SUZUKI Shinichi (Head of the Jury/Animation Director)

There were 473 entries to the Animation Division this year, the largest number of entries to date. Characteristically, we received more short animations than long animations, TV animations and OVA's. The trend could be connected, to the spread of animation production software for PCs and an increase in the number of young people studying animation in institutions. Considering that China and South Korea encourage the development of the animation industry, the trend might be a good sign also for the Japanese animation industry, whose position as forerunner in the field has become rather precarious. Even a work that already enjoys high public regard needs to go through the regular application procedure for Japan Media Arts Festival in order to be judged. SUMMER WARS, the Grand Prize winner, was one of the topical works this year, and was worthy of the prize both in terms of content and production technique. The director, HOSODA Mamoru, unanimously won the Grand Prize for a second time. After a lively exchange of opinions in selecting the Excellence prizes, the opinions of the jury eventually converged on works that showed distinctiveness in expression and content. Among those selected were two works from overseas, underscoring the fact that the festival is now well known internationally. The three Japanese works are all characteristic: an experimental one; a work that deals with the tragedy of an unpredictable mega-quake and involves a warning message; and a love story developed in a nostalgic setting. Lastly, there were also quite a few other fine works that were unfortunately unable to earn places due to the limited number of prizes.

- IKUHARA Kunihiko (Animation Director)

This is an age when the "heart" has become important. Sweet Blue Flowers, though not selected, skillfully reflects the spirit of the times. In our lifetime, most people hear the phrases, "It's not you," or "You're wrong," uttered again and again. Sweet Blue Flowers, however, presents us with a miraculous encounter whose message is, "You can stay just the way you are." The jury disagreed in judging HAND SOAP. It has a grotesque style, which has already become apparent in contemporary art, and which, I thought, has started to appear in animation representation. The discussion centered on whether the jury considered the style as interesting or unpleasant. Though not selected this year, it is an outstanding piece of work in terms of a broadened expression. Many short animations create a "movie-like" impression after they have been viewed, which could be an influence of The House of Small Cubes, last year's Grand Prize work. Will this improve the quality of short animations or lead to the production of similar works? The trend in short animations from this point on is worthy of great attention.

- KIFUNE Sonoko (Animation Artist)

No Corras Tanto (Take It Easy) , an excellent short animation that animates the sand in Spain, was entered as an OVA, not as a short animation. On the other hand, there was a discussion about the genre of CENCOROLL, whether it should be considered an OVA work rather than a short animation, because it employs the rendering style of commercial animation, and also because a DVD version of the work is already on sale. Hence, there was some confusion this year. Yet, the consistent and unique particular style of this festival is to screen works irrespective of age, professional or amateur status and nationality. I found many short animations that were very impressive, but at the same time, I felt the creator's passion and sweat disappearing little by little. Above all, I succumbed to ELEMI, which was a diligent 3D animation work. In the memorable discussion about the sexual content of HAND SOAP, which drew most attention from the jury, there was no suggestion that this kind of content should be avoided or condemned in animation. The work garnered sympathy from some members of the jury, and received high and sincere acclaim as a piece of work.

- NOMURA Tatsutoshi (Animation Artist)

I would like to comment on the recommended works, mainly on the short animations that came close to winning a prize. HAND SOAP, which perfectly depicts the turmoil and pangs of puberty in the most unpleasant manner, received a large number of votes because of its completeness and originality. However, after a heated discussion of its artistic merit and decency, it ended up not being selected. a formula of forgotten planet, too, is a powerful piece of work, which depicts an inner journey almost equal to a return to the womb in aquarelle from a woman's viewpoint. Whether its narrative and sentiments appealed to the jury's sympathies or not split the vote in the final screening. Both Lizard Planet and the only one room are pleasant works with high-quality finish, which reached the final stage of voting. I personally enjoyed the comically malevolent family in Fuji-log. The jury members try to eliminate personal likes and dislikes from their deliberations, but admittedly, the final decision is likely to reflect one's own preferences. Yet, works created with great devotion and with no attempt at flattery are admirable and moving. I have been re-inspired to persist my own quest.

- HIGUCHI Shinji (Film Director)

Among this year's commercial-based works, most of which were long animations or TV series, the original projects impressed me more than the works based on novels or manga. A creator needs stamina and guts to set up a story and a project from scratch without depending on a commercially successful comics or novel and to be able to provide the result to the viewer as a product. I have to respect the creators for their energy and courage. Eden of the East can be considered to be very promising. It started as a TV series intended for the next generation involving a thesis about the present world, and merges with two theater movies next year. On the other hand, it was regrettable that there were no entries that were expected to surpass the selected works in the future. Did this result from our inability to evaluate uncompleted works, as the entries have to be made by artists themselves? Given the trend that projects are becoming bigger, the time may have come for the jury to face a challenge in deciding which stage of the year is appropriate to evaluate such works.

SUZUKI Shinichi (Animation Director)

Born in Nagasaki City, SUZUKI Shinichi started submitting his works to magazines, like Manga Shonen when he was a high school student. In 1955, he lived in Tokiwa-so, Tokyo with fellow manga artists. In 1956, he joined Otogi Production presided by YOKOYAMA Ryuichi, the author of Fukuchan, and ventured into animation. He worked for productions of Fukusuke and the first TV animation series in Japan Instant History. He established Studio Zero in 1963 with FUJIKO F Fujio, FUJIKO Fujio (A), ISHINOMORI Shotaro, TSUNODA Jiro, AKATSUKA Fujio and others. He also produced Osomatsu-kun, Pa-man, and others. He co-directed four films, including Mina no Egao by the Asia/Pacific Cultural Centre for UNESCO with LAT, a Malaysian manga artist. Currently he is visiting professor of Bunsei University of Art and Director of the Suginami Animation Museum.

IKUHARA Kunihiko (Animation Director)

IKUHARA was born in 1964 and graduated from Kyoto College of Art in 1985. In 1986, he entered Toei Doga Company and in 1992, joined the production of TV animation series Pretty Soldier Sailor Moon, in charge of rendition. He directed the film Pretty Soldier Sailor Moon R in 1993. After that he left Toei Doga Company in 1996 and in 1997, started to be in charge of planning, writing the original story, and directing the TV animation Revolutionary Girl Utena in 1997, Revolutionary Girl Utena/Adolescence of Utena in 1999, Storyboarding of the video animation Top wo Nerae 2! in 2005. In 2007, IKUHARA created the OP animation for the TV animation, Nodame Cantabile. Other activities include writing novels and offering original stories for mangas.

KIFUNE Sonoko (Animation Artist)

In 1979, when she was a student at Tokyo Zokei University, KIFUNE Sonoko formed a unit called IKIF with KIFUNE Tokumitsu, started production of independent animation using 8mm and 16mm film, and released experimental animation, visual installations, etc. At the end of the '80s, she got involved in production of CG animation, and in 1997 established the animation production company IKIF+, which mainly produces 3DCG. She produced the animation BUBAGA for Puchi Puchi Anime on NHK Educational Channel from 1995 to 1997. In 2006, she worked as a 3D director for TACHIGUISHI-RETSUDEN, was in charge of OP animation of Doraemon the Movie: Nobita's New Great Adventure into the Underworld in 2007 and Doraemon the Movie: Nobita and the Green Giant Legend 2008. KIFUNE serves as an executive board member for both the Japan Animation Association and the Japan Society for Animation Studies, and a professor at Tokyo Polytechnic University.

NOMURA Tatsutoshi (Animation Artist)

Born in Mie. Graduated from the Department of Graphic Design at Tama Art University, then entered ROBOT Communications Inc. Worked as a CM director then became involved in the production of various animation works including, Stray Sheep for Fuji Television, then Jam the HOUSENAIL, Neko no Sakusen, the TV animation series Nanami-chan, and NetoAni (Net Anime) Moon Boon. Currently works in Animation Studio CAGE. His activities encompass broad areas including original works, CMs, TV programs, Web, picture books, and illustrations.

HIGUCHI Shinji (Film Director)

Born in Tokyo, 1965. After graduating from high school, joined DAICON-FILM, an access film association (later GAINAX). In 1995, worked as a special technique director for Gamera: Guardian of the Universe and was awarded the Japan Academy Prize and other prizes. In 1996, he joined the TV series Neon Genesis Evangelion working in continuity and screenplay. He also takes an active role in various genres such as Dragon Head, CASSHERN, NIN x NIN: Ninja Hattori-Kun, The Movie, etc. In March 2005, Lorelei, the first long film that he directed, was released. In July 2006, NIPPON CHINBOTSU and in May 2008, The Last Princess were released.