Can we all agree that he's the greatest anime director

>>154146884
Yeah sure. Shinbo and Ikuhara will never surpass him.

>>154146884
He's a great director, but everything he made after Oniisama e doesn't hold a candle to his earlier works.

I'd say that Ikuhara is the only director that surpassed him.

>>154150115
>but everything he made after Oniisama e doesn't hold a candle to his earlier works.
Black Jack was after Oniisama e, and that was very good imo.

>>154150115
>>154150251
And Golgo 13, which was also top tier.

literally who

>>154150115
None of Ikuhara's works can come close to RoV, Remi and Oniisama e though. Maybe Ikuhara is better than Dezaki's final works, but I don't think anyone can top prime time Dezaki. Takahata is probably close.

>>154150251
>>154150301
BJ and Golgo were well-directed and had great atmosphere and animation, but the writing was lacklustre compared to stuff like Joe and RoV.

Let's also not forget how the Clannad movie turned out.

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>>154146884
Can we all agree that Joe was his best?

>>154150362
>the Clannad movie
I still haven't seen it. I am doubtful it's as bad as people say it is though.

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>>154150372
That's a strange way to spell Rose of Versaillies.

Joe is only noteworthy because of AnJ2. The first season can really be a slog at points.

http://www.strawpoll.me/12454533

>>154150456
It's funny you say the because the first half of RoV can be a "slog" as well. Especially with all that du Barry shit.

>>154150545
Spending 7 episodes to introduce characters and their conflicts is hardly the same as it taking 20+ episodes for Joe to finally start his career as a boxer.

They could've covered Joe's experiences as a delinquent in half the time it took if only they made some cuts.

>>154150664
>7 episodes
I didn't even mention Rosalie, the absolute worst character in the entire show. Too much damn time was spend on her as well.

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>>154146884
How can he be the greatest if he's dead? Checkmate.

>>154150734
Rosalie's story was one of the highlights of the show. Watching her interact with Oscar and grow as a person because of it was great.

That's not even mentioning the death of Charlotte and her relationship with Jeanne.

I'm going to post an interview he did in 1998, it's quite interesting, I think you guys will like it:

ANIMERICA: How is it different to work on a girl-oriented show like Rose of Versailles, compared to boy-oriented shows like Lupin III and Golgo 13?

Dezaki: You know, I’ll admit that the first time I ever read girls’ manga was the time when I was asked to direct Ace o Nerae!. Up until that time, girls’ manga was rather similar to boys’ manga. A little before Ace o Nerae! came out, girls’ manga started to go into its own unique world and I stopped reading. I just happened to be working on Ace, so I asked for a copy of the manga. Then, I wasn’t sure if I could do it. After all, it’s the story about a high school girls’ tennis team and there’s the main character’s love interest, Coach Munakata, who’s dying with a disease. If you extract all these plot elements, you can still get good drama. But I still had to translate the indescribable atmosphere of girls’ manga to animation. I thought that would be a good challenge.

ANIMERICA: Was it the same with Rose of Versailles?

Dezaki: Actually, the only girls’ manga I’ve read are Ace o Nerae! and Rose of Versailles. But girls are more imaginative than boys, so their sensibilities are fascinating. I feel, as I work. Girls aren’t all these effeminate entities that are crying all the time, as we men might think. They have terrifying sides too. (LAUGHS). And they have strength too, and that’s something I’d like to depict. It’s easier to get more imaginative about the unknown. For example, there’s a manga by Ryoko Ikeda called Oniisama-e. When I directed the Animé, Ikeda told me that I knew about women better than most women. I wonder about that.

>>154150900
ANIMERICA: Which manga artists and animators have inspired you?

Dezaki: The obvious inspiration was Osamu Tezuka. Tezuka had a strong envy for the movies. He was a manga artist himself but it seemed he always wanted to get into animation, and he tried to bring a sense of the movies into his manga. So he spent a lot of energy tackling the issue of pacing and timing in the print medium. In that sense, since he’s already deceased, I don’t think he was able to accomplish everything he wanted to do, but what he aspired to do was wonderful. Besides him, the logical development from Tezuka was Takao Saito. His style is more realistic. My favourite is Tetsuya Chiba –when I worked on Ashita no Joe, he certainly gave me advice as the manga artist, but he really has a great sense of the visuals and of time. I think he’s the first one who tackled that issue seriously.

ANIMERICA: Conversely, have you noticed any animators who have been inspired by you?

Dezaki: That’s not something I can say, but there are a lot of animators who worked under me and are on their own now. I want them all to be doing well, but I shouldn’t really name them. After all, in our line of work, everyone is competition, even one’s own proteges. I don’t pretend to think I taught them. We’re all rivals.

>>154150910
ANIMERICA: Do you still watch animation and read manga?

Dezaki: I don’t really watch much, to tell you the truth. I see movies, I’ve liked movies and documentaries for a long time. And I’d like to take something like that and see how I can arrange it in my own style.

ANIMERICA: Do you have a favourite manga?

Dezaki: I happen to have very few. I like Bicycle Thief. And you guessed it, it is an European movie. I don’t know if it’s recent, but it’s good. I like old movies too. I like movies that are old but can’t be made into movies under today’s system, probably. This one came out a while ago, but L’Amant (released in a censored US version as “The Lover” in 1992) has a place in my heart. And this one I just happened to catch on satellite, but The English Patient... that was also good. It was good, but if you think about what is was about, it doesn’t necessarily make sense.

ANIMERICA: Do you incorporate a consistent theme in all your movies?

Dezaki: Maybe just being anti-authority.

ANIMERICA: So basically, you take on something new each time.

Dezaki: Yes, I do that, although depending on the audience, they might say I keep on doing the same thing. But I’ve been taking on a lot. I think it’s all about what freedom is and what it means to live.

ANIMERICA: Do you have a dream project, a project that you want to do the most right now?

Dezaki: Moby Dick Legend is my original work, so I can’t move on without finishing this. But stories like the Monkey King, that has many ways to interpret it, I would like to work on it with my own arrangement.

ANIMERICA: So a story that’s been around for awhile. If you go to the route of tales indigenous to Japan, you’d probably end up with Kojiki or Nihon Shoki.

>>154150919
Dezaki: Perhaps. But if you tried to animate that, it’d turn out very differently. Beside that, It’d like to animate a novel that’s successful only in that form. A lot of novels today, like Tanaka’s, are really text descriptions of visual scenes, aren’t they? I don’t consider those real novels. There are worlds only describable with words, aren’t there? I’d like to visualize that. For example, Machi Tawara’s haiku, or the haiku of Hosen Ozaki. Osamu Dezaki has his famous No longer Human, but he also wrote 20th Standard Bearer, and it’s not visual at all. It’s the novel that goes “I’m sorry for being born”. I’d like to try with animation the transvisuals.

ANIMERICA: How about animated James Joyce?

Dezaki: James Joyce, the poet?

ANIMERICA: Well, the Irish writer...

Dezaki: Ulysses?

ANIMERICA: Yes, Ulysses.

Dezaki: That would be fun.

ANIMERICA: Would it be possible?

Dezaki: I think it is possible. My take is that anything should be possible with animation, although that’s beside the question of whether it can be done well. If you tried to make a rhyming poem or a haiku or a song into a visual work, it might be easier to start by filming live humans, but I think you’d immediately hit a wall. I’m thinking that animation is the work of human drawings, and it’s still in the realistic period, but it’s starting to get into the impressionist period. I consider myself an impressionist. Just a little further down the line, animation’s bound to start getting abstract. Animators will really have to start thinking about the meaning of humanity. I think it could be done. I’d like to head that way, regardless of whether or not I’d be able to accomplish it myself. It’s nothing complicated. It should be possible to make an entry into that field with only easily understandable props. It’s not like get into art.

>>154150928
>ANIMERICA: Would you feel rivalry?

Dezaki: I probably would, at the loss of my opportunity. And it might turn out to be a good production too. But that’d be the time I know it’d be for me withdraw.

>ANIMERICA: So for you, Ashita no Joe and Rose of Versailles would be those types of works?

Dezaki: They might be so. I keep on thinking that Ashita no Joe is still incomplete, and I keep on mentioning that whenever I have the chance to mention it in my columns. I’d like to depict Joe’s boyhood, I mean, what was Joe Yabuki doing before he showed up at Namidabashi?

>>154150940
>ANIMERICA: How does it compare to be successful in Japan and to be building a reputation overseas?

Dezaki: I don’t think I’ve had success in Japan, so I can’t really tell what that’s like. But if I lose the place and chance to be able to make the works I want to make, that’s the end of it in our line of work. When I finish a work, it’s like I’ve made it through the preliminaries and can make it to the next round. And so that’s why I’m working on my current project so hard. For example, I might want to correct 300 cuts in Golgo 13. If I don’t, I may not be able to go on as a creator. That’s the kind of persecution psychology I put myself into and make those corrections no matter how much I’m told not to go back. Of course, I have the audience in mind too, but I’d be the one most embarrassed to send it out as it. Of course, there’s a limit to it, because of budgets and schedules, but within those constraints. I’d like to leave proof that I did my best. If I don’t do that, I really think I won’t be able to work on my next project.
My line of work is like drafting the blue prints but if I started to believe that none of my plans would be fully realized, I wouldn’t be able to draw more than what I knew could be realized. I’m most afraid of that. So if I worked on a project and showed myself that I strived two steps or even just one step further, I’d still be in the frame of mind to be able to make the next film. It was even tougher when I was young, I often thought that there'd be nothing left for me but to take my life after my current project. If I were going to die, then I’d naturally have to do my best on that current project. That might be an antiquated attitude these days. I share it a little now, but now it’s the attitude that you can afford to fail because there are other opportunities.

>ANIMERICA: So you will strive forward until the end.

>>154150952
Dezaki: That’s right. It’s really so. After all, you can’t tell what’ll be tomorrow. If you can’t affirm what you’ve achieved now, you can’t move on. And so you think you’ve been striving that way. But, you know animation is a group effort –the environment is tough if you want to push your ego in front. I pity the young animators today in that they’re told “you’re making a product”- remember that, “from the people who have the money or who are in management. They might want to do things their way, but they’re told “There’s no way you can do that”. Those who don’t listen to that get twisted and drop out. Eventually, they lose any place to go.
When I was young, I went to some animation festival. I forget what it was called, but they showed animated works five to six minutes long and exchanged critiques. Back then, those were the people considered to be animators. We were making shows like Tetsuwan Atom, and so I thought, no, they are experimental artists. Our real work has to be shown in the context of what goes on TV –that’s where pros had to do their work. Sometimes, I feel discouraged and get the temptation to go into experimental films, though. But I haven’t.

>ANIMERICA: Osamu Tezuka made those kinds of films.

Dezaki: But he made both kinds, didn’t he?

>>154150963
>ANIMERICA: Is that the ideal form, accomplishing both?

Dezaki: I don’t think so. I don’t think what Osamu Tezuka did for his experimental works had any feedback into his professional works. They were just the beginning. Anyone could produce a short subject given ample time. But I think one should use a lot more staff under the same conditions and make a movie or an animated work or what not. That’s when the expression finally matures. One person can take on a lot of projects, and there certainly are good works of that nature.
I often bring it up, but I sure would like to work that way for a short feature. Maybe just 52 minutes. Or just 26 minutes. Not that it’s possible. But if you pursue that sort of venues further, you could find a medium of expression without spending a stupid amount of money. There is no point in doing a Sunday-project type of work. If we’re not at work 365 days a year, there’s no point in calling ourselves professionals. After all, if we worked on something just on special days and tried to impress people, you couldn’t say what I do on all the other regular weekdays. It’s not something I like too much.

>ANIMERICA: Did you watch the TV show Evangelion?

Dezaki: Just a little.

>ANIMERICA: Just a little?

Dezaki: Towards the end, that show certainly becomes experimental. I think that’s fine but I don’t think it is the right kind of experimental.

>>154150971
>ANIMERICA: What kind of advice would you give to a young aspiring animator?

Dezaki: I can only say, do it if that’s what you love. Don’t be trying to get good reviews from others or believe that you could do better if only you got those. I don’t think you can continue if you don’t love to draw and enjoy animating. You know there are many young skilled artists. It’s a visual culture out there, so there are lot of manga out there too. I know a lot of young talent, but they can’t make it. Animators are expendable, so it’s tough. And you can’t do everything yourself. You have to collaborate with others. And you still have to show your individuality there. It’s very tough. You have to love it to make it. And those who can persevere will gain their aims. Some of us love it because it’s so tough, of course.

>ANIMERICA: That’s more like the type of person who can make it, rather than advice.

Dezaki: We’re that entire kind of maniacal people. If you pursue something all the way, I think it becomes fun. Also, a creator needs have wide knowledge. You have to explore widely and accumulate experience, even if it’s only in your head.

>ANIMERICA: In that sense, maniacs tend to have narrow and deep mindsets.

Dezaki: Well, it’s necessary to be deep, but depth has no meaning if you don’t have the width to go along with it. That is, it’s good to see a lot of things and make conclusions. It’s different from liking something just for the comfort. You have to be able to persevere through nothing but discouragement. I’d tell someone he’s no good, not to negate his entire person but as a means to encourage him to try hard but he bends there. It’s scary that there are so many people who bend so easily too, so I’ve become hesitant to say that, I’d think it wouldn’t be good not say it, so I’d say with much trepidation, but it’d still do no good.

>>154150984
>ANIMERICA: So young people these days are different in that regard?

Dezaki: In some ways, it’s something to pity. The only thing in their minds is to avoid ridicule or to avoid being different from others. If we didn’t want to be different from others, we’d be out of work. We’re loathed to be the same as others, so perhaps only those who want to be different from others should enter our profession.

>ANIMERICA: It’s very tough.

Dezaki: Very tough, I’m sure there are young people today with incredible perseverance, but in my day, we’d consider the worst –we’d consider it, but do our best not to fall there. People today consider only the best, and they can’t go on if they deviate from that just a little. Many are able to work hard under the best conditions. I may be speaking a little badly here, but many don’t try to persevere. I think it should be the reverse.

>ANIMERICA: I’d think you get stronger by overcoming things.

Dezaki: That’s why they all disappear before any discouragement hits. They must be afraid of discouragement. It might hurt, but you can’t really recover from something if you don’t face discouragement in the first place. The real point is in making the recovery, but they run off to avoid discouragement. They don’t experience hardship. Like avoiding having girlfriends just because they hate breaking up.

>ANIMERICA: I’m sure some young people are like that.

Dezaki: Well, that’s a sad thing. It’s sad to be dumped, but you can’t let that stop you. So you don’t want to show your embarrassing moments.

>>154150994
>ANIMERICA: Finally, do you have a message for your fans?

Dezaki: As I mentioned earlier, I’d like to keep on making wonderful works and entertaining works as I learn what good drama and human relations are. Of course, I should try for new things too, but these are the things I’d like to continue doing, so I hope you continue to enjoy what I make.

>ANIMERICA: Will you ever go back to Rose of Versailles?

Dezaki: I’m sure I’d make something different if I were asked to work on it.

>ANIMERICA: Thank you very much.

Dezaki: No problem.

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>>154150456
I admit I didn't care for kids and inmate antics but the good parts of first season are my personal Dezaki #1.

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>>154150971
>Towards the end, that show certainly becomes experimental. I think that’s fine but I don’t think it is the right kind of experimental.
ara
I think I agree with him there about NGE.

>>154151008
>I’m sure I’d make something different if I were asked to work on it.
What did he mean by this?

>>154150848
No way anon. Rosalie was fucking annoying, I could care less about that storyline, except for Jeanne. I felt Rosalie had way too much screen time, even Ikeda had to write her out of the manga because she was so unpopular.

>>154146884
Absolutely. There's really no question.

>>154150994
This hurts.

>>154151172
Probably that he'd try another perspective or style.

>>154150928
>ANIMERICA: Yes, Ulysses.
>Dezaki: That would be fun.
I am mad that this never happened.

>>154151008
BTW here's the source.
http://aceonerae.dreamers.com/english/ace_ar01.htm

>>154146884
I can agree with that. It's too bad most of /a/ probably has never even seen a single thing he's directed.

>>154151044
Even the greatest anime man of all time thinks Eva is shit. How can Gainax fanboys still defend Anno?

>>154150900
>it’s the story about a high school girls’ tennis team and there’s the main character’s love interest, Coach Munakata, who’s dying with a disease
>tfw S2 still isn't fully subbed.
True suffering.

>>154152562
get over yourself

>>154152863
No.

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No

>>154152991
His only noteworthy talent is animation, and even then he's not great.

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>>154146884
Nope. It's always going to be this guy for me. There's no doubt in my mind that if he wasn't doing anime and instead did live-action movies, his name would be in the same conversation as the greatest Japanese directors of all time.

>>154152991
Stop with this meme.

>>154153078
Kon is great, but I don't think his legacy is long enough for him to be called the greatest.

>>154150919
>Dezaki: Moby Dick Legend is my original work, so I can’t move on without finishing this
This was an importatn anime to him? Interesting, I've been meaning to watch it for a while now.

>>154152991
Not even close