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by Luis Reyes
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What has been your experience working with Clamp? HA: Clamp, they want their animators to recreate the characters from their own manga exactly. They want the style
and the touch to be the same. As original manga creators go, they're a little hard to work with because they're so picky. But as
a professional, I want to please the original creators.
As animation director for "Vampire Hunter D," how much input did you have in how it looks? Did you give your input to the director? HA: I didn't really say much because they're professionals with years of experience. But if I'm working with a younger
director, it's easier to create a dialogue and I give my input.
How long have you been an animator? HA: Eighteen years.
As you grow as an animator, do you eventually want to direct more? HA: If I have a chance.
Is that a natural progression, to start as an in-betweener, then become an animator, then a key animator, then an animation director, and then get to direct? HA: That's a natural progression. But the amount of time you spend in each position depends on your skills.
How did you get into animation? Did you always want to do it? HA: I think the generation that grew up with "Yamato" and "Gundam," the course of their lives was distorted by those shows.
I'm a "Yamato" boy. I grew up with "Yamato." It was a whole society thing. When "Yamato" came out it was a big success. All these people
wanted to make something like that. So if I didn't see "Yamato," I probably wouldn't be here.
How did you get involved with Madhouse? HA: Originally I was at Dome, and the presidents of Madhouse and Dome are long-time acquaintances. So Madhouse asked, "Oh, can you
please lend Abe-san to us?" So, I'm actually being sort of bought by Madhouse.
 Akadot would like to thank Kevin Lillard from A Fan's View for permission to include his images with this article. Twilight of the Dark Master © Urban Vision / Saki Okuse / Shinshokan / Toei Video / Goodhill Vision / BMG Japan.
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