Much like hip-hop rappers can represent themselves with a single microphone, Watanabe said, "I would like to represent myself with a single pencil on a blank piece of paper."
游乐场的逻辑让我后怕 人用人工制造的玩偶娱乐自己 预设好的永远不变的玩偶表情 巨大的山一样的体积 好像隐喻了工业时代的末路狂欢 像极了寂静岭2里的诡异场景，cowboy bepop拍真人版肯定是恐怖片，那个像joker一样的怪物也讽刺极了 最后像婴儿般的倒在地上哭着喊妈妈而死去 那么精致复杂的杀人机器到头来就是像婴儿般无助找妈妈。。，。，。，。。编剧太有想象力了，那么多种文化碎片到底怎么拼贴到一起的！
DT: How was working on a movie different from the series?
DT: Is Spike's hair black or green?
最近喜欢第二十集。W: I wanted to use hip-hop music in "Champloo" and since Yoko Kanno is not a hip-hop musician, I decided to use other people. There were some people that suggested we ask Yoko Kanno to create some hip-hop music, but I felt that that would be more of an imitation of hip-hop music than the real thing.
W: Actually, I don't know much about American animation at all. So what do you think? If there's anything that's similar to "Cowboy Bebop," please let me know. I'd like to see it.
DT: Do you think your work is making animation more accessible to older age groups in America?
Daily Texan: What made you decide to go on a lecture tour?
DT: I'm sure you've heard the next question a thousand times, and I apologize for asking again.
W: Of course. Sometimes I'm asked the question, 'What does Spike think of Faye?' I think that actually he likes her quite a bit. But he's not a very straightforward person so he makes sure he doesn't show it.
"I'm so happy when they [fans] praise my works for the music," he said. "There are times when music comes before the animation."
Hot pants aside, Watanabe looked relaxed and eager to answer questions about his past, his future and whether Spike's hair is, in fact, green.
DT: Was it your decision to work with Yoko Kanno as a composer for "Macross Plus?"
W: I do want to work with Yoko Kanno, and I do have plans to work with her again on a future project, I just haven't decided exactly which project yet.
Watanabe explained that music is often the driving force behind many of his works.
W: The animation industry is one that doesn't really rely on age or educational background. Rather, it depends more on a person's skill and on luck. So for myself, the first TV series I directed, "Cowboy Bebop," was a hit, and as a result of its success, I was offered the opportunity to direct a film. It doesn't really matter have much skill you have, if you don't have a hit work, a popular piece, you won't get any offers to make a film. In that respect, I consider myself lucky.
DT: In your lecture you said that you create characters who are constantly hungry and short on cash. In the case of "Cowboy Bebop," how are characters such as Spike and Faye able to afford smokes when they can't buy food?
Shinichiro Watanabe: I was requested by the Japan Foundation to come to America and speak. They provided a series of location choices within the States, and from there, I made a selection. The reason I chose Houston is because it's the hometown for cowboys.
"I made 'Samurai Champloo' the series in order to make this scene," he said.
DT：《星际牛仔》第五话《Ballad of Fallen Angels》好像预示了最终话的内容。两者之间有关系吗？
W: Actually all of the episodes that contain Vicious that come out in "Cowboy Bebop" are directly related to the ending. Even before I made the first episode, I already had the ending in mind. Even though I had the ending in mind by myself, I was opposed by my staff. They were upset because they were saying that we wouldn't be able to make a continuation. So I told them I'd think about it a little more, but ultimately I decided to go with my original idea.
DT: Are you talking about Spike's relationship with Faye?
W: Then I pass. [Laughs]. I'm joking.
DT: It's common to hear animators remark about how long it takes them to be offered a solo directing opportunity. How were you able to do this so quickly?