Author: Andrew Tei
Source: Anime on DVD
Dated: June 20–22, 2003
This was a straight forward Q&A sessions with Sadamato, the character designer for Evangelion, FLCL, and .Hack.
Q: How is anime design different than game design?
A: Anime design is easier, since the story is decided beforehand. I’m more involved in the process of the entire anime. This is unlike a game like .Hack.
Q: Would you have an interested in going back to the style you used during Wing of Honneamise?
A: I would love to, since I would like to keep my character design skills broad.
Q: There are rumors of work basedon R-20 Galactic Airport? This is project that he was working on in early 90's. What became of that?
A: I don’t really know much about the planning of the anime, but I did a manga side-story involving the characters. I don't know what will happen with the animation project.
Q: "Blue Uru" designs (character and aircraft) appeared quite a while ago in one of you artworks, was that project cancelled, or if it has not, what is happening with it?
A: The project hasn't been cancelled and is still ongoing. The director is here at Fanime.
Q: Can you provide any details on the new GunBuster series? (Rumor from Tsurumaki-sensei)
A: No comment (it's a hard time to answer that).
Q: What is your reaction to really popular characters appearing in fan comics and works?
A: Actually, for the "perverted" doujin, I can't actually draw that way, so sometimes I read it.
Q: How hard is it to (or does he?) relate a character's clothing to their personality?
A: In the case of FLCL, it wasn't so much the choice of clothing, but the choice of colors (blue-adult, red-kid) but that came more from the director. For Evangelion, for the characters, we tried to keep the color scheme (Rei-bandaged=white, Blue Asuka-fighting=red) while the characters changed outfits; we tried to keep the color elements with the characters?
Q: Did Hideaki Anno exert tight control over your design process while working on animations where he was the director?
A: For the past few works that I have done, I have worked with a number of directors (including Tsurumaki and Anno) and I would often be asked to be involved. The most "simple" director I’ve Ever worked with was Anno, who would typically work with exactly what Sadamoto gave him. The only information Anno told him about Rei was her age, blood type and that she was "gloomy".
Q: Would you like to work in America?
A: There has been no offers from American companies, but if there were offers, and depending on how busy GAINAX, I might. Does everyone know about the Animatrix? For example, if something like that came, and if the production could happen in Japan, then it more likely be possible than working in the US?
Q: What are the steps between asking for a gloomy 14-year-old character and the final amazing design?
A: First, I get the request, and then I look at a bunch of my past designs, or others. I study it, mix it with my own ideas, or I might mix it with someone I know.
Q: (something related to CG versus cel drawing)
A: My room won't get dirty if it is CG. It's also easier to fix. CG is continuing to evolve, so if that is the only option in the future, I need to learn it now. I still draw by hand, but I can use CG to decide what colors for clothes a lot easier. Before we used to photo copy the line art to decide. I like both, and I want both to coexist.
Q: Do you have a favorite character, and what do you think of fans cosplaying as your characters?
A: It's not a favorite, but I'm constantly thinking about the character I'm work on right now. IF it looks really good on them, I’m really happy about it. Sometimes I'll incorporate things I see into my next design. And if I see a cute girl, I'd think it'd be nice to take them home.
Q: How did you feel about working on Project .hack?
A: With games, it's more like redesigning characters since most things like how many swords have already been decided. I get a package for what the games are supposed to look like, so I concentrate more on detail. For anime, I work more on lines. Game designing is less stressful.
Q: A live action Eva movie was announced recently, what do you think about it?
A: I think it's a good thing personally. I'm looking forward to it.
Q: Can you explain some of the differences between the anime and manga of Evangelion?
A: The manga generally is different, so I think it should be different. Even if I made it the same, it would most likely change here and there. It's still early on in volume 8, so there's a long way to go.
Q: What inspired Electra's character design change near the end of Nadia?
A: In Japan, most females when their hearts are broken or something, change their hair. So it was like that. There was also a change in the setting of series and I was asked to do something like Yamoto.
Q: Is there any part of the character design process that you enjoy the most?
A: A lot of times it is stressful, but there are times when lightning strikes, and you just draw a lot. That's my favorite part. "When god strikes". After I get that, I think it will be a really big hit. I show my friends my drawing, especially my friends who will cosplay. I ask them if they would cosplay as that. If they say no, I get disappointed.
Q: What made you decide your chosen specialization in anime?
A: I was more made the character designer, than chosen. I was originally an animator back in Wing of Honneamise. Afterwards, the character designer job got stuck.
Q: I noticed in FLCL, music is a large part of the show. Does music affect your character designs?
A: In the case of FLCL, the music inspired the story rather than the characters. Haruko was inspired by JPOP music. A band Sadamoto used to listen to supposedly inspired Rei from Evangelion.