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ANIMATION WORLD MAGAZINE - ISSUE 5.9 - DECEMBER 2000
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East Meets Too Much West?: A Chat with Sayoko Kinoshita
Also, since HIROSHIMA2000, I initiated a workshop space named "Kid's Clips" where children can enjoy animation freely throughout the festival. Most of the participants are Japanese children. I invited a professional instructor from France, and also, Elena Barinova, one of the AWG members from Russia, joined us with her 6 workshop children. Japanese children were enjoying animation as well as the international exchange. We showed the cameraless animation (about 2 minutes) made by our "Young Directors, at the very end of our Closing Ceremony, and the audience could feel our future full of hope and happiness! By viewing many foreign quality works, young Japanese filmmakers are enjoying the benefits of having the opportunities to be inspired by and to study these foreign animations. And, our festival has been well recognized, among the Japanese young filmmakers, as a "gateway" to become the professionals. In proof of this, all the Japanese filmmakers whose work was selected for our competition are now working at the front line of our field, especially where they can make full use of their creativity and originality. CR: Some International guests have expressed frustration because they don't see more Japanese animation at the festival. SK: We have always been making up special programme(s) to introduce the animation scene to those countries which have had less opportunities to be presented internationally. In the past, we introduced Republic of Korea, D.P.R. of Korea, Indonesia, Vietnam, Singapore, The Philippines, Brazil, Malaysia, Thailand, Sri Lanka, India, Turkey, etc. In order to make up such programmes, I myself always visit each country to research and exchange with their animation people in person. This way, I could present their situation widely, including workshops, students, TV programmes, commercials, promotional works, features, independent works. CR: Who is your audience? SK: Our audience consists of: 45% are from Hiroshima City, 40% from other cities in Japan, and 15% from abroad. CR: There seems to be some contradictions here. You are providing a list of evidence saying that in fact you do support Japanese and Asian animation, while others speak to the contrary. SK: I am quite confident that Japanese animators are receiving much benefit from our festival. Speaking of myself, also being one of the "independent Japanese animators," I have been doing all the hard work as the festival director, for the artists of Japan and of the world, for more than 16 years gratuitously, devoting my life. I do not complain about the situation, but I do my best to practice the art movement myself for the betterment. As you may understand, it is always difficult to satisfy all and every people. CR: Tell me about it. Well thanks for your time. SK: Thank you.
As usual the words and whispers collide, burst and scatter down different avenues. The complaints of the animators it seems are aimed more toward the lack of Japanese animation in competition then in special screenings. This is a common complaint. In Ottawa, we've heard it. In Annecy, they've heard it. In Zagreb, they've heard it. What many pro-nationalist animators forget is that the festivals are international. Secondly, they have an international jury. Opinions and tastes vary from festival to festival. Should a festival director interfere and insist on a certain number of national or local films? No, if your aim is to showcase the best work. In Zagreb '96, the selection committee made concessions to national sentiment and the result was that some very weak films were shown in competition. A few years back a Canadian animator complained about her film not being accepted and lightly accused us of being politically motivated. The funny thing is that if we were politically motivated the film would have been shown. Bottom line is that festival directors are generally doing a lonely thankless job for thousands of animation professionals. It took me time, but obviously Sayoko has mastered the reality that you simply cannot please all. To read more about past Hiroshima International Animation Festivals visit our back issues and read, "The 7th Hiroshima International Animation Festival" by Gigi Hu who visited in 1998. Then travel back to 1996 with a festival diary by Monique Renault and photo gallery by Wendy Jackson. Chris Robinson is the artistic director of the Ottawa International Animation Festival.
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