OKADA: The difference I see
is that it's becoming merchandise-based. And if they see
something wrong with it, they don't have this burning
sensation inside of them to basically say, "Well, if I made
it like this--" For example, if you watch RANMA 1/2, and
say, "Well, there's something wrong here, but if I made it
like *this*, it's going to be like this..." But I don't see
that burning sensation as much in the United States or Japan
as I did back in 1983 or 1985. What I first started learning
in my high school years, when I saw STAR BLAZERS, UCHU
SENKAN YAMATO, it was like, "If I had made it like this, it
would have been like this." So there's not too much of that
anymore, so I guess it's like, "Oh, well, then, I guess
everybody's happy--that's fine, then."
PANEL: We're going to have two
more people--I have them here...and we'll get to them,
Okada-sensei. What I would like to know is your relationship
to Shigeru Watanabe when you planned out THE WINGS OF
OKADA: Ha! O.K., O.K.
Interesting question. You know Shigeru Watanabe?
AUDIENCE: I'm not familiar with
OKADA: Right now, he's an
executive at Bandai Visual. And he still has a religion: he
believes in Mamoru Oshii, just like Jesus Christ [PRAYS TO
HEAVEN]. In those days, in 1983 or 1984, he asked of
everything to Mr. Oshii: "Is it good, or is it bad?" And if
Mr. Oshii said, "Oh, it's good!," so Mr. Watanabe would
think, "Oh, it's good, it's good, I must make it, I must
make it!" And then I told Mr. Watanabe, "I want to make this
film, THE WINGS OF HONNEAMISE," and he thinks, "I think it's
a good idea, but I can't decide if it's *really* good.
So--just a moment, I must go to Mr. Oshii's house" [RUNS IN
PLACE; LAUGHS]. And Mr. Oshii says, "Oh-- it's interesting!"
So, he thought, "It's good, it's good, it's good!" [LAUGHS]
And it's a very powerful motivation for him, inside. So, he
works very hard, and gets a very large budget for our film
from the president of Bandai. So Mr. Oshii, he is a very
good person for me, or for Studio Gainax, but...but...it is
very strange to say, "Maybe it is good, but maybe it is not
so good." It was a religion. But just now, Mr. Watanabe,
he's come out of his brainwashing. So, he sometimes says:
"Maybe...maybe, *maybe*, Mr. Oshii is sometimes wrong."
PANEL: We have a last
AUDIENCE: Some people say that
the late '70s and early 1980s were sort of a golden age of
Japanese animation. And some people say that that golden age
is over. What do you think?
OKADA: That period, that golden
age you're talking about, is when there were variations--a
golden age of variations. And then, for expression of other
elements, it's the 1980s. For U.S. science-fiction, the
1950s were the golden age of expression, and setting the
stage for that were the 1930s. In the same terms, in anime,
the time for time for setting up the variations were the
1970s, and the golden age of expressions and new ideas were
PANEL: That's about all the
time we have for today, or in this room--I want to thank you
very much, Mr. Okada, for coming, and speaking to us. I know
you have an autograph session [DOUBLE TAKE]--tomorrow.
OKADA: [RELIEVED] I know, I