Back in June 2007 I was working on a piece about an exhibition of artwork by the Studio Ghibli animator Kazuo Oga. Sure, I could have gone in and chatted with this giant of the anime world, but with my crazy schedule, the easiest way to get things done was to email some questions. Here is the result of the interview with everything translated into English.
Liddell: How did you become a background artist?
Oga: After I graduated from design school, by chance I saw an ad that said, "a person who likes painting". I saw that ad and that was for animation.
Liddell: What do you think about the Ghibli animation firm?
Oga: Each director has his or her own background, which makes it very rewarding. The finished movie is just a hard work to draw, so it's a blessing for people who do background paintings.
Liddell: What is the most memorable scene in your work for Ghibli?
Oga: In "My Neighbor Totoro," the picture of the bus stop in the rain with lights on in the dark, and a picture of rain falling in the bright hours, bending sideways to the right of the camphor and cedar trees. Two paintings with roads. As for an animated film, I would say "Heisei-era Raccoon Dog War Ponpoko."
Liddell: Why do you like "Ponpoko" the most?
Oga: Because I took a walk around the Tama Hills Park, which is my living area, and drew it with a sense of gratitude to my cherished place. Not only was I able to draw the four seasons, but I was also able to draw the transitional process of each season, which is not normally depicted in other animation works."
Liddell: What do you value or struggle with when drawing background images?
Oga: Since it is necessary to draw a large number of background images, it is necessary to draw them in as little time as possible. To that end, it is necessary to make the points and characteristics stand out simply by omitting and emphasizing in a good way. It's good when you know what you're drawing, but if you don't know what you're drawing and you don't have a clear image of what you're going to draw, you'll end up with too much detail, and you'll have a hard time, drawing too densely. In such a case, try walking on your own feet to see the actual scenery.
Liddell: Finally, where did your passion for background art come from?
Oga: I have always liked walking and looking at scenery, so I couldn’t be happier than drawing pictures like this became my job. I am grateful that animation has its own terrain, if you don't recognize that and do your best, you'll end up getting hurt, so I draw with that kind of feeling.
Oga: Each director has his or her own background, which makes it very rewarding. The finished movie is just a hard work to draw, so it's a blessing for people who do background paintings.
Liddell: What is the most memorable scene in your work for Ghibli?
Oga: In "My Neighbor Totoro," the picture of the bus stop in the rain with lights on in the dark, and a picture of rain falling in the bright hours, bending sideways to the right of the camphor and cedar trees. Two paintings with roads. As for an animated film, I would say "Heisei-era Raccoon Dog War Ponpoko."
Liddell: Why do you like "Ponpoko" the most?
Oga: Because I took a walk around the Tama Hills Park, which is my living area, and drew it with a sense of gratitude to my cherished place. Not only was I able to draw the four seasons, but I was also able to draw the transitional process of each season, which is not normally depicted in other animation works."
Liddell: What do you value or struggle with when drawing background images?
Oga: Since it is necessary to draw a large number of background images, it is necessary to draw them in as little time as possible. To that end, it is necessary to make the points and characteristics stand out simply by omitting and emphasizing in a good way. It's good when you know what you're drawing, but if you don't know what you're drawing and you don't have a clear image of what you're going to draw, you'll end up with too much detail, and you'll have a hard time, drawing too densely. In such a case, try walking on your own feet to see the actual scenery.
Oga: I have always liked walking and looking at scenery, so I couldn’t be happier than drawing pictures like this became my job. I am grateful that animation has its own terrain, if you don't recognize that and do your best, you'll end up getting hurt, so I draw with that kind of feeling.
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