Makoto Shinkai

That was part of my point. If he had focused on the body switching aspect, it would have allowed for more exploration of the characters. I still enjoyed the movie, but it wasn't a masterpiece, the visuals notwithstanding.

How can other "directors" even compete against his brilliance?

How can other directors even "compete" against his "brilliance"?

How can "other" directors even compete against "his" brilliance?

>dude, tracking shots, lmao

Only three of his five feature length films are even good and then they aren’t great

cool

5 cms per seconds is his magnum opus, nothing will top this masterpiece for a long time.

nice

I wonder how much he was reject in his life to come up with his love stories.

That's why Hoshi no Koe was so critically acclaimed, right?

It's not
It actually fits

His wife was his first and only girlfriend.

kek

Literally the most dishonest director of all times.

if only he was even slightly edgy

His wife isn't even the same girl as his girlfriend when he started out as a director

I would've liked to see how the original "Yume to Shiraseba" proposition would've played out in comparison to Knnw

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*Shiriseba

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Can't believe i actually paid 10 euros today to see this.
Technically speaking the film's fabulous, but the narrative is weak and messed up
Looks more like a showreel than a film
And don't even try to explain it with introspection n shiet

>Technically speaking the film's fabulous
Just the backgrounds. The characters look like shit and there's almost no animation.

>Technically speaking the film's fabulous, but the narrative is weak and messed up
>Looks more like a showreel than a film
How so?

>tfw no gf:the director

Thomas Kinkade of anime. Fuck his cloying shit.

Just give him the Oscar now.

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>there's almost no animation
?

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He doesn't even have that. Things looking pretty is not style.
No. It's because critics are retarded. Hoshi no koe is bad in every single aspect. It just got popular because it was made by one guy.
Probably the most overrated director in history

That’s reserved for boss baby 2

>No. It's because critics are retarded. Hoshi no koe is bad in every single aspect. It just got popular because it was made by one guy.
It was one of the major sekaikei works that influenced the entire otaku space for a while and its manga adaptation is also wildly popular
>Probably the most overrated director in history
For anime that would be Mamoru Hosoda, in general it would be Christopher Nolan

>For anime that would be Mamoru Hosoda
At least he has made more than one good movie, unlike Shinkai.

>It was one of the major sekaikei works that influenced the entire otaku space for a while and its manga adaptation is also wildly popular
I'm not saying it was not influential or popular or inspirational. Those things are irrelevant and people can get inspired over fucking bowsette. I'm saying it's shit as a movie and critics praising it for its supposed artistic merit and not just giving a participation award for personal achievement are wrong. Everything from writing to technical execution is below mediocre and any critic giving it more than 3/10 is a memer on the 'made by one guy' bandwagon.

>At least he has made more than one good movie, unlike Shinkai.
He didn't

>I'm saying it's shit as a movie and critics praising it for its supposed artistic merit and not just giving a participation award for personal achievement are wrong. Everything from writing to technical execution is below mediocre and any critic giving it more than 3/10 is a memer on the 'made by one guy' bandwagon.
It's a tearjerker and it's rich in symbolism and emotional imagery. You could argue that those are "The curtains are blue" points but Shinkai was a literature student in university so it's almost certainly intentional.

>For anime that would be Mamoru Hosoda
Yikes. Hosoda has more talent in one fingetip than Shinkai has in his entire person. The worst Hosoda movie is leagues above Shinkai's best, to say nothing of his amazing TV anime episodes. That's the difference between working your way up for years learning under people like Ikuhara, Yamauchi, Igarashi, briefly even Miyazaki, and becoming a meme by doing crappy indie animation on the side of your main job.

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>any critic giving it more than 3/10 is a memer on the 'made by one guy' bandwagon
less than 1% of people on MAL rated the manga a 3 or lower, that's a pretty big bandwagon
>The worst Hosoda movie is leagues above Shinkai's best
Wolf Children and Boy and the Beast are almost unwatchable.
>That's the difference between working your way up for years learning under people like Ikuhara, Yamauchi, Igarashi, briefly even Miyazaki, and becoming a meme by doing crappy indie animation on the side of your main job.
What is? By the same logic Tomihiko Itou worked his way up under Hosoda.

>Wolf Children and Boy and the Beast are almost unwatchable.
Wolf Children is a fantastic movie, B&B is a decent one. I'd be curious to know by what criteria you would describe them as "almost unwatchable", because based on the craft alone they're on a level unreachable to Shinkai. Animation, layouts, understanding of space, tempo, editing, you name it. "Almost unwatchable" could rather be used to describe almost much everything Shinkai did before Garden of Words.
>What is? By the same logic Tomihiko Itou worked his way up under Hosoda.
What logic? Itou worked with Hosoda once, and already had an estabilished career and style as a episode director and storyboarder before, while Hosoda started and consistently worked under those artists (especially Igarashi), they defined his style and you can see their influence in his movies even now.
But my point was more than Shinkai is self-thaught and it shows, he slowly improved over time, but his understanding of film making and animation has been abysmal for a long time.

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>it's rich in symbolism and emotional imagery
It's a ripoff of the gimmick of Gunbuster repurposed in a sappy teenage love story, with hideous designs, nonexistent characterization, nonsensical plot if we forget for a moment the (paper thin, corny, obvious) allegory. CGI and choreaography obviously look like shit too. The film has no redeeming qualities.
>Shinkai was a literature student in university so it's almost certainly intentional
I honesly can't tell if this is ironic.

>I'd be curious to know by what criteria you would describe them as "almost unwatchable"
I'd be curious to know what criticisms you have to offer Shinkai as well but whatever. Drag their heels with every plot point, regardless of its relevancy; characters consistently behaving retarded for no reason other than to the push the story forward (particularly in Wolf Children, this is what people are talking about when they say forced melodrama) and unsatisfying climaxes.
>because based on the craft alone they're on a level unreachable to Shinkai
Craft is only relevant insofar as it achieves the goal of the work, and with that in mind, Shinkai is far better at orchestrating multiple facets of the production together to create pathos in key scenes, so I'd say he's better.
>"Almost unwatchable" could rather be used to describe almost much everything Shinkai did before Garden of Words.
HnK and 5cm/s are cult classics by now.
>they defined his style and you can see their influence in his movies even now.
You can see a ton of influence from TGWLTT in Erased as well, for example.
>But my point was more than Shinkai is self-thaught and it shows, he slowly improved over time, but his understanding of film making and animation has been abysmal for a long time.
How so? A lot of his direction is legitimately genius.
>It's a ripoff of the gimmick of Gunbuster repurposed in a sappy teenage love story, with hideous designs, nonexistent characterization, nonsensical plot if we forget for a moment the (paper thin, corny, obvious) allegory.
You'd have more of an argument with SaiKano than Gunbuster, it's only similar to GB in a literal sense (saving the world with mechas and dealing with Time Dilation) and is functionally completely different.
>I honesly can't tell if this is ironic.
This is the sort of thing you say when you want to discredit a statement but don't know how.

>You'd have more of an argument with SaiKano than Gunbuster
I haven't watched Saikano in 15 years, but the main point of HnK, that being how distance and time make people drift apart, is straight from Gunbuster. Except Gunbuster had entire layers of subtext and metatext motivating the allegories Anno chose, that HnK just imitates superficially for no real reason without having anything to say. What is the signicance of the girl even piloting a mecha in the first place? When Anno does it the reason is obvious, especially knowing his work that followed, but in Shinkai it means nothing.
>This is the sort of thing you say when you want to discredit a statement but don't know how.
No, it's the sort of thing I say when I can't believe what I'm reading. I was a literature student in university as well and that certainly wouldn't ineherently make me capable of injecting subtext into a audiovisual work of art. Literally any idiot can get a degree in literature, are you 15 or something?

>No, it's the sort of thing I say when I can't believe what I'm reading. I was a literature student in university as well and that certainly wouldn't ineherently make me capable of injecting subtext into a audiovisual work of art.
So you weren't taught literary analysis of that nature or never thought about how to apply it/how it translates to other mediums?
>Literally any idiot can get a degree in literature, are you 15 or something?
Well if you're to be believed, I guess you're quite self-deprecating then

>I'd be curious to know what criticisms you have to offer Shinkai as well but whatever.
On a movie to movie basis or in general? Do I start with Your Name? The craft of his early stuff is indefensible (not to mention some of the writing) and I wouldn't know where to begin with.
>Drag their heels with every plot point, regardless of its relevancy; characters consistently behaving retarded for no reason other than to the push the story forward (particularly in Wolf Children, this is what people are talking about when they say forced melodrama) and unsatisfying climaxes.
Examples, please. Of Wolf Children if possible since I don't remember the other one as well.
>HnK and 5cm/s are cult classics by now.
I don't really care about what people consider a classic, HnK is nearly unwatchable.
>You can see a ton of influence from TGWLTT in Erased as well, for example.
I'm sure anyone can see that reference, yes, but I'm talking about more than a scene used when characters from both anime travel though time looking the same. I'm talking about consistent directorial principles carried though a career. You can't see one of Hosoda's layouts without thinking of Ikuhara, or you can't see one of his shot/countershot without thinking of Igarashi, for example.
>How so? A lot of his direction is legitimately genius.
Nothing about his direction could be described as "genius". It's just now getting cinematically literate, that's about it.

Radwimps are saving him.

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>You can't see one of Hosoda's layouts without thinking of Ikuhara
There are multiple things you could mean by layout and you're wrong regardless of which it is, you absolute pseud. In terms of shot compositions, Ikuhara usually either takes a standard center focus with a shot/reverse-shot transition style or uses far alignment like in pic related, while Hosoda tends to favor an active camera with less regard for its focus, usually anchored to a certain point in space or moving along a rail. In terms of set design, Hosoda doesn't really resemble anyone else - I can't think of any other anime director to use something like the house in Mirai for example, and definitely not Ikuhara.
>or you can't see one of his shot/countershot without thinking of Igarashi
Hosoda does shot/counter-shot less often than most directors - you're probably thinking of match cuts. Though I can see some resemblance to Igarashi in compositions for his earlier stuff (a scene from TGWLTT sticks out in my mind).

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I should have mentioned that for Ikuhara I meant Utena specifically.
>Hosoda tends to favor an active camera with less regard for its focus, usually anchored to a certain point in space or moving along a rail
Wrong. Typically his movies feature few of scenes with active camera (the obligatory tracking shot, the obligatory big tridimensional setpiece), while the rest is static, and eventually has the characters moving within or in and out of the frame.
>In terms of set design, Hosoda doesn't really resemble anyone else - I can't think of any other anime director to use something like the house in Mirai for example, and definitely not Ikuhara.
His set design is still theatrical in nature, even in Mirai (maybe even more so).
>Hosoda does shot/counter-shot less often than most directors - you're probably thinking of match cuts.
I'm thinking of both, actually. And it's still very present in his recent works.

But weren't we talking about Shinkai or something?

He's fine but he's no Kinoko Nasu

>T-tenmon is saving him, he can't possibly make a hit without him!
>He was just lucky with Garden of Words! It wasn't as good as 5cm/s! His next project will be a disaster!
>Kimi no Na wa can't compete against Koe no Katachi, it'll get murdered by Kyoani!
>There's no way it will surpass Spirited Away and become the highest grossing anime movie of all time!
>There's no way Tenki no Ko will be the biggest anime movie of the year!
>R-radwimps are saving him!
Cute.

Why can't some people just accept that Shinkai is the best director of all time?

Because he sucks.

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>hosoda's films are more melodramatic than shinkai's 'but we're far away so we can't talk to each other :('

Why didn't the kids from HnK just send messages all the time instead of waiting years until each was received? Why was this girl still in her school uniform fighting in space anyway?
Why didn't the kids from 3c/s just keep in contact? Phone? Letters? Internet?
Why did Shinkai make a fucking horrible Miyazaki ripoff like Children Who Chase Lost Voices?
Why didn't the idiots from Your Meme just try to phone/message each others in the first place, instead of resorting to contrived writing on their own bodies? Why didn't they just check the date on their phones/PCs/calendar/whatever? Why didn't the guy remember a fucking meteor crushing a town a few years prior?

Wolf children and summer wars

I don't mind the theme being explored but spending an entire movie on it, much less several movies on it...no thanks. Sure Hosoda's films tend to be about family but at least his directing/pacing is good.

Family is just a much more vast and potentially diverse theme to focus on, compared to relationships affected by distance. And not always necessarily related to family, the struggle to find one's way in life has always been the other Hosoda's main theme (and is also more interesting than >tfw gf left).

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Truly.

And I don't remember B&B having another shot like this, but it was heavy on the theme.

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