![]() While he managed to storyboard Storyboard (絵コンテ, ekonte): The blueprints of animation. That caught the eye of important producers, hence why he found himself in a position to take his career to a whole new level by directing Howl’s Moving Castle at legendary studio Ghibli precisely the company that he had failed to join prior to working with Toei, and one he would never have better luck with.Įver since the start of the project, Hosoda clashed with a studio fundamentally built to appease the whims and needs of its two iconic leaders. By that point, a young Hosoda was already experiencing propulsive growth as a director at Toei Animation, evolving from a newbie episode director to an admired project leader in a crazy span of just a couple years. To understand this parallel, we have to return to the beginning of this story, which in this case means the year 2000. In the end, the film that feels closest to Pompo is One Piece: Baron Omatsuri and the Secret Island, and by extension its director Mamoru Hosoda works with no similarities at face value, with essentially no direct creative links between directors, and yet they share something rather profound. It’s also not those by the other directors whom he openly cites as influences, nor those that he more quietly draws from. While Kon’s influence on Hirao endures to this day, especially in his understanding of time and space as an artificial fabric to cut and sew at will, it’s not his movies that first come to mind while watching Pompo. Given that Pompo was directed, written, and fully storyboarded by Takayuki Hirao, it would be sensible to assume that I’m referring to the works of his first mentor in the industry- Satoshi Kon, one of the greatest filmmakers who have ever blessed anime. ![]() That alone should serve as a recommendation, but if you’re looking for a more concrete pitch, Pompo happens to feel very similar to a highly regarded film by one of the most beloved directors of our times. Fans will not want to miss this comprehensive account of one of today’s most talented and prodigious animators.Mamoru Hosoda and Takayuki Hirao, Pompo the Cinephile and One Piece Baron Omatsuri and the Secret Island: two of the most brilliant anime filmmakers used their personal misfortunes to fuel very entertaining movies, processing their darker feelings through lively animation.Įiga Daisuki Pompo-san, localized as Pompo the Cinéphile, was one of the most wildly entertaining anime movies in a 2021 chockful of wildly entertaining anime movies. The book showcases not only full color illustrations but also rare rough sketches that provide an illuminating glimpse into Sushio’s creative process. The illustrations from EVANGELION merchandise for the movie will amaze fans as never-before-seen rare works of Sushio. This book also features Sushio’s illustrations of AKIRA: two original illustrations depicting the imaginary post-AKIRA world, which was officially approved by Katsuhiro Otomo himself, and two illustrations taken from Otomo’s tribute book. It features notable works from Kill La Kill, Gurren Lagann, Momoiro Clover Z, along with a panel illustration of Anime Matsuri 2015, his work overseas for an annual anime convention held in Texas, and much more. This book is his long-awaited first commercial collection that looks back over his career to date. ![]() After drawing animation for many renowned anime series and movies such as One Piece, in 2013 he did the character design of the internationally big hit anime series Kill La Kill which took him to the pinnacle of his career. Sushio is a Japanese animator and illustrator who started his career as an animator at studio Gainax working their world-famous TV animation series Neon Genesis Evangelion (1995). The complete collection of today’s most talented animator.
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