Hedorah Animator


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3 animations inserted


Animation is inserted in the play of “Godzilla vs. Hedorah.” There are three animation parts (four including the commentary on the nuclear explosion, but omitted here), which express Hedorah’s characteristics and characteristics in a way that complements the story. It’s not uncommon for works to have animation parts in the play, but it’s the style that makes it interesting. I wrote it as a supplement, but it’s not just about “making it easy for children to understand,” but it also has a black humor.


It first appears after 11 minutes from the beginning, right after the TV news reports that Hedorah may be the cause of a series of tanker accidents. Standing in a sea full of dead fish under a smoggy sky, Hedorah holds a tanker to its mouth and drinks oil. Behind the slightly humorous Hedorah is the word “good luck.” The chimneys of the factory are blowing smoke vigorously (about 18 seconds) in response to Hedorah, who seems happy to drink oil. It is a content that foretells the appearance of Hedorah, which has not yet revealed its full picture.


Next is 30 minutes past, right after the first round of Godzilla and Hedorah. When the factory is busily destroying nature, a hedorah flies in, swallows the factory, and flies away while scattering sludge (about 31 seconds). The battle ended with Godzilla gaining the upper hand, but he says that as long as humankind creates pollution, Hedorah will soon fly.


Finally, after 42 minutes, it is shown following the scene in which the damage is expanded by Hedorah spreading sulfuric acid mist. Under a dull sky, people walk through the city wearing “Anti-Hedra Oxygen Masks.” When sludge falls on the people walking gallantly as if to say that this is enough, the face of a beautiful woman becomes black and sore (about 20 seconds). In the script, it was inserted in the discussion of oxygen as Hedorah’s weak point, but in the final version, the place of insertion was changed, and the content is ironic about modern people who are insensitive to pollution (= Hedorah). It is also interesting to see how the black woman’s face overlaps the map of southwestern Fuji City, which has been devastated by Hedorah.


These parts are already designated as “animation” in the script, and their contents are almost the same as the completed movie. According to director Yoshimitsu Sakano, who co-wrote the screenplay with Kaoru Mabuchi, he originally intended to use manga artist Yoshiharu Tsuge to produce the anime part, but was turned down. However, the completed animation part is a graphical image with deformed effects, far from Mr. Tsuge’s style.


The creator of this animation was Hisashi Yasui of Takarazuka Films.


Animation director Hisashi Yasui


Mr. Yasui was born in 1937. After graduating from Kyoto Institute of Technology, he joined Takarazuka Films and was assigned to the synthesis department. The main work of this department was VFX (visual effects), using optical printers to create compositing and titles for movies and television. Mr. Yasui started working in video because he was influenced by Saul Bass, who established an era as a movie title designer. For Mr. Yasui, the Synthesis Department was a perfect place to work.


Before long, Mr. Yasui produced the opening title for the TV drama What is Seishun (1965) in animation. The graphical images drawn with paint on paper are probably made with the bus in mind. Since this became popular, TV dramas produced by Takarazuka Films, including the “Seishun Series,” use animation extensively. Mr. Yasui showed his skills in many works such as “Sinaru Hana,” “Respectful Departure,” and the first season of “Onihei Hankacho” (69), which was monochrome.


Before long, his work caught the attention of Toho, the parent company of Takarazuka Pictures. The synthesis department has participated in many Toho films since the late 1960s, including Hisaya Morishige’s “President” series and Yuzo Kayama’s “Wakadaisho” series. Under the direction of Mr. Yasui, who became the director of the synthesis department, he created a fun and elaborate title. The work I participated in in such a situation was the animation part of “Godzilla vs. Hedorah.” Influenced by Bass, Yasui’s production features a graphical and modern touch. Hedorah’s animation part was also fully demonstrated, and the grotesque yet humorous finish perfectly matched the taste of psychedelic movies. If Mr. Tsuge had produced it, I wonder if the animation would have been so suitable for the movie.


After that, Mr. Yasui became independent in 1973 when Takarazuka Pictures changed its business form. In October of the same year, a total of five members of the composition department established Image Shop E.Y, an animation production company. “E.Y” is a combination of Mr. Yasui’s initials and the pun of “Korya-i-wai.”


Mr. Yasui led the company as a director and producer, and produced a wide range of works that make use of animation, such as movie and TV titles, commercials, PR films, educational films, and exhibition videos. He has also worked on images used in stage productions such as the Takarazuka Revue “The Rose of Versailles,” the musical “Annie Get Your Gun” starring Junko Sakurada, and singer concerts.

P 23


It is said that Mr. Yasui was a work bug. When he isn’t playing horse racing or mahjong, which he loves, he spends most of his time at work and often stays at his company. He would sometimes startle his co-workers by yelling “I made it!” in his sleep during his nap. When it comes to his work, he doesn’t allow any compromises, and he says that even a single letter design would fill the room with so many patterns. Due to his stubborn personality and outspokenness, he sometimes made enemies, but at the same time he was open to everyone.


Mr. Yasui died of stomach cancer in November 1998 at the young age of 61. At that time, the environment surrounding animation was changing drastically due to changes in media. In addition to being an uncompromising director, he was busy with presidential duties, so when cancer was discovered, it was already too late.


However, in 1998, just before his death, Mr. Yasui was teaching animation directing in the composition department of the “Scenario Center Osaka School,” a film school focused on training screenwriters. Perhaps because he himself had a hard time as a student, he took care of many students by introducing jobs to struggling students.


Animation of Hedorah created by trial and error


He has worked on about 100 movie titles, and 1,000 television episodes. Although it is an activity that lives up to the name of Japanese Saul Bass, Mr. Yasui’s production technique, which had never learned animation, was completely self-taught.


When he first started animating for Takarazuka Films, he didn’t know about the existence of art materials for cels, so he mixed water-based paints with glue, and so on. He didn’t even know the standard for cels, so he calculated the size backwards from the drawing and ordered it from a celluloid company, so he used larger than usual cels (the cels used in the “Seishun Series” are Seishun Frames, a company affiliated with Hankyu). The cell used in the series drama, commonly known as “Hankyu drama” provided by was called Hankyu frame).


However, working in a fumbling state resulted in colors and touches that would be difficult with ready-made materials. The art materials used for the animation part of “Godzilla vs. Hedorah” are also original. Those poisonous colors and touches were chosen by Mr. Yasui to match the style of the movie.


Mr. Junsuke Kurata (deceased), a former producer of Takarazuka films, with whom Yasui had a close relationship both professionally and privately, sent a memorial message to the February 1992 issue of “Shinario” (the bulletin of the Scenario Center Osaka school) after Mr. Yasui passed away. ing. There is a passage that expresses Mr. Yasui’s work performance, so I would like to introduce an excerpt. “Kansai Television once aired a program called ‘Marriage Series’ for a year. (Omitted) “Kura-san, what is the theme of this work?” I was careless. I never thought I would be asked about the theme of the work by the creator of the title back (snip).” Not only the image and information given, but also the theme of the work is created until it is convincing. It seems that it was the Yasui style.


The animation part of “Godzilla vs. Hedorah” created by such commitment. It’s a video that should have been watched many times, but when I watched it again, I felt a new emotion.

Interview cooperation/image shop EY Noboru Kobaya

Scenario • Center OsakaYoshie Kojima



Commemorative photo of the founding members of Image Shop E.Y. From left: Hiroko Fujimori (background, color) Hisashi Yasui, Takeshi Kajiyama (photographer), Masanori Hama (finisher), Noboru Kohaya (director, design)

Mr. Yasui (right) facing the drawing desk

Mr. Yasui (left) directing a TV commercial

HEDORAH/公害怪獣の映像世界, p 22-23.