Post anime films on par with the best of cinematography

Post anime films on par with the best of cinematography
Hard mode: no Oshii

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I miss him.

Bungaku Shoujo

>you will never see the last project he was working on

Shit

Easy mode: no Oshii

You have to be delusional to think Oshii isn't a great director.
Although I do agree I don't think that's a hard mode, to find other directors better/on par with him.

Great is a strong word.

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Kon was an amazing technical director, framing, color theory, compositions. Whereas Oshii is much more a visual poet, symbolism packed in everything he does. Really a matter of what you value more.

EoE

Explain paradox spiral, I've come across so many that hail it as one of the best stories ever yet can't even explain what is in the film. All seems like babbel trying to sound smart.

>not accepting that Oshii is one of the greatest directors to ever live
GITS, Patlabor 2, Angel's Egg, Jin-Roh, Beautiful Dreamer, with the acception of a few flops he only produces absolute masterpieces.

Truly one of the greatest.
youtube.com/watch?v=oz49vQwSoTE

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The Tetralemma is a spiral that closes in on itself, and dissolves reality with it, and in the process only then can Ultimate Knowledge be known, or the lack of it. A Tetralemma is a Buddhist mental scape, starting with a Proposition, and expounds on the possible truth-values of such propositions. Commonsensically a Proposition has only two truth-values, that of Truth and Falsity. There are two more. The value that verifies both Truth and Falsity, and the value that denies both. The negative Tetralemma, then, is the spiral that, after dissolving reality, wraps around on itself, and extinguishes itself into the more than unknown.

We can consider Kara no Kyoukai, and for that matter the works of Kinoko Nasu, to be based around a Tetralemmic structure of reality, which compounds into an Aegis that denies the postulate while simultaneously affirming it. The form, for example, of Male and Female, juxtaposed onto each other into monstrosity, then it acts upon itself to deny itself of the Male, and returns to the Female. But there is a side that denies both, and that is the Boundary of Emptiness, oblivion, and the deep hole of Nothingness that lies on the other side.

Likewise the Tetralemma, the self-denying spiral, that takes its roots between affirming and denying itself, balances the world, although, as many in their cowls and robes would state, the entirety eventually falls into that state of Sunyata which none can escape and the no-self is the reign. Any concrete truth, as Araya is soon to realize, is a falsity, even the one that states that concrete truth has to be denied. That is the nature of the Tetralemmic consumption. Which is why a Counter-Force acts against Araya, even though the latter seeks to affirm the Tetralemma.

The greatest anime director who ever lived, Yamada.

what's with Sup Forums's hate-boner for Yamada?

memories

Sup Forums loves Yamada. Don't listen to contrarians.

you're delusional if you think this looks good

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All I gleamed from this is that it's a set of dichotomies. Things that "are" and "are not". That seems to be such a broad concept with no concrete meaning or intrinsic value. Unless you'd say the value is there and also not there, which is fucking stupid.
I genuinely think Nasu is a terrible writer and he doesn't understand half of what he makes.

Oh boy, I sure love chromatic abberation and blur: The Director.
Not even the best director at KyoAni.

Kyoani is pretty mediocre.

Kyoani is pretty shit

They have a few good scenes now and then. There is much worse stuff out there.

only posers care about studios

It's not about the studio, it's about the director you fucking retards.

This. I don't understand why Sup Forums is so obsessed with studio wars.
The only thing needed for a good show/film is a a great director + good writing.

The directors of Kyoani are pretty mediocre then.

MindGame is pretty great. Can't wait to see Lu and Otoko

0 wallpapers per microsecond

Ishihara is a good director. Not amazing, but good enough for feel-good/drama films.

Cagliostro has some really nice shots throughout, but I love the opening credits segment.

Yeah, that's why OP started the thread with just films.

Me too. Yuasa really is top-tier.

Yuasa is the Yuasa of our generation. What a time to be alive.

Honneamise

Hey, while you are at it would you explain that Alana-Banana thing to someone who doesn't know anything about Buddhism.

ban posercore

Man, the station ticket scene. God that was good.

>anime
>good cinematography
Lmao

pseud

Why are you posting on Sup Forums right now?

Haha anime can't be an artistic medium haha all anime is shit amirite guys? So fanni animation has no value

You kinda seem to agree with me here.

>director plans the project
>director decides how much money is going into the project
>director decides who to outsource to
>director does the marketing and advertising
>director decides who will be working on the project
>director tells everyone how to animate
>director animates
>director does the key animation
>director does the in-betweens
>director does the backgrounds
>director does the CG
>director does the character design
>director takes the reference photos
>director writes the script
>director makes sure the project is done in time
>director casts the voice actors
>director makes the music
>director picks which popular musicians will be involved in the project
>director does the audio mixing
>director always has full creative control over project
there are some directors that indeed do a handful of these tasks, but you're fucking retarded if you think they're the only ones who are important

An anime can have all of the things you've just mentioned, and yet still be utter shit because the director/writers are trash.

holy fucking shit it's like you read all that with your brain off

Nothing of that is cinematic or even good directed, just nice backgrounds.

Space Adventure Cobra
youtube.com/watch?v=BvcUHphENxk

The director directs. His job is to coordinate all of the things that involve the actual production including most of the things you listed. He is the guy who holds all of the pieces, whatever they are, and decides what to do with them. If your director has no creative vision then it doesn't matter how much money you put into him.

UH what? I'm not wrong though, the director/writers are the most important part to the project. They are the determining factor.

You do know the director makes all the decisions about the things you've just listed though, right?

yeah, Dezaki is the master.

do either of you even know what the fuck a producer/production company is?

I really hope you aren't implying the producer is the key to a film's success.

The producers decide where to invest their money. They have the final say but most of the time they are not artists. They just want to make something that sells.

>Things that "are" and "are not". That seems to be such a broad concept with no concrete meaning or intrinsic value. Unless you'd say the value is there and also not there, which is fucking stupid.
This is pretty much an accurate description of Nasu's writing

>Satoshi Kon is dead

You're wrong

For you

there is no fucking "key" to a film's success. there are roles that are more important than others and "director" is indeed one of those, but if you remove multiple people from the project, you've already made it several times worse. the producer is only one of them, and in case you didn't fucking realize it, without a producer, not only do you not have a director, you have no project.

that's a stupidly common oversimplification of the process. the director is indeed supposed to have control over artistic ideas, but they have absolutely no say in managing the business. the producer may indeed have no interest in making something that sells, but at the end of every anime you see something different but similar to a producer, a "Production Committee". these people supervise the creation of the anime, and have full control over everything, so much that directors like the moron Yamakan have complained about this publicly. there is no reason to assume that these people do nothing but give money to a series, because if they really wanted to make money, they're going to have a plan to make money that's more complex than "toss money at people".

>they're going to have a plan to make money that's more complex than "toss money at people"
Yeah, the plan is actually "hire competent people and then toss money at them".
We are talking about artistic value in this thread, not about business.

I never realised before this thread but those who are obsessed with just directors can be just as obnoxious and ignorant as those who still think anime is made by studio X like it is one homogeneous being.

But in most productions the producers actually have significant input into the end product in the artistic sense. You are going to have to be a pretty important name to get complete artistic freedom. Even Oshii has complained about being unable to get his projects funded in anime.

Nice grammar.
The ones who aren't just shitposting about it are victims on the worst thing humanity has gone through since its inception, tribalism. It is incredibly easy to falsefalg any side into oblivion even more so on an anonymous image board. You have extreme examples in sports, videogames, and just about everything about consumerism. Letting this shit on Sup Forums screams crossboarder, the shitposters take advantage of it since it's so easy.

The obvious directors would be Miyazaki, Takahata and Kon. I really like Oshii, but I wish he did more outside of genre stuff.

why has no one posted the best looking anime film of all time?

Studio wars have been part of Sup Forums for like eight years now

>But in most productions the producers actually have significant input into the end product in the artistic sense.
I don't disagree with that. There are many factors. Everyone from the producers to the inbetweeners is important for the quality of the final product.
But it's a director's JOB to coordinate the creative output. If the producers are going to veto everything he says then they might just as well fire him.

The final look and feel of the work largely depends on the creative vision of the director. If a producer doesn't like that vision they should better hire a new director.

Producers, directors, animators all leave their mark on the final product but their input is different.
We are discussing directors right now.
Are you trying to say that directors are not important at all for the final quality of the product? That directors don't have their trademarks and are fully controlled by the producers.

Directors are important and have their own style, just like studios, just like individual animators. What's wrong with discussing any of those?

Wish he got to work on more movies and OVAs.
youtube.com/watch?v=nLzjm9E1hwg

Does Sup Forums like Metropolis? It's nice animation porn.

It does look good. Didn't like the movie, but I plan on rewatching it.

The point being made was that a director can have all the vision they want but it's never going to amount to anything without the right people in the other positions. Nobody is downplaying the importance of a director here just stating that there are plenty of other important determining factors such that saying "it's not the studio that matters it's INSERT ANY POSITION HERE that matters" is a gross oversimplification.

If you take Flip Flappers as an example the show is unmistakably Oshiyama. However the idea started off as a kind of space opera where the two girls would go through portals and explore worlds. Then it changed to different dimensions because of Space Dandy basically having literally just done that. The producers requested that the whole action battle, transformations and weapons thing was added in having a huge influence over the style of the show. Then the writer had to be changed midway through and so on. A lot of things are going to be outside of the directors control in something as complex as anime production.

Does it have anything to do with Fritz Lang's 1927 Metropolis? Because I love that movie

>flip flappers or space dandy
>space opera
retard

Not in any meaningful way, I think it was inspired by like, the poster for Lang's movie as opposed to the movie itself.

I'm using the directors words for what the original idea was and never said Space Dandy or Flip Flappers were Space Opera shows.

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Tfw End of Eva makes less and less of an impact on me the more films I watch
It used to be my Magnum Opus of favorite films, now I'm not sure if I still love it.

It's inspired by it. Worth watching for some of the best animation you'll ever see and a really nice old school art direction.

Well, I also disagree with the guys that say that the only thing that matters is the director. I was just saying that the director is very important for the majority of the things you listed and in particular how they work in the final product.
For example a producer can say "No, we want this super popular voice actress to voice our main heroine" but the director decides what to do with this voice actress in order to make her fit in his project.

If you are in for the retro futuristic aesthetic you might like it.

It's garbage, especially next to the original.

>Oshii
He takes source material and makes it worse. People praise him because he pumps a ton of scenery porn into things. Angel's Egg was great but that's it.

That's an extremely lame take

But the first Patlabor movie is the best part of that franchise

I feel bad that you don't connect with Oshii's amazing films. The visual porn isn't just nice scenery, it's layered symbolism. Whether about existentialism, society, or freedom. Never take anything from someone like Oshii at face value.

Yeah sure, given starting conditions X from a producer how the director runs with that is going to be up to them that doesn't negate the obvious influence on the final product the producer is having though. And further to that the directors idea for what to do with that could just be rejected or changed. A director doesn't just get told make this and then get left alone to do as they please. The amount of intervention thereafter is going to entirely depend on the production, producers involved and director.

i liked the first movie a lot, but i wasn't enjoying it for about the first third of the movie. i also hated the second movie, although that's probably because i went into it expecting a Patlabor movie and came out having gotten something entirely different. Early Days is my favorite because i loved every almost every episode.

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> robot childrens movie
> on par with the likes of the sopranos

The best directors of anime

Didn't reall like the movie. The series is way better and the VA of cobra too

>golgo the professional

My favorite movie right there.

what's the first one in tomino's row ?

I absolutely loved the second film. I didn't care for the comedy in Early Days and the first film just felt like a more climactic, longer episode. Movie 2 is such a departure, skipping climactic fights in favor of slow dialogue and character drama. Theres also the entire part with it being analogy about Japanese society at the time and freedom but that's another discussion.

>Post anime films on par with the best of cinematography

Well that's easy-

>no Oshii

Goodbye

its all style no substance. i'll admit tho thats usually not enough to keep me watching but i ended up finishing this bc everything about the world was so fucking cool

>all style no substance meme
Opinion discarded.

The movie was fairly generic in story and characters were paper thin. Animation was godlike enough to keep me watching it.