In its more than 20 years of history, the Bones studio has created animated series and films that have touched generations of viewers. Let it be a classic like Cowboy Bebop, Fullmetal alchemist, Eureka Seven, Vision of Escaflowneor Ouran high school host club or one of the new studio voices such as My academic hero Other The case study of Vanitas, the studio has earned a reputation for its expertly animated action sequences and consistently beautiful visuals. Minami sat with Crispy roll Senior Brand Manager Chris Han to discuss the legacy of the firm and current work.
What is it like to be the president of Studio Bones and what is your average day like?
Minami: Rather than president of the company, I think of myself as a producer and work closely with our producers and collaborate on all projects, from script to design. In the mornings I check my emails and the afternoons are full of meetings and then in the evening I indulge in alcohol.
I drink … but it’s usually with other co-workers and other people in the industry. At night we get together and talk about our projects and what’s going on in our different studios. Please consider it as a job.
How did you start working in the anime industry?
Minami: This kind of takes you back a long time ago, but just like everyone else, I loved anime as a kid and my favorite was mumin from Finland. I also grew up with other similar anime The space battleship Yamato and the gundam series and developed a deep interest in media that I studied in college. But when I started working, that’s when I switched to animation. Actually, at first I wanted to be a director. I was a huge fan of directors Yoshiyuki Tomino who created gundam; I really appreciated and respected his work, so I joined Sunrise to work with him. However, during my time there I realized that I had more fun working on direct production, so this is the direction I went in instead.
Which anime title do you think started garnering more accolades from Bones fans?
Minami: It probably was Fullmetal alchemist which really caught everyone’s attention. At that time we worked on it FMA, OuranoAnd the wolf rainand I think these projects have really attracted us more attention abroad.
(With regard to Eureka Seven) What made Bones want to animate the new three Hello Evolution movie?
Minami: We first worked on it 17 years ago with the idea that you should watch the first anime before starting the next rumors – there’s also the tv series Oh and then the theatrical version. When we thought about what comes next, that was when we thought about the Hello Evolution movie. I am sure there are many who have seen these films, but there may also be some who have not seen them. We really wanted to wrap up the films to create a space for the next entry.
How about Josee, The Tiger and the Fish?
Minami: Josee it was originally a book of [Seiko] Tanabe but there are no missiles, no explosions, no fighting. He is out of the ordinary for a Bones project. Director [Kotaro] Tamura, who also worked on Noragami, he really insisted on trying something new and working on a movie. Tamura figured it would take about two hours and challenged himself and Bones to a new kind of job. Manufacturer Suzuki insisted on moving forward with it. I asked about robots and fights but they said no, but they were so passionate and insistent that I had to say yes.
(With regard to Sk8 the infinite) What inspired Bones e Hiroko Utsumi-sensei to create this anime?
Minami: As I said with Joseeon which the manufacturer Suzuki worked Sk8. I noticed Utsumi-sensei’s talent in her other jobs and I really wanted to work with her, so as we were talking, I asked if she would have explosions or robots and she said “no, skateboard”. Skateboarding is interesting to me because I like the sport in general; I thought I was doing a sports anime, but we didn’t find an opportunity until Utsumi came to me and she told me she wanted to try this skateboard anime. Since she insisted, I thought it might be fun. Sk8 it only ran for one season, but I see from our fans that it was popular nationally and internationally, so as an original work it turned out to be quite successful.
(With regard to The case study of Vanitas) How did Bones become the animation studio for this title?
Minami: This finally has action! The original publisher is Square Enix and we have worked together before FMA. They brought the idea of vanity to me and I read it and thought it was great and the art was wonderful. But with such beautiful art it is really difficult to animate it and bring it to life, because there is that delicacy between manga and animation. But I thought these new challenges would also be a good opportunity to learn and create great animation. vanity it was only for two courses and there are still a lot of things that we haven’t been able to bring to life yet, so it would be really nice to be able to carry on vanity to live.
(With regard to Mob Psycho 100) What’s the hardest part when it comes to animating the show?
Minami: ONE-Sensei’s world building skills are out of the box and in animation you have to be careful how you treat world building and environments so it was difficult for us to handle and express it accurately.
Most of the anime, even the ones we work on separately Psycho of the mafiathere is a hybrid facility to add CGI along with the hand drawn animation, but in Psycho of the mafia there is no CG whatsoever. I want to dig into the point of how amazing and wonderful hand drawn animation is, but I have to say that it is incredibly difficult and requires so much effort from our staff. There is a lot of effort in creating hand-drawn animations; it is in its own separate category.
(With regard to My academic hero) How is Bones able to consistently deliver strong animation quality every year?
Minami: Everyone does his best. With MHA, the source material continues, so we keep up with that pace. It’s more like an annual series, it’s very consistent. Our sub-studio, C studio, is dedicated to MHA. They always work there to bring it to the quality you guys see. A good thing about keeping it inside a studio is that the individual animators inside become more skilled and talented, but that also means that they are constantly arguing with each other about how best to do it. Horikoshi sensei – it’s just too awesome. I feel like if we adapt it into an anime we’re just chasing Horikoshi. If we don’t do our best, we could betray him.