Hideaki Anno (庵野 秀明Romaji ) (born May 22, 1960) is one of the six co-founders of anime studio Gainax; he is most (in)famously known for his work on the Neon Genesis Evangelion franchise, and he was rather famously involved in a dispute over the anime adaptation of Kare Kano with the author of the manga. Anno made a name for himself working as an animator on Nausicaš of the Valley of the Wind — thanks to recognition from since-then friend, mentor, and collaborator Hayao Miyazaki note . His most high-profile work prior to Evangelion was for Nadia: The Secret of Blue Water and Gunbuster. He has also directed several live-action films, including an adaptation of popular 1970s anime Cutey Honey and Toho's 2016 Godzilla film, Shin Godzilla. In addition, he also designed the intro sequence for Space Battleship Yamato 2199.
Anno once went back to his hometown to teach kids about working in animation. Video here.
Any physical or mental resemblance to a certain Jerkass Father (Gendo Ikari) is entirely coincidental, though the one to his son probably isn't.note
He is also a master of the Shrug of God.
A fictionalized version of him in college serves as The Rival in Shimamoto Kazuhiko's semi-autobiographical manga Blue Blazes (Aoi Honoo) as well as its 2014 live-action television adaptation, where he is played by Ken Yasuda.
Tropes present in Hideaki Anno's works:
- The Anti-Nihilist: Neon Genesis Evangelion, which was his struggle with depression and nihilism in anime form, led him to develop this philosophy. Previously, he was a depressed wreck who did not believe in any meaning or purpose in life, however now, he affirmed that "anywhere can be paradise as long as you have the will to live" and is now Happily Married and wealthy.
- Author Appeal:
- Anno is a self-admitted fan of the Gerry Anderson series Thunderbirds and UFO, which he has pointed to as the reason why he in particular likes Elaborate Underground Bases and the Fighter-Launching Sequence. He has also stated that by extension he is in general fond of British action serials from the 60's, something which can be seen more subtly reflected in some character designs (particularly their taste in fashion) and vehicle designs in the projects he has worked on.
- He is also a huge fan of classic kaiju and tokusatsu series such as Ultraman and Kamen Rider for their use of practical effects, costumes, and stunt work; indeed one of his first ever film projects was an Ultraman fan-film made for school with himself playing the titular character.
- A clear influence from Yoshiyuki Tomino's Mecha Shows Space Runaway Ideon and Mobile Suit Gundam can also been seen in his works. Especially in Evangelion (which even has a pretty brutal (seeming) Kill 'em All ending).
- Anno is also a big fan of World War II history, considering most of the Evangelion characters are named after ships in the Imperial Japanese Navy or nautical terms ("Ikari" meaning "anchor" and so on). Again, this comes as no surprise as another of Anno's influences is Leiji Matsumoto (Famous for Space Battleship Yamato, another anime involving a World War II battleship, and another Kill 'em All ending).
- Author Avatar: Most notably in Shinji Ikari, who Anno himself has said he resembles. However, there are also notable features present in other characters, such as Nadia and Rei's vegetarianism.
- Author Tract/Contemplate Our Navels
- Bleached Underpants: Henote did key animation work on the fourth episode of the early adult anime OVA series Cream Lemon, Pop Chaser. Learning this fact makes classic hentai fans ecstatic, since Pop Chaser is widely considered the funniest, most memorable, and best-animated episode of the series.
- Creator Cameo: He does the voice for the Black Space God in the Audio Adaptation Self-Parody Evangelion: After the End.
- Well maybe, no official source ever confirmed it.
- He also has an uncredited cameo voicing Miyu Miyu (the cat) on FLCL
- Deconstruction: A specialty of his.
- To clarify, not only was Eva obviously a deconstruction of the Humongous Mecha, but his film Love & Pop is a deconstruction of Japanese teen-girl culture, Shiki Jutsu is a deconstruction of the Manic Pixie Dream Girl/Cloudcuckoolander archetype(s), and Shin Godzilla deconstructs Godzilla and Kaiju films.
- Happily Married: To mangaka Moyoco Anno, for nearly a decade now. His marriage has drastically affected his work, disposition, and outlook on life. For a man whose previous works have dealt heavily with the inevitability of pain and the need to Earn Your Happy Ending, some would say this really is something special. In his own words:This was his first experience with married life. Later on, people close to him would remark that Anno had changed, both physically and mentally (he lost weight and became less edgy).
- Intergenerational Friendship: One of his closer friends is his mentor Hayao Miyazaki, who is good 20 years older.
- Lighter and Softer:
- For starters, he made a Cutey Honey anime, and an adaptation of Kare Kano.
- If you look closely at the hometown video, he seems to get better on camera towards the end.
- After years of using Ominous Gratuitous Greek to create moods of creepiness and dread in his audience, he named his studio Studio Khara. In other words Studio Joy.note
- Mind Screw: He uses it quite a bit.
- Odd Friendship: For a shy, melancholic man that he is, he has pretty assertive friends, like the straightforward, outspoken patriarch Hayao Miyazaki or the eccentric, flamboyant auteur Kunihiko Ikuhara.
- Postmodernism: He has been cited as one of the primary inspirations of the Superflat movement.
- Rags to Riches: Before helping to found Gainax, Anno was an out-of-work animator and college washout. Then he and some peers made two opening videos for an Osaka sci-fi convention called DAICON, with the opening video for DAICON IV proving popular enough to get them noticed in the industry. Anno, himself, would go on to work with Topcraft on Nausicaš of the Valley of the Wind (whose staff included many future members of Studio Ghibli, including none other than Hayao Miyazaki himself) before founding Gainax and becoming a household name among anime fans.
- Self-Parody: The fact that he wrote Evangelion: After the End proves that he is not above making light of his own works.
- Shout-Out: His works are typically packed with allusions or homages to anime, film, music, literature, philosophy, psychology, religion - anything he feels like.
- Signature Style: He has pretty clear stylistic choices in both his animated and live-action works, codified particularly after Neon Genesis Evangelionnote :
- A villain whose motivation and characterisation are not explored in detail, if at all (Gunbuster, Neon Genesis Evangelion, Shin Godzilla ), influenced by his favourite film Battle of Okinawa.
- He usually collaborates with Shiro Sagisu (Nadia: The Secret of Blue Water, Neon Genesis Evangelion, Kare Kano, Shin Godzilla) or with artists who produce soundtracks with the same effect, with a lot of quiet piano music and existing Western art music for introspective dramatic scenes (Love & Pop, Shiki-Jitsu).
- He likes using a black or white screen with writing on it, representing questions characters ask or tell themselves, narration, or parts of dialogue of some characters (Neon Genesis Evangelion, Kare Kano, Love & Pop, Shiki-Jitsu).
- Frequently uses and designs Eldritch Abomination characters, both as a director and an animator (Gunbuster, Nausicaš of the Valley of the Wind, Neon Genesis Evangelion, Shin Godzilla)
- Focus on industrial city views (electric wires, grey buildings, etc.), which Anno has said he is very fond of (Neon Genesis Evangelion, Kare Kano, Love & Pop, Shiki-Jitsu, Shin Godzilla).
- Focus on sci-fi technology, using Technobabble and close-up shots (The opening sequence of Madox 01, Gunbuster, Nadia: The Secret of Blue Water, Neon Genesis Evangelion).
- Long, suspenseful scenes waiting for an enemy attack, accompanied by unnerving music, usually played on the piano (Gunbuster, Nadia: The Secret of Blue Water, Neon Genesis Evangelion, Shin Godzilla ).
- Cuts between scenes that feel prematureí, often to industrial urban views, creating suspenseful pacing (Neon Genesis Evangelion, Kare Kano, Love & Pop, Shiki-Jitsu).
- Surreal imagery, usually containing rapid cuts, making the viewer stop focusing on external conditions and focus on a characterís (or charactersí) state of mind, accompanied by unsettling music and often a spotlight turning on loudly to indicate something (Neon Genesis Evangelion, Kare Kanonote , Love & Pop, Shiki-Jitsu).
- A general theme of a main character in a poor emotional state going through a crisis, or a series of crises, to grow as a person (Gunbusternote , Neon Genesis Evangelion, Kare Kano, Love & Pop, Shiki-Jitsunote ).
- Generally, producing works far on the character end of the Sliding Scale of Plot Versus Characters.
- Sliding Scale of Idealism vs. Cynicism: His works often occupy a unique position of being dark and uncompromising in their portrayal of human nature, yet ultimately (sometimes deceptively) idealistic in their emphasis on love, hope and the importance of interpersonal relationships.
- Springtime for Hitler: It's theorised that Gainax attempted to use NGE as a means to avoid paying taxes by producing a flop. Even if this is true, it failed miserably. The truth itself is more mundane: Gainax hadn't seen any of the profits from Nadia because Toho were the guys who actually owned the rights to it, and they deliberately underreported their profits for NGE because they were unsure about what would happen (and if NGE would've actually flopped, Gainax would've just been bankrupt).
- True Companions: When Anno suffered another Creator Breakdown during the filming of the third Rebuild of Evangelion movie, Hayao Miyazaki came in to help him get back on his feet.