster US film is going to be 20 to 100 fold a tokusatsu also location and regulation can play a factor, California is going to be much different than tokyo in that way, theres a ton of infamous dangerous stories in the past of suit actors falling from great heights or settting on fire in suit etc. Also many stories of staff working all night to have things ready for the next day, which we could see paralles in the cgi department now as its unregulated in hollywood while most other division are union and no film should be mostly credited to a director no, unless theyre the soul author i guess, film is inherently a collective effort to turn it into something about individualism is vanity, there’s an old saying in the hollywood about how a movie is made three times , in the writing then the directing and then in the editing. Even that might be too brief a description since a movie is made on the day to day over months to years and not by three people but those processes all change the final product absolutely.
@@Stevem I'm not sure. I don't really know what the work of a movie director would entail, but I assume it would be someone delegated by financiers and producers to bring a creative medium (movie, anime, tv show) into fruition. I agree that it is a mostly a collective effort, but not when the effort of one person is inherently more valuable than someone else down the ladder simply because s/he brings more to the project in terms of importance. You can replace the guy carrying all the equipment, but it would be very difficult to replace the director.
@@03e-210a directors are replaced all the time, or removed from control as the people with the money have final say, very common in Disney productions, solo lost it's original directors and they did reshoots, rogue one was completely redone in editing. countless and I mean countless marvel movies have replaced original directors during production. Has also happened on DC a couple times for different reasons say justice league or David ayer losing complete control in the editing and final production of suicide squad
@@Stevem Yes, not without much deliberation though. If you even compared the processes of replacing them, then there would be significantly more effort doing so than the person way down. The pool of selecting directors is much smaller too.
@@03e-210a it would be much effort to say replace entire department that went on strike like lighting or the screen writers, the simple fact about who is "easier" to replace doesn't really add or subtract to the collective effort which is film making. The producers would also really stager at replacing the leading actor and that is far rarer to happen than director no matter how difficult they are
Ultraman is cool af. I love the 90's trilogy Tiga, Dyna, Gaia
I believe in auteur theory because I like to value the work of any artist with strong vision, though of course any work of this scale is collective, and all the passionate people behind it must also be valued.
Also, I think it would be pretty hard to not argue that Hitchcock was an auteur, for example. Even without screenwriting credits in any of his films, he strongly worked alongside his writers in the screenplay.
well thats the issue, this idea of strong singular vision is an illusion that usually doesnt relate to especially the commercial animation and film landscape in the way it does for a painter or even a novelist where the term auteur comes from in french
@@Stevem This a complicated discussion, and it seems you lean more towards the Pauline Kael side than Andrew Sarris.
Also, the director is often the person leading everyone, making the final decisions, and so on. This doesn't devalue the work of everyone else. Said directors can be called auteurs, such as Kubrick, Hitchcock, Miyazaki, Satoshi Kon, Akira Kurosawa, Yasujiro Ozu, and so on.
@@Stevem I also say there is auteurship in cinema, though not to the extent there is in books, paintings or mangas. I remember your video on Nausicaa starting with Hideaki Anno's quote about the Nausicaa manga, when Anno stated that the Nausicaa manga is 100% Miyazaki, while in the movies your vision always get dilluted to an extent due to the amount of people involved.
This reminds me of Hitchcock saying that he found that the most rewarding part of filmmaking for him was pre-production. He worked very closely with the screenwriter to have a pretty much finished film before production began, cutting in his mind. But when it comes to the actual making and filming of the movie, Hitchcock said it was a more boring and unsatisfying proccess for him because you inevitably have to make compromises, and you lose around 40% of your original vision.
@@matheus5230 yeah those comments would kinda negate the idea of director as singular author then, rather they are the captain of the ship.
but im more interested in the fields of animation and toku here where i find it very garish to call anyone auteurs. A name director attracts talent no doubt about it but then they take that talent and it suddenly is credited to them. In terms of talking about animation those lens are not helpful as they are so far away from the actual production method
@@Stevem I have no doubt that Miyazaki is an auteur, Satoshi Kon too, Isao Takahata. And if we go back to the old days of american animation, someone like Tex Avery was definitely an auteur.
I agree that the medium of animation is so complicated that autership is even less clear-cut than in live-action.
Also, I wanna talk a bit about auteurship when it comes to Ultraman now that I think and understand a bit about it. Correct me if I'm wrong on defining auteurship in this comment (maybe what I wrote in this comment may not refer much to auteurship at all but it's something I like to share or rant hehe)
The auteurship problem also appeared a bit more prominently in the Ultraman fanbase but in a more negative stance. A show called Ultraman Trigger came out a few years back. The show was a reimagining or essentially a New Generation show that takes elements from a well-know Ultraman show called Ultraman Tiga, a show beloved by a LOT of fans even now, to attract more viewers both Tiga fans and new audiences.
Unfortunately, it failed spectacularly with the general audience and most people dislike Trigger and some hate the show a lot. However, I felt irritated that a lot of the criticisms comes with blaming the director and writer of Trigger who are Koichi Sakamoto and Naoki Hayashi because of Trigger's poor quality and performance and the worse part is that most fans that I have seen blamed these 2 people solely for Trigger.
I always felt that there is a lot more to what happened to Trigger that isn't 100% the responsibility of Sakamoto and Hayashi, from the many cut scripts of the show to the show's rushed pacing. I figured that the problem is more with the effects of COVID-19 and the production practice that occured in the show. I don't think most fans really focus on that aspect and maybe even ignored it for the sense of entertainment or satisfaction of blaming 1 or 2 prime staff members of a show for fun.
This is why I'm very fascinated with learning about the production of Tokusatsu works because the quality of those works depends on a 100 or more people involved. It can go wrong, not just from one staff but multiple staff and interferences and Trigger is likely one of them.
It's just heartbreaking to see Koichi Sakamoto and Naoki Hayashi's reputation to get tainted and bad mouthed unfairly without giving them a chance especially since I loved may of Sakamoto's work and Hayashi is starting to improve his writing.
Yeah productions can fail for a number of reasons that aren't strictly about show runners especially during covid I couldn't assume what went wrong without looking through some interviews but I doubt it's as clear cut as people would assume
Ultra Q (the precursor to Ultraman) was the jam.
I saw the movie that was cool!
Anno's life is the ultimate nerd story
God I love that smt soundtrack
it is a bop
Ah shit. I guess I gotta watch Shin Ultraman now. It's been on my backlog for a while but I don't want to get spoiled by this video.
youve got until about 3 mins ish in the video though its more essay than specifically about shin ultraman but i do talk a bit more about the inners of the film at the end
A dilemma fr. You know what so freaky about it, when I sat through the credits, my eyes did snapped to his name many a times because he was credited in so many sections. And some other already well-known artists like Sagisu Shiro. Unfortunately this is how thing sells I guess. Maybe similar to a superstar starring in big film, it's easy to have a figure in front projecting and attracting attention. Very much like a vessel for Ultraman, or the parallel you made about rejecting the great man idea. People who already had exposures previously via interviews or features, they are the hero figures. Perhaps it's crucial then we need to have more BTS content highlighting works of all kinds.
Well done video as always.
Oh did you see a screening with English credits, I mean there's always a lot of names on screen for sure
@@Stevem Nah I just remember his name and some others in kanji. That just shows how far auteurism affects me lmao
Anyone know the song that starts at 3:40?
Great video, also that auteur feel attached to the marketing and the status of Anno as a creative Genius i feel it for Hideo Kojima in the gaming world, which also develop like you say in the dicotomy "I hate him" or "I love him"
certainly kojima is an interesting guy but he absolutely plays up that hes so invaluable to the process, where in gaming thats even more heinous since the amount of people making of them likely pushes past the people on set here, i swear there was this article on RE 8 that talked about its success came from like quality control department and scheduling rather than anything to do with an auteur vision
@@Stevem Absolutely, and on the topic of collaborative arts the recently published "psychodyssey" from 2 Player Production was a fascinating window into what could really mean to get involved in the making of such a work
@@Darkfederik7 i saw the making of broken age video long ago i was backer back then maybe i should check those out too
It's so painful to watch fanboys talk about artists.
Nice! Gotta love the #UltraSweep
im not sure how well kamen rider is doing but im sure it will do similar to shin ultraman
@@Stevem It debuted at #2 so I have high hopes. also planning to buy the belt
@@IzzuddinRafli its a pretty sweet belt
@@Stevem you can hear the sound of a body going splat when you activate the finisher. beautiful
@@StevemFrom what I’ve heard it doing the worse out of the four “Shin” movies, people are either chalking it up to poor marketing, audience disinterest, or the mixed reviews between fans and the general audience; either way I’m still excited as a fan of the Kamen Rider series
its always burger time when we crack into a stevem
nice profile pic
@@Stevem u really think so
@@shoutxv absolutely
burger time
Congratulations Lenny
I was looking forward to (and was pleased with) Shin Ultraman specifically cause Anno wasn't the director. The poster for Shin Kamen Rider reached the top of r/movies (ugh) and the most popular movie centric subreddit were under the impression that Anno directed Shin Ultraman.
it's absolutely by design, like the twitter posting him doing the mocap or him talking about ultraman in the fireside chat or the release of daicons fan film at the same time in japan which higuchi was not involved in
is Higuchi going to forever be known by most people as the guy who directed those two live action AoT films...
@@Stevem it reminds me a bit of how Darren Aronofsky continues to this day to fail to correct the record that he never payed for his plagiarism of Satoshi Kon's work.
@@PepsiMan666 you dont have to pay for homage, to sue for a shot is a bold one, likely not something you could win in an american court neither. Although it's poor form from aronofsky to do so bluntly
@@IzzuddinRafli well he did shin gojira too hes the main director their also when it comes to on set
Nice
Very nice
This was such a cool video and I don’t know anything about ultraman, lols
to be fair before i made this video i didnt know that much either ahha
This was good though Weakest of the 3. Looking forward to Shin Kamen Rider
It may all be an ilusión
But God damm if can be a preaty one a that
most illusions are
My guy, I literally finished part 1 less than 2 minutes ago.
Letssss goooooooo
Didn't know Daniel Radcliffe had a YT Channel & Animates
I'm sure when tsubupro gets fed up with people associating anno with everything they're just gonna start adding "Tsuburaya productions Shin Ultraman" like what they did with Gridman and Dynazennon being thought of as a Trigger original production XD
Lol yeah I don't know how involved pro was on the trigger show, I had heard trigger first tried to get Ultraman but I don't know if that's true
@@Stevem Knowing some of the staff in trigger, I can believe they tried gunning for it. Makes me kinda sad ultraman Trigger wasn't an anime by them.
@@maxchaos44 yeah i think IG claimed the rights in the end but i havent seen their show
@@Stevem Netflix did if the other ultraman anime they announced is any indication
22:42 - what the hell? When did this happen?
🚨ANNO OUT-O!!🚨
fireside chat on amazon
@@Stevem thank you bb
GRATS LENNY
Wait you meant to tell me that they want to have Godzilla, Ultraman, Kamen Rider, and Cutie Honey be part of the same universe because Hideaki Anno is the director for all the reboots?
Man cinematic universes everywhere, i can't wait for the NFTs that will come out of this /s
not cutie honey unless he makes another one in like 5 years called shin cutie honey, theyre probs as loose as a cinematic universe comes since for copyright reasons they cant actually say any of them exists together the only connection point is one actor playing the same role in the bg
@@Stevem So you don't think the Shin Japan Heroes Universe could become an actual thing beyond marketing schemes? personally i don't like the idea, but they seem to be trying to make it a thing, what if they succeed and make Shin Nausicaa?
Don't get me wrong Nausicaa is my favorite anime from Miyazaki, so i would love to see a sequel or prequel, but making a reboot just to milk it feels wrong
@@Doomroar at this current point both higuchi and anno say there are no plans to make crossover films.
At least Anno treats the IPs with respect and care unlike an certain director *cough cough* Zach Snyder
Have you ever watched Angel's Egg?
ye
Everybody wants to be a Lenny.
Let's gooo
Ultraman is a Niche to the west but like Superman to Asia as whole.
You have to be the anime/film youtuber that does the most research for your videos.
haha its lucky I also have a retainer of all the stuff from the prior Anno video too
With the Tokusatsu genre being such an acquired taste that it's difficult to recommend, I can't help but appreciate the Shin movies as a point of entry. When I bring up Kamen Rider or Garo casually, they say "oh, it's like Power Rangers?" or give me funny looks and, I have to explain what makes those shows different and why it clicks with me. But I don't really convince them. Needless to say, having my friend go from watching out of context old Ultra Series clips for a cheap laugh to watching a feature lenght Ultraman movie because of Anno makes me very happy.
Like I say it does work its very easy to convince people to see the new anno thing over do you want to get into toku as a whole
Shin-Fooly Cooly
Not happening without the rights unfortunately
☮️
Love and peace
What do you think of Shin Kamen Rider..... When its released in the state atleast hl😅
i cant see it for a very long time i guess god know if it will ever come over here
@@Stevem update!!! The 1st 4 minutes of shin kamen rider is released by toei here in YT! Its hype AS F*CK!!
@@carloRX78K2 very cool I'll have to check later
My favorite conception of “auteur” theory is George Lucas’, which is that the director/writer needs to believe enough in the project to guide/encourage the legion of people that make a movie happen. I don’t think it’s a universal recipe for success, but it’s way more realistic than the popular conception discussed here.
That sounds like the directors job opposed to a theory of any kind, I've heard Suzuki refer to that as something like production coordinator in style
👍👍
👍
Yo new vid, who up
me lol
@@Stevem Based
it worked on me
let ggooooo
😮
Next vid when?
Soon maybe princess mononoke is in development
I hope this doesn't come out offensive (English isn't my first language), but this video was really hard to follow. I understand the point was critiquing auterism, but most of the arguments didn't seem on point to me. I mean, nobody can make a theatrical production on his own, and of course nowadays the author name has become very relevant for marketing. The same could be said, however, for important studios (i.e. Ghibli and Madhouse) or actor names in live action movies. That said, I believe most people realises the difference between the director and the whole orchestra.
I feel like I'm missing something here and would really appreciate a reply!
In animation there is little application of the lens auteurism, much of discussion of anno projects especially now relate soley to the narrative anno has built up there was a littlewhitelies article that came out a day after i finished this video that was nothing but that when it came to shin kamen rider, your assumption is incorrect id say i dont think most people understand how a production of either animation or film works happen. The hyper individualistic concept of individual choice(visionary creative) over everything else especially in states in quite predominant culturally. This video in part a response to my much longer video on annos career i went through a good 300 or so interviews during that time and the concept of auterism of the director was invasive and continuous and that's not mention the actuall fan response to certain pieces.
@@Stevem Well, I'm definitely missing the reading of so many articles/interviews. Thanks for clarifying. After reading your reply, I even remembered arguing about this topic with a friend about the work of Makoto Shinkai. I can see fans overestimating the role of directors, I just think it's quite common to look for "the face of the project". Don't you think the same applies, say, for people like Steve Jobs or Calvin Klein? Not to mention, this reasoning also works when big productions fail, and most of the blame goes to the director.
@@TheAmnesiac87 I think it's fine to have someone who does press for sure, but I don't really rate Steve jobs abusive behavior that is toted as genius.The director literally does not take the brunt in the age of twitter random staff animators are attacked for episode they didn't even animate on or with shin Eva khara had to put out a warning because staff members were receiving death threats and abuse after the film was released
Shin Macross when? Come on, the Shin universe needs a VF-1 Valkyrie!
Hmmm i can't see it happening hahaha
@@Stevem Yeah...same...that one might be above a Hollywood budget even