Animation is a world where imagination knows no limits, and few people embody that spirit more than Jinko Gotoh. As an award-winning producer and thought leader, Jinko has been instrumental in bringing to life some of the most cherished animated films, including Klaus, The Lego Movie 2, The Little Prince, Finding Nemo, and Space Jam. Beyond the silver screen, she serves as the Vice President of Women in Animation, championing diversity, inclusion, and gender justice in the industry.
With over three decades of experience, Jinko has shaped both traditional and CGI animation, breaking new ground at every stage. At SIGGRAPH Asia 2024 in Tokyo, she will inspire audiences with insights from her dynamic career and share how her work continues to evolve as a producer, advocate, and storyteller.
As a prelude to her highly anticipated keynote session in Tokyo, we sat down with Jinko Gotoh to give you a glimpse of what’s in store. If you haven’t registered for SIGGRAPH Asia 2024 yet, now’s the time! Click here for more details and secure your spot today.
SIGGRAPH Asia: Could you give us a little teaser of what you will be speaking about and sharing at SIGGRAPH Asia 2024 this December in Tokyo?
Jinko Gotoh (JG): I will share my story and experience as a producer working in animation. My feature animation career spans over 30 years, including the early days of CGI animation. I will also speak about how my career and passion have evolved in the last dozen years in advocating diversity, inclusion, and gender justice.
SIGGRAPH Asia: Your passion for animation started at a young age after viewing Lady and the Tramp and meeting Astroboy’s creator Osamu Tezuka. How did these experiences shape your career path in animation?
JG: It was a winding road, starting as a child in Japan and immigrating to the US at the age of eight, where I didn’t speak a word of English. I was good in math, and loved to make art and watch animation and movies. Animation always had a profound impact because you start with a blank page, and anything is possible.
SIGGRAPH Asia: With extensive experience in both traditional and CGI animation, what do you see as the most significant advancements in animation technology over the past decade?
JG: What excites me is that tools are accessible for artists today to work in CGI animation. You don’t need to be a programmer or technical to use these tools like back in the 1980s and early 90s. Also, free and open-source software gives access to artists anywhere on the globe to make animation today.
SIGGRAPH Asia: You’ve worked on a diverse range of iconic films. Which is your favorite one, and why?
JG: People often ask me this question. It’s like asking who your favorite child is. Many years ago, a director said movies are like children for Jinko. The answer is I love all the films that I’ve worked on for different reasons.
SIGGRAPH Asia: What advice would you give to the next generation of animators and storytellers aspiring to make their mark in the evolving world of animation?
JG: Be curious, focus on your passion, and don’t take no for an answer.
SIGGRAPH Asia: Given your involvement with various film festivals and as a frequent speaker, how do you see events like SIGGRAPH Asia influencing the future of computer graphics and animation?
JG: Animation has been a long part of Asian culture, especially in countries like Japan and China, for over 100 years. I want to encourage the next generation of animators, technologists, and storytellers to share our Asian stories with the rest of the world.
SIGGRAPH Asia: Beyond your professional accomplishments, what are some of your personal hobbies or interests that might surprise people?
JG: I have an extensive collection of giraffe items. When I was a little girl, I wanted to be a giraffe because they’re tall and can see everything on the horizon.
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