Yasuhiro Imagawa interview - CNAX 2006 event.

Yasuhiro Imagawa interview
First off, the staff of Gunota Headlines would like to thank Silver Khosla for giving us the opportunity to submit questions to Yasuhiro Imagawa, director of G Gundam. The submitted questions were asked by Mr. Khosla and translated by Takayuki Karahashi, a well known translator in the anime/manga industry. Mr. Imagawa was a guest at the recent CNAX 2006 event.

Q) When you first signed on for G Gundam, you thought you’d be directing a traditional Gundam series. Was there a preliminary, unused story plan for a war-type Gundam series before you found out it would be about the Gundam Fight?

A) Yes. The name was Polcarino no Gundam (sp?). An Italian name.

Q) There have been various stories over the years about how sponsors (Bandai, etc.) or staff members have influenced or changed the original plans for an anime in production. On a given anime, exactly how much influence does each of these parties have relative to one another, especially on something like Gundam?

A) Back when G Gundam was made, previous Gundam series were too much for children, too sophisticated. Toys sales were a bit sluggish. G Gundam was created to appeal to children. That’s why the Gundam fight was conceived. It was more interesting and not a war story.

Now these parties are more specific and have more pull. For an example, today’s producers are older and more specific in what they want to bring in higher ratings. Producers are somewhat equal in thinking with creators.

Q) Are you satisfied with G Gundam’s place in the long history of Gundam?

A) I'm very happy with G Gundam’s place in the history of Gundam. Especially since it’s considered heretical. I feel it’s a success since some people actually want to erase G Gundam from the history. (laughing) It just goes to show how much people think about it.

Q) Several of your works seem to leave themselves deliberately open for sequels (such as the 'See You Again Gundam Fight 14' message at the end of G Gundam, and Giant Robo setting the stage for the final battle between the IPO and Big Fire.) Was this done in hopes of encouraging other people to step up and try their hand at the ideas?

A) That is not the case. For example, with the Gundam Fight, it was done in jest. I wanted to capture the Olympic spirit.

In Giant Robo, it was meant to show that the world still goes on after within the context of the story. G Gundam fans can speculate on their own. That’s why it’s great that individuals with their own views can speculate and use their imagination.

Q) Many of your works have Chinese influences. Where do you draw your inspiration from?

A) The "Legend of Condor Heroes" novel.

Q) You were initially placed in charge of the OVA "Getter Robo: The Last Days On Earth". However, after the first batch of episodes, you were reportedly replaced. How much would you say the rest of the series differed from what you had had in mind for it?

A) It should be a very different story. The reason for leaving was a very long story and unpleasant. So I didn’t want them to use my idea and I hope it turned out inconsistent. Only the first three episodes reflect my ideas. If you pay attention, you can see that there are embedded plot developments in the first three episodes that are not resolved that I didn’t let them use.

Q) The animation industry in Japan seems to be stagnant while in China and Korea, there looks to be a comparative amount of growth. What are your thoughts regarding the situation?

A) I concur. The biggest reason I feel so far is the Japanese industry has stopped nurturing their own talents.

Q) Japan is quickly becoming the leader in robotic technology. How much inspiration do you think anime & manga has given Japan’s current robotics industry?

A) I think anime & manga has given a lot of inspiration. Just look at Tetsuwan Atom (Astro Boy in English) and Gundam. It has given notions of how to progress in robotics.

Q) Do you have any involvement in the newly-announced Giant Robo anime?

A) None. I have started a new Giant Robo manga that is independent of that.

Q) What’s going on with your Tetsujin 28 movie? And can you talk about any other current projects you might be working on?

A) The Tetsujin 28 movie has been completed but shelved. It was finished last September but however it is not a good movie. It was a troubled project from the beginning. These troubles are reflected in the film. Currently, I’m scripting Souten no Ken and Bartender. Also, there are other projects for next year which I cannot disclose at this time.

Q) Do you have a dream project you would *like* to work on?

A) Yes. In fact, two titles now are close to dream projects. It might be mentioned in magazines now if you research it. As you may have noticed, I am shifting from directing to scripting.

Again, we would like to thank Mr. Imagawa, Mr. Khosla, and Mr. Karahashi for allowing us to post this.

Source: http://aeug.blogspot.com/2006/09/#115846513271697487