Oda sensei is a layout and key animator artist with experience both in working in studio and as a freelancer for the Japanese animation industry. As well as working on mainstream TV animated shows she has been teaching animation at Tokyo Design Academy vocational school.
- Lupin the Third Part II, 1977, TMS Entertainment
- Gensō Tensai Bakabon, 1975, TMS Entertainment
- Puchi Purinsu Houshi no Ouji Sama (The Adventures of the Little Prince), 1978, Knack Productions
- Tomu Soya no Boken (The Adventures of Tom Sawyer), 1980, Nippon Animation
- Hello! Sandybell, 1981, Toei Animation
- Mameushikun,1998?, TMS Entertainment
- Crayon ShinChan, 1992, ShinEi Animation
- Card Captor Sakura, 2000, Madhouse
- Naruto, 2002, Pierrot
- Gintama, 2006, Sunrise
- Live On Cardliver Kakeru, 2008, TMS Entertainment
- Inazuma Eleven, 2008, OLM
- Inuyasha KanketsuHen (Inuyasha: The Final Act), 2009, Sunrise
- Ano Hi Mita Hana no Namae o Bokutachi wa Mada Shiranai, 2011, A-1 Pictures
- Hanakappa (movie), 201(?) - Boruto: Naruto Next Generations, 2017, Pierrot
Filmed in 2018
To find part 2-10 of this interview, keep scrolling.
Let’s start with your name and introduce your anime work.
I see! On which anime did you work?
So, from key animation, you stepped up to layout.
Summarizing, because of the rotation system, in 1 season of anime (13 chapters), animators can do only 4-20 cuts per season...
Do you have a favorite anime you worked on?
Lately, seasons have 13 chapters each… The productions deliver all the chapters at the same time to available animators (Rotation). From start to end, how long does it take to finish the animation part of a season?
Makes sense. You all want to draw it more beautifully. But you can just deliver your best given the time frame. Has it ever happened that you delivered a cut knowing there are mistakes?
What is the thing you enjoy the most while working in the anime industry?
As an animator, what’s the difference between working as a freelancer or contracted (in company)?
You can choose the cuts you want to do when looking at the storyboard, right?
When did you decide to become an animator?
Do you still keep in contact with your University club animation friends?
Was it like that before (new graduates joining companies but leaving soon after)? Or is it something recent?
About foreigners joining animation companies in Japan
Do you watch the anime chapters you have worked on? Like ShinChan as you are working now?
Is there someone you admire?
Are they strict with the background on the layouts? Or does the background artist take care of that?
How do you know how to sketch the background?
Since you joined the animation industry, what is the thing that makes you the happiest?
What are the worst struggles you have faced when working for the animation industry?
How did you start over after that.
Oh! I see. You work on 5 anime simultaneously. What does this mean?
It is unusual for freelancers to work in animation movies.
I did work for a movie called “Hanakappa.” We were mainly 3 key animators. I did 120 cuts.
What is an important thing you learned in the anime industry?
I see. Do you have advice for people who want to join the animation industry?
Closing up: What is something you look forward to?
Now… can I ask which anime you are working on right now? Other than Crayon ShinChan.
I have a request: Would you draw Wendel?
Send me the next interview!
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