Can we all agree that Anno is the best director working in the industry right now?

Can we all agree that Anno is the best director working in the industry right now?

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He's a good live action director.

Where's the last Rebuild movie you fucking hack

I can't agree because he's not working in the industry right now. I do like his style a lot though.

Do you really want to... experiment another of those?

Anno should direct an ultraman show, that was his inspiration for a few of his stuff.

Not while Yamada's still around

As far as comedies go, I prefer Masahiko Ohta.

Not even the best Kyoani director

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Oh thou of little faith. Hast thou not learnt the Master will deliver? He playeth ruses with thee.

Shin Godzilla was extremely heavy on japanese social commentary. It was way too much and needed at least one other Godzilla scene.

>Yamada
>best director

Anno is one of those directors who just understands when the shot is perfect for the mood he wants to create. He's incredibly talented in arranging a shot full of melancholic spirituality. Yes, he's the best, I understand him.

>Anno
>working

Why do people like Yamada? She's not the best Kyoani director by any measure, and she doesn't even deserve female points, since there are better female directors in the industry too.

Preview of one of the BD extras.

She is one of the most avant garde directors in the industry, and her works are pretty obviously well-directed.

There's nothing avant-garde about her directing. Her visual lexicon is as basic as they come, you may argue she uses her limited vocabulary to great effect, but that's it.

>K-On!'s huge focus on character animations and adding a huge amount of original content
>K-On! movie reusing the same ending as the TV series
>Tamako Love Story, despite having the same staff as Market and being a direct sequel, changed the art style and character designs
>Koe no Katachi's unique OST
She's avant garde as fuck.

Kirari is too big to be an idol

Anno? more like ANUS

>Yamada
>avant-garde
>user thinks lack of substance is the same as avant-garde

>K-On!'s huge focus on character animations and adding a huge amount of original content
>K-On! movie reusing the same ending as the TV series
>Tamako Love Story, despite having the same staff as Market and being a direct sequel, changed the art style and character designs
None of these are avant-garde.
>Koe no Katachi's unique OST
She did not compose the music for the movie.

All of those were risks and goes against general practices. Hence, avant garde.
Even Anno didn't go as far as stringing in the ending from NGE TV into EoE despite being the same narrative of events. Its completely different.
>She did not compose the music for the movie.
Actually she worked very closely with the composer BEFORE the movie was made. Hell, at times the movie was made to fit the OST rather than the other way around. As well as other decisions like putting the mic inside an upright piano so every little sound is picked up.

Those practices are not that uncommon (they already existed on western animation, anime movies and previous Kyoani productions) nor were they pioneered by Yamada. And even if they were, those points have little to do with cinematic language and the actual art of filmmaking.
>Hell, at times the movie was made to fit the OST rather than the other way around
This isn't anything new, Kimi no nawa did the same thing, and I'm sure you wouldn't say the work of Shinkai is avant-garde.

>Those practices are not that uncommon
My argument is that Yamada herself is avante garde, not her works in themselves. K-On!, Tamako, and KnK aren't necessarily avant garde works in themselves, but she takes risks, and her works are refreshingly interesting. You know you are going to get something different than anything ever produced before with each work. She makes decisions that would make producers shit themselves. Just look at Liz and the Bluebird. Its a freakin Hibike spin off, but you wouldn't think that from the PV art and the German. She isn't even using the Hibike brand to advertise her own movie.
>Kimi no nawa did the same thing
Commissioning a popular band to make a few songs then placing them into the movie isn't the same as animating a scene to the tune of a piano, so that each key pressed matches up to a certain character action.

post your favorite Hideki Anno work

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Posting the patrician choice youtube.com/watch?v=PCVg49Ff9m4

>My argument is that Yamada herself is avante garde, not her works in themselves. K-On!, Tamako, and KnK aren't necessarily avant garde works in themselves, but she takes risks, and her works are refreshingly interesting. You know you are going to get something different than anything ever produced before with each work. She makes decisions that would make producers shit themselves. Just look at Liz and the Bluebird. Its a freakin Hibike spin off, but you wouldn't think that from the PV art and the German. She isn't even using the Hibike brand to advertise her own movie.
Fair enough, although I think 'avant-garde' isn't the appropiate term.
>Commissioning a popular band to make a few songs then placing them into the movie isn't the same as animating a scene to the tune of a piano, so that each key pressed matches up to a certain character action.
Come on, I didn't even like Kimi no nawa that much, but saying the montages weren't made to suit the songs of the film is just lying.

>isn't the same as animating a scene to the tune of a piano, so that each key pressed matches up to a certain character action.
karice.wordpress.com/2016/11/18/p533/
>Over half of the episode required storyboards that were drawn in sync with the music—this is the densest episode in the entire Macross series, in terms of singing. Singing, movement, dialogue, sound effects—putting all of those together was like assembling a 3-D puzzle. It was really difficult trying to make it balanced (chuckles). Instead of watching an anime, I think it’s like you’re hurtling along through space itself.
Frontier TV had shitton of absolutely fantastic songs. Lion, Northern Cross, Seikan Hikou, Diamond Crevasse and many many more. When you have so many great songs which one do you pick for a final battle? You pick all of them, put them all into a seven and a half minute long medley and then sync all the action with the music.
Avant garde?
No. It was just cool as fuck.
There was zero risk in it. It's one of the oldest anime/film making tricks in the book. Just like there was no major risk in anything else you mentioned.

Yes, he wasn't full of shit like many thought. He is a good director that takes some pretty good shots and angles. He still sucks if the people he is working with aren't talented themselves, cause he is a pussy push over that settles for what people throw his way.

bump

Anno Godzilla is a armlet

No, because he hasn't worked in the industry as a director in 13 years.

>at times the movie was made to fit the OST
O
MY
UNDERAGE

This is nothing new.

>Commissioning a popular band to make a few songs then placing them into the movie
FLCL did this way before

The music was made before the film
In Koe no Katachi they were made in tandem with each other.

Is that picture on the right real? Those eyes look ridiculous.

Yes. He evolves throughout the film, his final form is way more intimidating.

He's been shit at animated stuff after the Eva TV series ended but he's god-tier at doing live-action.

He was a better animator than director.

End of Eva is fantastic.
The half of Kare Kano he directed is the best romcom ever made.
Re Cutie Honey isn't really good, but it was pure. Just a small passionate team making whatever the fuck they want to make. It was one of the last things to have the proper Gainax spirit.

>The music was made before the film
>Actually she worked very closely with the composer BEFORE the movie was made.
So what's your point then? Syncing movie to existing music is nothing new. And "working in tandem" is the most common shit possible. That's how majority of OSTs are made.

>That's how majority of OSTs are made.
No?
Generally the animation is made before sound. They brought in Ushio way early into the production, which is unusual.
My point was the OST played a key narrative role, much more than any anime I can think of except for perhaps Lain, but even then the OST itself contained a message in Koe no Katachi that the visuals alone wouldn't convey. It wasn't a supplement to enhance whatever was happening, it was the KEY part.

He's not really working in the industry right now. I'd say the best are Yamada followed by Yuasa.

>attributing the work of the director of photography to the director
>pretending cinegrids mean anything in general

Framing is the director's job, so praising the director due to the composition of some shots is perfectly valid.

>Generally the animation is made before sound.
For TV anime it is always the opposite. And even if you're talking about anime movies only there are more than enough examples of OSTs being made before the animation. KnK is nowhere even close to being unique in that regard.

>My point was the OST played a key narrative role, much more than any anime I can think of except for perhaps Lain
How about ?

>It wasn't a supplement to enhance whatever was happening, it was the KEY part.
It wasn't. I don't even remember the music from KnK. I searched for "koe no katachi ost" on youtube, listened few tracks and I couldn't recognize anything. But I do remember Radwimps songs. In terms of emotional impact they are not even comparable.

Radwimps eh

>How about
That was only a specific sequence
>In terms of emotional impact they are not even comparable.
Like I said, its not supplemental. It does play a huge role in emotional impact, but it even goes farther than that.
For example, during the scene when kid Ishida and Shouko get into a fight, a happy tune plays because its a happy moment, not an angry or tense one.
Or when Shouko breaks down and apologizes to Ishida's mom, a healing tune plays rather than a sad one.
The OST itself has a theme of looking past the surface. That fight isn't a tense situation, its two kids finally communicating with each other. That scene with Shouko apologizing to Ishida's mom isn't a sad moment, it's a relieving moment for both mom and Shouko.

since Kon has been dead for a long time, why not?

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>That was only a specific sequence
You should really watch Frontier before talking anything about it.

>For example, during happy moment a happy music plays! And during healing moment healing music plays!
Holy fucking shit, 10/10. TEN OUT OF TEN! Avant garde! Masterpiece! No one has ever before played a happy tune during a happy scene! And no one ever played healing music during healing scene! Are you just new to anime in general?
Another example. Anohana. The last episode, everyone is crying, everyone is apologizing, yet the music is not sad. What a fucking surprise! The music is actually inspiring and healing. The ending theme Secret Base which played during that scene is in top 200 best anime songs of all time according to NHK poll. Because that song perfectly hit that scene. And that's why everyone remembers that song. No one remembers anything from KnK. Its OST sold literally nothing. So I'm not the only person who found its music completely bland and forgettable.

Hideaki "The absolute madman" Anno?

user you're misappropriated anger is throwing you into an autistic fit

No, but maybe one day he will produce a work halfway as good as Ikuhara's

Ikuhara is butt

Ikuhara is butt Anno wants

>not AHHHH NOOOO

>Shin Godzilla
>anime
Anno doesn't make anymore. He's a live action director.

Looks like anime to me.

Isn't Anno back working on 4.0 atm?

>3D live action
>anime
That's like saying Bay Transformers is anime.

He's definitely one of the best cinematographers in the industry, and an excellent director in general. I'll hold out judgement on his writing skills until 4.0 though.

>Evangelion
>Cthulhu-like abominations disguised as mecha
>Shin Godzilla
>Cthulhu-like abomination disguised as Godzilla

Is there anyone else who does monster reveals as good as Anno? His creatures always seem bad enough at face value, but then he manages to crank up the horror in ways you don't quite expect.