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After Evangelion, Anno directed a significant portion of the 1998 anime series Kareshi Kanojo no Jijō (known in English as His and Her Circumstances or Kare Kano for short) — the first Gainax work to be directly adapted from previously-written material — until disputes with both the show's sponsors and the original manga author ended in the director's departure, leaving the show in the hands of his protégé, Kazuya Tsurumaki (see also FLCL).

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This movie earned him Best Artistic Contribution Award at Tokyo International Film Festival and very positive reviews.

Anno's third live-action film was Cutie Honey, released in the summer of 2004.

He is best known for his part in creating the popular anime series Neon Genesis Evangelion.

His style has become defined by the bits of postmodernism he instills into his work, as well as the extensive portrayal of characters' thoughts and emotions, often through unconventional scenes incorporating the mental deconstruction of those characters.

His second live-action film, Shiki-Jitsu (2000) ("Ritual Day" or "Ceremonial Day"), is the story of a burnt-out former animation director (played by popular indie director Shunji Iwai) who falls in love with a woman disconnected from reality.

Though an experimental work like Love & Pop, this film was shot using the more traditional 2.35:1 aspect ratio and has a generally more polished presentation, eschewing the cinéma vérité grittiness of Anno's first live-action film.Budgeting issues at Gainax also forced Anno to replace the planned ending of Evangelion with two episodes set in the main characters' minds.After these last two episodes were aired, Anno received numerous letters and emails from fans, both congratulating him on the series and criticizing the last two episodes.He also voiced the main character Jiro Horikoshi in Miyazaki's 2013 feature film The Wind Rises.The director has also made forays into live-action films, beginning with Love & Pop (1998), a cinéma vérité-style film about enjo kosai ("compensated dating", a form of teenage prostitution) in Japan, of which a major portion was shot on miniature digital cameras with constantly shifting aspect ratios.Running short on animators, the film's production studio posted an ad in the famous Japanese animation magazine Animage, announcing that they were in desperate need of more animators.

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