Global Animation Panel Brings the Best of All Worlds to Anime Expo – All the News and Reviews from Anime Expo 2025

The Global Animator Group is a great furnace of ideas and internationality that sparked interesting conversations about how animation production works globally. Depend on Qubic pictures And as a creator D’Art Shtajio,,,,, n lite,,,,, Studio Orangeand Lucasfilmthe group conducted an in-depth discussion on the diversity of the pond and the importance of global cooperation.

As a veteran in the animation industry, Studio OrangeMy own Yoshihiro Watanabe Discuss his early work in Marvel’s direct video series Hulk and Give him some first-hand experience in international production. “We got the American storyboard and were asked to make the entire sequence animation,” Watanabe said. I thought I was just making a manga that wasn’t an anime. But the director comes in and adjusts all the timing of the board, and you will feel that in the anime. Oh, I think, anime probably isn’t what it looks like, but the timing of how people tell their stories and things. So it feels like anime is about people who are slowly or more experienced and opens up my mind.

Regarding the differences between Japan and the West in the industry, Watanabe noted that in his early days, the American side was so accustomed to working with Asian studios that they wanted studios to listen to their side, while the anime side wanted only their own voice. “I think it’s necessary to bridge culture for international projects,” Watanabe said. “It’s not just speaking the same language.”
n lite Founder and CEO Christiano Terry Will add comments from Watanabe. He said: “When it comes to bridging culture, we are bridging Congo with Japan [with MFINDA]. ”

Terry High talks about two specific members gunStaff: creator Patience and screenwriter Don Hughlett, he found on Instagram Studio Ghibli “It’s great when you can take one culture and bring all the art and storytelling and authenticity, and bridge it with another powerful culture,” Terry said. “Through this project, we’ve found a lot of things in common with the Japanese culture of the Congolese.”

Because this is Qubic pictures,,,,, Star Wars: A Wild Scenes From a production perspective, it is part of the discussion and a brilliant example of international influence and collaboration. Qubic’s own Josh Rimes Talking about how samurai movies in Japanese cinemas are lifeline and DNA Star Wars. It is precisely because of this international nature Star Wars Will receive reverse treatment, starting with the first series to become anime, and later producing scope of production on international territories of the second and third series.

“Star Wars It is based on myth [these international creators] “It’s not easy to talk to a creative, but it’s natural. As producers, we try to get the best of the creators we work with. Goals A strange phenomenon It is to let these creators become themselves and pass Star Wars Because it is so big and all-encompassing. ”

Leviathanexist Studio Orange Will go through a similar process. Along with French directors and other staff from Japan, the United States, Scotland and other Asian countries, it seems orange Will receive a series of global cooperation Leviathan Deserved.

period LeviathanWatanabe said in the premiere group that only a few hours later that the collaboration wasn’t limited to a few meetings a year, nor did it involve people who just throw scripts through email and people between each other. Everyone involved works closely to bring their culture from the dining table to the table, which is appropriate because the theme of the anime is to overcome the difference.

Back to the Global Animation Group, an interesting other tidbit appears in the form of animated horses. “Anime a lot of horses is very difficult,” Arthell Isom from D’Art Shtajio recall. “I remember a conversation they had in the room, and they were talking about how horses trot and ran, from the perspective of the Ayre Peninsula, they marched differently from the perspective of Japan. It was so interesting that there was an argument in the room. They couldn’t find the middle ground they found on which way and then on which horses they landed on our horses, not yours. It was an ideal way to prove the difference between the two cultures in terms of translating into animation.”