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19:23 be with you know, DINNERO or Harry Olwis or wherever.

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07:53 and Prince Harry has spoken to the King about that

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32:16 Vielen, vielen Dank, Harry Rolf. Wenn ihr Interesse habt, mit Harry Rolf in

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1:06:00 Uh yeah, I'm only on Instagram, I know, that's what jr.

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1:03:33 sehr beliebt, Harry Potter und alles, was dazugehört. 1:05:48 boah, der hat wieder durchgesumpft, der Zauberer, der Harry,

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11:30 flourishing in you know, the Harry Winston and the Oscar

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10:25 it's Deborah Harry, but like Deborah Harry, me, Molly Ringwold, 10:20 giving it to me. And Deborah Harry same thing, gave 10:41 me in a picture with Molly Ringwold, Deborah Harry and

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05:06 Tom I called it, you know, Tom and Harry, all 05:10 going around that we would good with Tom and Harry 05:20 and Sonya. It's a triple crown right there. Harry has

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04:03 Most popular film overall was the american Sci-Fi movie Terminator two. And yet Gundam F 91 grossed a mere ¥520,000,000 at the box office, less than half of what Shah's counterattack had pulled in three years earlier. It probably didn't help that the movie was unfinished. The final version that we watch today includes five minutes of new scenes added after the theatrical run concluded, as well as a significant number of redrawn scenes and re recorded sound and voice work. It was also unfinished in the sense that the story ended without much resolution, just a line of text on screen reading. This is only the beginning. At the time, Tomino and his team hoped to fulfill that promise in a tv sequel series that would pick up where the movie had left off, continuing the stories of Seabok, Cecily, and the other frontier four survivors in their ongoing struggle against the nefarious and genocidal aristocrats of Cosmo Babylonia. But he wasn't exactly feeling confident about it. In 2002, reminiscing about f 90 one's failure, he said that at the time he was sure Gundam was finally dead, but he was still talking to his managers at sunrise about making a sequel, and Ishigaki Jr. A young mecha designer who had stepped up to assist on f 91 after the hospitalization of lead mecha designer Okuara Kunio, was himself already hard at work on exploratory designs for mobile suits that might be included in the anticipated f 92, or whatever it might eventually have been called. They were both surprised when orders came down from on high to abandon f 92 and begin work at once on a wholly new Gundam tv series, the first in six years, and a second attempt to reinvigorate the faltering Gundam brand. The new series would also need to plug a crucial demographic gap that had opened up. SD Gundam had taken off in a huge way among kids in the six to nine year old age group. Within two years, overall sales of SD Gundam merchandise had eclipsed those of socalled real Gundam products in sales volume, and for the four year period from 1989 through 1992, Bondi sold more than twice as many SD kits every single year. Uda Masuo, a producer who later became the managing director of Studio Sunrise, described the studio as horrified by the SD sales figures. SD Gundam, as Ueda explained, was not really theirs in the same way that real Gundam was. But while SD Gundam Mania had brought in a new generation of young fans, Sunrise, Bondi, and the other sponsors were struggling to get them interested in real Gundam. And it definitely did not help that the only recent real Gundam productions, f 91 and the then ongoing ova series 83 Stardust memory were expensive prestige projects meant to appeal to the more mature tastes of high school aged fans and adult otaku. In order to succeed as a commercial project, the new series would need to appeal to older elementary and middle school aged kids, catching them as they outgrew SD Gundam's wacky hijinks, and ideally, transforming them into lifelong Gundam fans. And of course, it would need to move a lot of plastic. It was time to go back to Gundam's roots, selling toys to children. By December 1991, presumably while he was overseeing the finishing touches on the final home video cut of f 91, Tomino had established the basics of the setting and many of the major characters, as well as the title for this next Gundam series, Victory Gundam. With the basic outline of the story set, the first order of business would be to assemble the staff. Tomino's prior Gundam works going back to Zeta had all been made in Sunrise's studio two, managed by producer Uchida Kenji. But Uchida, having witnessed Tomino surpassing himself again and again with his work on original projects like Dunbine or Elgheim, wanted his longtime collaborator to have the chance to make new things. Sending him back to Gundam was just a waste. So Uchida went to the higher ups and told them that he refused to work on another Gundam show. If Tomino was directing it, this did not have the effect he hoped for, but it did mean that Tomino would need to work with a different producer, so victory would now be made in studio three, overseen by Ueda. Masuo Masuo describes the process of how he was chosen to be the producer for victory as follows. During a meeting of Sunrise's executive leadership, including Ueda and two other senior producers, someone raised the question of what they were going to do with Gundam after 83 finished. At the time, the company as a whole was doing well. SD Gundam was booming, the royalties were rolling in, and their work for the toy makers Takara and Tomi was going well. Given the timing of this meeting, I assume that Ueda is talking about Zetai Muteki Raijino for Tomi and brave fighter of legend Dagarn for Takara, despite all of these positive indicators, the question of Gundam's future cast a paw over the meeting. The company president wanted them to focus on making a new tv series. But when he asked the assembled producers who was going to take charge of the project, nobody volunteered. After a short, and I suspect uncomfortable silence, he said, okay, then. It's yours, Ueda. So by the start of 1992, with the director and producer in place and the show's debut still more than a year away, it was time to assemble the principal designers, who would collectively establish the visual identity of the new show. They picked three men to design the show's mecca. The veteran Okawara Kunio, designer of the Zaku and the original Gundam, Ishigaki Jr. A relative newcomer and former assistant to Okawara, who, as I said, had stepped up late in the production of f 91 when his boss was hospitalized and was now working in Sunrise's behind the scenes planning office. And Katoki Hajime, another relatively new face who had made a name for himself with his designs for the 1987 photo novel Gundam Sentinel before landing a job designing mobile suits for 83. The allimportant question which of the three would design the titular victory Gundam was to be decided in a headtohead competition. Each of the three was asked to produce a design which, like the original Gundam, could split into three sections centered around a core fighter. Other than that, the designers were free to interpret the Gundam as they pleased. Kotoki's design, which followed the style of the f 91, maintaining the smaller 15 meters size class and some distinctive elements like the beam shield, ended up winning. He would handle the Gundam and its associated support equipment as a consolation prize. Okawara and Ishigaki were tasked with designing the rest of the Mecca, enemy and allied alike. A few months later, there was a similar competition to select the character designer, but here, Tomino went rogue. The producer, Ueda had dug up some archived concept art from an old cancelled project and showed it to the director as a reference. It turned out to be exactly what Tomino was looking for and the artist responsible, Osaka Hiroshi, got the job. Osaka, who died of cancer in 2007 when he was only 44 years old, was not really a character designer. Before this, he had worked his way up from animator to animation director and had only one character design credit to his name, the 1987 pornographic ova cream Lemon special, Dark. In fact, like Osaka, Katoki and Ishigaki, much of the staff for Victory would turn out to be young and relatively inexperienced in their roles of the show's. Twelve episode directors, eight had less than five years experience in the role, and three made their debut on Victory. The animation directors followed similar lines, with at least two starting out as animators and getting promoted to animation director during the show's run. Nishimori Akira, who wound up storyboarding 18 episodes more than any other artist, only had a single storyboarding credit to his name when he was hired. Writer Godo Kazuhiko got his first writing credit the year before Victory started airing. Oka Akira, who wrote roughly half of the show's episodes, had a bit less than ten years experience as a screenwriter, but that was almost exclusively working on shows for young kids like Doriman, Kyutaro, and Obocamakun. In interviews both at the time and retrospectively, Tomino has said that he wanted to revitalize Gundam by entrusting its future to a new generation of creators, but there are some less flattering explanations for this as well. More established anime professionals with more options may well have been avoiding both Tomino and Gundam at this point. Uweda described the attitude in his studio as heavy, and Tomino likened the experience of making victory to sinking into a swamp. The pressure to generate a hit was intense, and very few people actually seemed excited to work on a new Gundam show. Also, Tomino's reputation as a workaholic perfectionist with a quick temper and a sharp tongue had only grown over the years, and the Gundam franchise itself had now developed a notoriety within the industry for the quantity and difficulty of the work. Ever since Shar's counterattack, every Gundam project had gotten more and more complex to animate more lines, more movement, flashier effects. There was even concern within the studio that they wouldn't be able to find outside companies willing to take on specialist tasks like finishing, which is the final inking and painting of the animation cells before they're photographed. Partly to counter this, partly to avoid direct and unflattering comparisons to f 91 and 83, and partly to appeal to the show's younger target demographic. Tomino and his team decided on a deliberately simplistic aesthetic inspired by the long running World masterpiece theater series. That series, which consisted of anime adaptations of classic western children's stories, had been running for so long that Tomino himself had worked on it during the early part of his career, when he was cutting his teeth as a freelance storyboard artist, he had worked on shows like Heidi, Girl of the Alps, Anne of Green Gables, Dog of Flanders, and Moomin alongside fellow anime legends Miyazaki Hayao and Takata Isao in fact, he worked on it right up until Gundam catapulted him into the spotlight. The last episode Tomino storyboarded for Anne of Green Gables actually aired a month after first Gundam's debut. The other major visual touchstone for the new show would be 1970 Eight's future Boy Conan, the first show directed by Miyazaki and another of Tomino's freelance storyboarding gigs. For the younger animators working on victory, though, it represented something more. Character designer Osaka would later recall that it had been future Boy Conan, with its deceptively simplistic designs and amazing movement, that made him and many of his contemporaries fall in love with animation in the first place. In practice, what this meant for the mecca and character designers of victory was a declaration of war against lines. Every additional line in a design translated directly into more work. For the animators and colorists downstream, any line that could be removed was removed. This emphasis on design simplicity was coupled with a series of labor and cost saving measures. Shading was to be emitted from all scenes except when specifically called for by the chief director himself. Animation was to be limited to eight frames a second, which is called shooting on threes because each frame has to be repeated three times in order to get up to the 24 frames per second of broadcast television. Normally, a show's frame rate varies from cut to cut depending on what is happening, with more intense moments being shot on twos or twelve frames per second, or even drawn at what is called full animation or 24 frames per second. Victory was to have none of that. Even the most exciting, complex and fast paced scenes were to be animated at a mere eight frames a second, and the effects, like explosions, were to be achieved by swapping in painted backgrounds instead of being animated. This was a process that had been used back in the 70s, but by the early 90s had become so antiquated, most of the animators had no idea how to even do it. And Tomino claimed to have forgotten. But even with all this, they struggled to find enough animators to actually make the show in its simplified form. These cost cutting measures were not ordered just for the sake of the animator's wrists. By the point these decisions were being made in 1992, Japan's asset price bubble had fully burst, and the easy money of the late eighty s, which had enabled so many studios to take chances on ambitious projects, was gone. Sunrise may have been doing better than many studios, thanks in large part to the royalties brought in by SD Gundam merchandise, but resources were tight everywhere, and the team was really feeling the pressure to make victory a commercial success. The sponsors, Bondi in particular, wanted to be sure they got the product they were paying for, and they were increasingly willing to interfere in the production in order to get it, even threatening to remove Tomino from the project if he didn't make the changes they wanted. I won't spoil the nature of these dictates, including one that Tomino considered to be such an egregiously bad idea that he kept it secret from the staff until the last possible moment, very probably out of fear that they would revolt and abandon the project once they found out. But we'll talk about them when they show up later in the season, I promise. Tomino, however, was not the only one keeping secrets. By this point. The owners and tiptop management in sunrise were involved in secret negotiations to sell the studio outright to Bondi, their most important sponsor. The exact timeline of the buyout, who knew what when, is a little murky. Negotiations appear to have begun before work began on victory. So sometime in 1991 or before, Ueda and some of the other producers first learned about the deal at some point in 1993, but were not allowed to tell their teams until sometime later. He doesn't remember exactly when some of the other producers, the ones who handled shows sponsored by Bondi's competitors, pushed back. They were rightfully concerned about what the deal would mean for the studio's relationships with its other clients, but their objections came to nothing. Negotiations continued through victory's broadcast run, but Tomino was kept in the dark, possibly right up until the formal transfer of shares was completed on April 1, 994, one week after the end of Victory's tv run. Takamatsu Shinji, who was directing Brave Express Mike gain at the time, said that Tomino was furious over the perceived betrayal and that Q-K-A jino Satsuga kangayeta, he thought about murdering the former management team. This sounds like exaggeration for humorous effect, but it is not the first story I have heard from this period about Tomino threatening to murder a coworker. So, like he probably said it, he might have seriously thought about it. And the worst part of it for him might have been that victory Gundam itself turned out to have been a precondition of the sale. Bondi wanted Gundam back on tv, and Sunrise's managers had obliged. Tomino had just spent a year of his life sinking into a miserable depression, all to unwittingly help his bosses sell the company and the Gundam franchise, a franchise inextricably linked to his name, his artistic career, and his legacy to the very sponsors that he had once called the true enemies of Gundam. But back in the summer of 1992, ignorant of the deeper currents driving decisions within the studio, Tomino and his staff started production. The details of that production are going to be more relevant to us as we progress through the show, but there is a quote from an interview that Tomino gave during the production about his philosophy for the new show, and I'm.

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39:16 Follow our guest High Yield Harry. He's at High Yield Harry. 01:07 be speaking with high yield Harry, who runs a couple 03:02 episode comes out. But Harry, thank you so much for

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11:48 cash flow approach to management, and especially one leader, Harry

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10:58 the lobby has been identified as had Harry, who lived 11:04 Estep reports that Harry was wheelchair bound in life and

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35:11 hat das Ganze Harry Conway. 36:56 Also diese wenigen Farben im Bild sind sehr gekonnt eingesetzt und Harry Conway 39:12 Also Harry Conway, gerne mehr davon und mein Preisträger für das beste Nicht-Kreatur-