We laid out images in detail at early stages of our meeting.

Based on the conte, I asked Hosoda san which part is done in CG and what kind of images he had in mind. To create the CG scenes I asked a lot of questions such as atmosphere of OZ and what kind of avatars he had in mind. After careful discussions, I started to understand the feelings he had towards his work.
We applied the layout and movement to each cut. We had a lot of conversations over the phone to decide on the camera work and layout. Hosoda san would say that we cannot understand without conversation and I agree with him.

When I worked with Horibe san I soon realized that he has very good instincts. My first conte doesn’t have much information but he picks up very quickly and create images that I had in mind. There are number of cuts that are packed with ideas.
Usually when making a film most of the time and effort are spent on sharing my thoughts to the staff but when working with Horibe san he understands my thoughts very quickly with simple conversations. If I applied it to golf would be like putting the ball close to the pin at first shot. So I was able to create a visual image at earlier stage.

It is rare for an anime to have 1/3 of it done in CG and I think the existence of cyberspace in the story made this possible. Hosoda director, do you plan to create full CG movie in the future?

Yes. Since 10 years ago I have been involved in CG production so I have great interest in full CG movies. When I first began filming, CG was still rare so it was done by less experienced young directors but that became a good experience for me.
In the past several years many animations were created and various ways of expression has been tested. Those that were successful are marked as “symbol” in the audiences’ mind. Like limited original animation works, CG production companies have to continue to think of ways to entertain the viewers. We have to think of a strategy of how we exchange “symbols” with the viewers under the pressure of various terms and conditions.
In contrast, I also think that it is important not to be afraid of mistakes and be aggressive to try new things. With that said, I think Japanese animation is built up of numerous challenges. Maybe the goal is closer when there are many challenges.

Including the trend of stereoscopic 3D movies, CG animation is hot now. In global scale most of celluloid animation is being replaced by CG animation. When I attend film festivals abroad, my friends say; “are you still working on hand drawing? Why don’t you work with CG?”
I am not sure whether stereoscopic 3D movies will spread but what I am sure of is that Japan is behind the world where 3D ideas are widely exchanged. CG is necessary in stereoscopic 3D. In 5 or 10 years from now, CG may become ordinary way of creating animation. In such global movement, I think only Digital Frontier has stated clearly that they will make movies in CG. While the film industry advances, creating stereoscopic 3D movie is crucial.

As director Hosoda san have mentioned CG is still in its early stage.

Maybe what is required in CG movie is a good plot rather than skill. Though at the moment we still say “CG is great” rather than comment on the story. Whether CG movies will be accepted by the audience depends on creating good movies. To create good film, skill is crucial but good skill doesn’t necessarily create good films. We have to think of an expression that is specific to CG, or stories specific to it. CG work will not grow if we continue to think in ways we work with game and film.