Kato Yoichi, who is good at children's animation, was just an ordinary animation audience when he was in elementary school. He watched the Three Musketeers by NHK and a series of original animations by Fujio Fujio on TV. What impressed me more was The Legend of the Demon Hero and The Legend of the Devil (The Messenger of Light), as well as the reruns of Lubang III and Magic Angel, which showed that he was an omnivore since he was a child. Young Kato prefers gentle works to animations with a lot of fighting. If toys are used as an analogy, it is that he prefers plush toys to plastic models.
There are many kinds of funny stalks in Rumiko Takahashi's works, which are unique and easy to accept. Because Gao Qiao's paintings are not for enthusiasts, Kato's parents' generation can also see them and laugh with him. Kato thinks this may be the reason why he likes Gao Qiao's works. Gao Qiao's world is full of human feelings, and the close combination of character shaping and funny terrier always makes people like it, which is also the goal that Kato pursues in his future works.
Besides Rumiko Takahashi, Kato also likes Toriyama Akira very much, and has been reading Alaret over and over again for several weeks. He can indulge in more objects than comics.
However, although he was familiar with comics, Kato did not realize the skills of the masters in story creation at this time, but went astray. He developed a "question and answer" program with BASIC on the computer and played with his younger brother. The questions in the program are "What's in his right hand when he says the line ○○○○○○○○○○○?" This type. At that time, Kato was too concerned about the details, and as a result, he could not grasp the overall situation of the story. It was not until the second half of the twentieth generation that Kato began to realize the creation of stories. However, the symptoms of illness began at an early age.
When Kato returned to Japan from the United States to attend high school, it happened that "Gospel Warrior of the New Century" swept through Japan. There are men and women in the class, even those who have stopped watching animation are watching EVA, and Kato avoids it and is addicted to it. Having said that, the level of EVA is too high. Even after watching the animation, Kato can't have the idea of "I can make such a work", so he has no interest in animation. Although Kato watched the last episode of the legendary EVA several times, he didn't understand the intention in the end. After all, he is just an ordinary light audience.
When I was admitted to college, Kato couldn't leave home. I was watching cartoons to amuse myself. At that time, I especially liked "mechanical goddess J". He remembers that he was moved to tears when he saw the protagonist leave. However, Kato was not interested in animation at this time. His dream is to enter the entertainment industry.
Kato's yearning for the entertainment circle began when he was in high school, when the famous music producer Tetsuya Koike was very active. As a producer, Koike creates his own imaginary things and makes it popular, which makes Kato feel particularly handsome. He is also looking forward to the producer's job of creating popularity.
Speaking of which, Kato is surrounded by many people who are good at music. Compared with them, Kato had to give up the road of music. Knowledge of games, programming and mathematics is needed, but Kato is an out-and-out liberal arts student and has suffered many setbacks in this respect. Plus the TV variety show "Forward! Youth Radio is in its heyday, and Kato thinks that if there is one way he can go, it is TV.
Kato, who has been admitted to the university, intends to strive to enter the radio and television industry. If he can have dinner, he will go this way. If he can't do it, he will honestly look for a job. So, in order to establish the relationship of introducing him to take a part-time job, Kato joined the school's broadcasting seminar and received extra money from the Japanese radio station, that is, recorded the song title and the story about the song, compiled an article and handed it over to the broadcasting screenwriter.
When doing this work, there is a gap of one day in the middle. So Kato went directly to ask the staff, "Is there any work to be done in other programs?" The staff replied, "You got it." . Since that day, Kato has never been to the university.
When he first entered the radio station, Kato just had a vague expectation that he might find something if he went on like this. However, with his familiarity with the work site, he learned about the job of "broadcast writer" and soon became interested in it, setting the goal of "as long as you show your strength by writing articles, you can become a broadcast writer".
Radio writers can participate in all kinds of work, not only radio and television, but also live activities and various plans, which makes Kato feel very interesting. Just like every day is a cultural festival in the school, even his own help work has become brilliant.
Fortunately, Kato was promoted by his predecessor Fujii Bronze. Fujii once served as the radio drama and radio program "ッチャンナンチャンのォールナ゜" of the battleship Yamato.
Fujii bronze
Kato has been a radio program for about ten years. Fujii taught him whose face to think of when writing a manuscript. At that time, Kato, who was only 18 years old, failed to understand the chill of this sentence. Now he also deeply agrees that as long as he can imagine the object he wants to convey, he can write the words impartially. Nowadays, the idol animation that Kato is good at often revolves around the theme of "how to convey his feelings to others", so Kato often thinks of Fujii's sentence.
These knowledge and experiences constitute the writer's era and the idol activities after Kato's creation! Performing arts and idol-themed works such as Dream Sacrifice have been fully utilized. Such as idol activities! There is a saying in "Imagine the hole in the microphone as an audience", which Kato himself learned in his works.
In addition to radio, Kato also participated in TV programs, giving "Zoom in! ! Chao! "News programs have written news, and have written articles for special columns of programs such as" Today's Things ". The writing ability and the ability to convey information exercised by these jobs have also been sung in future script creation.
Kato takes news programs as an example. If 10 people don't know anything about what happened that day, then the news he wrote must make no one misunderstand this 10 people, and everyone can understand the same amount of information. This is a good training for him, and he will pay great attention to it when writing animation in the future. Although the story can be interpreted in many ways, the information that the story wants to convey and the core part that the audience wants to identify with must be written in order to convey it to all the audience accurately.
Specifically, people can only understand one thing at a time, which is the premise of writing. If you cram too much information into the limited content, the information you want to convey will not come out. So we should extract the information, organize it into an interesting form, and finally end it in an impressive form. Kato used to worry about honing this technology every day. Because of this, he can now judge how to write intuitively.
There will inevitably be artists coming in and out of the radio station, especially the Japanese broadcasting entertainment circle where Kato works is very close. Artists can be seen everywhere from newcomers to big names, which makes Kato, who is still a student, very excited. Working with these artists is particularly attractive. The staff prepared in a down-to-earth manner, the artists performed in the most perfect form, and everyone performed their duties and created brilliant programs. This division of labor also gives Kato a strong sense of professionalism and enjoys it.
Another feature of radio and television programs is that they must be broadcast in time. About 80% of the radio and TV programs that Kato participated in are live programs, especially when writing news and road information for live news, it is even more "if you can't write it in a few seconds, you will miss the live broadcast!" In tension. This is different from animation that takes a long time to prepare, and the deadline for live broadcast is just around the corner. And the sense of accomplishment of completing these tasks day after day is naturally extraordinary. Kato, who is about 20 years old, participates in several programs every week. This kind of hard work week after week is also very helpful for his future work.
Specifically, although a single-season animation like Dream Sacrifice has to complete the script and decide everything before the production is completed, the number of years sponsored by those toy manufacturers has changed during the production process. Therefore, Kato thinks that Nianfan's script creation is quite similar to the live program mentioned above.
Whether it is the producer, the script or the people on the production site, many things will only be understood during the production process, and there will be situations such as "this role will be more famous" and "I wish I had taken that shot". Moreover, sponsors will also put forward requirements such as "we want to sell that kind of goods in this place, so please shoot it like this", so it will change with the change. Of course, the overall plot direction, how the story will develop and how it will end in a year have already been determined; It won't change if it's decided, just like late-night animation, but it will change according to the specific situation in order to satisfy everyone. This change made Kato feel very close to the live program.
Kato said that as long as you can write vivid characters, the story will continue on its own. Therefore, in order to let the characters move freely, it is advisable to leave some space in the series composition. For example, if the animation with goods is broadcast in June of 5438+ 10, then the initial settings should be introduced and all kinds of preparations should be made before the Christmas commercial war in the first quarter. However, from the first half of January to the middle of February, there will be a period of time to freely arrange various plots, so there will be room for "no problem to consider later" to some extent in composition. This allocation between the positions set in advance and the positions that will play in time should be set at the beginning.
In addition, seiyuu's performance will often bring excitement to Kato, and it will also have an impact on the shaping of the role. Kato will definitely participate in the dubbing recording of animation and key dramas. Sometimes seiyuu's performance on the dubbing scene is even better than the audition. Seeing the performance of seiyuu, Kato will want to add his own part, and as a result, he has created a very interesting character image. Kato expressed the hope that in these long animations, a series of compositions can be made that can even absorb the change of this role.
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Original: m.anitama.cn/article/b5eef7be915049b1? UTM _ source = toutiao