A Quote by Mamoru Oshii
If I really feel that I want to shoot live people and live backgrounds, then that movie will become live-action. If I don't have any particular actors I want to use, I'd probably consider animation for that project. Which medium I use doesn't really make that much difference to me.
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Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.
I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.
You must give what will cost you something. This, then, is not just giving what you can live without but what you can't live without or don't want to live without, something you really like. Then your gift becomes a sacrifice, which will have value before God. Any sacrifice is useful if it is done out of love. This giving until it hurts - this sacrifice - is what I call love in action.
People ask me, 'Did you ever want to be a live-action Peter Parker?' Are you kidding me? These actors live in a gym and wear really uncomfortable tights for 14 hours a day. And it's not like you're doing some very fun acting. Shooting is a real drag. Then you do press for five months? I don't think I could get it.
I only want to do good projects. I want to make good decisions. If it's just a dumb movie, then no, I'd rather stay in school. But if it's a movie worth telling and that I think I would really benefit from, then I would like to do it. And that's one of the reasons I still live in Colorado. I love being with my family and going to school, and then when I come out to L.A., that is the time to be in the movies. People ask me the questions, I do the promotion work, then I get to go back home and live my life.
I don't understand people who just live to exist, live to be OK. Live to be regular, live to be average. It doesn't make any sense to me. I live to be the best. I don't live to be good. You only get one life, and I live to be great. I live to be special.
If I'm shooting actually a live-action movie and I feel like I can get the shots that I need with the existing 3D cameras, then I see there is no reason to not use those-to not shoot it in 3D. But there are limitations to the 3D cameras in terms of the amount of them, in terms of the size of them, in terms of where you can actually shoot them. There are definitely limitations so you have to weigh the costs. And you have to weigh also what ultimately what creatively you want to get.
Cookbooks hit you where you live. You want comfort; you want security; you want food; you want to not be hungry and not only do you want those basic things fixed, you want it done in a really nice, gentle way that makes you feel loved. That's a big desire, and cookbooks say to the person reading them, 'If you will read me, you will be able to do this for yourself and for others. You will make everybody feel better.'
When I'm making a movie, it's making use of my creative juices, and it fills me up with what really is - I think my purpose here is to tell stories. When I'm not, then I really have to learn how to live life and make use of the time properly. I'm not always great at making those decisions, but when it comes to working, my time is totally taken up. I have no option except to get up early in the morning and to work on that movie and to finish. But I take that with a pinch of salt, because I also love my time off.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
There's a big difference, I discovered, between wanting to die and not wanting to live. When you want to die, you at least have a goal. When you don't want to live, you're really just empty. That's the point I was at before I was able to make.
I'm not a movie star like other actors in the way that I need to walk around with a bodyguard. My goal is just to get some interesting parts and make enough money to live free. Otherwise, to be a movie star, it's a lot of compromise and also a lot of headaches. You can't do what you want. You become a prisoner of your fame. This happened to me in France and I don't want it. I want to go to the terrace of a café, have a coffee. I have no problems with the fact that people recognize me, I'm very glad about it, but to be a movie star is kind of unreal for me.
If you want to live in Tennessee, God bless you, I wish for you a long life and starry evenings. But that is not where I want to live my life. I want to live my life in Carthage, in Athens. I want to live my life in Rome. I want to live my life in the center of the world. I want to live my life in Los Angeles.
I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
Very few people view stop motion the way we do. We really try to use it - and animation generally - as a powerful visual medium by which you can tell virtually any kind of story in any genre.
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