MAPPA, the animation studio behind a long list of fan-favorite Anime, is celebrating its 15th anniversary this year. To mark the occasion, the studio launched the “MAPPA EXPO 15th Anniversary,” giving fans a look back at its work over the past decade and a half. The exhibition runs at Yurakucho in Tokyo from September 16 through December 7, 2026.
On October 9, the exhibition revealed that Hollywood star Tom Cruise and director Alejandro G. Iñárritu had stopped by while visiting Japan to promote The Digger. The pair toured displays dedicated to Jujutsu Kaisen, Chainsaw Man, and other MAPPA productions before sitting down with animator Tadashi Hiramatsu to compare the creative processes behind live-action filmmaking and Anime.
“This is incredible! I’ve really been looking forward to this visit,” Cruise said after arriving at the venue. Iñárritu also revealed, “My son is a huge fan of MAPPA’s work.”
Their first stop was the Jujutsu Kaisen section. Cruise closely studied the key animation drawings on display, taking time to examine the finer details. Clearly intrigued by the production process, he asked Hiramatsu, “Do younger animators still draw by hand, or do most of them use digital tools now?”
Hiramatsu explained that he had learned and developed as an animator using paper and pencil. “Younger animators tend to use digital tools more often, but I still think it’s important to begin by drawing on paper,” he replied.
Cruise agreed: “I think so too. You can feel more of the artist’s character that way. It’s the same with sound recording—you’re preserving the artist’s own voice, right?” Iñárritu, meanwhile, asked Hiramatsu how many staff members typically work on a single Anime episode.
The three then settled in for a conversation between creators. Hiramatsu revealed that he had watched The Digger twice and shared his impressions: “The cinematography, colors, music, and sound design were all outstanding, and of course the performances were incredible. It made me feel that this is the kind of work that can only truly be experienced through cinema.”
Responding to Hiramatsu’s comments, Cruise explained that when the meticulously crafted footage shot on practical sets is projected onto a large screen, it creates such a powerful sense of depth that it almost feels like watching a 3D film. Iñárritu was delighted by the reaction, saying, “Knowing that someone understood what we were trying to portray makes all the effort feel worthwhile.”
Iñárritu also revealed, “Every concept for the film had already been established before principal photography began. We built three walls inside the studio and filmed them using the same cameras and lenses that would be used for the final movie. We then treated that footage as our storyboard and gradually developed the lighting from there.” He added that the film’s music and sound design took an entire year to complete, with the soundscape even incorporating recordings of real animals.
Iñárritu continued, “I think the way we made this film was very similar to animation.” He explained that just as animation requires artists to create not only the characters but also the roads, houses, and surrounding environments, every element of the movie was constructed around the characters’ circumstances and context. “We built every scene and every frame step by step, just as you would in animation.”
Hiramatsu also asked Cruise how he felt about taking on Digger Rockwell, a protagonist far removed from the roles audiences usually associate with him. Cruise replied, “I think it’s one of the most original films ever made. I’ve never seen a character like this in the history of cinema.” He added, “It was a tremendous honor to create this film with Iñárritu and to play this character myself.”
At the end of the conversation, Hiramatsu presented the pair with a hand-drawn illustration of Digger Rockwell inspired by The Digger. A surprised Cruise asked, “Did Mr. Hiramatsu draw this himself?” before giving the animator a firm handshake. Iñárritu also thanked him in Japanese, saying, “Arigato.”
The illustration included the message “There is TRUTH within a LIE.” The words immediately struck a chord with both visitors, who responded, “That is exactly what this film is about.”
After the conversation, Cruise and Iñárritu continued exploring the exhibition, including a display recreating The Rumbling from Attack on Titan Final Season.
This cross-disciplinary, cross-border exchange is yet another sign of Anime’s growing influence worldwide. Whether Tom Cruise might one day get involved in an animated production himself is certainly an intriguing possibility.