Evangelion Director Hideaki Anno on Ghibli Producer's Radio Show

Humberto Saabedra

Asemamire GhibliFollowing up, Neon Genesis Evangelion Director Hideaki Anno sat in with Studio Ghibli’s Toshio Suzuki on the most recent edition of the Ghibli Asemamire radio show and discussed his work on the Nausicaa of the Valley of the Wind motion picture as well as his feelings on the production.

Continue reading for selected excepts from the interview, courtesy of GhibliWiki.

“According to Suzuki, because Anno hoped to make Nausicaa 2, Suzuki often suggested to Miyazaki that they make Nausicaa as a three part film, with Anno directing part 2 and Miyazaki directing part 3, but Miyazaki rejected this idea.

Anno says he wants to make a film of Vol. 7 of the Nausicaa manga [note: this is the final volume of the manga, completed several years after the Nausicaa movie itself which covers approximately only volumes 1 and 2].

Anno still has regrets about the scene of the revival of the God Warrior. He wanted to use seven pieces of animation cels between key frame animations, but Miyazaki did not allow it because there was no time.

So, five pieces animation cel were used. And Miyazaki did not allow the use of three colors for a shade. He did not allow two colors either at first, but accepted it. Anno says “There was a memo “If you use three colors, I will kill you” from Miya-san.”

Suzuki says, “Your salary (of God Warrior scene) was low, wasn’t it?” Anno answers “No, No. I got much. I was surprised because salary then was low. The salary of TV series Macross, I did it as a part-time job when I was a student; it was 1,800 yen per one cut.”

Anno says, “I kept to my house after the TV series of Eva. I lost the point of living. That time, Miya-san called me and say “Anyway, take a rest.”

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Journalist since 2006, initially covering the retail wireless sector before pivoting to anime and manga trade reporting in 2008. Founder and publisher of AnimeNews.biz (2008–2017), followed by a 13-year tenure at Crunchyroll News (2011–2024) and launching K-Comics Beat with Comics Beat in 2024. Now stripping away consumer noise to build independent, data-backed intelligence desks focused on cross-border licensing telemetry, production committee balance sheets, and industrial supply-chain forensics.

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