| My favorites are Oshii and Tomino. I have watched most of Oshii's works and I like both his serious style (ghost in the shell, angel's egg) and comedies (patlabor, urusei yatsura). I still need to watch talking head (live action), the sky crawlers and gosenzo sama. His frequent colaborators Kenji Kawai, Kazunori Ito and Akemi Takada are also very talented. Fun fact: he wrote a manga with Satoshi Kon after they met during the production of Patlabor 2 but never finished it due to creative differences. I still haven't watched Tomino's non gundam stuff like zambot, ideon, xabungle amd king gainer (I'm planning to) but the man is one of the most creative people in the industry. Great ideas. EDIT: some honorable mentions: Osamu Dezaki Shinji Takamatsu Yasuhiro Yoshiura Shoji Kawamori Yoshikazu Yasuhiko |
| MEA·MENTVLA·INGENS·EST |
| Most of my favorite anime are directed by people whose names I don't know. I don't like many "famous" directors; my favorite is Ikuhara. |
| その目だれの目？ |
| I would say Shinichiro Watanabe, the director of both Cowboy Bebop and Samurai Champloo, both of which are among my personal top 10 favorites. The style of both shows were so similar that I knew right from the start when watching Samurai Champloo that it must've been directed by the same guy as Cowboy Bebop, so I looked it up and confirmed it. Aside from that, the only other directors I'm consciously aware of are Hideaki Anno, the director of the Evangelion series and franchise, and Miyazaki, both of who are masterful directors in their own right. |
| "I saw the Emperor - this soul of the world - go out from the city to survey his reign; it is a truly wonderful sensation to see such an individual, who, concentrating on one point while seated on a horse, stretches over the world and dominates it." |
| I’ve only seen like 231 anime, so I’ll probably add lots more people to this list once I have more works under my belt, but for now it’s: Oshii Satoshi Kon Yamada Naoko Yuasa Yasuhiro Takemoto Watanabe Akiyuki Shinbou |
Sigma-Aug 31, 2020 11:49 AM
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The ten I'm using in favorite people:
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inimAug 31, 2020 11:51 AM
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| Yuzuru Tachikawa for Death Parade, Mob Psycho 100 and Deca-Dence. |
| Imagine how boring this world would be without Japan - a comment at youtube |
| Definitely Ikuhara. Two of my top ten anime are directed by him (Utena & Sarazanmai). A lot of people complain that they find his stuff too weird but I just love it. The visuals are always so creative. |
  🔥 🔥 🔥 . 阿良々木 暦, 傷 物 語 . 🔥 🔥 🔥 Build a man a fire and you'll warm him for a night but set a man on fire and you'll warm him for the rest of his life... - H E N D Y - |
| Well I don't know much directors but I'd say Tetsuro Araki |
| Signature removed. Please follow the signature rules, as defined in the Site & Forum Guidelines. |
| While he might not be the greatest or most iconic director around, I found myself appreciating Junichi Satou a lot. He directed one of my favorite franchise ever, the Aria one, and several animes I really loved like Sailor Moon and Princess Tutu. The only anime I've seen directed by him that I haven't liked much is because as an OVA it didn't have much content. I actually plan on watching more stuff by him, I hope he'll make it in my favorite people list as the first director. |
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| Oh god, where do I start? Hayao Miyazaki Shinchiro Watanabe Kunihiko Ikuhara Satoshi Kon Masaaki Yuasa Mamoru Hosoda Akiyuki Shinbou Naoko Yamada Did I miss anyone? |
| Kazuya Tsurumaki, always has been. FLCL, Diebuster, first half of End of Evangelion. I even like the EVA Rebuild movies (except number 3) and the other Studio Khara stuff. For movies Mamoru Oshii is my guy, I've watched almost everything, Ghost in the Shell, Innocence, Sky Crawlers, Angel's Egg, never let me down. |
| Hiroshi Hamasaki (Steins; Gate, Texhnolyze) is also one of my favorites, but I'd need to watch more of his shows. |
| For movie directors I would say Hayao Miyazaki, Mamoru Hosoda and Satoshi Kon. For TV show directors Shinichiro Watanabe,Akiyuki Shinbou and Tetsurou Araki are my favorites. |
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| Naoko Yamada, she now how to elevate drama show into another level. 2 of my top 10 create by her. (Sound! Euphonium, Koe no Katachi) Also want to mention Shinichiro Watanabe. Often rewatch his work only for music and visual. |
| It has to be definitely Jin Aketagawa, he produced the sound of one of my all-time favorite anime Genshiken and many other series that excel, such as Kaguya sama love is war, Toradora and shokugeki no soma. He's not a general director but in music and sound he's almost a genius. |
| Naoko Yamada. She only creates good stuff and always goes beyond with her adaptations. I like Shinbou and Shinkai too. Takamatsu Shinji is best for comedies. KMSpico said: Hibike! wasn't by yamada. It was directed by ishihara.Naoko Yamada, she now how to elevate drama show into another level. 2 of my top 10 create by her. (Sound! Euphonium, Koe no Katachi) |
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| https://myanimelist.net/people/34547/Hiroyuki_Hata This guy made a slight good CGDCT (for me) into a masterpiece |
| I’d say my favorite is Yuasa but honestly, I don’t have a favorite list. |
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| No Katsuhiro Otomo, Tensai Okamura or Yoshiaki Kawajiri? Shame on you guys! (jk) |
| There's too many to list tbh. It's even hard to rank them into tiers, but my top tier would probably be Yuasa, Kon, Takahata, Watanabe and Dezaki. Second highest tier would include names like Miyazaki, Oshii, Koike, Anno, Otomo, Kawajiri, Hosoda and whoever I'm forgetting right now. My 'lowest' tier of favorites would include names like Omata (mainly for rakugo and kaguya-sama), Hara Keiichi, Hata Masami and other relatively unknown directors that really made me into their fans before I even knew they existed. And then there is the special tier of one-trick ponies, directors who perfected their craft but basically can only apply it in one specific way, making their shows feel very idiosyncratic but at the same time you always already know what to expect before you watch their stuff. Ikuhara, Shinbou, Shinkai are the big 3 of that category. I like Shinbou by far the most out of these, but even he has a ton of 'misses' where his style fails to contribute anything meaningful to the show. Shinkai and Ikuhara are just doing their thing and it always feels the same even if they switch up some things. They're not bad directors by any means, but their styles and how predictable they are bore me after I've seen them once or twice. I just don't think it takes that much skill or creativity to do the same thing over and over again rather than finding the perfect and unique way to direct each story to maximum efficiency. Omata is a genius at that - his range could have easily put him in a higher tier on my list. He always manages to direct shows in such a way that makes his impact minimally noticable while having the maximum effect- Kinda the opposite of someone like Ikuhara who is always immediately and extremely noticable to the point where his style is laying it on so thick that it can easily overpower other relevant aspects of the show. |
| I probably regret this post by now. |
| makoto shinkai, he is genius for me, he can bring so much joy and sad at the same times. |
| Signature removed. Please follow the signature rules, as defined in the Site & Forum Guidelines. |
| I like your clustering criteria, very useful for the 10,000 feet view. Pullman said: The one show which convinced me he can do something different than vampire lolis, Dutch angles, and surreal background geometry is 3-gatsu no Lion. I'm not sure how much of this is owed to the source material, but if anything Shinbou's trademark gadgets did not come into the way of the story here.there is the special tier of one-trick ponies, directors who perfected their craft [...] making their shows feel very idiosyncratic but at the same time you always already know what to expect [...]. I like Shinbou by far the most out of these, but even he has a ton of 'misses' where his style fails to contribute anything meaningful to the show. |
| |
inim said: I like your clustering criteria, very useful for the 10,000 feet view. Pullman said: The one show which convinced me he can do something different than vampire lolis, Dutch angles, and surreal background geometry is 3-gatsu no Lion. I'm not sure how much of this is owed to the source material, but if anything Shinbou's trademark gadgets did not come into the way of the story here.there is the special tier of one-trick ponies, directors who perfected their craft [...] making their shows feel very idiosyncratic but at the same time you always already know what to expect [...]. I like Shinbou by far the most out of these, but even he has a ton of 'misses' where his style fails to contribute anything meaningful to the show. They don't, but his style is still very visible and he isn't really doing anything differently either, except maybe holding back a bit so his style doesn't become overpowering. And the writing in that show is so good I don't exactly know how much of its success I can attribute to his directing either. He's always done a wide range of shows - hentai, comedies, dramas etc... but his style tends to make the feel more same-ish than they otherwise would. 3-gatsu being more subtle in that regard is definitely a step in the right direction but I'm not yet convinced I can remove him from the one-trick-pony tier :>. |
| I probably regret this post by now. |
| Not specifically, I don't really remember who directed which, but I love Atsuko Ishizuka's Sora yori mo Tooi Basho and No Game No Life. I also remember Masaaki Yuasa for his uniqueness in his works, but honestly, I don't like his style of sacrificing the art quality. |
810Teams said: I also remember Masaaki Yuasa for his uniqueness in his works, but honestly, I don't like his style of sacrificing the art quality. That's not really what he does. I mean it implies there is some sort of hierarchical quality to art in the first place, which there isn't. His choice is one of style, not one of not caring about art and sacrificing it. The art styles in his works are always different (Kaiba looks different than Tatami Galaxy looks different than Ping Pong etc...) so it's clear that it's a stylistic choice for each show and not just one of not putting in any effort into the art, not caring what it looks like. Personally I love his art, and so do most of his fans because it's really just a matter of preferring one style over another and not one of sacrificing or lacking quality. Your underlying assumption seems to be that art is 'better' if it looks more realistic and more 'clean' (correct me if I'm wrong) but that in itself is just an arbitrary bias that would, for example, make Picasso look like he 'sacrificed art quality' as well, which is a ridiculous claim. That type of art style has its own unique appeal and effect on people that a 'clean' or photorealistic artstyle can't have so I find it silly to want to establish one art is 'superior' to the other just because you like it more. I prefer more 'artsy' artstyles, but I would never say that, idk, Shinkai sacrifices art quality just because I like his photorealistic style less than that of Yuasa. You don't like his style, that's fair, but all the talk about sacrificing art quality and implying his art is objectively inferior and not just a stylistic choice with its own pros and cons is kinda frustrating. It's not just you either, literally everyone who prefers clean art styles or dislikes Yuasa always frames their preference as being based on 'quality', as if the rest of us just liked an inferior product or didn't care about 'art quality' when most of us definitely do. It can come off as kinda obnoxious and condescending, whether intended or not. It's not like his shows would be better if you changed the art style of each frame to something more streamlined and clean-looking either, which is what your phrasing suggests. They might even be much worse, losing a lot of their impact and emotions because the storyboards and everything was already conceptualized with exactly that style in mind. Either way it would just end up a completely different show. So what you try to frame as 'sacrifice' is actually the look that benefits the show in its current form the most. The stylistic choice for the art is so deeply embedded with the entirety of the storytelling that I don't think it makes sense to talk about it as a sacrifice. It's exactly how it should be and if you changed the artstyle you would also have to change the shot composition, key frames and overall storyboarding for the entire anime, turning it into a different show altogether that would probably not be as critically acclaimed as Yuasa's version. |
| I probably regret this post by now. |
| For me, totally Satoshi Kon or Hayao Miyazaki. |
 Credit to gojosattoru |
| What? Seriously? Nobody here said Makoto Shinkai? Kimi no Na wa? C'mon guys wtf here I'll say it in size 600 MAKOTO SHINKAI Also Miyazaki |
| 私は禁止されています、これは偽のアカウントです |
Pullman said: That's not really what he does. I mean it implies there is some sort of hierarchical quality to art in the first place, which there isn't. His choice is one of style, not one of not caring about art and sacrificing it. The art styles in his works are always different (Kaiba looks different than Tatami Galaxy looks different than Ping Pong etc...) so it's clear that it's a stylistic choice for each show and not just one of not putting in any effort into the art, not caring what it looks like. Personally I love his art, and so do most of his fans because it's really just a matter of preferring one style over another and not one of sacrificing or lacking quality. Your underlying assumption seems to be that art is 'better' if it looks more realistic and more 'clean' (correct me if I'm wrong) but that in itself is just an arbitrary bias that would, for example, make Picasso look like he 'sacrificed art quality' as well, which is a ridiculous claim. That type of art style has its own unique appeal and effect on people that a 'clean' or photorealistic artstyle can't have so I find it silly to want to establish one art is 'superior' to the other just because you like it more. I prefer more 'artsy' artstyles, but I would never say that, idk, Shinkai sacrifices art quality just because I like his photorealistic style less than that of Yuasa. You don't like his style, that's fair, but all the talk about sacrificing art quality and implying his art is objectively inferior and not just a stylistic choice with its own pros and cons is kinda frustrating. It's not just you either, literally everyone who prefers clean art styles or dislikes Yuasa always frames their preference as being based on 'quality', as if the rest of us just liked an inferior product or didn't care about 'art quality' when most of us definitely do. It can come off as kinda obnoxious and condescending, whether intended or not. It's not like his shows would be better if you changed the art style of each frame to something more streamlined and clean-looking either, which is what your phrasing suggests. They might even be much worse, losing a lot of their impact and emotions because the storyboards and everything was already conceptualized with exactly that style in mind. Either way it would just end up a completely different show. So what you try to frame as 'sacrifice' is actually the look that benefits the show in its current form the most. The stylistic choice for the art is so deeply embedded with the entirety of the storytelling that I don't think it makes sense to talk about it as a sacrifice. It's exactly how it should be and if you changed the artstyle you would also have to change the shot composition, key frames and overall storyboarding for the entire anime, turning it into a different show altogether that would probably not be as critically acclaimed as Yuasa's version. Well, thanks for caring to explain this long, but sorry for not being one of his fans unlike you. |
810Teams said: Pullman said: That's not really what he does. I mean it implies there is some sort of hierarchical quality to art in the first place, which there isn't. His choice is one of style, not one of not caring about art and sacrificing it. The art styles in his works are always different (Kaiba looks different than Tatami Galaxy looks different than Ping Pong etc...) so it's clear that it's a stylistic choice for each show and not just one of not putting in any effort into the art, not caring what it looks like. Personally I love his art, and so do most of his fans because it's really just a matter of preferring one style over another and not one of sacrificing or lacking quality. Your underlying assumption seems to be that art is 'better' if it looks more realistic and more 'clean' (correct me if I'm wrong) but that in itself is just an arbitrary bias that would, for example, make Picasso look like he 'sacrificed art quality' as well, which is a ridiculous claim. That type of art style has its own unique appeal and effect on people that a 'clean' or photorealistic artstyle can't have so I find it silly to want to establish one art is 'superior' to the other just because you like it more. I prefer more 'artsy' artstyles, but I would never say that, idk, Shinkai sacrifices art quality just because I like his photorealistic style less than that of Yuasa. You don't like his style, that's fair, but all the talk about sacrificing art quality and implying his art is objectively inferior and not just a stylistic choice with its own pros and cons is kinda frustrating. It's not just you either, literally everyone who prefers clean art styles or dislikes Yuasa always frames their preference as being based on 'quality', as if the rest of us just liked an inferior product or didn't care about 'art quality' when most of us definitely do. It can come off as kinda obnoxious and condescending, whether intended or not. It's not like his shows would be better if you changed the art style of each frame to something more streamlined and clean-looking either, which is what your phrasing suggests. They might even be much worse, losing a lot of their impact and emotions because the storyboards and everything was already conceptualized with exactly that style in mind. Either way it would just end up a completely different show. So what you try to frame as 'sacrifice' is actually the look that benefits the show in its current form the most. The stylistic choice for the art is so deeply embedded with the entirety of the storytelling that I don't think it makes sense to talk about it as a sacrifice. It's exactly how it should be and if you changed the artstyle you would also have to change the shot composition, key frames and overall storyboarding for the entire anime, turning it into a different show altogether that would probably not be as critically acclaimed as Yuasa's version. Well, thanks for caring to explain this long, but sorry for not being one of his fans unlike you. I don't care whether you like Yuasa or not so why would you apologize for that? Are you just being overly polite or did you completely miss the point of why I wrote my previous post? I just wanted to refute the idea that there is objective quality in art and that clean-looking or realistic styles are objectively better than sketchy or abstract styles like the ones he is associated with. Almost any artist or people who know about art would agree with me that it's just a personal choice and not a 'sacrifice' of quality when you prefer the latter. I was desperately trying to make that point - Yuasa was just the context in which it came up so the examples revolved around him. But please don't let your takeaway from this be that I wanted to convince you that you should like Yuasa, because I didn't. I just wanted to point out that your underlying assumption for why you don't like him is problematic and points to a much more fundamental misunderstanding in regards to how art can be classified and judged. |
| I probably regret this post by now. |
cythraul said: thank for the correction. Yes, you right. But she acting as series director on Hibike first season. I usually use ANN for checking staff list. Naoko Yamada. She only creates good stuff and always goes beyond with her adaptations. I like Shinbou and Shinkai too. Takamatsu Shinji is best for comedies. KMSpico said: Hibike! wasn't by yamada. It was directed by ishihara.Naoko Yamada, she now how to elevate drama show into another level. 2 of my top 10 create by her. (Sound! Euphonium, Koe no Katachi) |
| Like Pullman I also decided to break it into tiers. Top tier directors for me are not only great at their craft, but also offered a great deal of creativity to the medium. Many tier 2 directors could easily have reached Tier 1 had they worked on more projects. Anno and Otomo I'm looking at you. Kazuhiro Furuhashi is easily the most overlooked director, hardly see his name come up in these discussions. While half his works aren't terribly interesting, he's been behind some legendary anime. Trust and Betrayal continually amazes me each time I watch it. I'll try to just pick a few favorites from each. Tier 1 Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo, Macross Plus) Masaaki Yuasa (Kaiba, Mind Game, The Tatami Galaxy) Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex, 2nd GIG, Moribito) Mamoru Oshii (Ghost in the Shell, Angel's Egg, Patlabor 2) Satoshi Kon (Paranoia Agent, Perfect Blue, Millennium Actress) Hayao Miyazaki (Princess Mononoke, Nausicaa, Future Boy Conan) Osamu Dezaki (The Rose of Versailles, Treasure Island, Space Adventure Cobra) Noboru Ishiguro (Legend of the Galactic Heroes, Macross, Yamato) Tier 2 Isao Takahata (Grave of the Fireflies, Lupin III second half) - Potentially higher after I watch more of his works Ryuutarou Nakamura (Kino's Journey, Serial Experiments Lain, Ghost Hound) Yoshiyuki Tomino (Mobile Suit Gundam, Zeta Gundam, Turn A Gundam) Hideaki Anno (Neon Genesis Evangelion, End of Evangelion, Gunbuster) Kazuhiro Furuhashi (Trust and Betrayal, Gundam Unicorn, Zipang) Katsuhiro Otomo (Akira, Memories) Hiroshi Hamasaki (Steins;Gate, Texhnolyze, Shigurui) Hiroshi Nagahama (Mushishi, Detroit Metal City) Yoshiaki Kawajiri (Ninja Scroll, Vampire Hunter D) |
DunkyOct 12, 2020 5:39 PM
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Dunky said: The routinely overlooked directors are those who are mainly active in genres not popular with the demographic of mainstream anime (teenage boys). In terms of impact to their respective genres and probably anime at large these four easily make S-tier. In particular, when the dreaded "next Miyazaki" question pops up, my standard answer is Yamada - the inventor of the leg shot and body language sequences in anime. She's to KyoAni what Anno was to Gainax, minus the mad genius attitude.[...] is easily the most overlooked director, hardly see his name come up in these discussions.
|
inimSep 2, 2020 12:56 AM
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| True, and I feel like TV directors don't always get the credit they deserve. I can respect those picks even if just for impact to their genres, though for me the disconnect comes in me not liking those genres. Gunslinger Girl is kinda underappreciated, one of the few dramas that gripped me. And one day I will get around to watching Nana. |
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Dunky said: Kazuhiro Furuhashi is easily the most overlooked director, hardly see his name come up in these discussions. While half his works aren't terribly interesting, he's been behind some legendary anime. Trust and Betrayal continually amazes me each time I watch it. I never watches Trust & Betrayal and for some of the other stuff he did that you listed I just cared more about the writing than the directing (especially Zipang) but I guess he does deserve more props than he gets with his resume. It's just that most of the stuff he did that I liked I didn't find the directing to really catch my attention that much. They were just adapted from good source materials and compelling stories all-around. That's probably why I never paid much attention to him. inim said: Dunky said: The routinely overlooked directors are those who are mainly active in genres not popular with the demographic of mainstream anime (teenage boys). In terms of impact to their respective genres and probably anime at large these four easily make S-tier. In particular, when the dreaded "next Miyazaki" question pops up, my standard answer is Yamada - the inventor of the leg shot and body language sequences in anime. She's to KyoAni what Anno was to Gainax, minus the mad genius attitude.[...] is easily the most overlooked director, hardly see his name come up in these discussions.
I don't think Satou is quite as underappreciated as the others on your list. From those 4 he's the only one whose name I've seen pop up regularly, at least back in the day when Aria was still a big thing that a lot of people fawned over. I've certainly remembered his name before I remembered the names of a lot of other anime directors that came up in this thread (including some of the ones I listed as part of my favorites). Maybe he's less known nowadays, but I've certainly seen a lot of appreciation for him over the years from the slice-of-life and especially iyashikei fandom. I'd say he's the undisputed king of iyashikei for the last 10-15 years. I can even forgive him for directing Phi Brain :>. |
| I probably regret this post by now. |
Pullman said: I can understand where you're coming from, Trust and Betrayal is really the one that won me over in terms of direction. Ever get that feeling where you think a director is being held back by lack of resources? That's the impression I always got with his works, especially considering his frequent Studio Deen collaborations. I suppose he also doesn't have that distinctive style that the other great directors have.Dunky said: Kazuhiro Furuhashi is easily the most overlooked director, hardly see his name come up in these discussions. While half his works aren't terribly interesting, he's been behind some legendary anime. Trust and Betrayal continually amazes me each time I watch it. I never watches Trust & Betrayal and for some of the other stuff he did that you listed I just cared more about the writing than the directing (especially Zipang) but I guess he does deserve more props than he gets with his resume. It's just that most of the stuff he did that I liked I didn't find the directing to really catch my attention that much. They were just adapted from good source materials and compelling stories all-around. That's probably why I never paid much attention to him. |
|
Dunky said: Pullman said: I can understand where you're coming from, Trust and Betrayal is really the one that won me over in terms of direction. Ever get that feeling where you think a director is being held back by lack of resources? That's the impression I always got with his works, especially considering his frequent Studio Deen collaborations. I suppose he also doesn't have that distinctive style that the other great directors have.I never watches Trust & Betrayal and for some of the other stuff he did that you listed I just cared more about the writing than the directing (especially Zipang) but I guess he does deserve more props than he gets with his resume. It's just that most of the stuff he did that I liked I didn't find the directing to really catch my attention that much. They were just adapted from good source materials and compelling stories all-around. That's probably why I never paid much attention to him. With anime I'm never sure if a director is just held back by studios and the constrictions of the industry (including but not limited to resources) not allowing them to be as idiosyncratic (unless you have your own studio basically, like Miyazaki, Shinbou, Imaishi or Yuasa) or if their style is just more subtle and less noticable than that of others. In general I do feel that directors with directing styles that kinda make them less noticable instead of more (if that makes sense) tend to get overlooked more for obvious reasons. It's the same in live-action as well. It's just easier to appreciate a director if you can easily point to the things that make him great, make him stand out amongst his peers. That being said, when I think of fantastic anime directors that don't have super noticable styles the first one I think of is Omata (and Takahata I guess, but I just think of him whenever the topic is on directing ^^) so there are some directors of that type that caught my attention before, Kazuhiro was just not one of them :(. Probably because I never saw trust & Betrayal. |
| I probably regret this post by now. |
| This is where I would love to see the inner workings of an animation studio, to get a better understanding of the limitations they are working with and to see how it all comes together. Watching interviews with the directors is always enlightening. I remember watching one with Michael Arias giving such a fascinating perspective on why he was so passionate about bringing Tekkon Kinkreet to life. |
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| Satoshi Kon Isao Takahata Hiroyuki Imaishi Rie Matsumoto Shinichirō Watanabe Kunihiko Ikuhara Mamoru Oshii Masaaki Yuasa Hayao Miyazaki Kenji Nakamura |
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| I would have to say Shigeyoshi Tsukahara. The style he has in his films are really to my taste and I am expecting that a future film of his would be the one that would surpass my favourite anime film that is the Wind Rises. |
| https://myanimelist.net/people/5068/Masaaki_Yuasa |
No, this isn't my signature. |
| Hiroaki Miyamoto is my favorite director. |
 |
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