BONES Studio Tour

...continued from previous page

Bones President Minami Masahiko.

Van and Hitomi in the Escaflowne Movie.

We were met by the president of the studio, Mr. Minami Masahiko (whom longtime EX readers will remember from our interview in Issue 2.7). As we exchanged greetings, there was suddenly a loud burst of laughter from a group gathered around a conference table. We had come in during a COWBOY BEBOP movie planning session and things were getting a little out of hand.
Mr. Minami suggested that we go to a café down the street so we could talk more leisurely and without interruption.
The café was a café straight out of BEBOP. Well, maybe not. There were no bounty hunters, space ships, or bar fights while we were there, but it certainly did have a very unique flavor to it. Not quite European, not quite Japanese, but a combination of various influences, much like Bones' work.
After ordering some refreshments, we got right down to business and began talking seriously about the anime industry, his leaving Sunrise, and of course—the movie versions of ESCAFLOWNE and COWBOY BEBOP.

EX: When we last talked, you were at Sunrise. What prompted you to leave and start your own company?

Minami Masahiko: Well, that certainly is a difficult question. Part of it has to do with one's way of thinking. Sunrise is a big company, so being a producer, one can't do everything. You're just a part of the system. But I wanted to be more involved in the entire process. And at Sunrise, you had to consider the entire company, not always the production first. I wanted to be more face-to-face with the creators and the clients. And so the best way I thought was to be independent.
Also, I was thinking that at age 37, this is the right time to be independent. But it's very difficult. Reality bites sometimes, as they say.

EX: How do you feel about the increased use of computers?

MM: It expands the ways we have to express ourselves. We're looking for the balance between the good side of traditional and CG animation. CG and digital are good for creators because they provide new means of expression for their visions.

EX: What would you like Bones to be in five years?

MM: I want to do an original production from Bones. We already have some things in development.
I want us to be putting out new, original things. Not in terms of five or ten years from now, but always putting out new shows for viewers to watch. Whether its robots, shoujo, comedy, or horror. Although horror is out of style now, though.
We've actually got a new show in production. It's called HIYOU SENKI. The character designer is Osaka Hiroshi (V GUNDAM) and the mecha are done by Ishigaki Junya (one of GUNDAM WING's mecha designers). The director is Amino Tetsuro (MACROSS 7).
It's set in the end of the Edo/Bakumatsu period in Japan. There are these eight-meter tall "robots" called mechanical dolls. They use springs and baleen (from whales) for their motors. And these festival carts change into these mechanical dolls. It's going to be 26 episodes and starts at the end of July.

EX: Which is easier to do, 13 or 26 episodes?

MM: Well, for a thirteen episode series, there's so much energy required for the background, setup, and world view. I don't think it's enough. But 26 episodes is more efficient. With 13 episodes, it's too short, you can't do side stories or character stories. You just follow the main story and that's it.

EX: What about 52 episodes?

MM: Well, it's not impossible (laughs). But it's tougher in other ways. The production is very long. A year long show is a lot of work, so oftentimes it's split into two shows nowadays. Also, sponsors aren't always very willing to put up money for such long productions anymore.

Suddenly, I look up from my notes, and there is Mr. Kawamoto sitting across the table from me. He had arrived in the middle of Mr. Minami's last answer and I hadn't noticed until just now.