https://www.youtube.com/watch?v=33uw7WvceTA
This is a rough transcript of an interview with Yoshiyuki Sadamoto in 1997.
A subtitled interview with Sadamoto can be seen here.
Thank you very much. I hope you enjoy it.
Yoshiyuki Sadamoto Illustrations [Saturn] by Gainax
Digital art collection software by Yoshiyuki Sadamoto, the character designer for Neon Genesis Evangelion and others.
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Yoshiyuki Sadamoto
1962 Born on January 29, in Tokuyama City (now Shunan City), Yamaguchi Prefecture
1984 Graduated from Tokyo Zokei University, Department of Fine Arts
Participated in the establishment of GAINAX in December of the same year
At the age of 22, worked as a character designer and art director for "Royal Space Force: The Wings of Honnêamise".
1989 “Nadia, The Secret of Blue Water” character design
1991 Serialized "R20" in Monthly Newtype Magazine
1992 "Uru in Blue" character design
1994 "Neon Genesis EVANGELION" started serialization in Monthly Shonen Ace.
Currently active in a wide range of fields including animation, comics, and illustration.
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Yoshiyuki Sadamoto Illustrations [Saturn] by Gainax #2 (Runal Saga, R20)
Olympia
1993 Unreleased Animation
As for the woman wearing the idol-like clothes, Akai-san had the original design, and I developed the image of her into my own character.
The protagonist is a mysterious executive on an enemy planet, like Char.
The machine man is like a maintenance robot that joins Olympia.
I think the girl is a counterpart to the machine man, a character like Mari in Nadia.
This is the ultimate weapon created by the people of Earth, and she is protecting her comrades.
They meet each other one by one, and in the end, they become one giant robot to fight against the enemy.
The storyline is a bit like an RPG game.
Uru in Blue
1993 Feature-length animation (under planning)
It's a vision of cool, not just stylish or nice, but just plain good looking.
That's why I created all the characters to be cool.
I pursued the idea that "each character is cool".
I think it's one of the best things about Japanese animation.
I made this film with the idea of what will happen to it in the future.
I felt like I had a pretty good shot in terms of drawing.
It's Ur's mood, the mood in his mind, their mood.
I had been working on Nadia and GunBuster in between, but I thought I'd go beyond that and create a picture that was a pure flow from the Royal Space Force.
The feeling I had when I made Royal Space Force was that if I made it now, it would look like this.
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つづく