![]() Not a complete 180, but it did get changed quite a bit to become the Psycho-Pass that actually happened. There was actually another Psycho-Pass before, or another Psycho-Pass planned before the one that actually got made and that got changed quite a bit. which is what made us want to do something like that again. At that point there wasn't anything like that around. Although it did exist in live action as well, there were some action scenes you could only do in anime. There were some things in there that you could only do in anime. They dealt with some complex issues and hard issues. You couldn't just sit there, sit back and watch them. There'd been things like Ghost in the Shell, things that made you think. Where as when I was younger there had been. There wasn't anything dealing with social issues in this way, with the police society and that kind of thing. When we started making Psycho Pass, 4, 5, probably 6 years ago there wasn't anything like that around in Japan at the time. Were you surprised at the success of Psycho-Pass? That's not to say that I couldn't do a love story now! I do try to take on work that suits my age and my stage of life. Back then I don't know if I could have created that world convincingly. I think I was probably too young and I've learnt a lot since then. I think if I tried to do a sort of crime story in my twenties I don't know that I could have done it justice. So my world view has gradually broadened. Then moving onto the dystopia of Psycho-Pass I turned towards society and relations with other people. Then with Oblivion Island I sort of broadened my view to not just to a couple, but to a family and what happens in a family. Tokyo Marble Chocolate was the first thing I directed, I was 28 I think and for good or bad at the time I was young and quite idealistic and I wanted to create a romantic happy love story. You've directed children's movies, a more romantic story in the form of Tokyo Marble Chocolate, and the dystopian Psycho-Pass, is it drastically different working on all these different features? Plus with 2D the more you make the more it costs, because you have to pay per picture. It's a different starting point, they're both interesting and sometimes something will work in 2D, but not in 3D, and sometimes it'll work in 3D, but not in 2D. So with 2D they really are moving pictures and you're trying to make them fun and cool and amazing, but with 3D you're moving a character that already exists. So with 2D they're drawings, so you have each drawing, each picture, but with 3D the character already exists. It's hard to explain, it's a different mode of expression. In a way they're not so different, but in another way they are different. How does animating a 3D CGI feature like feature like Oblivion Island compare to a animated series like Psycho-Pass, which is mainly has a traditional 2D feel, with CGI enhancements? through Ghost in the Shell and Patlabor so I thought I'd give it a go. I liked Ghibli Films, like Hayao Miyazaki's Totoro and Kiki's Delivery Service and I knew about I.G. It's hard once you get in! But I thought I'd give it a go. I loved drawing as a child and I loved manga, anime, films and it's quite easy to get into animation in Japan. How did you first get into the animation industry? Not only did it make for an interesting interview, Nes managed to find some interesting insights into the series that many fans may have not been aware of! So we sent in Nes who cosplayed as antagonist Makishima while interviewing Mr Shiotani. Rather than sending our editor to interview him, we wanted to send in a Psycho-Pass super fan. The good folks at Anime Limited arranged to the director over to the UK just in time to promote the UK home video release of the Psycho-Pass Movie. Working for Production I.G, he's directed a few titles including the hugely popular dystopian future anime Psycho-Pass. The MCM London Comic Con is always great for anime guests! This time around at the October 2016 event on of the anime guests of honour was Naoyoshi Shiotani.
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