- James
Wednesday 30 May 2012
M.A.C. Of Mad, BBYB, Cybergrind Gabba DnB Goregrind Party . Liverpool
- James
Sunday 27 May 2012
An interview with Koichi Ohata
Thanks to Ryohei Miyaji of Japanese VHS Hell a year or so ago, I was able to contact rogue anime gore-manipulator and mecha designer Koichi Ohata, director of the fond-around-these-parts M.D. Geist, Cybernetics Guardian and Genocyber OVAs amongst other works that have kept him active over the years. Ohata agreed to answer several questions and was even kind enough to provide an autographed sketch of Geist. Having been something of an infamous figure in anime over the years, this brief interview should hopefully shed some light on the man's influences, background and interests.
How did you begin your career at age 19? Was working in TV anime restrictive and how did you feel seeing your designs animated?
K.O.: When I was 18, I had set out to Tokyo in aiming to become a sci-fi or fantasy comic artist, but a colleague of mine advised that there may be more action in production plans for SF anime. From there, I created my own project and took it to production companies, but the person who reviewed my sketches and designs introduced me to the job of character designing for TV anime instead. That era was the boom of robots and mecha triggered by the original Mobile Suit Gundam, so science fiction-esqué visuals were in high demand. After seeing how my initial designs came to life on the screen, I was a bit disappointed in how the animator put their own spin on things.
You have been involved in many projects as a director, designer and animation supervisor, with other work in storyboarding, scripts and series composition. What is it like to have been involved in so many different areas with different types of people?
K.O.: Continuing my work in television anime, I began to develop a desire for starting my own production plan, fully utilizing my own original SF ideas and mecha characters. As a result, M.D. Geist was made. I believe that thanks to it, contribution requests increased from those who’ve praised my ability of successfully materializing an original project. I greatly strive to have others understand the intent behind my creations, but there are some who don’t share similar outlooks. I’m always troubled in communicating with the staff.
In the past you have worked with Gainax and Sunrise, with directors such as Hideaki Anno, Yoshiyuki Tomino and Kazumi Fujita, what was it like working with them? How did they differ from other directors or from your own style?
K.O.: Whenever I’m a part of the staff in a someone else's creation, I answer to the director’s demands. Even when I personally disagree, I still prioritize their requests. Some directors will at times not show a clear intention, but in such cases, I create a number of patterns, and have them choose from it.When I’m in the chair though, I would already have things that serve as the base for the story pre-prepared. Recently, I’ve even begun taking pictures for references and not only sketches.
During your work as an anime director, what did you think of the OVA industry? Was the episodic format of something such as Burst Angel comparatively better?
K.O.: With OVAs, I can concentrate in making each one, so controllability is easier, but the downside is that the production time is longer, requiring more perseverance. With anime series, the schedule is tight, so I narrow down key elements and leave the rest to the episode staff. Because of this, general flexibility is valued. Burst Angel was the show that taught me the difficulties and enjoyment in creating an anime series.
You use lots of demonic imagery in your works, is there a particular inspiration behind all of this? Do you have many influences?
K.O.: The monster films I watched as a child have had an influence, but I've also been very fond of the skeletons of animals and insects. Living creatures with a creepy form interest me, as do intimidating shapes and sinister atmospheres.
How have you felt about music in your productions? How did the band Trash Gang come to do the music for Cybernetics Guardian?
K.O.: I envision my favorite soundtrack from a movie, and issue a request to the composer. “Trash Gang” was a recommendation from the music director at the time, but the album they already created fit the image of Cyguard, so I used it.
Aside from anime, you have also worked in live-action movie productions. Can tell us about your experiences? What was it like compared to working on an animated product?
K.O.: I’ve directed two live-action films. “Ghost Boxer” is a horror flick about a boxer who died from excessively cutting weight coming back as a zombie, killing fatsos. “Mega Ladies” is more or less a junk picture featuring aliens who invade Earth fighting against a ladies pro wrestling tag team. For CG anime, BIOHAZARD 4D EXECUTER (a motion ride movie), DOA3, Ninja Gaiden (the opening cinematic for those two), and the opening for the online game: Tantra are the ones I’ve directed.
I understand you are a fan of horror movies, are there any other types of movies you are a fan of?
K.O.: Aside from horrors, as work-wise I often tend to watch historical classics, yakuza themed, kung fu, and gun action types. However, I do take interest in cult movies like El Topo also. Even though it’d have nothing to do with the piece I frequently view human dramas and comedies, too. A genre unlikely for me is musicals.
You have written two books on films; can you tell us some of the details of these books?
K.O.: The title is “Sekai Tohoho Eigagekijyou” (lit. It's a Tohoho Film World) and it’s released in two parts. Contents introduce videos of poor films such as “Inframan” and “El Santo” with illustrations.
Are you still in touch with various people you have worked with?
K.O.: Whenever a project is finished, most end their association at that point. With those that I found were easy to work with, I contact them personally and ask them to join the staff. Currently, I’ve not worked with Riku Sanjo, but we do occasionally meet up to eat.
What do you think of the anime industry today?
K.O.: That’s a well asked question, but with each generation, the situation and stature changes, so I can’t say much about it. Though the fact that whatever the DVD consumers desire are being emphasized today is something that cannot be denied. Of course, that doesn’t constitute much for the creator on whether that is good or bad.
Do you think you will make something again that is similar to your old productions? Would you ever want to remake one of your old OVAs with a longer story?
K.O.: As a personal wish, I would like to do it, but titles like M.D. Geist may be a bit hard-pressed on the T.V. code. I believe it would be more suited for OVAs.
Finally, how do you feel about your old and new work overall?
K.O.: The creations I’ve made in past and present are all a part of my body; ergo I can’t think with them separated from thought. Personally if there’s any chances in the future, I’d want to make a omnibus SF fantasy animation similar to Heavy Metal.
Anti A.D. would like to personally thank Mr. Ohata once more for taking part, Ryohei Miyaji for making this possible, VF-Kun for question contribution and Yuta Baba for assisting in translation.
- James
How did you begin your career at age 19? Was working in TV anime restrictive and how did you feel seeing your designs animated?
K.O.: When I was 18, I had set out to Tokyo in aiming to become a sci-fi or fantasy comic artist, but a colleague of mine advised that there may be more action in production plans for SF anime. From there, I created my own project and took it to production companies, but the person who reviewed my sketches and designs introduced me to the job of character designing for TV anime instead. That era was the boom of robots and mecha triggered by the original Mobile Suit Gundam, so science fiction-esqué visuals were in high demand. After seeing how my initial designs came to life on the screen, I was a bit disappointed in how the animator put their own spin on things.
You have been involved in many projects as a director, designer and animation supervisor, with other work in storyboarding, scripts and series composition. What is it like to have been involved in so many different areas with different types of people?
K.O.: Continuing my work in television anime, I began to develop a desire for starting my own production plan, fully utilizing my own original SF ideas and mecha characters. As a result, M.D. Geist was made. I believe that thanks to it, contribution requests increased from those who’ve praised my ability of successfully materializing an original project. I greatly strive to have others understand the intent behind my creations, but there are some who don’t share similar outlooks. I’m always troubled in communicating with the staff.
In the past you have worked with Gainax and Sunrise, with directors such as Hideaki Anno, Yoshiyuki Tomino and Kazumi Fujita, what was it like working with them? How did they differ from other directors or from your own style?
K.O.: Whenever I’m a part of the staff in a someone else's creation, I answer to the director’s demands. Even when I personally disagree, I still prioritize their requests. Some directors will at times not show a clear intention, but in such cases, I create a number of patterns, and have them choose from it.When I’m in the chair though, I would already have things that serve as the base for the story pre-prepared. Recently, I’ve even begun taking pictures for references and not only sketches.
During your work as an anime director, what did you think of the OVA industry? Was the episodic format of something such as Burst Angel comparatively better?
K.O.: With OVAs, I can concentrate in making each one, so controllability is easier, but the downside is that the production time is longer, requiring more perseverance. With anime series, the schedule is tight, so I narrow down key elements and leave the rest to the episode staff. Because of this, general flexibility is valued. Burst Angel was the show that taught me the difficulties and enjoyment in creating an anime series.
You use lots of demonic imagery in your works, is there a particular inspiration behind all of this? Do you have many influences?
K.O.: The monster films I watched as a child have had an influence, but I've also been very fond of the skeletons of animals and insects. Living creatures with a creepy form interest me, as do intimidating shapes and sinister atmospheres.
How have you felt about music in your productions? How did the band Trash Gang come to do the music for Cybernetics Guardian?
K.O.: I envision my favorite soundtrack from a movie, and issue a request to the composer. “Trash Gang” was a recommendation from the music director at the time, but the album they already created fit the image of Cyguard, so I used it.
Aside from anime, you have also worked in live-action movie productions. Can tell us about your experiences? What was it like compared to working on an animated product?
K.O.: I’ve directed two live-action films. “Ghost Boxer” is a horror flick about a boxer who died from excessively cutting weight coming back as a zombie, killing fatsos. “Mega Ladies” is more or less a junk picture featuring aliens who invade Earth fighting against a ladies pro wrestling tag team. For CG anime, BIOHAZARD 4D EXECUTER (a motion ride movie), DOA3, Ninja Gaiden (the opening cinematic for those two), and the opening for the online game: Tantra are the ones I’ve directed.
I understand you are a fan of horror movies, are there any other types of movies you are a fan of?
K.O.: Aside from horrors, as work-wise I often tend to watch historical classics, yakuza themed, kung fu, and gun action types. However, I do take interest in cult movies like El Topo also. Even though it’d have nothing to do with the piece I frequently view human dramas and comedies, too. A genre unlikely for me is musicals.
You have written two books on films; can you tell us some of the details of these books?
K.O.: The title is “Sekai Tohoho Eigagekijyou” (lit. It's a Tohoho Film World) and it’s released in two parts. Contents introduce videos of poor films such as “Inframan” and “El Santo” with illustrations.
Are you still in touch with various people you have worked with?
K.O.: Whenever a project is finished, most end their association at that point. With those that I found were easy to work with, I contact them personally and ask them to join the staff. Currently, I’ve not worked with Riku Sanjo, but we do occasionally meet up to eat.
What do you think of the anime industry today?
K.O.: That’s a well asked question, but with each generation, the situation and stature changes, so I can’t say much about it. Though the fact that whatever the DVD consumers desire are being emphasized today is something that cannot be denied. Of course, that doesn’t constitute much for the creator on whether that is good or bad.
Do you think you will make something again that is similar to your old productions? Would you ever want to remake one of your old OVAs with a longer story?
K.O.: As a personal wish, I would like to do it, but titles like M.D. Geist may be a bit hard-pressed on the T.V. code. I believe it would be more suited for OVAs.
Finally, how do you feel about your old and new work overall?
K.O.: The creations I’ve made in past and present are all a part of my body; ergo I can’t think with them separated from thought. Personally if there’s any chances in the future, I’d want to make a omnibus SF fantasy animation similar to Heavy Metal.
Anti A.D. would like to personally thank Mr. Ohata once more for taking part, Ryohei Miyaji for making this possible, VF-Kun for question contribution and Yuta Baba for assisting in translation.
- James
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