Royal Space Force: The Wings of Honnêamise/Production

The film had a budget of , at the time equivalent to , making it the most expensive anime film up until then. It surpassed the budget records of Hayao Miyazaki's Castle of Cagliostro (1979) and Castle in the Sky (1986).
==Development==
Royal Space Force developed out of an anime proposal presented to Shigeru Watanabe of Bandai in September 1984 by Hiroyuki Yamaga and Toshio Okada from Daicon Film, an amateur film studio active in the early 1980s associated with students at the Osaka University of Arts and science fiction fandom in the Kansai region. Okada had first met Watanabe in August 1983 at a convention for tokusatsu fans in Tokyo at which Daicon Film screened their live-action short The Return of Ultraman and ran a sales booth for Daicon's related fan merchandise company, General Products. In a 1998 interview, Yamaga asserted that the success of the company was an impetus that led to the creation of Gainax and the Royal Space Force proposal, as Okada had co-founded General Products with Yasuhiro Takeda but Takeda was now managing it well on his own, leaving Okada to feel he had nothing to do. "I approached Okada, who was feeling a bit down. I was thinking every day about how [Daicon Film's] Sadamoto and Maeda are great geniuses. Of course, Anno is a genius, as is Akai. To have one genius in your group is incredible enough, but here we have four of them. I told [Okada] that he would be a fool not to take action. I said that we should do something. We had sacrificed quite a lot for the sake of our independent films as students--we had dropped out of school, we'd lost jobs. So there had always been a desire within us all to see those sacrifices pay off at some point." 
Watanabe had been involved with product planning for Bandai's "Real Hobby Series" figurines. The position had also led Watanabe into Bandai's then-new home video label Emotion, where he helped to develop Mamoru Oshii's Dallos. Released at the end of 1983, Dallos would become the first anime original video animation (OVA), an industry event later described as the beginning of a new "third medium" for anime beyond film or television, offering the prospect of "a medium in which [anime] could 'grow up,' allowing the more mature thematic experiments of creators". Okada and Yamaga's pitch to Watanabe had followed the recognition Daicon Film received earlier that year in Animage magazine through a special secondary Anime Grand Prix award given to their 8 mm short Daicon IV Opening Animation. Their September 1984 proposal gave the outline for an anime to be entitled Royal Space Force, to be produced under the heading of a new, professional studio to be named Gainax. The proposal listed five initial core staff for the anime. Four had been previously associated with Daicon Film: Yamaga was to be the anime's concept creator and director and Okada its producer,
Yoshiyuki Sadamoto its chief character designer, and Hideaki Anno its chief mechanical designer. The fifth, Kenichi Sonoda, listed as responsible for the anime's settei (model sheets, drawn up to give the key animators their guides as to how the objects and people to be animated should look) had previously assisted with product development at General Products.
===Writing===
The Royal Space Force proposal, subheaded "Project Intentions: A New Wave in a Time of Lost Collaborative Illusions," began with a self-analysis of "recent animation culture from the perspective of young people". At the time of the proposal, Yamaga was 22 years old and had directed the opening anime films for Japan's 1981 and 1983 national science fiction conventions, Daicon III and IV, which through their sale to fans on home video through General Products were themselves regarded as informal precursors of the OVA concept. At age 20 and while still in college, Yamaga had been chosen by the series director of the original Macross TV series, Noboru Ishiguro, to direct episode 9 of the show, "Miss Macross," as Ishiguro wished "to aim for a work that doesn’t fit the conventional sense of anime." Yamaga commented in a contemporary Animage article that it had taken him two months to create the storyboards for "Miss Macross" and wryly remarked he'd thus already used himself up doing so; the magazine noted however that the episode was well received, and judged the creative experiment a success.
Okada and Yamaga argued in their proposal for Royal Space Force that what prevented the anime industry from advancing beyond its current level was that it had fallen into a feedback loop with its audience, producing for them a "cul-de-sac" of cute and cool-looking anime content that had the effect of only further reinforcing the more negative and introverted tendencies of many fans, without making a real attempt to connect with them in a more fundamental and personal way:
"In modern society, which is so information-oriented, it becomes more and more difficult even for sensational works to really connect with people, and even so, those works get forgotten quickly. Moreover, this flood of superficial information has dissolved those values and dreams people could stand upon, especially among the young, who are left frustrated and anxious. It could be said that this is the root cause of the Peter Pan syndrome, that says, 'I don't want to be an adult' ... If you look at the psychology of anime fans today, they do interact with society, and they're trying to get along well in that society, but unfortunately, they don't have the ability. So as compensatory behavior, they relinquish themselves to mecha and cute young girls. However, because these are things that don't really exist—meaning, there's no interaction in reality happening between those things and the anime fans—they soon get frustrated, and then seek out the next [anime] that will stimulate them ... If you look into this situation, what these people really want, deep down, is to get along well with reality. And what we propose is to deliver the kind of project that will make people look again at the society around them and reassess it for themselves; where they will think, 'I shouldn't give up yet on reality.
The proposal described Royal Space Force as "a project to make anime fans reaffirm reality". Gainax asserted that the problem was not unique to anime fans, who were only "the most representative example" of the increasing tendency of younger people not to experience reality directly, but as mediated through "the informational world". "We live in a society mired in a perpetual state of information overload. And the feeling of being overwhelmed by the underwhelming isn't something limited to just young people, but everyone" ... "However, this doesn't mean that people want to live alone and without contact, but instead they want to establish a balance with the 'outside' that is psychologically comfortable for them." Yamaga and Okada believed that this sensibility among some fans explained why anime often combined plots that "symbolize modern politics or society" with characters whose age and appearance was "completely incongruent with reality". The Royal Space Force plan proposed to use the creative techniques of anime for a radically different aim, to make "the exact opposite of the 'cool,' castle-in-the-sky anime that is so prevalent these days ... It's on our earth now, in this world of ours now, that we feel it's time for a project that will declare there's still something valuable and meaningful in this world."
 "It is essential to pay close attention to the smallest design details of this world. It's because it is a completely different world that it must feel like reality. If you ask why such an approach—when the goal is to get anime fans to reaffirm their reality—it's because if you were to set this anime in our actual world to begin with, that's a place which right now they see as grubby and unappealing. By setting it in a completely different world, it becomes like a foreign film that attracts the attention of the audience. The objects of attraction are not mecha and cute girls, but ordinary customs and fashions. If normal things now look impressive and interesting because they've been seen through a different world, then we'll have achieved what we set out to do in the plan; we'll be able to express, 'Reality is much more interesting than you thought.
The September 1984 proposal for Royal Space Force was unusual for an anime pitch in that it described the setting and story, but never named the main characters. Okada and Yamaga requested that Maeda and Sadamoto prepare a set of over 30 "image sketches" in watercolor to support the written proposal, depicting the world to be designed for the anime. That same month, Watanabe brought the pitch to Bandai company president Makoto Yamashina, who himself represented a younger corporate generation; Yamashina's response to reading Gainax's proposal was, "I'm not sure what this is all about, but that's exactly why I like it." Yamashina would later state in an interview with the comics and animation criticism magazine Comic Box shortly before the film's release that this viewpoint represented a "grand experiment" by Bandai in producing original content over which they could have complete ownership, and a deliberate strategy that decided to give young artists freedom in creating that content: "I'm in the toy business, and I've always been of the mind that if I understand [the appeal of a product], it won't sell. The reason is the generation gap, which is profound. Honneamise just might hit the jackpot. If so, it will overturn all the assumptions we’ve had up till now. I didn't want them to make the kind of film that we could understand. Put another way, if it was a hit and I could understand why, it wouldn't be such a big deal. I did want it to be a hit, but from the start, I wasn't aiming for a Star Wars. In trying to make it a success, it had to be purely young people's ideas and concepts; we couldn't force them to compromise. We had to let them run free with it. In the big picture, they couldn't produce this on their own, and that's where we stepped in, and managed to bring it all this way. And in that respect, I believe it was a success."
===Pilot film===
Royal Space Force was initially planned as a 40-minute long OVA project; however, resistance within Bandai to entering the filmmaking business resulted in the requirement that Gainax first submit a short "pilot film" version of Royal Space Force as a demo to determine if the project would be saleable. Work on the pilot film began in December 1984; in addition to the principal staff listed in the initial proposal, Mahiro Maeda worked on the pilot's layouts and settei and was one of its key animators together with Sadamoto, Anno, Hiroyuki Kitakubo, Yuji Moriyama, Fumio Iida, and Masayuki. A further addition to the staff was co-producer Hiroaki Inoue, recruited as a founding member of Gainax by Okada. Inoue had already been in the anime industry for several years, beginning at Tezuka Productions. Takeda noted that while a number of the other Royal Space Force personnel had worked on professional anime projects, none possessed Inoue's supervisory experience, or the contacts he had built in the process. Inoue would leave Gainax after their 1988–1989 Gunbuster, but continued in the industry and would later co-produce Satoshi Kon's 1997 debut film Perfect Blue. 
In an effort to get the project green-lit by Bandai’s executive board, Shigeru Watanabe of Bandai would show the pilot film to established anime directors Mamoru Oshii and Hayao Miyazaki, both of whom expressed support. In April 1985, Gainax formally presented the finished pilot film to a board meeting at Bandai, together with a new set of concept paintings by Sadamoto. The four-minute pilot film began with a 40-second prelude sequence of still shots of Shirotsugh's early life accompanied by audio in Russian depicting a troubled Soviet space mission, leading into the main portion of the pilot, depicting the story's basic narrative through a progression of animated scenes without dialogue or sound effects, set to the overture of Wagner's Die Meistersinger von Nürnberg.
Okada addressed the board with a speech described as impassioned, speaking for an hour on Gainax's analysis of the anime industry, future market trends, and the desire of the young for "a work called Royal Space Force". Bandai gave interim approval to Royal Space Force as their company's first independent video production; however, the decision to make the project as a theatrical film would be subject to review at the end of 1985, once Gainax had produced a complete storyboard and settei. Yamaga would later acknowledge the pilot film to have been "very Ghiblish," asserting that it had been made by Gainax with a subconscious "consensus" at first to use Hayao Miyazaki’s films as a model for success. Yamaga felt that had the actual feature-length version of Royal Space Force been like the pilot, "it would have been easier to grasp and express," yet argued his decision to change course after the pilot film and not attempt to emulate Miyazaki laid the groundwork for Gainax’s creative independence that would, in their later works, lead to success on their own terms.
===Screenplay===
Following the presentation of the pilot film, Yamaga returned to his hometown of Niigata to begin to write the screenplay and draw up storyboards. Yamaga envisioned the fictional Honnêamise kingdom where most of the events of Royal Space Force took place to have the scientific level of the 1950s combined with the atmosphere of America and Europe in the 1930s, but with characters who moved to a modern rhythm. The inspiration he sought to express in anime from Niigata was not its literal look, but rather a sense of the size and feel of the city and its envrions, including its urban geography; the relationships between its old and new parts, and between its denser core and more open spaces. In August 1985, six members of the crew, Yamaga, Okada, Inoue, Sadamoto, and Anno from Gainax, accompanied by Shigeru Watanabe from Bandai, traveled to the United States for a research trip, studying postmodern architecture, aerospace history, and witnessing a launch of the Space Shuttle Discovery. Documentary footage of the trip was shot by Watanabe and incorporated into a promotional film released two weeks before the Japanese premiere of Royal Space Force. Yamaga made revisions to the script during the American research tour. 
Noriaki Ikeda, winner of the 1986 Seiun Award for nonfiction, began a series of articles on the film's production that year for Animage. After watching a rough edit of the film, Ikeda wrote that Royal Space Force was an anime that reminded him of what the works of the American New Wave had achieved in the 1960s; perceiving in the film an effort by Gainax to create a work with their own sense of words and rhythm, employing natural body language, raw expressions, and timing, and an overall "texture" that made a closer approach to human realities. Reviewing the completed film five months later, Ikeda made extensive comment on its use of dialogue, including its nuance as opposed to "the anime we're used to seeing these days, that scream their message at you," spoken lines that were independent of the main narrative, or even lines spoken inaudibly behind a music track, which gave a sense the characters existed as real human beings rather than only as roles to advance a plot. 
In a roundtable discussion following the film's theatrical release, Yamaga commented, "I wanted to taste the sense of liberation I could get if I recognized everything [about human nature] and included it," a view with which Okada had concurred, saying, "this is a film that acknowledges people in their every aspect". Yamaga remarked, "A critic once said that none of the characters in this film understand each other. That there's no communication between the characters. He was exactly right. The characters don't understand each other at all. But throughout the film, there are moments where there are glimpses of understandings between [Shirotsugh] and the other characters ... In reality, it's okay not to understand each other. People all live their individual lives—it's not necessary to feel the same way another feels. And in fact you will never understand anybody anyway. This is how I feel about the relationships I have with the people in my life."
Three years after his 1992 departure from Gainax, Okada reflected on the film's screenplay: "Our goal at first was to make a very 'realistic' film. So we couldn’t have the kind of strong, dramatic construction you’d find in a Hollywood movie. [Royal Space Force] is an art film. And at the time, I thought that was very good, that this is something—an anime art film. But now when I look back, I realize ... this was a major motion picture. Bandai spent a lot of money on it. It was our big chance. Maybe if I’d given it a little stronger structure, and a little simpler story—change it a little, make it not so different—it could have met the mainstream." "It’s true that there will be ten or twenty percent of the audience who can follow it as is, and say, 'Oh, it's a great film! I can understand everything! ' But eighty percent of the audience is thinking, 'I lost Shiro’s thoughts two or three times, or maybe four or five.' Those are the kind of people who will say, 'The art is great, and the animation is very good, but the story—mmmm...'" Okada remarked however that the decentralized decision-making creative process at Gainax meant there were limits to how much control could be asserted through the script; Akai would later comment that "the staff were young and curious, not unlike the characters in the film. If you tried to control them too much, they would have just walked out."
Yamaga asserted that a "discrepancy between who [Riquinni] wanted to be and who she really was...is evident in her lifestyle and dialogue," and that "on the outside," she carries an image of Shiro as "'an extraordinary being who travels through space into this peaceful and heavenly place'... But deep down inside she knows the truth. She's not stupid." The director remarked that Riquinni's actions and dialogue in the film's controversial scenes of assault and the morning after reflect the dissonances present in both her self-image and her image of Shiro, and that the scene "was very difficult to explain to the staff" as well; that she is signaling her strength to go on living according to her beliefs, and without Shiro in her life any longer. "There's no simple explanation for that scene, but basically, I was depicting a human situation where two people are moving closer and closer, yet their relationship isn't progressing at all...[Shiro resorts] to violence in an attempt to close that gap, only to find that was also useless. The two of them never came to terms, never understood each other, even to the end of the movie," yet remained "in some way linked together..." however, the film was not intended to depict their relationship as a romantic one.
===Design===
In May 1985, Gainax transferred their operations to a larger studio in Takadanobaba, where the existing staff gathered in friends and acquaintances to help visualize the setting of Royal Space Force. Among those joining the crew at this time were two of the film's most prolific world designers: Takashi Watabe, whose designs would include the train station, rocket factory, and Royal Space Force lecture hall and Yoichi Takizawa, whose contributions included the rocket launch gantry, space capsule simulator, and rocket engine test facility. Yamaga decided the alternate world depicted in the pilot film did not have the kind of different realism he was hoping to achieve in the completed work and started over again, creating a new series of "image board" paintings to visualize the look of Royal Space Force. The total worldbuilding process went on for roughly a year, and was described as a converse process between Yamaga and the team of designers; expressing his ideas into concrete terms, but also bringing their concrete skills to bear toward the expression of abstract ideas. This reciprocal process influenced Yamaga's writing on the film: "My style is not 'I have a story I created, so you help me make it.' Creators come first, and this is a story I created thinking what story those creators would shine at the most."
In the decade following Royal Space Force, the Sadamoto-designed Nadia La Arwall and Rei Ayanami would each twice win the Anime Grand Prix fan poll for favorite female character; Sadamoto's Shinji Ikari would also win twice for favorite male character. By contrast, his male and female leads designed for Royal Space Force, Shirotsugh and Riquinni, ranked ninth and twentieth respectively for their categories in the Grand Prix poll of 1987 releases. In a roundtable discussion on the film, it was pointed out that neither Shirotsugh nor Riquinni look like typical anime lead characters. Yamaga remarked that one of the design changes made from the pilot film was Shirotsugh, who "used to look like a boy", but in the full-length movie "has become like a middle-aged man." Sadamoto used for the final version of Shirotsugh a model reference significantly older than the 21-year old character's age, the American actor Treat Williams. For Manna, Yamaga referred Sadamoto to actress Tatum O'Neal as she appeared in the first half of the film Paper Moon. Regarding Riquinni herself, Sadamoto commented that there seemed to be a model for her, but Yamaga did not tell him who it was. In a 2018 interview session with Niigata University, Yamaga remarked, "What I see now is surprisingly the character Riquinni is nothing but me. At any rate, Shirotsugh is not me. If you ask me where I would position myself in the film, I would identify myself as Riquinni in many aspects, in terms of the way I think. I was probably someone weird [and] religious, ever since my childhood."
On the premise that the real world itself was a product of mixed design, Yamaga believed that the sense of alternate reality in Royal Space Force would be strengthened by inviting as many designers as possible to participate in the anime. By September, the worldbuilding of Royal Space Force proceeded forward by a system where designers were free to draw and submit visual concepts based on their interpretation of Yamaga's script; the concept art would then be discussed at a daily liaison meeting between Yamaga and the other staff. Yamaga used "keywords" given to the designers as a starting point, divided into what he termed "symbolic" and "non-symbolic" categories. The director sought to avoid "symbolic" premises where possible; as an example of the difference, Yamaga stated that a "symbolic" way to describe a "cup" would be to call it a "cylindrical object", whereas he preferred the designers start from "non-symbolic" terms that described a cup's function or sensory impressions from use, such as "it holds water," or "it’s cold and sweats when filled with water."
Assistant director Shinji Higuchi had overall responsibility for coordinating the design work with Yamaga's intentions through overseeing the output of the designers. Although his aim was to give a unified look to the kingdom of Honnêamise as the film's main setting, Higuchi also attempted to take care to make it neither too integrated nor too disjointed, remarking that just as the present day world is made from a mixing of different cultures, this would have also been true of a past environment such as the alternate 1950s world of Honnêamise. Yamaga commented that the film also portrayed the idea that different levels of technology are present in a world at the same time depending upon particular paths of development, such as the color TV in use by the Republic, or the air combat between jet and prop planes at the end, which Yamaga compared to similar engagements during the Korean War.
A deliberate exception to Royal Space Force general design approach was the rocket itself, which was adapted from a real-world Soviet model. This exception was later noticed by Hayao Miyazaki, for whom it formed one of his two criticisms of the anime; he was surprised that a film which had changed even the shape of money did not make the rocket more unusual. Yamaga argued that although the anime reaches its eventual conclusion through a process of different design paths, it was necessary to end the film with a rocket inspired by reality, lest the audience see it as a story about a different world that has nothing to do with them. He described the rocket as also emblematic of the film's approach to mecha; despite its many mecha designs, they all play supporting roles, and even the rocket is not treated as a "lead character".
===Art direction===
Although later noted for creating much of the aesthetic behind the influential 1995 film Ghost in the Shell, Hiromasa Ogura in a 2012 interview named his first project as an art director, Royal Space Force, as the top work of his career. Ogura had entered the anime industry in 1977 as a background painter at Kobayashi Production, where he contributed art to such films as Lupin III: The Castle of Cagliostro; at the time work began on Royal Space Force, Ogura was at Studio Fuga, a backgrounds company he had co-founded in 1983. On temporary transfer to Gainax after he was recruited for the project by Okada and Inoue, Ogura recalled he did not at first realize he was working with the same amateur filmmakers who had made the Daicon opening animations. Ogura oversaw a team of 16 background painters on Royal Space Force, including the future art director of Spirited Away, Yōji Takeshige, then still a student attending Tama Art University. A majority of the film’s background paintings were created in Gainax’s studio rather than outsourced, as Ogura felt the film’s worldview was easier for him to communicate to artists in person; as the color scheme in Royal Space Force was subdued; if a painting needed more of a bluish cast to it, he couldn't simply instruct the artist to "add more blue."[[File:Royal Space Force—General Khaidenn's Office.jpg|thumb|right|Yamaga and Akai singled out this background painting as marking a turning point in Royal Space Force art direction. Created for General Khaidenn's office, it appeared 24 minutes into the film, prior to which "we had to be very specific in asking for everything we wanted in the [paintings] ... We weren't communicating with the artists as effectively as we would have liked." However, from this scene forward, they felt the background painters "seemed to grasp what we wanted ... and started coming up with ideas of their own without [needing] specific direction." Ogura had concurred in remarks published in early 1987 that he found it difficult at first to grasp the aesthetic the director intended for the film's world, joking that he would be thinking something looked "cool," but that Yamaga would respond by saying that cool wasn't precisely what he intended it to be, leaving Ogura to ponder the difference.]]
Toshio Okada described the aesthetics of the world in which Royal Space Force takes place as having been shaped by three main artists: first, its major color elements (blue and brown) were determined by Sadamoto; then its architectural styles and artistic outlook were designed by [Takashi] Watabe, and finally Ogura gave it "a sense of life" through depicting its light, shadow, and air. It was noted also that the film's world displays different layers of time in its designs; the main motifs being Art Deco, but with older Art Nouveau and newer postmodern elements also present. Ogura commented that although the film depicted a different world, "there's nothing that you'd call sci-fi stuff, it's everyday, normal life like our own surroundings. I wanted to express that messy impression." He laid particular emphasis on attempting to suggest the visual texture of the world's architecture and interior design; following Watabe’s detailed notes, Ogura worked to convey in his paintings such aspects as the woodwork motifs prominent in the Space Force headquarters, or by contrast the metallic elements in the room where the Republic minister Nereddon tastes wine. Watabe and Ogura would collaborate again in 1995 on Ghost in the Shell.
Critiquing his own work on Royal Space Force, Ogura expressed a wish that he had been able to convey more emphasis on the effects of light and shadow in addition to color, but joked that it was hard to say exactly how things would turn out until he actually painted them, something he said was true of the entire film. Ogura remarked that many of his team were veterans of Sanrio's theatrical films unit, which gave him confidence in their abilities; mentioning the role of former Sanrio artist, future Gankutsuou art director Hiroshi Sasaki, in the visionary sequence occurring after Shirotsugh's orbiting spacecraft crosses from the world's nightside to its dayside, referred to in production as its "image scene." Akai discusses the involvement as well in this sequence of the future director of Gankutsuou, Mahiro Maeda. Okada judged that the image scene was the only place in the film appropriate to the talent of Maeda, whom he called a "true artist." Anime, Okada argued, was like a reactor that harnessed Maeda, whose artistic talent Okada compared to that of a nuclear blast, for the mundane purpose of boiling water; he asserted that when Maeda had worked before Royal Space Force on Castle in the Sky, not even Hayao Miyazaki had been able to employ his talent properly.
The artist Nobuyuki Ohnishi, a contemporary illustrator whose work Yamaga knew from the music magazines Swing Journal and ADLIB, was picked by Yamaga to create the film’s title sequence and closing credits. Yamaga believed using contributions only from artists inside the anime industry set limits on the creative potential of an anime project, and compared Ohnishi’s involvement to Ryuichi Sakamoto serving as the film’s music director or Leo Morimoto as its lead voice actor. Although his illustrations used a sumi-e ink wash painting technique associated with classical East Asian art, Ohnishi preferred to use the style to depict modern subjects; Yamaga felt the method would convey an alternate perspective and suggest the film's exercise in worldbuilding included a conceptual past and future, rather than a world brought into existence only to tell one particular narrative in time. In creating the credits, Ohnishi made frequent use of photographs of real people and historical events, which he would then modify when adapting it into a painting: "exchanging and replacing the details of, for example, a European picture with Asian or Middle-Eastern elements and motifs. In this way, the credits would reflect both the cultural mixing that gives the film as a whole its appearance, and symbolize the blurring between our world and the film's world, thus serving [Royal Space Force] function as a 'kaleidoscopic mirror.'"
===Animation===
After the completion in December 1985 of Daicon Film's final project, Orochi Strikes Again, its director Takami Akai and special effects director Shinji Higuchi moved to Tokyo to join the production of Royal Space Force as two of its three assistant directors, alongside Shoichi Masuo. At age 20, Higuchi was the very youngest of the main crew; his previous creative experience had been in live-action special effects films rather than anime. As someone who did not "think like an animator," he would bring unorthodox and interesting ideas and techniques to the project. Shoichi Masuo was an associate of Hideaki Anno, whom he had met when the two worked together on the 1984 Macross film. Having more experience than Akai or Higuchi in anime, Masuo would explain Yamaga’s abstract directives to animators in concrete terms. Higuchi had overall charge regarding the design aspects of the settei, Masuo was in charge over the color aspects of the settei, including backgrounds, whereas Akai monitored the work as a whole as general assistant to Yamaga. These roles were not fixed, and the three did not confer on a daily basis, but rather would have meetings on how to shift their approach whenever changes in the production situation called for it. 
Masuo remarked that the animation style of Royal Space Force was generally straightforward, without the characteristic quirky techniques to create visual interest or amusement often associated with anime, but that "there's nothing else [in anime] like this where you can do proper acting and realistic mechanical movements. That's why its impression is quite cinematic...In animation, it's very difficult to do something normal. When you consider [the film], there are many scenes where the characters are just drinking tea or walking around. You don't take notice of [such actions], yet they're very difficult to draw, and I think it required a lot of challenging work for the key animators." Anno, who served as the film's special effects artist, likewise remarked that two frequent criticisms of Royal Space Force were that "it could have looked more like a [typical] anime" but also contrariwise that it would have been more appropriate for it to be made in live-action. Anno felt these views failed to apprehend the advantage of using animation for filmmaking as a precise transmission of directorial intent, and the film's aim to convey a sense of reality rather than a look of live-action as such: "All I can say to people who want to see something more anime-like on their screen is that they should watch other anime."
Although Royal Space Force was essentially a pre-digital animated work using layers of physical cels and backgrounds painted by hand, computer-assisted animation was used for certain difficult motion shots, including the contra-rotating propellers of the Honnêamise air force plane, the rotation of the space capsule while in orbit, the tilted wheel turn of the street sweeper, and the swing of the instrument needle in the launch control bunker. The motions themselves were rendered using ASCII 3D software, and then traced onto cels. By contast, Ryusuke Hikawa noted that the flakes of frost falling from the rocket at liftoff, which might be assumed to be a CG effect, were done entirely by hand under the supervision of Hideaki Anno.
As 1985 drew to a close, Bandai had still not formally committed to Royal Space Force as a feature-length film release, as a distributor for the movie had not yet been secured. Yamaga was also late in finalizing the storyboard, which would not be completed in its entirety until June 1986. However, its third, or C part was nearly finished, and the decision was made to start production there, on the reasoning that the sober tone of many scenes in the third quarter of the film required precision in expression; as there was no release date yet, it was better to work on them while the schedule was still relatively loose. Higuchi remarked that because Yamaga's storyboards were minimalist, containing only the field size, the number of characters in the frame, and the placement of the dialogue, Royal Space Force was not made in a typical fashion for an anime, where the animators would be given directives to "draw this picture." Instead they were asked to "think out the performance in this scene," with meetings where the animators themselves determined how scenes would move by first physically acting them through as if they were attempting to convey it to an audience; the camera angles to be used were also decided through discussion. He described the process in retrospect as having been "a lot of fun," yet noted there were some animators who had refused to work in such a fashion, and backed away from the production.
In January 1986, Toho-Towa agreed to distribute Royal Space Force as a feature film, and production assumed a more frantic pace, as the process of in-betweening, cel painting, and background painting began at this time; additional staff was recruited via advertisements placed in anime magazines. The daily exchange of ideas between Yamaga and the other staff at Gainax continued during production, as the artists attempted to understand his intentions, and Yamaga requested that animation drawings, designs, and background paintings to be re-done in order to get closer to the "image in his head;" the film's artists also exchanged opinions on the images between themselves.
Yamaga would later say of the making of Royal Space Force, "it was like we were all swinging swords with our eyes blindfolded". Akai and Yamaga remarked that since they weren't "animation purists," they altered the animation drawings, cels, and timesheets in ways that were not traditional industry practice, to the extent that "the young people who followed in our footsteps in creating anime thought that was how it was done," speculating that they may have created new traditions for anime by breaking the old on the production of Royal Space Force. 
===Cinematography===
As a pre-digital anime, the scenes in Royal Space Force were created by using a camera to photograph the animation cels and backgrounds onto movie film. A scene would typically consist of a series of separate individual shots known as "cuts," with each cut being prepared for the photographer by collecting into a bag all animation cels and background elements to be used in that particular cut. Many of the scenes in the film would be realized through special techniques applied to the underlying animation; an example was the analog television screen in the Space Force barracks, created by photographing the animation cels through a clear acrylic panel cover from a fluorescent lamp. Besides the technical necessity to photograph the animation, Gainax's experience in filming amateur live-action works had an influence on the construction of the animated scenes themselves. Akai and Yamaga remarked that it had not been their intent to "emulate" live-action films, but to make animation with a realism based on their experience of "look(ing) through the camera lens to see what it sees ... It's difficult to express animated films realistically. The camera doesn't really exist." Another reflection of their live-action experience involved building scale models of vehicles and buildings appearing in the film as models for the animators, but also to choose which angles and viewpoints to use in scenes where the modelled objects would appear; in the figurative sense, to "decide where the cameras should be."
The director of photography on Royal Space Force was Hiroshi Isakawa of Mushi Production, where the animation for the pilot film had been shot. Isakawa remarked that he was originally assured photography could begin in April 1986, but received no cuts to film until August, and then "only the easy work," with Gainax putting off more difficult scenes until later. The most intense work period occurred in January 1987, with the filming completed at the end of that month; with the off-and-on nature of the task, the photography had taken three months of actual time. Isakawa described the technical challenges he faced in filming Royal Space Force, with some individual cuts created by using as many as 12 photographic levels consisting of cels, superimposition layers, and sheets of paper masks designed to capture isolated areas of different colored light. Another challenging aspect involved motion, such as conveying the heavy vibrations of Marty's motorcycle, or the air force plane cockpit; whereas ordinarily such scenes would be filmed while shaking the cels and the backgrounds as a unit, Gainax insisted that the elements be shaken separately.
Yamaga and Shinji Higuchi, who also served as assistant director of photography on the film, had Isakawa watch The Right Stuff and showed him NASA photos as a reference for the look they wished to achieve in certain shots. To convey a sense of the visual mystery of the film's world from space, Isakawa photographed the art through masks with such tiny holes that he felt the images were hardly lit at all; he was unable to judge the light levels in advance, having to make adjustments afterwards based on examining the developed film. Isakawa mentioned that he would get tired and angry after being asked to shoot five or six different takes of a cut, not seeing the necessity for it, but gave up resisting when he realized it was a work "in pursuit of perfection," and felt that the final achievement was "realistic without using the imagery of live action, a work that made full use of anime's best merits."