Long interview with Hiroshi Kato, Art Director! (The "inside man" of anime and games, Vol. 5)

In this series, we interview creators active on the front lines of the animation and game industry to get a closer look at their work styles and personalities. In this fifth installment, we interview Hiroshi Kato, art director and director of TOTONYAN Co. Mr. Kato, who has worked on the backgrounds of numerous masterpieces such as "Oh My Goddess," "Haou Daikei Ryunite," "Neon Genesis Evangelion," "Astroboy Astro Boy," "Barakamon," and "After School Pleiades," talks about his influences, background, what the art profession requires, his company's strengths, and future He spoke to us about his influences, his career, what is expected of an art worker, his company's strengths, and his future goals.

Producing animation independently since college

First of all, could you tell us about your influences?

Hiroshi Kato (Kato): As I wrote in my blog, I like "The Towering Inferno," "Blade Runner," "Jaws," and "The Poseidon Adventure" as far as live-action films are concerned. As for animation, I started my interest in the industry with "Space Battleship Yamato" and "Future Boy Conan".

When did you decide that you wanted to work in animation?

Kato: When I was a student at Osaka University of Arts, I helped with independent animation productions with my seniors, and eventually I began to think that I would like to work in the animation industry. Later, when I asked my seniors at university, they told me that it was a tough world to make a living, and when I visited several animation production companies, including Tatsunoko Productions, they told me that they would not recommend me to work in the industry. However, I strongly felt that "if that was the case, I would like to go there even more," and with youthful impetuousness I jumped into the industry.

-Where did you work at first?

Kato: I worked for Production Eye, commonly known as Aipro. My first job there was as a background designer for the TV animation series "Mezomu Ikkoku" (1986-1988).

Kato: I often hear that life is difficult for newcomers.

Kato: I had just graduated from college and was in my early 20s, so I was proud of my poverty (laughs). (Laughs.) I was buying drinks for my seniors in the industry, and I lived as if I could "get by.

Art decides the look and mood of the screen

Did you always want to work in the art field?

Kato: When I first came to Tokyo, I wanted to work in directing, but one of my seniors at the university told me, "You should try your hand at art as well. I was told by a senior colleague at the university that I could go on to direct after that, so I started working in the art department. However, when I entered the art world, I found it to be too deep and too interesting.

What is it about art that makes it so interesting?

Kato: Nowadays, we process digitally, but back then, it was the age of film, and we used paints and hand-painted on paper, so your picture would be turned directly into a film. I realized that this was "an important position that determines the look and mood of the screen," and it became so interesting that I couldn't get out of it (laughs). (Laughs.) Even back then, the background was used to depict the mood, atmosphere, time, weather, lighting, etc., according to the director's intentions, although filters were applied afterwards. Recently, however, this is no longer the case, as digital processes such as 3D have been introduced.

My debut as an art director was for "Oh My Goddess!

What kind of career did you have after you gained experience at Ai Productions?

Kato: After I left Aipro, I worked as a freelancer for a while. While I was taking on a variety of small jobs, a fellow freelancer asked me, "Why don't we work together on Mimine? I was asked by a fellow freelancer to join him. Mimine started out as a freelance group, but later I participated in the establishment of the corporation. At first, I helped with the theatrical version of "Silent Mobius" (1991) and the OVA "Denei Shoujo -VIDEO GIRL AI-" (1992).

-Was your debut as an art director also with Mimine?

Kato: My debut was with Kosuke Fujishima's OVA "Oh My Goddess" (1993-94). I gave my hand up and took the plunge and was given the chance to do it. At that time, Mimine was not yet incorporated, but AIC helped me a lot. After incorporation, I assisted as art director on the TV series "Haou Daikei Ryunite" (1994-95).

-How was your experience as art director for the TV series?

Kato: "Ryunite" was a challenge to see if a fledgling company could make a TV series, so the entire company worked hard on it. That work gave me a good workout (laughs). (laughs). It was a tough schedule, but Sunrise really helped us out.