Interview with HIRANO Ryō – Selected Artists (Phase 1) of the NeW NeW project.

First, could you tell us about your background? You graduated from the Department of Information Design at Tama Art University. Why did you choose that department rather than the Department of Graphic Design, which is well-known for producing many animation artists?

HIRANO Ryō (hereafter, Hirano):
When I was applying to university, I was considering either a program in cultural anthropology or in fine arts. I chose Tama Art University because when I was attending high school in New Zealand, a Japanese senior student told me, ‘Tama Art University will help you land a job.’ I had the preconception that the Graphic Design Department was for people who wanted to go into advertising, and I also thought the competition there was so intense that I wouldn’t stand a chance of getting in. After reading the university pamphlet, I decided on the Information Design Department because it looked like a place where you could do whatever you like (laughs). I actually didn’t enroll in the course that focused on animation, so I’m entirely self-taught when it comes to animation techniques.

What kind of teachers and classmates did you have at university?

Hirano:
My classmates included manga artist TANIGUCHI Natsuko, HANAHARA Fumiki, and film director MATSUMOTO Sōshi. I was especially helped by Professor YAMAKAWA Fuyuki, a contemporary artist and khoomei singer, and Professor SASAKI Nariaki, a videographer.

I also shared a house with Hanahara and Matsumoto, and was helped out a lot by OKAJIMA Ryoki, the drummer of the R&B band Omoide-Yarō A Team (思い出野郎Aチーム), who lived across the street. I had the chance to assist with several performances by Professor Yamakawa, including some collaborations with contemporary artist and stage director AMEYA Norimizu. Experiencing these inspiring performances up close was incredibly formative. Through these close relationships with my professors and peers, I was exposed to a wide range of culture—film, manga, music, theater—and I’m very grateful for that.

What have you been doing since graduating from university?

Hirano:

I tried a bit of job hunting for a while, but throughout and after working on the music video Omodaka – Hietsuki Bushi (2011), I felt like now is the time to formally decide on becoming a freelance animator. So soon after I returned to my parents’ home and started freelancing online. Back then, most of the work I received came either from people I had met during university or from people who had seen Hietsuki Bushi.

For the first few years, I took on any job I was offered, regardless of the content, just to gain experience and build a portfolio. A while after graduation, I decided to try again in Tokyo and moved into a shared house with some friends from university while continuing my work. When all of us became too busy with our respective jobs, we disbanded the shared house. Around the time of the COVID-19 pandemic, I went through a mentally tough period and began to reconsider my approach to making work.

Now, I’ve moved to Nagano and am continuing to create animation at a pace that suits me better.

Let’s talk about your creative process. What do you consider the starting point of a project?

Hirano:
My starting point is often a small point of curiosity from everyday life. For example, my film Paradise (2014) features a character that’s a tooth. That came from a passing thought: ‘Tooth mascots at dentists come in all sorts of cute designs…hey I like that.’Beginning with such observation, I then analyze why I was drawn to the idea, in this case being teeth. I go through a research phase where I read as much literature as I can on the subject. By doing that, I gain the ability to articulate my interests in my own words, which helps me fully commit to the theme as the foundation of a work.

Holiday (2011) was inspired by something I saw on a TV show, where a fan attending actor Park Yong-ha’s funeral said, ‘Do you feel this rain? It’s Yong-ha’s rain.’ I take such emotionally striking moments from daily life, make notes, research them, and choose the ones that give me the strongest sense of potential as themes for my work.

You’ve used a variety of methods in your work—drawings, digital cut-outs, and for some time recently you’ve even started incorporating Blender. Why do you use such a wide range of techniques?

Hirano:
I’ve always liked drawing, but I didn’t attend any sort of preparatory art school because I was in New Zealand, so I was insecure about my drawing skills compared to my peers in university. Then, in class, I saw Igor Kovalyov’s Milk (2005), and it sparked my interest in animation. I thought animation, made up of many sequential drawings, might still work even if the individual drawings weren’t perfect.

I started making animation independently—not for class assignments. Since I was self-taught and hadn’t been exposed much to anime or manga before entering university, I didn’t even know how to draw something like water. So I thought, if I couldn’t draw something, I could just composite in live-action footage or photographs. That became the foundation of my current style. Back then, I watched independent animation on YouTube non-stop and checked out many commercially-televised anime and live-action films recommended by friends. I took in a variety of styles and techniques with an open mind, so I never felt resistance to mixing multiple techniques in a single work.

Could you tell us what tools you use in your production process?

Hirano:
I rarely use analog methods—it’s almost completely digital. For drawing, I use the Procreate Dreams app on iPad. For other steps, I use Photoshop, After Effects, Blender, etc.

What do you value most or pay special attention to in your creative work?

Hirano:
I place great importance on investigating the things in daily life that catch my attention—exploring why they caught my attention through in-depth research, and identifying the theme that naturally emerges from that process.

Thinking back, I realise I’m particularly drawn to the idea of ‘boundaries.’ I’m repeatedly depicting moments when boundaries between self and other, or between human and non-human, dissolve and give way to new connections. For example, in KRASUE (2021), I reinterpret the well-known Thai ghost Krasue, which has been adapted into numerous films in Thailand, under the context of Japanese yakuza films. Through this, I aim to create new narratives from the clashes and blends of different cultures.

Who are some artists or works that have influenced you?

Hirano:
MIZUKI Shigeru has always been a foundational influence for me. In animation, aside from the aforementioned Kovalyov, I’ve also been influenced by SpongeBob SquarePants and Adventure Time. I like how they contrast cute character designs with completely wild storylines—something I’m also conscious of in my own work. Yuri Norstein is also an important influence; I was blown away when I saw that it was possible to create such powerful works by hand.

I also admire Bruce Lee and KOIZUMI Kyōko. Bruce Lee was a ‘border-crossing’ figure who bridged the East and West as a filmmaker, studied philosophy and psychology in the U.S., and researched Eastern philosophy. The martial art he developed—Jeet Kune Do—was a modernisation that merged traditional Asian kung fu with Western fencing and boxing. It’s a perfect example of something born from smashing cultural boundaries. KOIZUMI Kyōko, despite being an idol, has always subverted that role from within. Even now, she continues to push creative boundaries beyond the frame of television. I’ve been inspired by these kinds of figures who break through limits, and I hope to be that kind of artist myself.

Finally, please tell us about your new work-in-progress film, NIGHT IN THE EYEWALL (tentative title).

Hirano:
Like my past works, I’m aiming to create something enjoyable as entertainment, while also allowing viewers to take a glimpse of some deeper themes within.

In the past, I often overthought things on my own and pushed myself too hard, but I’m genuinely enjoying the process of making NIGHT IN THE EYEWALL. Being selected for the NeW NeW program has given me opportunities to collaborate with others, which has made a big difference.

Of course, I have a certain pride in wanting to present polished, complete works, so at first, I felt some pressure about showing my script to other artists through the NeW NeW program. But once I started verbalizing my process and sharing my current struggles with others, I felt an enormous sense of relief. Since moving to Nagano, I’ve realised how valuable it is to have places where I can slowly open up about my own thoughts and difficulties. There’s a small shopping street where I live now, and walking through it, I get to chat with all sorts of people. When we share our recent experiences and struggles, I realise everyone is doing their best to get by, and it makes me want to do my best too. Thanks to these human connections, I’m now able to enjoy my creative work so much more.

I’ve also recently started attending a knitting class and taking online Blender lessons. I’ve taught myself everything up to now, but I’m finally coming to appreciate the importance of learning from a teacher.