00:00:00,710 --> 00:00:05,200

A STUDIO GHIBLI &

TV MAN UNION PRODUCTION

2

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<i>A unique exhibition was held</i>

<i>in Tokyo's Ginza district in 2002.</i>

3

00:00:13,860 --> 00:00:19,660

<i>The display at the gallery entrance</i>

<i>symbolizes the artist's roots.</i>

4

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<i>It's a small boy, busily sketching</i>

<i>one of his beloved locomotives.</i>

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<i>This boy grew up to become</i>

<i>one of Japan's foremost animators.</i>

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00:00:31,840 --> 00:00:35,370

<i>His name: Yasuo Otsuka.</i>

7

00:00:37,650 --> 00:00:42,380

<i>The works on display trace</i>

<i>Otsuka's development as an artist.</i>

8

00:00:42,620 --> 00:00:45,920

<i>We'll be looking at this</i>

<i>in more detail in a moment.</i>

9

00:00:46,150 --> 00:00:51,990

<i>But Otsuka's stature as an animator</i>

<i>is easy to demonstrate.</i>

10

00:00:53,660 --> 00:00:58,530

<i>He mentored two of</i>

<i>Japan's greatest artists...</i>

11

00:00:58,770 --> 00:01:03,100

<i>- Hayao Miyazaki and Isao Takahata.</i>

12

00:01:05,170 --> 00:01:08,670

<i>Let's hear from Hayao Miyazaki first.</i>

13

00:01:10,910 --> 00:01:16,850

Otsuka taught me all about motion.

That's the heart of animation.

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00:01:17,090 --> 00:01:19,880

Innovation is the key to

learning about movement.

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After a while, you wonder

why it comes so naturally.

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00:01:25,530 --> 00:01:28,860

Otsuka pointed me

in the right direction.

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<i>Isao Takahata puts it this way.</i>

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00:01:34,500 --> 00:01:40,340

Otsuka influenced me

right from the start.

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I don't draw, so I had to learn

by watching the animators.

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He was always happy

to answer my stupid questions.

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00:01:49,180 --> 00:01:53,380

I consider him one

of my greatest teachers.

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<i>Otsuka mentored</i>

<i>both these giants.</i>

23

00:01:58,930 --> 00:02:01,860

<i>Why has he been so influential?</i>

24

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<i>The answer lies hidden</i>

<i>in Otsuka's childhood.</i>

25

00:02:07,170 --> 00:02:11,040

<i>It's time to start our journey</i>

<i>to uncover those secrets.</i>

26

00:02:14,910 --> 00:02:18,350

<i>Yasuo Otsuka conjures motion</i>

<i>from his drawings.</i>

27

00:02:19,080 --> 00:02:22,740

<i>His life is devoted</i>

<i>to creating joy through animation.</i>

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<i>The study of motion</i>

<i>is his constant pursuit.</i>

29

00:02:28,590 --> 00:02:33,080

<i>Postwar Japanese animation</i>

<i>traditionally relied...</i>

30

00:02:33,660 --> 00:02:37,360

<i>... on static drawings</i>

<i>with little movement.</i>

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<i>Otsuka sought to realize</i>

<i>animation's true potential.</i>

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<i>The animator breathes life</i>

<i>into his characters...</i>

33

00:02:46,040 --> 00:02:48,480

<i>... by enabling them to move.</i>

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00:02:49,880 --> 00:02:53,080

<i>Otsuka's encounter</i>

<i>with steam locomotives as a boy...</i>

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<i>... sparked his fascination with motion.</i>

36

00:02:56,450 --> 00:02:59,980

<i>In time, he became a locomotive</i>

<i>pulling Japan's animation industry.</i>

37

00:03:01,460 --> 00:03:04,390

<i>He burst on the scene with</i>

<i>"Panda and the Magic Serpent".</i>

38

00:03:04,630 --> 00:03:08,560

<i>... "Magic Boy" and "The Little Prince...</i>

<i>and the Eight-Headed Dragon..."</i>

39

00:03:08,800 --> 00:03:13,790

<i>... "The Little Norse Prince Valiant"</i>

<i>and "Puss'n Boots".</i>

40

00:03:14,300 --> 00:03:17,930

<i>He directed such hit series</i>

<i>as "Moomin" and "Lupin the Third"...</i>

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00:03:18,170 --> 00:03:22,870

<i>... "Samurai Giants"</i>

<i>and "Future Boy Conan".</i>

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<i>Vivid motion is his trademark.</i>

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<i>He has entertained and</i>

<i>influenced generations with his art.</i>

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00:03:32,790 --> 00:03:37,660

<i>Otsuka's teaching style</i>

<i>is concrete, vivid and effective.</i>

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00:03:37,930 --> 00:03:42,450

<i>He embodies animation</i>

<i>in his very movement.</i>

46

00:03:42,700 --> 00:03:46,290

<i>This is Yasuo Otsuka's</i>

<i>"JOY IN MOTION".</i>

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00:03:47,100 --> 00:03:51,060

PART I: MOTION BASICS

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00:03:52,270 --> 00:03:56,710

<i>Today, Otsuka is an advisor</i>

<i>to Telecom Animation Film.</i>

49

00:03:56,950 --> 00:04:02,610

<i>Telecom is rivalled only by Studio</i>

<i>Ghibli in the animation of motion.</i>

50

00:04:02,850 --> 00:04:07,050

<i>What does it mean</i>

<i>to "animate" a drawing?</i>

51

00:04:07,290 --> 00:04:09,760

<i>Let's look at a typical example...</i>

52

00:04:09,990 --> 00:04:13,390

<i>- the test Otsuka took</i>

<i>to enter Toei Animation.</i>

53

00:04:14,630 --> 00:04:19,330

<i>He had to animate a boy</i>

<i>pounding a stake in 4 or 5 frames.</i>

54

00:04:19,570 --> 00:04:25,530

<i>This challenge was the creation</i>

<i>of Yasuji Mori, a leading animator.</i>

55

00:04:27,480 --> 00:04:31,810

<i>At first, Otsuka thought</i>

<i>this would be a simple task.</i>

56

00:04:35,220 --> 00:04:40,920

These two drawings

are the key frames.

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00:04:41,160 --> 00:04:45,590

<i>"Key frames" are the main</i>

<i>components of the animation.</i>

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00:04:48,560 --> 00:04:52,560

In terms of fundamentals,

this is all you really need.

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00:04:53,570 --> 00:04:58,130

One, two, three,

he hits the stake.

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00:04:58,370 --> 00:05:03,330

Yasuji gave us the problem

and turned to leave.

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00:05:03,580 --> 00:05:07,950

But then he said, "By the way,

that mallet is made of steel.

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00:05:08,180 --> 00:05:12,810

It's so heavy,

the boy can barely lift it."

63

00:05:13,050 --> 00:05:16,680

<i>Otsuka had to convey</i>

<i>the weight of the mallet.</i>

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00:05:16,930 --> 00:05:19,990

<i>To do this,</i>

<i>he had to act it out.</i>

65

00:05:20,260 --> 00:05:24,790

He can't hold it like this.

He has to grab it like this...

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00:05:25,030 --> 00:05:27,760

...and lift it over his head.

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He can't lift it like this.

He's not a robot.

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00:05:31,610 --> 00:05:37,140

He has to get his shoulders into it.

69

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He's got to flex his legs.

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00:05:41,750 --> 00:05:45,210

He has to put his back into it.

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00:05:45,450 --> 00:05:48,650

He probably can't lift it

all the way up.

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00:05:48,890 --> 00:05:51,090

He'll get this far

and let it go.

73

00:05:51,960 --> 00:05:55,730

He's got to change his grip.

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00:05:55,960 --> 00:05:59,130

<i>Now it's time</i>

<i>to do it on paper.</i>

75

00:06:01,570 --> 00:06:04,970

This is where you find out

whether you have what it takes.

76

00:06:05,470 --> 00:06:10,070

He puts his shoulders into it.

They almost come up to his ears.

77

00:06:10,910 --> 00:06:15,710

He's really straining.

Puts his back into it.

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00:06:15,950 --> 00:06:20,480

Animation is just logical movements

stitched together.

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00:06:20,820 --> 00:06:23,950

He should stop around here.

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00:06:24,190 --> 00:06:26,460

Bring it back too far

and he'll fall over.

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00:06:27,000 --> 00:06:29,260

He lifts it

to about here.

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00:06:30,030 --> 00:06:32,800

Then he brings it down.

83

00:06:35,600 --> 00:06:38,200

How does it look?

84

00:06:38,440 --> 00:06:43,610

If it doesn't seem to work,

you can make changes.

85

00:06:45,950 --> 00:06:49,440

Let's have him

hold it straight up.

86

00:06:51,520 --> 00:06:55,680

It's too heavy

to swing back further.

87

00:06:56,020 --> 00:06:58,960

This is just a first pass,

but you get the idea.

88

00:06:59,190 --> 00:07:01,190

Bam, bam. He pounds it in.

89

00:07:03,530 --> 00:07:07,230

<i>As you can see, animators</i>

<i>need to be actors as well.</i>

90

00:07:08,700 --> 00:07:13,070

<i>Change the angle and it's much</i>

<i>harder to draw this sequence.</i>

91

00:07:13,310 --> 00:07:18,410

<i>One of the animators</i>

<i>will show us what's involved.</i>

92

00:07:20,050 --> 00:07:25,710

<i>First the key frames...</i>

<i>seven frames in all.</i>

93

00:07:26,090 --> 00:07:30,750

<i>Then the inbetweens. We'll</i>

<i>need this many individual drawings.</i>

94

00:07:30,990 --> 00:07:33,150

<i>Clean it up, and you're done.</i>

95

00:07:34,730 --> 00:07:37,720

<i>Here's the final sequence</i>

<i>after adjusting the timings.</i>

96

00:07:43,910 --> 00:07:46,900

<i>But how did Otsuka himself</i>

<i>do on the test?</i>

97

00:07:47,510 --> 00:07:51,040

They said I had

potential as an animator.

98

00:07:51,280 --> 00:07:54,940

I wasn't so sure.

But they said I did.

99

00:07:55,180 --> 00:08:01,020

Afterwards, I realized

I did have a knack for it.

100

00:08:01,260 --> 00:08:05,820

<i>Otsuka's knack for animation</i>

<i>is rooted in his childhood.</i>

101

00:08:06,060 --> 00:08:11,020

PART II:

A BOY AND HIS SKETCH BOOK

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<i>Otsuka was born in 1931,</i>

<i>in Shimane Prefecture.</i>

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<i>He was always a bit different,</i>

<i>as you can see from this photo.</i>

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00:08:25,310 --> 00:08:31,910

<i>That's Otsuka with his feet</i>

<i>to the camera.</i>

105

00:08:32,720 --> 00:08:37,890

<i>When he was 10, his parents took him</i>

<i>12 kilometres down the mountain...</i>

106

00:08:38,130 --> 00:08:40,820

<i>... to visit Tsuwano, a nearby town.</i>

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<i>That visit changed his life.</i>

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<i>It wasn't the historic buildings</i>

<i>that entranced him.</i>

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<i>Something magical was waiting</i>

<i>for him at the train station.</i>

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<i>As the crowd cheered</i>

<i>the soldiers going off to war...</i>

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<i>... Otsuka stood transfixed</i>

<i>by the sight of his first locomotive.</i>

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It hit me like a hammer.

113

00:09:05,250 --> 00:09:09,780

I had no idea such

wonderful things existed.

114

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After I got home,

I couldn't wait to see it again.

115

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I walked all the way

to the station on holidays.

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00:09:18,070 --> 00:09:22,160

I remember doing

sketches of the trains.

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<i>Locomotives are enormous mechanisms</i>

<i>that can outpace the wind.</i>

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<i>They dwarfed the small boy</i>

<i>and seemed to embody unlimited power.</i>

119

00:09:34,950 --> 00:09:41,220

<i>Otsuka longed to enter that world,</i>

<i>the world of adults.</i>

120

00:09:44,690 --> 00:09:48,750

<i>He regularly walked</i>

<i>12 kilometres into town...</i>

121

00:09:49,100 --> 00:09:52,030

<i>... to see his beloved trains.</i>

122

00:09:52,270 --> 00:09:58,210

<i>There he found all the trains</i>

<i>he could wish for.</i>

123

00:09:59,040 --> 00:10:02,700

<i>This is the sketchbook</i>

<i>Otsuka made at 14.</i>

124

00:10:03,480 --> 00:10:09,280

I drew and drew.

I enjoyed seeing the pages fill up.

125

00:10:09,720 --> 00:10:13,740

You see so much when you draw.

Little details.

126

00:10:13,990 --> 00:10:18,430

The different types of engine.

Different wheels and mechanisms.

127

00:10:18,660 --> 00:10:21,530

You start to understand a lot.

128

00:10:21,760 --> 00:10:25,600

It all comes from

observing and sketching.

129

00:10:33,070 --> 00:10:38,670

<i>The engineers grew to like</i>

<i>this earnest young boy.</i>

130

00:10:38,910 --> 00:10:45,910

The grown-ups were always nice

when I would come around.

131

00:10:46,150 --> 00:10:50,890

They used to let me ride

in the locomotives.

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They'd say, "Climb aboard!"

133

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I had to squat on the floor.

134

00:10:59,930 --> 00:11:06,360

<i>Here's Otsuka's record of his</i>

<i>travels to sketch locomotives.</i>

135

00:11:06,610 --> 00:11:12,810

<i>It's hard to believe</i>

<i>these are the travels of a 14-year old.</i>

136

00:11:13,280 --> 00:11:18,910

<i>The map reflects his hunger</i>

<i>for anything to do with locomotives.</i>

137

00:11:19,190 --> 00:11:24,220

I'd discover different engines

on different rail lines.

138

00:11:24,460 --> 00:11:29,990

I got really excited seeing them

for the first time.

139

00:11:30,900 --> 00:11:33,230

Locomotives I'd only heard of.

140

00:11:33,470 --> 00:11:38,960

The engineers would say things like,

"This line uses C58s and 8620s."

141

00:11:39,310 --> 00:11:42,710

"Down in Kyushu

they have even bigger ones."

142

00:11:43,140 --> 00:11:45,980

I dreamed about seeing them all.

143

00:11:46,750 --> 00:11:50,180

<i>Sketching locomotives</i>

<i>was good training for the future.</i>

144

00:11:50,420 --> 00:11:54,750

<i>It helped him understand</i>

<i>propulsion systems and structures.</i>

145

00:11:54,990 --> 00:11:58,950

<i>Without that understanding,</i>

<i>a sketch won't be convincing.</i>

146

00:11:59,190 --> 00:12:03,220

<i>These structures are plainly visible</i>

<i>on steam locomotives.</i>

147

00:12:03,460 --> 00:12:07,490

<i>Machines stimulated</i>

<i>Otsuka's thirst for knowledge.</i>

148

00:12:11,170 --> 00:12:15,870

Steam goes to the cylinder

through a valve.

149

00:12:16,510 --> 00:12:21,110

The steam drives this piston.

150

00:12:21,850 --> 00:12:27,010

The piston drives a crank,

and this rod turns the wheels.

151

00:12:27,290 --> 00:12:32,390

The whole mechanism

is visible from the outside.

152

00:12:33,630 --> 00:12:38,830

I was so curious, the grown-ups

liked to explain things to me.

153

00:12:40,070 --> 00:12:45,870

"What's the white smoke

the train makes when it starts up?"

154

00:12:47,110 --> 00:12:53,410

"That's water from the cylinder

after it cools down."

155

00:12:54,050 --> 00:12:59,210

"When the train starts,

that vapour shoots out the smokestack."

156

00:12:59,450 --> 00:13:05,150

They taught me the difference

between black and white smoke.

157

00:13:08,330 --> 00:13:15,000

You have to understand

these things at least somewhat.

158

00:13:15,240 --> 00:13:18,900

If you sketch

without this understanding...

159

00:13:20,410 --> 00:13:22,770

...it won't be convincing.

160

00:13:23,080 --> 00:13:28,110

You have to figure out

how it moves.

161

00:13:28,350 --> 00:13:32,840

You observe and learn.

That's the key.

162

00:13:32,950 --> 00:13:35,290

SITE OF

OTSUKA FAMILY HOUSE

163

00:13:35,420 --> 00:13:41,420

<i>In 1945, Otsuka moved to</i>

<i>Yamaguchi Prefecture.</i>

164

00:13:41,760 --> 00:13:46,130

<i>That summer, he saw another</i>

<i>kind of vehicle that entranced him.</i>

165

00:13:46,370 --> 00:13:50,360

<i>Occupation forces were stationed</i>

<i>five minutes from his house.</i>

166

00:13:51,270 --> 00:13:55,800

<i>He'd never seen</i>

<i>so many different vehicles.</i>

167

00:13:57,040 --> 00:14:00,450

<i>He spent every day</i>

<i>sketching them.</i>

168

00:14:13,960 --> 00:14:18,360

I sketched

like crazy that year.

169

00:14:18,800 --> 00:14:23,630

These are my sketches

from back then.

170

00:14:24,140 --> 00:14:26,830

December 24th, January 24...

the dates aren't continuous.

171

00:14:27,070 --> 00:14:29,980

I was crazy

about pen sketching.

172

00:14:30,650 --> 00:14:34,380

I always had a pen

and ink pot with me.

173

00:14:35,150 --> 00:14:38,980

I sketched other things

at the same time.

174

00:14:39,320 --> 00:14:42,350

I don't remember

why I drew these.

175

00:14:42,590 --> 00:14:46,190

I drew cartoons

and sketched statues.

176

00:14:46,660 --> 00:14:51,930

I had this omnivorous mania

for drawing anything.

177

00:14:52,170 --> 00:14:53,720

Here's a hospital.

178

00:14:54,670 --> 00:14:57,500

Here's an old book

I picked up.

179

00:14:58,670 --> 00:15:01,670

I scavenged this from somewhere.

180

00:15:03,440 --> 00:15:09,820

I fished army comics out of

the trash and pasted them in.

181

00:15:10,020 --> 00:15:16,220

I taught myself

with anything I could find.

182

00:15:16,460 --> 00:15:22,330

I didn't learn it in school.

183

00:15:22,560 --> 00:15:26,900

There weren't any trains

near where I lived.

184

00:15:27,940 --> 00:15:31,630

I was really hungry

for things to draw.

185

00:15:31,870 --> 00:15:35,240

So I really went crazy

over all the military vehicles.

186

00:15:35,480 --> 00:15:40,180

The war was over

and everything was changing.

187

00:15:40,880 --> 00:15:44,750

Suddenly there were all these vehicles

driven by blue-eyed soldiers.

188

00:15:44,990 --> 00:15:49,650

I had to sketch everything,

I was so curious.

189

00:15:49,890 --> 00:15:54,830

That's all I did

as a teenager.

190

00:15:55,900 --> 00:15:59,560

<i>But sketches don't</i>

<i>put food on the table.</i>

191

00:15:59,770 --> 00:16:03,070

<i>Otsuka went to work</i>

<i>for Yamaguchi Prefecture.</i>

192

00:16:03,300 --> 00:16:05,830

<i>He joined the Bureau of Statistics.</i>

193

00:16:06,070 --> 00:16:09,670

<i>But he dreamed about</i>

<i>becoming a political cartoonist.</i>

194

00:16:09,910 --> 00:16:12,710

<i>He decided</i>

<i>to move to Tokyo.</i>

195

00:16:13,180 --> 00:16:18,950

At the time, you needed

permission to move to Tokyo.

196

00:16:21,190 --> 00:16:26,180

So I decided to try to get into

the Health and Welfare Ministry.

197

00:16:26,690 --> 00:16:32,100

There was an exam to get in.

I took it and passed.

198

00:16:32,930 --> 00:16:38,770

<i>To his surprise, Otsuka ended up</i>

<i>in the drug enforcement division.</i>

199

00:16:40,110 --> 00:16:44,980

There were lots of problems

with narcotics back then.

200

00:16:45,210 --> 00:16:48,180

Our job was to find

drug violators.

201

00:16:48,450 --> 00:16:51,440

I was just an assistant.

202

00:16:54,890 --> 00:16:59,660

I wasn't a real

narcotics agent yet.

203

00:17:00,900 --> 00:17:04,260

I had to maintain

the firearms.

204

00:17:04,800 --> 00:17:08,530

But they wouldn't

let me shoot.

205

00:17:09,300 --> 00:17:12,330

An American drug agent

showed me how it was done.

206

00:17:12,570 --> 00:17:15,630

He'd draw and shoot,

like in a Western.

207

00:17:15,880 --> 00:17:19,570

He had all these moves.

208

00:17:19,810 --> 00:17:25,150

He'd bring it down like this,

to control the recoil.

209

00:17:26,320 --> 00:17:31,990

<i>Otsuka put these experiences</i>

<i>to use in "Lupin the Third".</i>

210

00:17:35,930 --> 00:17:40,700

They needed narcotics agents

as well as police.

211

00:17:40,940 --> 00:17:44,930

Narcotics agents

can do sting operations.

212

00:17:45,170 --> 00:17:50,200

We could pose as criminals

to catch drug pushers.

213

00:17:50,440 --> 00:17:54,310

The police couldn't do this.

214

00:17:54,550 --> 00:17:56,950

<i>Otsuka kept on sketching.</i>

215

00:17:57,180 --> 00:18:03,350

I tried working with a brush.

These are some of the agents.

216

00:18:08,530 --> 00:18:13,800

I was doing cartoons like this,

with a political angle.

217

00:18:16,970 --> 00:18:23,040

This says "Military budgets

hurt social spending."

218

00:18:23,810 --> 00:18:26,940

I was still curious

about everything.

219

00:18:27,180 --> 00:18:30,910

This is an exercise

with the ink brush.

220

00:18:31,150 --> 00:18:33,380

I tried copying photos.

221

00:18:33,550 --> 00:18:35,550

With a brush

you only get one chance.

222

00:18:35,790 --> 00:18:39,560

<i>But then Otsuka</i>

<i>suffered a grave setback.</i>

223

00:18:39,890 --> 00:18:43,890

I hadn't been eating well.

224

00:18:46,330 --> 00:18:50,600

After two or three years

I developed tuberculosis.

225

00:18:50,840 --> 00:18:52,740

I spent two years

in the hospital.

226

00:18:54,410 --> 00:18:58,780

<i>Otsuka read avidly</i>

<i>during his convalescence.</i>

227

00:18:59,010 --> 00:19:04,350

<i>The ideas he encountered</i>

<i>had a huge impact on his outlook.</i>

228

00:19:06,090 --> 00:19:12,360

<i>Sketches reveal something</i>

<i>about the person behind them.</i>

229

00:19:12,590 --> 00:19:18,260

<i>Otsuka's sketches from this period</i>

<i>are tinged with loneliness.</i>

230

00:19:27,370 --> 00:19:30,240

<i>In his diary, Otsuka wrote...</i>

231

00:19:30,780 --> 00:19:34,240

<i>"I can see junipers</i>

<i>from my hospital room."</i>

232

00:19:35,020 --> 00:19:39,210

<i>"They look like flames</i>

<i>rising into the sky."</i>

233

00:19:39,390 --> 00:19:42,880

<i>"Somehow, I draw strength</i>

<i>from their life force."</i>

234

00:19:44,120 --> 00:19:48,390

<i>Then he saw lvanov-Vano's</i>

<i>"Ivan and His Magic Pony"...</i>

235

00:19:48,630 --> 00:19:54,970

<i>... and Paul Grimault's masterpiece,</i>

<i>"Le Roi et L'Oiseau".</i>

236

00:19:55,800 --> 00:19:58,640

<i>And finally...</i>

<i>a tiny newspaper ad.</i>

237

00:19:58,970 --> 00:20:01,410

<i>Yasuo Otsuka</i>

<i>had found his calling.</i>

238

00:20:02,140 --> 00:20:07,240

<i>The ad was for an animation test...</i>

<i>the boy with the mallet.</i>

239

00:20:07,480 --> 00:20:11,440

PART III: TOEI ANIMATION

240

00:20:14,490 --> 00:20:18,020

<i>Asia's first</i>

<i>full-colour animated feature...</i>

241

00:20:18,260 --> 00:20:20,750

<i>- "Panda and the Magic Serpent".</i>

242

00:20:21,000 --> 00:20:24,190

<i>This project launched Toei Animation.</i>

243

00:20:24,430 --> 00:20:28,770

<i>Otsuka was 26.</i>

<i>He wanted to learn everything.</i>

244

00:20:29,040 --> 00:20:32,440

<i>Toei boasted two leading animators.</i>

245

00:20:32,670 --> 00:20:37,510

<i>One was Yasuji Mori,</i>

<i>who devised Otsuka's test.</i>

246

00:20:38,110 --> 00:20:43,110

Mori's animation

was like watching Mori himself.

247

00:20:43,520 --> 00:20:46,580

You could see him

in the movement.

248

00:20:47,790 --> 00:20:52,280

<i>Here's a scene keyed by Mori</i>

<i>and animated by Otsuka.</i>

249

00:20:56,530 --> 00:21:01,760

<i>Mori's detailed, vigorous style</i>

<i>had a huge impact on Otsuka.</i>

250

00:21:02,540 --> 00:21:05,230

His animation was very energetic.

251

00:21:05,940 --> 00:21:09,770

Each movement was

precisely timed and lifelike.

252

00:21:10,040 --> 00:21:16,880

I thought, "I have to learn

how to do this."

253

00:21:19,350 --> 00:21:23,220

<i>Toei's other star</i>

<i>was Akira Daikubara.</i>

254

00:21:24,220 --> 00:21:28,220

Daikubara's animation

was bold and dynamic.

255

00:21:28,460 --> 00:21:30,860

He'd ask me

to draw something.

256

00:21:31,100 --> 00:21:34,560

I'd draw it,

and he'd laugh and laugh.

257

00:21:34,800 --> 00:21:38,470

He'd say, "This is good.

Weird, but good."

258

00:21:38,710 --> 00:21:42,110

And he'd go ahead

and use it.

259

00:21:42,240 --> 00:21:45,080

<i>Daikubara assigned Otsuka</i>

<i>to animate the catfish...</i>

260

00:21:45,380 --> 00:21:48,910

<i>... in "Panda and the Magic Serpent".</i>

261

00:21:49,920 --> 00:21:53,610

<i>Otsuka got a real catfish</i>

<i>and studied its movements.</i>

262

00:21:54,360 --> 00:21:57,350

<i>He did the key animation</i>

<i>for two cuts.</i>

263

00:22:06,200 --> 00:22:08,400

<i>This is the completed footage.</i>

264

00:22:08,640 --> 00:22:13,600

<i>"Panda" was Otsuka's stunning début.</i>

265

00:22:19,610 --> 00:22:23,110

<i>But he still wasn't satisfied.</i>

266

00:22:23,450 --> 00:22:27,250

I wanted to learn

animation theory.

267

00:22:27,490 --> 00:22:33,150

I looked for textbooks

but couldn't find anything.

268

00:22:33,390 --> 00:22:36,920

I ended up going

to the library.

269

00:22:37,160 --> 00:22:39,390

I copied entire books.

270

00:22:39,630 --> 00:22:43,690

I was convinced

that was the best way to learn.

271

00:22:44,540 --> 00:22:46,700

<i>Here's a book Otsuka copied.</i>

272

00:22:47,410 --> 00:22:51,280

<i>By the director of "Panda and the</i>

<i>Magic Serpent", the opening lines read...</i>

273

00:22:51,510 --> 00:22:56,310

<i>"The foundation of storytelling</i>

<i>is consideration for young people."</i>

274

00:22:56,550 --> 00:23:00,540

<i>Otsuka also studied</i>

<i>American animation techniques.</i>

275

00:23:00,820 --> 00:23:04,660

One of the Toei people got hold

of a US animation textbook.

276

00:23:05,590 --> 00:23:09,390

He translated it

and had us study it.

277

00:23:11,000 --> 00:23:14,490

It was full of techniques

for animating movement.

278

00:23:16,340 --> 00:23:22,000

That book had a big influence

on the young animators.

279

00:23:22,680 --> 00:23:26,670

<i>Otsuka copied an entire book</i>

<i>by Preston Blair.</i>

280

00:23:26,910 --> 00:23:30,780

<i>"Anticipation"...</i>

<i>preparation for movement.</i>

281

00:23:31,190 --> 00:23:34,480

<i>"Follow through"...</i>

<i>depicting the flow of motion.</i>

282

00:23:35,190 --> 00:23:39,790

<i>"Stretch and squash"...</i>

<i>for more expressive animation.</i>

283

00:23:40,030 --> 00:23:43,690

<i>Every facet of</i>

<i>animation theory is covered.</i>

284

00:23:44,300 --> 00:23:48,430

<i>Otsuka blended all these techniques</i>

<i>in his animation.</i>

285

00:23:48,700 --> 00:23:51,930

<i>Otsuka's dedication</i>

<i>to his profession is unmatched.</i>

286

00:23:52,370 --> 00:23:55,000

To learn, I have to

draw it myself.

287

00:23:55,240 --> 00:23:57,870

Then I can really

make it my own.

288

00:23:58,110 --> 00:24:03,710

By drawing something repeatedly,

you master the technique.

289

00:24:03,950 --> 00:24:08,080

It's as if the technique

becomes part of you.

290

00:24:08,320 --> 00:24:10,480

Draw it yourself,

and it's yours.

291

00:24:11,830 --> 00:24:14,230

<i>In Toei's next feature...</i>

292

00:24:15,400 --> 00:24:19,730

<i>... Otsuka had to animate a skeleton</i>

<i>fleeing from the hero.</i>

293

00:24:28,740 --> 00:24:33,240

<i>This should have had audiences</i>

<i>on the edge of their seats.</i>

294

00:24:33,580 --> 00:24:36,110

<i>But they laughed instead.</i>

295

00:24:36,350 --> 00:24:40,340

<i>Otsuka's animation</i>

<i>was just too realistic.</i>

296

00:24:54,370 --> 00:24:58,270

<i>The skeleton's struggle to escape</i>

<i>seemed comical.</i>

297

00:24:58,510 --> 00:25:01,470

<i>When it lost,</i>

<i>audiences felt sympathy.</i>

298

00:25:01,710 --> 00:25:06,480

<i>Then-rookie Isao Takahata</i>

<i>was assistant director.</i>

299

00:25:07,210 --> 00:25:11,310

The scene was so real,

people laughed.

300

00:25:13,450 --> 00:25:17,480

That really taught me

something valuable.

301

00:25:17,720 --> 00:25:21,390

We didn't mean to

make it humorous.

302

00:25:22,300 --> 00:25:27,600

It's funny because

it's so serious.

303

00:25:27,840 --> 00:25:32,400

Audiences can empathize

with the characters.

304

00:25:32,640 --> 00:25:38,080

The more serious you play it,

the funnier it gets.

305

00:25:38,810 --> 00:25:43,080

<i>Humorously earnest bad guys</i>

<i>became Otsuka's speciality.</i>

306

00:25:44,420 --> 00:25:47,410

<i>Like Lucifer from "Puss'n Boots"...</i>

307

00:26:00,270 --> 00:26:01,700

Gimme that!

308

00:26:04,000 --> 00:26:06,770

An air raid shelter?

How deep does it go?

309

00:26:07,010 --> 00:26:10,670

<i>... Inspector Zenigata</i>

<i>from "Lupin the Third"...</i>

310

00:26:13,510 --> 00:26:14,740

Outta my way!

311

00:26:24,020 --> 00:26:26,860

<i>... Dyce from "Future Boy Conan"...</i>

312

00:26:40,140 --> 00:26:42,300

Can't be helped, Chie.

Show me.

313

00:26:42,540 --> 00:26:45,380

<i>... and Tetsu from</i>

<i>"Downtown Story" (Jarinko Chie).</i>

314

00:26:47,550 --> 00:26:50,180

Your balls!

Show me your balls!

315

00:26:50,620 --> 00:26:54,680

My balls... my BALLS!?

316

00:26:56,390 --> 00:27:01,890

<i>Daikubara's "Littlest Warrior"</i>

<i>had a big impact on Otsuka.</i>

317

00:27:02,400 --> 00:27:08,200

That film was the best example

of Daikubara's energy.

318

00:27:08,900 --> 00:27:13,400

There'd be a character

in the foreground and one far away.

319

00:27:13,910 --> 00:27:16,400

Then, bam, they'd switch places.

320

00:27:17,410 --> 00:27:21,910

The one far away

would suddenly be close up.

321

00:27:23,820 --> 00:27:27,280

You'd get these revolving action scenes.

322

00:27:27,920 --> 00:27:32,520

That gave it lots of impact.

I was very impressed.

323

00:27:32,930 --> 00:27:36,590

It showed me

what you could do...

324

00:27:37,030 --> 00:27:41,020

...when you used

all three dimensions.

325

00:27:43,270 --> 00:27:45,300

Mother!

326

00:27:45,540 --> 00:27:48,030

Mother!

327

00:27:50,110 --> 00:27:53,270

<i>Here's the scene</i>

<i>Otsuka is talking about.</i>

328

00:28:23,310 --> 00:28:26,010

<i>"The Little Prince and</i>

<i>the Eight-Headed Dragon"...</i>

329

00:28:26,250 --> 00:28:28,240

<i>... was based on Japanese mythology.</i>

330

00:28:28,580 --> 00:28:31,920

<i>For Otsuka, this was a masterpiece</i>

<i>of animated motion.</i>

331

00:28:33,950 --> 00:28:37,050

<i>They were developing</i>

<i>a new animation style.</i>

332

00:28:37,290 --> 00:28:42,160

<i>They were seeking something</i>

<i>fresh and original.</i>

333

00:28:42,630 --> 00:28:47,260

A new generation

of animators was emerging.

334

00:28:47,500 --> 00:28:54,430

The first generation had been working

before Toei was founded.

335

00:28:55,280 --> 00:29:01,210

With "The Prince and the Dragon,"

Mori launched a new generation.

336

00:29:03,020 --> 00:29:06,320

They started developing

their own style.

337

00:29:07,020 --> 00:29:12,460

It was a very ambitious project

with a new approach.

338

00:29:12,690 --> 00:29:19,290

Otsuka and Tsukioka teamed up

on the battle with the hydra.

339

00:29:21,800 --> 00:29:27,040

The studio gave them a free hand

and used what they created.

340

00:29:27,870 --> 00:29:32,810

It was a chance to

really develop your potential.

341

00:29:33,050 --> 00:29:37,310

<i>The climax was a mid-air battle.</i>

342

00:29:37,550 --> 00:29:41,540

Every scene in this sequence

is interesting.

343

00:29:42,160 --> 00:29:47,460

The characters rush up, pull back,

and circle round and round.

344

00:29:47,730 --> 00:29:54,260

Night and day, all I could see was

that mid-air battle.

345

00:29:54,500 --> 00:29:59,730

I'll never forget the way

the hydra twisted and turned.

346

00:30:00,240 --> 00:30:05,200

<i>Otsuka immersed himself</i>

<i>in the hero's struggle.</i>

347

00:30:05,450 --> 00:30:09,380

It's when the fighting

gets really hot.

348

00:30:10,020 --> 00:30:13,350

That hydra's so scary,

he'd have to close his eyes.

349

00:30:14,350 --> 00:30:16,750

That's how I animated it.

350

00:30:18,090 --> 00:30:23,760

<i>Here's just a portion</i>

<i>of the 15-minute battle.</i>

351

00:31:11,980 --> 00:31:17,210

<i>This work deepened his understanding</i>

<i>of realism in animation.</i>

352

00:31:17,450 --> 00:31:22,510

Ultimately, animation is about

convincing the audience.

353

00:31:22,760 --> 00:31:26,690

I try to create perspective, immediacy.

354

00:31:26,930 --> 00:31:31,260

A sort of virtual reality.

355

00:31:31,500 --> 00:31:35,870

Genuine realism doesn't suit animation.

356

00:31:36,100 --> 00:31:39,200

Realism doesn't have to be real.

357

00:31:39,440 --> 00:31:41,840

What you want

is constructed realism.

358

00:31:42,610 --> 00:31:47,410

<i>The young Hayao Miyazaki</i>

<i>absorbed this approach.</i>

359

00:31:47,650 --> 00:31:53,450

<i>He compares Otsuka to Enoken,</i>

<i>Japan's king of comedy.</i>

360

00:31:53,650 --> 00:31:55,990

He reminded me of Enoken.

361

00:31:56,520 --> 00:32:02,480

When we did "Cagliostro",

he animated all these great reactions.

362

00:32:02,730 --> 00:32:07,290

He knew what I wanted.

I didn't have to tell him.

363

00:32:07,530 --> 00:32:11,230

If the line was "get out of here,"

he'd really milk it for laughs.

364

00:32:11,470 --> 00:32:14,270

"Now what?"

No one did it better.

365

00:32:15,710 --> 00:32:19,080

Some people would

pick up a fork like this.

366

00:32:19,310 --> 00:32:23,150

This is how Otsuka

would do it.

367

00:32:24,220 --> 00:32:27,190

Mori's style was more casual.

368

00:32:27,420 --> 00:32:30,720

I like both styles.

369

00:32:33,230 --> 00:32:38,220

You can do it casually,

or do it like this.

370

00:32:39,000 --> 00:32:44,200

<i>The "Otsuka Style" is never far</i>

<i>from Miyazaki's mind...</i>

371

00:32:44,440 --> 00:32:48,370

<i>... as in this sequence from</i>

<i>"Princess Mononoke".</i>

372

00:32:50,810 --> 00:32:54,440

We used to argue

about the best approach.

373

00:32:55,080 --> 00:32:59,520

<i>These frames show</i>

<i>the slash of a knife.</i>

374

00:32:59,920 --> 00:33:03,080

<i>For Miyazaki,</i>

<i>this is "Otsuka Style".</i>

375

00:33:04,190 --> 00:33:09,560

<i>Miyazaki prefers to trace</i>

<i>the slash with a single arc instead.</i>

376

00:33:09,800 --> 00:33:11,820

That arc gets

the point across.

377

00:33:12,070 --> 00:33:15,930

Are you sure? No doubts?

378

00:33:16,170 --> 00:33:20,110

<i>Miyazaki appreciates positive feedback.</i>

379

00:33:21,610 --> 00:33:24,100

<i>Otsuka's name comes up again...</i>

380

00:33:24,340 --> 00:33:27,070

<i>... after a test for</i>

<i>Ghibli's inbetweeners.</i>

381

00:33:27,950 --> 00:33:31,970

<i>Each animator had to submit</i>

<i>key frames for a given scene...</i>

382

00:33:32,220 --> 00:33:34,450

<i>... but the results were disappointing.</i>

383

00:33:34,790 --> 00:33:37,550

<i>Miyazaki explains why.</i>

384

00:33:40,290 --> 00:33:43,790

This section of the swing

is very fast.

385

00:33:46,430 --> 00:33:50,430

In animation, slow is slow,

and fast is blinding.

386

00:33:52,870 --> 00:33:57,870

When Otsuka was young,

he created really vivid movements.

387

00:33:58,110 --> 00:34:02,310

He used to draw

these unbelievable poses.

388

00:34:03,980 --> 00:34:08,510

As you get older

it gets harder to do this.

389

00:34:08,820 --> 00:34:11,310

You can't do it forever.

390

00:34:11,560 --> 00:34:16,330

It's not just technique,

it comes from inside.

391

00:34:17,160 --> 00:34:21,330

It takes a

special kind of energy.

392

00:34:25,540 --> 00:34:29,530

<i>Otsuka taught Miyazaki how to</i>

<i>see things with an animator's eye.</i>

393

00:34:32,180 --> 00:34:37,170

Animators are always looking

for interesting new movements.

394

00:34:41,090 --> 00:34:46,080

They observe everything,

even when they're not working.

395

00:34:46,290 --> 00:34:50,160

As an animator,

you see things differently.

396

00:34:50,400 --> 00:34:52,700

You memorize things

you can use later.

397

00:34:52,930 --> 00:34:57,730

You build up a store

of these observations.

398

00:34:57,970 --> 00:35:03,670

They add something extra

to whatever you're working on.

399

00:35:04,910 --> 00:35:08,900

It's not enough to be able

to do precise animation...

400

00:35:09,380 --> 00:35:12,370

...on very small movements.

401

00:35:15,260 --> 00:35:21,220

You have to be able to do

interesting things...

402

00:35:21,460 --> 00:35:26,830

...Between key frames.

That will bring the movement alive.

403

00:35:29,400 --> 00:35:34,740

Aim for that and you'll find

possibilities you never expected.

404

00:35:35,410 --> 00:35:39,170

Keep innovating and you

won't get in a rut.

405

00:35:39,410 --> 00:35:43,250

Innovation is the key to

learning about movement.

406

00:35:43,480 --> 00:35:47,080

You'll reach your peak

in your 30s.

407

00:35:49,420 --> 00:35:54,120

After a while, you wonder

why it comes so naturally.

408

00:35:54,360 --> 00:35:56,950

Later, you wonder why

you can't do it any more.

409

00:35:57,200 --> 00:36:00,860

You forget more and more

of what you knew.

410

00:36:01,100 --> 00:36:04,870

Otsuka pointed me

in the right direction.

411

00:36:06,770 --> 00:36:09,870

<i>In 1965, Otsuka was named</i>

<i>supervising animator...</i>

412

00:36:10,110 --> 00:36:13,310

<i>... for Toei's next</i>

<i>full-length animated feature.</i>

413

00:36:13,550 --> 00:36:18,210

<i>Otsuka insisted on</i>

<i>Isao Takahata as director.</i>

414

00:36:18,450 --> 00:36:21,650

<i>The film:</i>

<i>"Little Norse Prince Valiant".</i>

415

00:36:21,890 --> 00:36:26,190

Someone has to lead the team.

You have to choose someone.

416

00:36:26,460 --> 00:36:29,160

I knew he

was the right choice.

417

00:36:29,400 --> 00:36:32,690

I didn't think anyone else

could pull it off.

418

00:36:33,130 --> 00:36:36,570

There's a saying that

you should choose friends...

419

00:36:37,470 --> 00:36:40,460

...who are well-read,

gallant and passionate.

420

00:36:40,810 --> 00:36:45,400

I think that applies

to choosing a director.

421

00:36:45,650 --> 00:36:51,450

The first requirement for a director

is to be well-read.

422

00:36:51,780 --> 00:36:56,350

A director has to be

gallant, too.

423

00:36:56,590 --> 00:37:02,760

He should develop

and support his team.

424

00:37:03,330 --> 00:37:07,560

Passion for the work

is another requirement.

425

00:37:08,170 --> 00:37:12,830

A director should be

well-read and gallant.

426

00:37:13,440 --> 00:37:17,930

He's got to have

a high level of enthusiasm.

427

00:37:18,180 --> 00:37:20,980

That's my idea of a director.

428

00:37:22,020 --> 00:37:24,710

<i>The union movement</i>

<i>was important in the 60s.</i>

429

00:37:25,950 --> 00:37:30,250

<i>Participation brought</i>

<i>the animators closer together.</i>

430

00:37:30,490 --> 00:37:33,120

<i>It deepened their communication.</i>

431

00:37:33,360 --> 00:37:36,060

<i>"Prince Valiant" is imbued</i>

<i>with themes of social justice.</i>

432

00:37:36,300 --> 00:37:39,490

<i>It tells of villagers who</i>

<i>join hands with a boy...</i>

433

00:37:39,730 --> 00:37:45,070

<i>... to save their homes</i>

<i>from destruction.</i>

434

00:37:46,210 --> 00:37:51,200

<i>These photos testify to</i>

<i>the dedication of the creative team.</i>

435

00:37:51,880 --> 00:37:57,610

<i>Hols, the hero,</i>

<i>wields an axe on a rope.</i>

436

00:37:58,720 --> 00:38:02,810

<i>This is Miyazaki, portraying</i>

<i>Hols throwing his axe.</i>

437

00:38:09,900 --> 00:38:14,330

<i>Here's Otsuka,</i>

<i>showing how it's done.</i>

438

00:38:15,570 --> 00:38:18,770

<i>Each of them was</i>

<i>the age you see here.</i>

439

00:38:19,010 --> 00:38:23,140

<i>It was a collaboration of giants</i>

<i>in Japanese animation.</i>

440

00:38:23,680 --> 00:38:28,140

<i>Takahata looks back</i>

<i>on "Prince Valiant"...</i>

441

00:38:28,580 --> 00:38:31,950

This is partly

my fault as director...

442

00:38:32,190 --> 00:38:36,210

...but there's something

about "Valiant" that bothers me.

443

00:38:36,460 --> 00:38:39,650

Hols always looks angry.

It was the style back then.

444

00:38:39,890 --> 00:38:42,160

He's always glaring.

445

00:38:42,600 --> 00:38:45,620

We could've

made him less edgy.

446

00:38:45,870 --> 00:38:50,560

Some criticized the film

because there was no humour.

447

00:38:50,800 --> 00:38:52,460

But that didn't bother us.

448

00:38:52,710 --> 00:38:57,470

These days, we can accept

animation without humour.

449

00:38:57,710 --> 00:39:02,240

Back then, people

weren't ready for it.

450

00:39:02,480 --> 00:39:04,610

But in a different sense...

451

00:39:04,850 --> 00:39:08,550

...I do think the film

feels a bit constricted.

452

00:39:08,790 --> 00:39:12,850

The way Hols talked,

and his mannerisms.

453

00:39:12,960 --> 00:39:18,090

But when I look back,

there are so many scenes...

454

00:39:18,330 --> 00:39:21,100

...that are amazing for the time.

455

00:39:21,330 --> 00:39:26,000

It surprises me

every time I watch.

456

00:39:27,870 --> 00:39:32,070

For example, the wolves.

Or the scene with the great fish.

457

00:39:32,310 --> 00:39:35,510

It slithers along, but

you can still feel its weight.

458

00:39:35,750 --> 00:39:39,480

The work of all the animators

is alive in that film.

459

00:39:39,750 --> 00:39:45,950

I don't think we realized

how advanced it was.

460

00:39:46,190 --> 00:39:52,150

For example, the scenes

of the wedding celebration.

461

00:39:52,400 --> 00:39:56,930

All the animators made their mark...

462

00:39:57,170 --> 00:40:03,170

- Hayao Miyazaki, Yoichi Kotabe,

Yasuo Otsuka, and Yasuji Mori.

463

00:40:04,110 --> 00:40:06,540

I'm so proud

of what they did.

464

00:40:07,850 --> 00:40:12,180

<i>"Prince Valiant" is a work of</i>

<i>great depth and immediacy.</i>

465

00:40:13,290 --> 00:40:17,990

<i>This is Hols throwing his axe.</i>

466

00:40:18,220 --> 00:40:20,320

<i>Miyazaki was key animator.</i>

467

00:40:24,960 --> 00:40:27,660

<i>Hols battles the great fish.</i>

468

00:40:27,900 --> 00:40:32,700

<i>This scene represents</i>

<i>the pinnacle of the Otsuka Style.</i>

469

00:41:04,340 --> 00:41:08,930

<i>But he cried with frustration</i>

<i>when he saw the finished work.</i>

470

00:41:09,240 --> 00:41:15,010

"Prince Valiant" is

a very strong, profound film.

471

00:41:15,250 --> 00:41:20,190

Takahata was working on

polishing the script.

472

00:41:20,420 --> 00:41:24,620

But partway through

production, I was dropped...

473

00:41:24,860 --> 00:41:28,090

...from the group

attending the script meetings.

474

00:41:28,330 --> 00:41:32,920

Miyazaki took over for me

in the meetings.

475

00:41:33,370 --> 00:41:37,060

That was a real blow.

I wanted to prove myself.

476

00:41:37,300 --> 00:41:41,670

I wished I'd had

more of a chance to participate.

477

00:41:41,940 --> 00:41:44,500

I wanted a bigger role.

478

00:41:45,180 --> 00:41:49,880

<i>Today, even Miyazaki</i>

<i>says he didn't really understand...</i>

479

00:41:50,120 --> 00:41:52,550

<i>... the character of the girl, Hilda.</i>

480

00:41:55,790 --> 00:42:00,050

Afterwards, you could see

Otsuka was frustrated.

481

00:42:00,460 --> 00:42:04,490

We were all dedicated

to making the best film we could.

482

00:42:04,730 --> 00:42:09,060

But the core of the film was Hilda,

who's torn apart by wolves.

483

00:42:09,400 --> 00:42:12,860

We didn't grasp

what Takahata was trying to do.

484

00:42:13,110 --> 00:42:15,870

Only Yasuji Mori got it.

485

00:42:16,310 --> 00:42:21,840

In that sense, Takahata

was breaking new ground.

486

00:42:22,080 --> 00:42:23,640

We didn't see it.

487

00:42:23,980 --> 00:42:29,010

Not me, not Otsuka,

not the rest of us.

488

00:42:29,260 --> 00:42:32,090

We didn't see the concept.

489

00:42:33,160 --> 00:42:37,030

We wondered why

Hilda was so gloomy.

490

00:42:37,260 --> 00:42:40,630

We felt some scenes

could've been better.

491

00:42:43,000 --> 00:42:48,800

Takahata was really pushing back

the limits of animation.

492

00:42:49,040 --> 00:42:54,040

He opened a door.

It wasn't Enoken's world any more.

493

00:42:54,450 --> 00:42:57,180

Maybe it was Chishu Ryu's.

494

00:42:57,420 --> 00:42:59,850

Or Edith Piaf's.

495

00:43:04,460 --> 00:43:07,550

It was really that significant.

496

00:43:07,790 --> 00:43:12,860

He was influenced by

Jacque Prevert and French cinema.

497

00:43:13,730 --> 00:43:20,700

These things shaped

his motivation as a director.

498

00:43:20,940 --> 00:43:25,880

There were lots of scenes

that reflect this.

499

00:43:27,050 --> 00:43:29,380

But it was hard on Otsuka.

500

00:43:29,820 --> 00:43:33,910

The scenes Mori did

always give me goose bumps.

501

00:43:34,490 --> 00:43:38,580

Like when the snow wolves chase

Hilda, Frepp and the bear.

502

00:43:38,820 --> 00:43:44,290

She gives them her magic pendant

and watches them float away.

503

00:43:44,530 --> 00:43:47,660

She helps them escape

while she stays behind.

504

00:43:47,900 --> 00:43:52,340

I'd never seen anything like it

in animation before.

505

00:43:53,070 --> 00:43:55,230

I was shocked.

506

00:43:56,910 --> 00:43:58,770

Totally floored.

507

00:44:01,010 --> 00:44:06,610

In comparison to Mori's work,

our scenes felt rough and unpolished.

508

00:44:09,990 --> 00:44:15,150

I thought it totally surpassed

what the rest of us had done.

509

00:44:18,200 --> 00:44:21,360

<i>This is the scene</i>

<i>that shocked Miyazaki.</i>

510

00:44:21,870 --> 00:44:25,700

Go quickly.

Take my magic pendant.

511

00:44:30,710 --> 00:44:34,410

<i>The next scene gave Miyazaki</i>

<i>goose bumps.</i>

512

00:44:51,130 --> 00:44:56,660

I witnessed first-hand

what great direction can achieve.

513

00:44:56,900 --> 00:45:00,300

In a sense, I realized

it was beyond me.

514

00:45:00,540 --> 00:45:04,670

I'd reached the limit

of my abilities.

515

00:45:04,910 --> 00:45:09,370

I'm an artisan. I like

crafting interesting details.

516

00:45:09,620 --> 00:45:12,980

But direction

is beyond me.

517

00:45:13,250 --> 00:45:18,250

With our next film,

"Puss'n Boots"...

518

00:45:18,520 --> 00:45:21,980

...I forgot about directing.

519

00:45:23,230 --> 00:45:28,690

I let the director direct,

and just had fun doing my thing.

520

00:45:28,930 --> 00:45:32,030

Can you turn yourself

into something big?

521

00:45:35,340 --> 00:45:38,540

<i>Otsuka and Miyazaki</i>

<i>teamed up on "Puss'n Boots".</i>

522

00:45:38,780 --> 00:45:42,710

<i>They handled Lucifer</i>

<i>and the film's big climax.</i>

523

00:45:42,950 --> 00:45:46,080

<i>It was a chance</i>

<i>for both of them to have fun.</i>

524

00:45:59,670 --> 00:46:01,060

Wait!

525

00:46:04,370 --> 00:46:05,800

Princess!

526

00:46:10,380 --> 00:46:11,870

Pero, let's go!

527

00:46:16,720 --> 00:46:18,050

Pierre!

528

00:46:18,550 --> 00:46:20,780

Princess!

529

00:46:39,670 --> 00:46:41,260

Come on, sun!

530

00:46:44,910 --> 00:46:46,280

Come on, sun!

531

00:46:56,590 --> 00:47:02,530

<i>After "Puss", Otsuka left Toei</i>

<i>and joined A Production.</i>

532

00:47:03,200 --> 00:47:07,660

PART IV: SERIES ANIMATION

533

00:47:09,100 --> 00:47:11,930

<i>A Production's first project</i>

<i>was a television series..."Moomin".</i>

534

00:47:12,040 --> 00:47:15,030

<i>ORIGINAL MOOMIN (R)</i>

<i>OTSUKA'S MOOMIN (L)</i>

535

00:47:15,270 --> 00:47:17,470

<i>Working with the director was</i>

<i>another new experience for Otsuka.</i>

536

00:47:17,710 --> 00:47:21,040

<i>His name was Masaaki Ohsumi.</i>

537

00:47:21,380 --> 00:47:26,750

Ohsumi is a veteran

director of puppet theatre.

538

00:47:29,790 --> 00:47:31,780

He taught me a lot.

539

00:47:32,020 --> 00:47:35,650

Sometimes his ideas

seemed a waste of time.

540

00:47:35,900 --> 00:47:38,760

But he'd always convince me.

541

00:47:39,000 --> 00:47:41,730

He'd say,

"It's the right thing."

542

00:47:41,970 --> 00:47:46,130

Not from an animation standpoint

- from a social one.

543

00:47:46,370 --> 00:47:51,570

It was a very important

experience for me.

544

00:47:54,980 --> 00:48:00,150

<i>"Moomin" presents an idyllic world</i>

<i>- no money, no cars, no violence.</i>

545

00:48:00,390 --> 00:48:06,810

<i>Completely different from the</i>

<i>animation Otsuka had done to date.</i>

546

00:48:08,260 --> 00:48:13,860

<i>It was hailed as a new era</i>

<i>in television animation.</i>

547

00:48:23,510 --> 00:48:28,670

Later, I heard the guys at Toei

didn't think I was right for it.

548

00:48:30,180 --> 00:48:34,020

They thought I just did

fire-breathing monsters and giant fish.

549

00:48:34,250 --> 00:48:38,850

But after it came out,

I got lots of calls.

550

00:48:39,530 --> 00:48:42,220

Everyone thought it was great.

551

00:48:42,460 --> 00:48:47,160

I think Takahata and

Miyazaki both realized...

552

00:48:47,500 --> 00:48:50,060

...This was a new approach.

553

00:48:50,870 --> 00:48:55,470

"If Otsuka can do it,

we can do even better.

554

00:48:55,710 --> 00:48:59,010

They both quit and

came to A Production.

555

00:48:59,250 --> 00:49:03,270

I don't think we could've done

something like "Moomin" at Toei.

556

00:49:03,520 --> 00:49:08,320

It wasn't just Toei, it was us.

557

00:49:10,560 --> 00:49:15,760

For Otsuka to go out and do

"Moomin" changed everything.

558

00:49:16,230 --> 00:49:17,700

He taught us something important.

559

00:49:17,930 --> 00:49:20,190

We envied what he was doing.

560

00:49:20,500 --> 00:49:26,200

Each of the main characters

had a very different personality.

561

00:49:26,440 --> 00:49:32,170

Every week something unusual would

happen... an incident, or a visitor.

562

00:49:32,410 --> 00:49:36,610

Each character had a different

take on what was happening.

563

00:49:36,850 --> 00:49:40,440

It was a very

sophisticated approach.

564

00:49:40,690 --> 00:49:46,520

I really admired

what they were doing.

565

00:49:46,860 --> 00:49:51,350

Their work was very

different from Toei's.

566

00:49:53,100 --> 00:49:57,090

If Otsuka hadn't done Moomin"...

567

00:49:58,770 --> 00:50:02,260

...I doubt we would've left Toei

just to follow him.

568

00:50:03,280 --> 00:50:07,640

<i>But "Moomin" was not</i>

<i>why Otsuka left Toei.</i>

569

00:50:07,880 --> 00:50:14,050

<i>He wanted to work on A Production's</i>

<i>adaptation of "Lupin the Third".</i>

570

00:50:15,120 --> 00:50:20,890

I've always had three loves:

Trains, cars and guns.

571

00:50:21,090 --> 00:50:26,290

Lupin" was a chance to

draw the things I loved.

572

00:50:29,670 --> 00:50:33,630

I never had a chance

like that at Toei.

573

00:50:33,870 --> 00:50:38,140

I thought, I can do this

as well as anyone.

574

00:50:38,380 --> 00:50:44,320

It was a chance

to use everything I had.

575

00:50:45,580 --> 00:50:47,310

I jumped at the chance.

576

00:50:47,990 --> 00:50:53,190

<i>Otsuka started studying the work of</i>

<i>Monkey Punch, author of "Lupin".</i>

577

00:50:53,760 --> 00:51:00,430

<i>He immediately noticed the influence</i>

<i>of US artists like Mort Drucker.</i>

578

00:51:00,830 --> 00:51:02,600

<i>Here's Drucker's style.</i>

579

00:51:02,840 --> 00:51:05,960

Big shoes and tiny ankles.

580

00:51:06,210 --> 00:51:11,370

<i>Otsuka profiles Drucker's style.</i>

581

00:51:12,340 --> 00:51:15,440

When he draws a hat,

he does it like this.

582

00:51:19,690 --> 00:51:22,620

It's very three-dimensional.

583

00:51:23,520 --> 00:51:27,390

That's how he does a fedora.

584

00:51:27,630 --> 00:51:32,190

This is one of

Drucker's trademarks.

585

00:51:32,400 --> 00:51:36,060

Here's another example.

586

00:51:37,300 --> 00:51:39,960

Some characters get smaller

as you go out, like this.

587

00:51:44,440 --> 00:51:46,880

You've seen this before.

588

00:51:47,250 --> 00:51:50,740

This is an "introverted" character.

589

00:51:50,980 --> 00:51:53,320

That's how Yasuji Mori draws.

590

00:51:53,650 --> 00:51:58,850

His characters are

very inward-focused.

591

00:51:59,090 --> 00:52:03,320

Calling this "introverted"

is just an expression of mine.

592

00:52:03,560 --> 00:52:07,500

Daikubara draws characters like this.

593

00:52:11,340 --> 00:52:14,670

They have big extremities.

594

00:52:16,240 --> 00:52:18,540

Think of Mickey Mouse.

595

00:52:18,780 --> 00:52:23,910

This is what I call

an "extroverted" character.

596

00:52:25,480 --> 00:52:29,440

That's how Drucker does it.

597

00:52:31,260 --> 00:52:35,520

With other artists,

you usually get legs...

598

00:52:36,200 --> 00:52:40,290

...that look something like this.

599

00:52:40,530 --> 00:52:42,970

With Drucker, the pants

are too short for the leg.

600

00:52:43,440 --> 00:52:44,930

Something like this.

601

00:52:46,710 --> 00:52:50,070

It's almost like

the pants are rolled up.

602

00:52:50,310 --> 00:52:51,970

That's a Drucker trademark.

603

00:52:52,110 --> 00:52:56,270

He also draws a lot of

characters with split chins.

604

00:52:59,450 --> 00:53:03,110

It reminds you of Tyrone Power

or Gregory Peck.

605

00:53:05,890 --> 00:53:10,120

You don't often see

characters like this in Japan.

606

00:53:12,360 --> 00:53:16,360

But there's a lot of them

in the early "Lupin".

607

00:53:18,140 --> 00:53:22,330

You see that with

Lupin and Goemon.

608

00:53:23,640 --> 00:53:27,840

Hands are drawn

in an extroverted style.

609

00:53:28,080 --> 00:53:32,920

You get these thin wrists,

and suddenly this big hand.

610

00:53:36,020 --> 00:53:38,110

Lots of hair.

611

00:53:38,760 --> 00:53:42,920

This is another example

of Drucker's style.

612

00:53:43,600 --> 00:53:48,830

We started doing detailed

style sheets on the characters.

613

00:53:51,070 --> 00:53:56,130

We analysed all the

different aspects of Monkey's style.

614

00:53:56,340 --> 00:53:58,570

How do the characters

look close up?

615

00:53:58,780 --> 00:54:02,800

How do we handle the eyes?

What about mouths? Hair?

616

00:54:03,050 --> 00:54:07,540

How about from different angles?

From behind? From above?

617

00:54:11,520 --> 00:54:16,190

We wanted views from every angle,

so we could get it down.

618

00:54:16,460 --> 00:54:19,950

We did just about

every type of rendering.

619

00:54:20,700 --> 00:54:24,730

Monkey Punch helped

on a lot of the work.

620

00:54:24,970 --> 00:54:28,060

But partway through he quit.

621

00:54:28,310 --> 00:54:31,870

He said it was

too much for him.

622

00:54:33,550 --> 00:54:39,540

So Shibayama and

Kobayashi and I got together.

623

00:54:40,550 --> 00:54:44,390

We put together

a rough storyboard...

624

00:54:44,620 --> 00:54:47,790

...and started working on the pilot.

625

00:54:49,160 --> 00:54:54,190

The classic Mercedes SSK,

Hitler's favourite car.

626

00:54:54,430 --> 00:54:56,900

It sports a Ferrari V-12.

627

00:54:57,740 --> 00:55:00,900

<i>Here's some footage from that pilot.</i>

628

00:55:19,590 --> 00:55:23,120

Daisuke Jigen, quick draw

artist and Lupin's sidekick.

629

00:55:23,530 --> 00:55:26,360

Even Lupin admires his skill.

630

00:55:27,600 --> 00:55:31,090

<i>Notice Jigen's hand!</i>

631

00:55:55,060 --> 00:56:00,050

This is Goemon Ishikawa,

the renowned swordsman.

632

00:56:03,570 --> 00:56:08,340

We were going to do

a full-length feature.

633

00:56:09,570 --> 00:56:13,010

But we couldn't

finalize the concept.

634

00:56:14,310 --> 00:56:19,110

We spent a year

showing the pilot footage around.

635

00:56:19,350 --> 00:56:24,380

We reformatted

the pilot for television.

636

00:56:25,820 --> 00:56:29,850

We added material and

showed it to the networks.

637

00:56:30,760 --> 00:56:33,530

<i>Finally Yomiuri TV</i>

<i>agreed to air the series.</i>

638

00:56:33,770 --> 00:56:37,960

<i>"Lupin" launched</i>

<i>in October 1971.</i>

639

00:56:39,340 --> 00:56:45,000

<i>It's hard to believe now,</i>

<i>but initial ratings were terrible.</i>

640

00:56:45,940 --> 00:56:50,750

Your pal Zenigata's gonna

miss you when you re dead.

641

00:56:51,520 --> 00:56:54,680

So they're finally

gonna execute me.

642

00:56:58,790 --> 00:57:02,280

I could've flown

the coop before this.

643

00:57:02,960 --> 00:57:04,950

But I waited.

644

00:57:07,970 --> 00:57:12,900

I wanted to push it

to the limit.

645

00:57:18,710 --> 00:57:21,740

No! Wait! You've got

the wrong guy!

646

00:57:21,980 --> 00:57:24,880

I can prove it!

Give me a chance!

647

00:57:27,820 --> 00:57:33,220

You got your wish inspector.

Lupin's going to the chamber.

648

00:58:10,360 --> 00:58:13,350

I'll get you Goemon!

649

00:58:15,370 --> 00:58:17,860

Stop right there!

650

00:58:29,710 --> 00:58:32,210

I'm gonna boil your hide!

651

00:58:42,730 --> 00:58:46,660

<i>About this time, Takahata</i>

<i>and Miyazaki joined A Production.</i>

652

00:58:46,900 --> 00:58:50,160

<i>They were all together again.</i>

653

00:58:50,400 --> 00:58:54,130

<i>The two were preparing</i>

<i>for "Pippi Longstockings".</i>

654

00:58:54,470 --> 00:58:58,030

<i>But they joined "Lupin"</i>

<i>to help get the series on its feet.</i>

655

00:58:59,210 --> 00:59:05,710

<i>Miyazaki shared Otsuka's</i>

<i>burning enthusiasm for cars.</i>

656

00:59:05,950 --> 00:59:08,980

<i>Their enthusiasm</i>

<i>spilled into the series.</i>

657

00:59:10,990 --> 00:59:13,650

<i>That's Otsuka in the Jeep.</i>

658

00:59:13,890 --> 00:59:19,230

<i>Here's a scene from "Lupin"</i>

<i>directed by Miyazaki.</i>

659

00:59:20,500 --> 00:59:22,930

<i>But they didn't stop there.</i>

660

00:59:27,840 --> 00:59:32,210

<i>Here's Miyazaki.</i>

<i>Otsuka is in the background.</i>

661

00:59:33,580 --> 00:59:39,380

<i>Here's a car dropping in</i>

<i>on Miyazaki and his family.</i>

662

00:59:42,020 --> 00:59:45,150

<i>Now, to show a

samurai's technique...</i>

663

00:59:45,390 --> 00:59:49,120

<i>... Otsuka maintains</i>

<i>you have to work fast.</i>

664

00:59:49,360 --> 00:59:52,560

<i>How would you draw</i>

<i>Goemon and his sword?</i>

665

00:59:52,800 --> 00:59:56,890

When Goemon draws his sword,

you've got to draw it fast.

666

00:59:57,140 --> 01:00:01,400

I think you lose the energy

if you take your time.

667

01:00:01,870 --> 01:00:06,640

You start from here.

Basically this is it.

668

01:00:07,150 --> 01:00:11,140

He draws it in a flash.

He has to bring it here first.

669

01:00:12,320 --> 01:00:17,810

The sword moves down.

His hand goes toward it.

670

01:00:18,890 --> 01:00:23,160

So he draws it. What next?

671

01:00:28,400 --> 01:00:31,840

He brings it back...

672

01:00:34,570 --> 01:00:36,840

...Swoosh!

673

01:00:37,410 --> 01:00:39,240

He brings his

other hand up.

674

01:00:40,750 --> 01:00:46,270

Flip it and see if it works.

You've already got movement.

675

01:00:48,520 --> 01:00:52,010

Now he's feeling

on top of things.

676

01:01:01,430 --> 01:01:04,530

This looks like

the real Goemon.

677

01:01:04,800 --> 01:01:09,300

Now he's going

to grasp the sword.

678

01:01:09,540 --> 01:01:13,380

He'd bring his arm up.

679

01:01:13,950 --> 01:01:18,640

He's going to draw.

Let's open his eyes.

680

01:01:18,880 --> 01:01:21,150

His hair doesn't move yet.

681

01:01:23,620 --> 01:01:28,720

We should probably lower

his head a little.

682

01:01:29,890 --> 01:01:31,590

He draws his sword.

683

01:01:32,130 --> 01:01:35,900

His hair should

be moving now.

684

01:01:39,300 --> 01:01:43,000

He swings his arm back

to make the cut.

685

01:01:43,240 --> 01:01:45,640

He'd probably

bring it back to here.

686

01:01:45,880 --> 01:01:50,080

In animation we try

not to hide the face.

687

01:01:50,920 --> 01:01:52,350

But it's just for a second.

688

01:01:57,320 --> 01:01:59,310

His arm covers his face.

689

01:01:59,660 --> 01:02:02,650

Now his eyes

are wide open.

690

01:02:02,990 --> 01:02:08,260

His expression starts to change.

691

01:02:10,270 --> 01:02:15,210

Exaggerate the movement

as much as you like.

692

01:02:15,670 --> 01:02:18,700

Try to capture

a lot of energy.

693

01:02:19,010 --> 01:02:20,600

This is how it looks.

694

01:02:22,110 --> 01:02:25,280

<i>Then Otsuka notices a problem.</i>

695

01:02:28,020 --> 01:02:31,820

He grabs the sword,

swings it back, and cuts.

696

01:02:32,060 --> 01:02:36,190

The cut looks fast,

but it's not quite enough.

697

01:02:36,430 --> 01:02:38,020

The real thing would

probably be exaggerated.

698

01:02:38,260 --> 01:02:40,390

Back to here,

like throwing a baseball.

699

01:02:40,630 --> 01:02:45,500

Swoosh... he swings

toward you.

700

01:02:45,740 --> 01:02:48,540

His fist comes here.

701

01:02:52,210 --> 01:02:54,740

I drew the swing...

702

01:02:54,980 --> 01:02:59,080

...but you need arcs

to really get the idea.

703

01:03:01,550 --> 01:03:04,490

You see this

kind of thing a lot.

704

01:03:05,320 --> 01:03:09,590

This looks impossible,

but in animation it's not.

705

01:03:09,830 --> 01:03:13,090

His arm bends like this

and moves here.

706

01:03:16,570 --> 01:03:18,400

Like this.

707

01:03:21,240 --> 01:03:25,730

Swoosh. Let's not stop there.

708

01:03:26,180 --> 01:03:28,340

Let's finish it.

709

01:03:28,510 --> 01:03:31,380

Animation is so interesting.

710

01:03:31,620 --> 01:03:33,880

You create motion on paper.

711

01:03:34,120 --> 01:03:36,710

It's a lot of fun.

712

01:03:36,860 --> 01:03:39,190

Clean it up

and it looks better.

713

01:03:42,430 --> 01:03:45,260

He looks full of energy. Swoosh!

714

01:03:56,670 --> 01:04:02,340

<i>"Samurai Giants" is</i>

<i>a good example of Otsuka's energy.</i>

715

01:04:05,450 --> 01:04:11,010

<i>But Miyazaki and Takahata's</i>

<i>"Heidi" aired at the same time.</i>

716

01:04:12,560 --> 01:04:16,290

<i>Ironically, this reinforced the view...</i>

717

01:04:16,530 --> 01:04:21,120

<i>... that Otsuka's series</i>

<i>couldn't get good ratings.</i>

718

01:04:33,480 --> 01:04:37,470

<i>Later, Otsuka and Miyazaki</i>

<i>teamed up on "Future Boy Conan".</i>

719

01:04:37,710 --> 01:04:40,910

<i>Otsuka discovered</i>

<i>a changed Miyazaki.</i>

720

01:04:41,150 --> 01:04:46,380

<i>His experience with "Heidi" and</i>

<i>"From the Apennines to the Andes"...</i>

721

01:04:46,620 --> 01:04:48,890

<i>... had changed him completely.</i>

722

01:04:49,160 --> 01:04:53,030

Miyazaki did the layout

for every scene.

723

01:04:53,260 --> 01:04:56,820

It was very detailed and complete.

724

01:04:57,070 --> 01:05:00,260

Not just the basic key animation.

725

01:05:00,500 --> 01:05:03,700

He even did the expressions.

726

01:05:03,940 --> 01:05:06,430

No one had ever

done that before.

727

01:05:06,680 --> 01:05:08,980

It was unheard of.

728

01:05:09,210 --> 01:05:14,450

He also did that on

"Heidi" and "Apennines".

729

01:05:14,690 --> 01:05:20,520

After that, he didn't need

to work under Takahata.

730

01:05:21,260 --> 01:05:24,130

He gained the confidence

to do it himself.

731

01:05:24,530 --> 01:05:27,730

"Future Boy Conan"

was slated for production.

732

01:05:27,970 --> 01:05:30,930

He insisted I join the team.

733

01:05:31,170 --> 01:05:34,260

So I did, and discovered

a different Miyazaki.

734

01:05:34,940 --> 01:05:39,930

It was like a normal person

had turned into the Hulk.

735

01:05:40,540 --> 01:05:43,640

He'd accumulated

tremendous experience.

736

01:05:43,880 --> 01:05:48,680

He combined great technique

as an animator...

737

01:05:48,920 --> 01:05:53,290

...with an understanding of scenes

and how characters should move.

738

01:05:53,960 --> 01:05:57,550

I was astonished.

739

01:05:57,790 --> 01:06:03,790

It was like working

with a wizard of animation.

740

01:06:04,130 --> 01:06:09,130

He had a constant stream

of totally original ideas.

741

01:06:09,410 --> 01:06:14,430

I had to check the storyboards

as soon as they were done.

742

01:06:14,680 --> 01:06:20,640

They always astonished me.

I couldn't stop laughing.

743

01:06:20,880 --> 01:06:23,250

And they were so detailed.

744

01:06:24,490 --> 01:06:29,980

You couldn't analyse

Miyazaki's work logically.

745

01:06:30,590 --> 01:06:34,760

It was like he couldn't

control himself.

746

01:06:35,000 --> 01:06:40,870

He said it just came out that way.

He couldn't explain why.

747

01:06:41,100 --> 01:06:43,440

He didn't have time

to explain.

748

01:06:44,780 --> 01:06:50,510

So these crazy, innovative

concepts got turned into visuals.

749

01:06:51,520 --> 01:06:56,010

But the technique he

used to do it is very solid.

750

01:06:56,250 --> 01:07:00,550

The timing is precise.

The visuals have immediacy.

751

01:07:00,790 --> 01:07:04,850

Technically, it's not realistic.

752

01:07:05,100 --> 01:07:09,690

But it has impact.

It feels like it could be real.

753

01:07:09,930 --> 01:07:14,870

The timing and the poses.

754

01:07:15,210 --> 01:07:21,240

Working on his projects

was always the most fun for me.

755

01:07:21,710 --> 01:07:24,840

<i>Miyazaki said</i>

<i>he couldn't do "Conan"...</i>

756

01:07:25,080 --> 01:07:28,920

<i>... without Otsuka's help.</i>

<i>But things turned out differently.</i>

757

01:07:29,150 --> 01:07:33,560

He probably wasn't confident

supervising the animation.

758

01:07:34,060 --> 01:07:36,990

So I said I'd do it.

759

01:07:37,230 --> 01:07:40,420

But he didn't like

what I produced.

760

01:07:40,660 --> 01:07:45,430

He said he'd do it himself.

He did all the key animation.

761

01:07:46,170 --> 01:07:48,500

I basically did clean-up.

762

01:07:48,740 --> 01:07:52,940

That was the origin

of his production style.

763

01:07:53,180 --> 01:07:57,980

No matter who's involved,

I'll do the key animation myself."

764

01:07:58,220 --> 01:08:01,280

It's a huge amount of work.

765

01:08:02,090 --> 01:08:04,450

<i>This is the "Conan" team.</i>

766

01:08:04,690 --> 01:08:08,680

<i>Otsuka used a special</i>

<i>technique for "Conan".</i>

767

01:08:09,690 --> 01:08:14,290

<i>Here, he teaches it</i>

<i>to an up-and-coming animator.</i>

768

01:08:15,000 --> 01:08:17,470

<i>His secret weapon is</i>

<i>the "peg hole technique".</i>

769

01:08:17,700 --> 01:08:23,040

<i>It's a special way</i>

<i>of imparting energy to animation.</i>

770

01:08:24,110 --> 01:08:27,630

<i>Say Conan is running</i>

<i>toward the camera.</i>

771

01:08:27,880 --> 01:08:32,980

<i>Conveying his raw energy</i>

<i>is no easy task.</i>

772

01:08:34,620 --> 01:08:40,280

He's got the wind at his back

and he's running. That's all.

773

01:08:40,620 --> 01:08:44,560

I like to use the

peg hole technique for this.

774

01:08:45,800 --> 01:08:48,160

When he gets to about here...

775

01:08:48,630 --> 01:08:52,030

...I start cutting and pasting.

776

01:08:52,640 --> 01:08:56,730

You'll need some extra frames.

777

01:08:59,980 --> 01:09:02,410

I shift the peg holes,

so the motion isn't too smooth.

778

01:09:03,410 --> 01:09:06,580

I change the position

quite a bit.

779

01:09:08,590 --> 01:09:11,880

When you do this,

things aren't as tidy as before.

780

01:09:12,160 --> 01:09:15,920

The motion gets choppy.

It looks jerk y.

781

01:09:16,590 --> 01:09:19,260

Make it as choppy

as you want.

782

01:09:19,530 --> 01:09:23,930

When you flip it, it doesn't flow.

It looks really choppy.

783

01:09:24,170 --> 01:09:26,030

He's got more energy.

784

01:09:26,270 --> 01:09:30,260

It looks more like animation.

Animation isn't realistic.

785

01:09:30,510 --> 01:09:34,200

Make it a bit rough

and you get more energy.

786

01:09:34,440 --> 01:09:36,310

That's how I see it.

787

01:09:37,010 --> 01:09:40,780

<i>Here's a scene from "Conan"</i>

<i>using this technique.</i>

788

01:09:42,520 --> 01:09:43,610

Conan!

789

01:09:55,200 --> 01:09:59,460

<i>Otsuka's animation lent</i>

<i>an Enoken touch...</i>

790

01:09:59,700 --> 01:10:03,800

<i>... to the scatterbrained Dyce</i>

<i>and the rambunctious Jimsy.</i>

791

01:10:05,310 --> 01:10:07,640

<i>This scene from "Conan"...</i>

792

01:10:07,880 --> 01:10:12,040

<i>... is another example</i>

<i>of the peg hole technique.</i>

793

01:10:24,060 --> 01:10:26,050

We've got to do something!

794

01:10:27,060 --> 01:10:28,590

How do you stop it?

795

01:10:28,830 --> 01:10:31,320

Bang on this and

something usually happens!

796

01:10:33,200 --> 01:10:35,360

Lots of wild stuff

in that movie.

797

01:10:35,740 --> 01:10:40,540

I used to wonder how

Miyazaki came up with it.

798

01:10:40,780 --> 01:10:44,410

I think deep down he's a

comic book guy at heart.

799

01:10:44,650 --> 01:10:48,380

He'd say, "What's the message?"

800

01:10:48,620 --> 01:10:52,680

"Don't we need

a social message in this?"

801

01:10:52,920 --> 01:10:55,520

That's Takahata's influence.

802

01:10:55,760 --> 01:11:00,530

But Miyazaki's really

got comics in his blood.

803

01:11:01,360 --> 01:11:06,060

<i>The Otsuka /Miyazaki</i>

<i>dream team didn't end there.</i>

804

01:11:06,300 --> 01:11:09,700

<i>Next up was</i>

<i>"The Castle of Cagliostro".</i>

805

01:11:09,940 --> 01:11:13,470

They asked me to direct,

but I told them no.

806

01:11:13,710 --> 01:11:17,010

I said I'd talk to Miyazaki.

807

01:11:17,250 --> 01:11:21,380

He wasn't too keen

in the beginning.

808

01:11:22,120 --> 01:11:23,980

But then he said yes.

809

01:11:24,220 --> 01:11:26,520

Once he started,

he really got into it.

810

01:11:26,760 --> 01:11:31,350

He created a fresh new

Lupin of his own.

811

01:11:31,730 --> 01:11:35,600

It's a change

from the original.

812

01:11:35,900 --> 01:11:41,000

Some hardcore Lupin fans

didn't like "Cagliostro".

813

01:11:41,810 --> 01:11:45,170

But most people enjoyed it.

814

01:11:45,410 --> 01:11:48,470

They liked Miyazaki s

kinder, gentler Lupin.

815

01:12:02,260 --> 01:12:03,890

This is getting interesting!

816

01:12:04,130 --> 01:12:05,720

I'll fix 'em.

817

01:12:21,010 --> 01:12:22,570

Gotcha!

818

01:12:46,940 --> 01:12:50,800

Please take me with you.

I can learn to be a thief.

819

01:12:54,040 --> 01:12:55,880

Please... take me with you!

820

01:12:59,880 --> 01:13:01,480

Clarice...

821

01:13:10,390 --> 01:13:14,730

Don't be stupid.

That's no life for you.

822

01:13:14,960 --> 01:13:17,020

You re free at last!

823

01:13:17,270 --> 01:13:20,670

Your whole life

is ahead of you.

824

01:13:21,240 --> 01:13:23,640

I don't want you

to end up like me.

825

01:13:24,240 --> 01:13:26,770

Look, if you ever

need help, just call.

826

01:13:27,010 --> 01:13:30,540

I'll come from the ends of

the earth if I have to.

827

01:13:31,250 --> 01:13:34,180

<i>In "Downtown Story,"</i>

<i>Takahata and Otsuka...</i>

828

01:13:34,450 --> 01:13:38,050

<i>... vividly portray a cast of</i>

<i>humorous, loveable characters.</i>

829

01:13:38,290 --> 01:13:41,950

Takahata liked the idea right away.

830

01:13:43,490 --> 01:13:48,020

Those Osaka characters

are funny and sympathetic.

831

01:13:48,260 --> 01:13:53,460

Except for the cats, the series

is a slice of everyday life.

832

01:13:54,700 --> 01:13:58,000

Everyone's interesting... the cook,

the gangsters, everybody.

833

01:13:59,240 --> 01:14:03,440

Takahata wanted a chance

to do something like this.

834

01:14:04,710 --> 01:14:07,810

To get the characters just right...

835

01:14:08,150 --> 01:14:13,250

...he used me, Kazuhide

Tomonaga and Atsuko Tanaka.

836

01:14:17,630 --> 01:14:19,990

But something was missing.

837

01:14:20,230 --> 01:14:25,220

Chie and her mother

needed a different touch.

838

01:14:25,970 --> 01:14:28,060

So he brought Kotabe on board.

839

01:14:28,300 --> 01:14:32,140

That was the right choice.

840

01:14:32,380 --> 01:14:37,370

The production approach

was very carefully thought out.

841

01:14:40,250 --> 01:14:43,910

Etsumi Haruki's storyboards

were hilarious.

842

01:14:44,150 --> 01:14:49,490

The way they walked, everything

about the characters was humorous.

843

01:14:52,830 --> 01:14:55,990

Takahata's recruiting was spot on.

844

01:14:56,330 --> 01:14:59,300

Go away Tetsu!

You're embarrassing me!

845

01:14:59,540 --> 01:15:01,940

Pace yourself, Chie!

846

01:15:02,170 --> 01:15:04,700

Why? Everyone's too slow!

847

01:15:04,940 --> 01:15:07,640

Idiot! You're too confident!

848

01:15:07,880 --> 01:15:10,970

You've been running

flat out since the start!

849

01:15:11,650 --> 01:15:14,850

I'm holding back!

Here's some real speed!

850

01:15:15,290 --> 01:15:20,020

Okonomiyaki was

Antonio's favourite food.

851

01:15:20,690 --> 01:15:23,520

But... but...

852

01:15:25,630 --> 01:15:30,960

...he'll never eat

my okonomiyaki again.

853

01:15:32,640 --> 01:15:37,660

<i>"Downtown" was no animated fantasy.</i>

<i>It was about everyday life.</i>

854

01:15:37,910 --> 01:15:41,100

<i>Veteran Disney animators</i>

<i>Frank Thomas and Ollie Johnston...</i>

855

01:15:41,340 --> 01:15:43,040

<i>... were astonished by "Downtown".</i>

856

01:15:43,280 --> 01:15:46,310

<i>They thought it</i>

<i>surpassed even Disney...</i>

857

01:15:46,550 --> 01:15:51,040

<i>... in the warmth and</i>

<i>depth of its portrayals.</i>

858

01:15:52,160 --> 01:15:55,520

That's it? Your father

was a lot stronger.

859

01:15:55,760 --> 01:15:58,560

You take that back!

860

01:15:58,800 --> 01:16:00,090

Stop it, both of you!

861

01:16:08,740 --> 01:16:10,600

I'm not beat yet.

862

01:16:13,240 --> 01:16:14,610

Listen, I...

863

01:16:16,150 --> 01:16:19,510

I'm not dead yet.

864

01:16:34,430 --> 01:16:36,630

You beat me after all.

865

01:16:41,100 --> 01:16:44,540

Kotetsu! Are you OK?

866

01:16:46,110 --> 01:16:47,840

Hang in there!

867

01:16:48,080 --> 01:16:52,570

You re a tough little guy.

You didn't give in.

868

01:16:52,820 --> 01:16:54,840

Ouch! Ouch!

869

01:16:55,180 --> 01:17:00,140

PART V: PRODUCER AND TEACHER

870

01:17:00,620 --> 01:17:03,320

<i>Animage monthly, March 1981...</i>

<i>Otsuka's serialized memoirs appear.</i>

871

01:17:07,100 --> 01:17:12,160

<i>Soon after, episode one of</i>

<i>Miyazaki's "Nausicaä" débuts.</i>

872

01:17:12,540 --> 01:17:16,670

<i>These events led to</i>

<i>the birth of Studio Ghibli.</i>

873

01:17:16,970 --> 01:17:20,980

<i>TOSHIO SUZUKI,</i>

<i>STUDIO GHIBLI</i>

I think meeting Otsuka

had a lot to do...

874

01:17:20,980 --> 01:17:21,310

<i>TOSHIO SUZUKI,</i>

<i>STUDIO GHIBLI</i>

875

01:17:21,310 --> 01:17:22,280

<i>TOSHIO SUZUKI,</i>

<i>STUDIO GHIBLI</i>

... with my becoming a producer.

876

01:17:22,280 --> 01:17:26,180

... with my becoming a producer.

877

01:17:26,520 --> 01:17:32,280

If I hadn't met him, I probably

wouldn't be here at Ghibli.

878

01:17:32,820 --> 01:17:37,160

<i>Otsuka is a big influence</i>

<i>in the animation industry.</i>

879

01:17:37,390 --> 01:17:41,260

Otsuka has had

a great influence...

880

01:17:41,500 --> 01:17:43,800

...on Miyazaki and Takahata's work.

881

01:17:44,030 --> 01:17:47,700

His impact has been enormous.

882

01:17:47,940 --> 01:17:53,240

If someone's planning

an animated series...

883

01:17:53,480 --> 01:17:57,780

...Otsuka's usually

the first to hear about it.

884

01:17:59,020 --> 01:18:03,320

When people join a new team,

he's usually involved.

885

01:18:06,190 --> 01:18:10,850

He even negotiated salaries

for Miyazaki and Takahata.

886

01:18:11,760 --> 01:18:15,790

My projects usually start

with an approach from Otsuka.

887

01:18:16,030 --> 01:18:20,060

I like the way he

deals with people.

888

01:18:20,400 --> 01:18:27,240

He doesn't push you. He just says

"Why don't you consider it?"

889

01:18:27,480 --> 01:18:33,280

The first time was on

"Pippi Longstockings".

890

01:18:34,020 --> 01:18:37,470

I didn't realize

he was involved at first.

891

01:18:40,660 --> 01:18:47,150

I'm the one who invited

Kotabe and Miyazaki...

892

01:18:47,430 --> 01:18:50,730

...to join me on that project.

893

01:18:50,970 --> 01:18:53,440

That team was my idea.

894

01:18:53,900 --> 01:18:57,670

He also influenced where I worked.

895

01:18:58,410 --> 01:19:02,340

Later I moved to Zuiyo.

896

01:19:02,580 --> 01:19:07,240

This was to do

the TV series "Heidi".

897

01:19:07,850 --> 01:19:11,290

Otsuka suggested

I meet the producer.

898

01:19:11,520 --> 01:19:15,980

He didn't put any

pressure on me.

899

01:19:17,260 --> 01:19:20,530

He just asked me

to consider it.

900

01:19:22,700 --> 01:19:24,830

I'm really grateful to him.

901

01:19:25,270 --> 01:19:31,100

You can tell he's looking out

for your interests.

902

01:19:35,450 --> 01:19:39,380

I'm deeply indebted

to him for his help.

903

01:19:40,050 --> 01:19:44,990

<i>Koji Takeuchi of</i>

<i>Japan Telecom Film agrees.</i>

904

01:19:45,290 --> 01:19:49,660

Otsuka isn't just an animator.

905

01:19:49,890 --> 01:19:54,800

He's a kind of producer

to the industry.

906

01:19:55,570 --> 01:19:59,730

We've learned a lot

from observing him.

907

01:20:00,470 --> 01:20:02,670

He's an animator,

but also more.

908

01:20:02,910 --> 01:20:06,840

He's a craftsman whose

vision goes beyond craft.

909

01:20:07,080 --> 01:20:09,480

He sees the big picture.

910

01:20:10,310 --> 01:20:15,680

<i>Otsuka has a producer's instincts.</i>

<i>And he excels in another area.</i>

911

01:20:15,920 --> 01:20:18,680

<i>He's an influential educator.</i>

912

01:20:19,260 --> 01:20:22,020

Otsuka is an extremely

talented teacher.

913

01:20:22,160 --> 01:20:27,930

He has definite convictions

about what animators should know.

914

01:20:29,330 --> 01:20:32,360

Yet he doesn't expect

people to copy him.

915

01:20:32,600 --> 01:20:37,600

I think that makes him

an ideal teacher.

916

01:20:37,840 --> 01:20:41,300

Otsuka gives very objective advice...

917

01:20:41,540 --> 01:20:44,780

...That helps people make progress.

918

01:20:45,010 --> 01:20:49,780

Even if the style is

very different from his own...

919

01:20:50,020 --> 01:20:55,120

...he recognizes

when something is good.

920

01:20:55,360 --> 01:21:00,390

He's very objective

about people's work.

921

01:21:01,130 --> 01:21:03,460

There's no doubt in my mind.

922

01:21:03,700 --> 01:21:08,530

He's much better than

Miyazaki or Takahata with students.

923

01:21:08,770 --> 01:21:09,860

Definitely.

924

01:21:11,040 --> 01:21:13,540

LESSON 1:

MULTIMEDIA ART INSTITUTE

<i>How does Otsuka teach?</i>

925

01:21:13,540 --> 01:21:14,110

LESSON 1:

MULTIMEDIA ART INSTITUTE

926

01:21:14,110 --> 01:21:16,250

<i>Let's look at his method.</i>

LESSON 1:

MULTIMEDIA ART INSTITUTE

927

01:21:16,250 --> 01:21:16,580

LESSON 1:

MULTIMEDIA ART INSTITUTE

928

01:21:16,580 --> 01:21:17,150

<i>First, a lecture at</i>

<i>the Multimedia Art Institute.</i>

LESSON 1:

MULTIMEDIA ART INSTITUTE

929

01:21:17,150 --> 01:21:19,710

<i>First, a lecture at</i>

<i>the Multimedia Art Institute.</i>

930

01:21:19,950 --> 01:21:23,910

<i>Today's lecture is</i>

<i>on basic character art.</i>

931

01:21:24,150 --> 01:21:26,250

Everyone tries for perfection.

932

01:21:26,490 --> 01:21:31,320

Nine out of ten draw

these beautiful characters.

933

01:21:32,400 --> 01:21:36,390

They put in lots of

detail with a fine pen.

934

01:21:38,830 --> 01:21:42,900

You've all seen

this kind of character.

935

01:21:43,140 --> 01:21:47,170

You add pretty

highlights to the eyes.

936

01:21:47,410 --> 01:21:51,040

Most everyone does this.

937

01:21:52,280 --> 01:21:55,740

They pick a hair style.

938

01:21:55,990 --> 01:21:59,850

Maybe something like this.

939

01:22:00,090 --> 01:22:04,690

The person at the

next desk is doing the same.

940

01:22:04,930 --> 01:22:08,360

Maybe ponytails, or

parted in the middle.

941

01:22:08,600 --> 01:22:12,130

Here's what I do

with a character like this.

942

01:22:14,370 --> 01:22:17,240

I just fill in the eyes.

943

01:22:17,470 --> 01:22:21,310

Add a nose,

eyebrows and a mouth.

944

01:22:22,710 --> 01:22:28,050

Like the kid in the miso ad.

Takes a few seconds to draw.

945

01:22:28,280 --> 01:22:29,980

That's a character too.

946

01:22:30,220 --> 01:22:33,450

If you follow the crowd,

you won't think of this.

947

01:22:33,790 --> 01:22:37,090

We want people

who see things differently.

948

01:22:37,330 --> 01:22:40,690

Characters can be drawn simply.

949

01:22:40,930 --> 01:22:44,160

On Lupin, I did even less.

950

01:22:45,900 --> 01:22:49,670

With a character like this...

951

01:22:49,910 --> 01:22:55,400

...I'd just put a hat on him

and draw in a shadow.

952

01:22:55,880 --> 01:23:00,140

No need to

even draw the eyes.

953

01:23:00,650 --> 01:23:05,090

Fast, simple and original.

That's the way to go.

954

01:23:05,320 --> 01:23:08,480

Start thinking in those terms.

955

01:23:08,720 --> 01:23:12,820

Everyone in Japan

draws the same big eyes.

956

01:23:13,060 --> 01:23:16,760

Cute hairstyles with

lots of detail.

957

01:23:18,000 --> 01:23:20,990

Maybe this looks like heresy.

958

01:23:24,510 --> 01:23:26,810

But it's original. It stands out.

959

01:23:28,080 --> 01:23:33,670

<i>Next: How to draw</i>

<i>a diver in five poses.</i>

960

01:23:37,290 --> 01:23:38,780

Come give it a try.

961

01:23:39,520 --> 01:23:42,510

Five poses

from here to the water.

962

01:23:42,960 --> 01:23:44,650

Just rough sketches.

963

01:23:46,530 --> 01:23:48,690

That's it, yes.

964

01:23:54,540 --> 01:23:57,530

Right. Good.

965

01:24:04,710 --> 01:24:08,740

That's great. I really mean it.

966

01:24:08,980 --> 01:24:11,510

See how her diver

gets ready first?

967

01:24:11,750 --> 01:24:14,420

There's a moment of preparation.

968

01:24:14,620 --> 01:24:17,490

Many students start from here...

969

01:24:17,730 --> 01:24:19,850

...or couple

of steps back.

970

01:24:20,160 --> 01:24:24,160

This is called anticipation.

Preparatory movement.

971

01:24:25,400 --> 01:24:28,100

<i>Here's the teacher's answer.</i>

972

01:24:28,340 --> 01:24:30,100

Start from here.

973

01:24:30,410 --> 01:24:33,500

This is more or less typical.

974

01:24:34,080 --> 01:24:37,570

Then here, like this.

975

01:24:38,850 --> 01:24:43,250

He pushes off.

She drew that too.

976

01:24:43,490 --> 01:24:46,580

Then like this...

977

01:24:50,030 --> 01:24:51,860

Then here...

978

01:24:55,930 --> 01:24:58,090

And finally...

979

01:24:59,870 --> 01:25:03,600

1, 2, 3, 4, boom.

He hits the water.

980

01:25:03,870 --> 01:25:07,810

<i>One student had</i>

<i>a unique solution on a test.</i>

981

01:25:08,040 --> 01:25:10,600

<i>Otsuka shows what he did.</i>

982

01:25:10,850 --> 01:25:13,780

He gets down from the board.

983

01:25:14,780 --> 01:25:17,450

The diver walks along here.

984

01:25:18,450 --> 01:25:23,720

He starts to climb down.

985

01:25:27,530 --> 01:25:30,360

Here's the interesting part.

986

01:25:31,300 --> 01:25:35,960

He puts his toe in

to see if it's cold.

987

01:25:39,810 --> 01:25:42,300

Here's how it ends.

988

01:25:45,310 --> 01:25:49,010

He looks down and

decides not to jump.

989

01:25:49,750 --> 01:25:53,090

He climbs down

and checks the water.

990

01:25:54,660 --> 01:25:58,650

The judges couldn't

agree on this one.

991

01:25:59,400 --> 01:26:01,490

The diver is

supposed to dive in.

992

01:26:02,330 --> 01:26:05,490

They decided to

call the student in.

993

01:26:05,730 --> 01:26:09,430

They asked him why

he drew it like this.

994

01:26:09,670 --> 01:26:11,900

The student had

a fear of heights.

995

01:26:12,140 --> 01:26:16,170

He said he tried,

but that's how it came out.

996

01:26:16,610 --> 01:26:18,440

He drew what he felt.

997

01:26:19,350 --> 01:26:22,040

That's important for animators.

998

01:26:22,280 --> 01:26:25,550

It's important

to draw what you feel.

999

01:26:26,420 --> 01:26:29,360

So he passed the test.

1000

01:26:30,190 --> 01:26:34,530

<i>The next problem</i>

<i>involves two boxes, A and B.</i>

1001

01:26:34,800 --> 01:26:41,290

He climbs over A, picks it up,

and puts it on top of B.

1002

01:26:42,970 --> 01:26:46,070

Looks hard, right?

Not really.

1003

01:26:46,310 --> 01:26:49,370

We have everyone try this.

1004

01:26:50,310 --> 01:26:54,210

<i>Here's how one</i>

<i>student did it.</i>

1005

01:26:55,220 --> 01:26:58,480

He catches his balance...

1006

01:26:58,720 --> 01:27:01,590

...climbs down, picks it up...

1007

01:27:01,820 --> 01:27:03,490

...and puts it down.

1008

01:27:03,990 --> 01:27:05,690

It's very vivid.

1009

01:27:05,930 --> 01:27:10,160

He almost loses

his balance on the box.

1010

01:27:10,400 --> 01:27:13,230

Then down, picks it up,

and boom.

1011

01:27:13,570 --> 01:27:18,270

I couldn't do as well.

This is the advantage of youth.

1012

01:27:18,510 --> 01:27:21,140

It's full of life.

1013

01:27:21,380 --> 01:27:24,280

How'd you do?

1014

01:27:24,510 --> 01:27:28,680

<i>Otsuka instils</i>

<i>confidence in his students.</i>

1015

01:27:29,250 --> 01:27:34,250

<i>Crude but lively is better</i>

<i>than polished and static.</i>

1016

01:27:36,890 --> 01:27:37,530

LESSON 2:

PARIS ANIMATION FORUM

1017

01:27:37,530 --> 01:27:40,060

<i>Otsuka's next stop is France...</i>

LESSON 2:

PARIS ANIMATION FORUM

1018

01:27:40,060 --> 01:27:40,430

LESSON 2:

PARIS ANIMATION FORUM

1019

01:27:40,430 --> 01:27:43,870

<i>... where Japanese animation</i>

<i>enjoys great popularity.</i>

LESSON 2:

PARIS ANIMATION FORUM

1020

01:27:44,430 --> 01:27:46,490

<i>To master the basics of motion...</i>

1021

01:27:46,740 --> 01:27:50,070

<i>... the mallet exercise is ideal.</i>

1022

01:27:51,710 --> 01:27:54,800

<i>Then the two-box challenge.</i>

1023

01:27:55,780 --> 01:28:00,080

<i>In France, the peg holes</i>

<i>are at the bottom.</i>

1024

01:28:00,320 --> 01:28:02,480

<i>Everything else is the same.</i>

1025

01:28:02,720 --> 01:28:07,210

<i>Otsuka looks at each</i>

<i>student's work and offers advice.</i>

1026

01:28:07,460 --> 01:28:09,950

<i>Perhaps it's the French spirit...</i>

1027

01:28:10,190 --> 01:28:12,960

<i>- their pictures move too much.</i>

1028

01:28:13,630 --> 01:28:15,790

This moves up too much.

1029

01:28:16,130 --> 01:28:19,460

This moves down too much.

1030

01:28:21,370 --> 01:28:24,200

Doesn't this move too much?

1031

01:28:24,810 --> 01:28:27,400

Take a wheel, for example.

1032

01:28:27,740 --> 01:28:32,740

Say you want to

make this go round.

1033

01:28:37,820 --> 01:28:42,990

It doesn't rotate, does it?

1034

01:28:43,260 --> 01:28:48,820

So you try drawing

a spoke in the middle.

1035

01:28:52,840 --> 01:28:56,830

Now you can't tell

which way it's going.

1036

01:28:58,770 --> 01:29:03,840

You can't make this rotate

by moving it exactly halfway.

1037

01:29:06,020 --> 01:29:09,280

Draw little increments, and it turns.

1038

01:29:13,790 --> 01:29:17,450

See? Fire is the same.

1039

01:29:18,030 --> 01:29:20,830

Fire moves in little increments.

1040

01:29:21,630 --> 01:29:24,290

That's how you draw it.

1041

01:29:24,530 --> 01:29:28,200

If you change

the shape too suddenly...

1042

01:29:29,040 --> 01:29:31,470

...You lose the sense of movement.

1043

01:29:32,140 --> 01:29:37,740

Keep it moving upwards.

Make it easy to follow.

1044

01:29:38,310 --> 01:29:44,180

If it changes too abruptly,

it's jerky and hard to follow.

1045

01:29:44,420 --> 01:29:46,450

It should look like natural fire.

1046

01:29:46,890 --> 01:29:50,380

Maintain this basic shape...

1047

01:29:50,730 --> 01:29:54,060

...and keep the flames moving upward.

1048

01:30:06,180 --> 01:30:08,910

It flames up.

1049

01:30:15,580 --> 01:30:18,750

It keeps flaming up.

1050

01:30:19,520 --> 01:30:23,510

Up, and up, like this.

1051

01:30:32,940 --> 01:30:36,890

This part flares up even higher.

1052

01:30:37,140 --> 01:30:41,100

It's better not to have

this flare up all at once.

1053

01:30:41,340 --> 01:30:47,610

It's better when

some of the flames split off.

1054

01:30:47,950 --> 01:30:51,610

Let's split this part off.

1055

01:30:54,360 --> 01:30:57,450

Then adjust this a bit.

1056

01:30:57,690 --> 01:30:59,290

Separate this part.

1057

01:31:00,060 --> 01:31:04,160

Maintain the basic

shape of the flame.

1058

01:31:04,500 --> 01:31:06,930

Keep it moving up.

1059

01:31:09,810 --> 01:31:15,970

<i>Japanese woodblock prints had</i>

<i>a huge impact on the Impressionists.</i>

1060

01:31:16,580 --> 01:31:19,100

<i>Today, Japanese animation is making...</i>

1061

01:31:19,350 --> 01:31:22,650

<i>... a different kind of</i>

<i>impression on global culture.</i>

1062

01:31:23,320 --> 01:31:24,650

LESSON 3:

STUDIO GHIBLI

1063

01:31:24,650 --> 01:31:26,990

<i>Next: A lecture at Studio Ghibli.</i>

LESSON 3:

STUDIO GHIBLI

1064

01:31:26,990 --> 01:31:27,420

LESSON 3:

STUDIO GHIBLI

1065

01:31:27,420 --> 01:31:29,990

<i>Drawing on his own experiences,</i>

<i>he gives young animators...</i>

LESSON 3:

STUDIO GHIBLI

1066

01:31:29,990 --> 01:31:32,460

<i>Drawing on his own experiences,</i>

<i>he gives young animators...</i>

1067

01:31:32,690 --> 01:31:37,390

<i>... advice on the techniques and</i>

<i>outlook needed for success.</i>

1068

01:31:38,500 --> 01:31:42,370

Draw as much as you can.

1069

01:31:42,600 --> 01:31:47,870

Think in terms of

how much paper you use.

1070

01:31:49,110 --> 01:31:52,440

You can draw a lot

or a little in a year.

1071

01:31:52,680 --> 01:31:54,670

The more you draw...

1072

01:31:54,920 --> 01:31:59,720

. <i>...the</i> more successful

you'll be in the long run.

1073

01:31:59,960 --> 01:32:01,950

Miyazaki drew constantly.

1074

01:32:02,190 --> 01:32:06,460

His late mother told me

she went to visit him once.

1075

01:32:08,700 --> 01:32:13,860

She said, "Hayao

certainly draws a lot."

1076

01:32:14,200 --> 01:32:18,330

"He doesn't talk,

he just draws and draws."

1077

01:32:19,580 --> 01:32:22,770

He throws his drawings

through a hole in the ceiling.

1078

01:32:23,380 --> 01:32:26,400

She said his ceiling was sagging.

1079

01:32:26,650 --> 01:32:30,710

Think of how many

drawings that is.

1080

01:32:31,450 --> 01:32:34,980

Then there's Tsukioka.

1081

01:32:35,220 --> 01:32:38,720

His family owned a movie theatre.

1082

01:32:38,960 --> 01:32:42,260

He was a strange kid.

1083

01:32:43,500 --> 01:32:48,530

He used to sleep

in a shed in the yard.

1084

01:32:48,770 --> 01:32:53,540

Sometimes his family's theatre

got a Disney film.

1085

01:32:53,780 --> 01:32:58,240

He'd go into the theatre

after the last showing...

1086

01:32:58,480 --> 01:33:02,420

. <i>...and</i> stay up all night

looking at it frame by frame.

1087

01:33:02,920 --> 01:33:05,720

He'd eyeball each frame

and absorb the technique.

1088

01:33:05,950 --> 01:33:08,750

He was studying even as a kid.

1089

01:33:11,090 --> 01:33:15,590

I heard this from his father.

I didn't hear it from Tsukioka.

1090

01:33:16,100 --> 01:33:18,760

Tsukioka drew a lot too.

1091

01:33:21,370 --> 01:33:24,860

It might sound simplistic.

1092

01:33:26,110 --> 01:33:30,550

But if someone's been

drawing like crazy...

1093

01:33:30,780 --> 01:33:35,880

...since they were a kid,

I tend to think they'll succeed.

1094

01:33:37,220 --> 01:33:39,950

<i>Otsuka recommends</i>

<i>the use of thumbnails.</i>

1095

01:33:40,190 --> 01:33:42,880

Just the size of your thumb.

1096

01:33:43,790 --> 01:33:49,590

As if your nail is the face

and your thumb is the body.

1097

01:33:49,830 --> 01:33:53,890

You can get lots of these

onto one piece of paper.

1098

01:33:55,970 --> 01:33:58,960

It lets you plan in advance...

1099

01:33:59,210 --> 01:34:04,080

...how to set up

your characters' actions.

1100

01:34:05,880 --> 01:34:10,320

These tiny sketches

are simple key frames.

1101

01:34:12,550 --> 01:34:14,580

The character walks along.

1102

01:34:14,820 --> 01:34:19,780

He stops and looks

behind him... there's a coin.

1103

01:34:20,760 --> 01:34:24,660

I don't know how

he'd look picking it up.

1104

01:34:26,000 --> 01:34:29,940

This is something

you can show the director.

1105

01:34:30,340 --> 01:34:34,210

Maybe he'll want

the character to look around...

1106

01:34:34,440 --> 01:34:37,900

...and pick the coin up furtively.

1107

01:34:38,150 --> 01:34:39,910

A thumbnail is easy to change.

1108

01:34:40,150 --> 01:34:42,740

It becomes a basis for discussion.

1109

01:34:43,520 --> 01:34:48,010

Of course, you should

try some first and show a friend.

1110

01:34:48,460 --> 01:34:52,620

Ask if they can guess

what's going on.

1111

01:34:54,030 --> 01:34:57,020

If they can't tell,

explain what's going on...

1112

01:34:57,370 --> 01:34:59,530

...and see if they get it.

1113

01:34:59,870 --> 01:35:03,700

Tell them about the coin and

the character's motivations.

1114

01:35:04,710 --> 01:35:09,940

It helps create communication.

1115

01:35:10,210 --> 01:35:13,550

Many like to start

with full frames.

1116

01:35:15,880 --> 01:35:19,980

But it's time-consuming

to revise.

1117

01:35:22,220 --> 01:35:26,680

It's easier to settle things

with these little sketches.

1118

01:35:29,160 --> 01:35:31,860

Of course, you need

to show the expressions.

1119

01:35:32,100 --> 01:35:35,090

But you don't need

to do much...

1120

01:35:36,740 --> 01:35:40,110

...to make this

character look up.

1121

01:35:40,340 --> 01:35:42,330

Now he's looking down.

1122

01:35:42,680 --> 01:35:46,240

Now he's looking

to one side.

1123

01:35:46,680 --> 01:35:49,880

With some detail you can

create almost anything.

1124

01:35:50,120 --> 01:35:53,580

It's important to

develop the ability...

1125

01:35:53,820 --> 01:35:58,420

...to do these kinds of

sketches very quickly.

1126

01:35:58,660 --> 01:36:02,860

Later on, you'll realize

how useful this is.

1127

01:36:03,670 --> 01:36:08,760

I've been trying to get

more people to use thumbnails.

1128

01:36:09,000 --> 01:36:11,200

But I'm not succeeding.

1129

01:36:11,440 --> 01:36:16,210

We Japanese hurry

to get things finished.

1130

01:36:16,610 --> 01:36:20,270

We don't experiment first.

1131

01:36:21,280 --> 01:36:27,050

We keep thinking ahead

to the finished product.

1132

01:36:27,290 --> 01:36:32,890

In America they take

time to polish.

1133

01:36:33,130 --> 01:36:38,400

Final quality is better

if you use thumbnails first.

1134

01:36:39,470 --> 01:36:45,460

<i>Otsuka often shows video</i>

<i>examples of trainees' exercises.</i>

1135

01:36:46,070 --> 01:36:49,910

<i>These examples are from 1984.</i>

1136

01:36:50,310 --> 01:36:53,300

<i>First, a bouncing ball.</i>

1137

01:36:53,980 --> 01:36:57,250

<i>The motion of flames.</i>

1138

01:36:57,490 --> 01:37:01,350

<i>A fluttering flag.</i>

<i>An exploding cube.</i>

1139

01:37:01,590 --> 01:37:04,320

<i>Water splashing.</i>

1140

01:37:04,990 --> 01:37:07,620

<i>People walking.</i>

<i>People running.</i>

1141

01:37:07,860 --> 01:37:10,230

<i>All the basic forms of movement.</i>

1142

01:37:10,670 --> 01:37:14,530

<i>The trainees enjoyed</i>

<i>the communication...</i>

1143

01:37:14,770 --> 01:37:18,540

<i>... and interchange with their peers.</i>

1144

01:37:43,700 --> 01:37:49,140

<i>One of these trainees</i>

<i>was no ordinary animator.</i>

1145

01:37:49,370 --> 01:37:52,670

I wouldn't want to

compete with him!

1146

01:37:52,910 --> 01:37:55,380

<i>This happy-go-lucky strolling...</i>

1147

01:37:55,610 --> 01:37:58,880

<i>- this lifelike walking...</i>

1148

01:38:00,220 --> 01:38:03,480

<i>- this energetic sprinting...</i>

1149

01:38:05,650 --> 01:38:09,250

<i>- and this rear view of running...</i>

1150

01:38:10,060 --> 01:38:14,090

<i>- were all animated by</i>

<i>Yoshiyuki Sadamoto.</i>

1151

01:38:14,330 --> 01:38:16,560

<i>He was the character</i>

<i>designer for "Evangelion".</i>

1152

01:38:16,830 --> 01:38:20,930

I first heard of Yasuo

Otsuka in elementary school.

1153

01:38:21,170 --> 01:38:25,770

Back then all your series

were on the air.

1154

01:38:26,010 --> 01:38:31,040

"Lupin," "Samurai Giants",

"Future Boy Conan"...

1155

01:38:31,280 --> 01:38:35,150

I was a fan of

you and Miyazaki.

1156

01:38:35,380 --> 01:38:40,910

The way your characters

moved made them look alive.

1157

01:38:41,690 --> 01:38:45,630

They seemed very real.

1158

01:38:45,860 --> 01:38:48,660

It attracted me to animation.

1159

01:38:48,900 --> 01:38:54,530

So became a trainee at

Telecom Animation Film.

1160

01:38:54,770 --> 01:38:59,930

At first I just did flames

and bouncing balls.

1161

01:39:00,180 --> 01:39:03,370

But I really enjoyed it.

1162

01:39:03,610 --> 01:39:05,770

I spent hours animating balls.

1163

01:39:06,280 --> 01:39:09,440

<i>But as soon as</i>

<i>his apprenticeship ended...</i>

1164

01:39:09,720 --> 01:39:12,240

<i>... he quit to make</i>

<i>a film with friends.</i>

1165

01:39:12,490 --> 01:39:16,450

<i>The film was "Royal Space Force:</i>

<i>Wings of Honneamise".</i>

1166

01:39:16,690 --> 01:39:19,490

<i>This shot of the hero running...</i>

1167

01:39:19,730 --> 01:39:22,750

<i>... recalls Sadamoto's</i>

<i>work as a trainee.</i>

1168

01:39:46,820 --> 01:39:50,450

<i>Otsuka wondered why</i>

<i>such a talented animator...</i>

1169

01:39:50,690 --> 01:39:52,630

<i>... would turn to illustration.</i>

1170

01:39:52,830 --> 01:39:55,520

Why did you

switch to illustration?

1171

01:39:55,760 --> 01:39:59,130

You have so much

talent for animation.

1172

01:39:59,730 --> 01:40:02,900

You started

as an animator.

1173

01:40:05,170 --> 01:40:09,770

Then you went into

illustration and comics.

1174

01:40:10,950 --> 01:40:13,310

I'd like to know why.

1175

01:40:13,750 --> 01:40:17,150

Maybe because I ended up

with those assignments.

1176

01:40:17,390 --> 01:40:19,380

People asked you to?

1177

01:40:19,590 --> 01:40:21,950

Anno decided

he would do the machines.

1178

01:40:22,190 --> 01:40:24,560

Yamaga said he'd direct.

1179

01:40:24,790 --> 01:40:27,490

So I ended up

designing characters.

1180

01:40:27,730 --> 01:40:28,860

I get it.

1181

01:40:29,200 --> 01:40:32,890

Now I'm doing comics.

1182

01:40:33,130 --> 01:40:36,190

But I haven't lost

interest in animation.

1183

01:40:36,440 --> 01:40:41,670

If a rookie told me they wanted

to do character design...

1184

01:40:41,910 --> 01:40:46,110

...I'd advise them

to do animation instead.

1185

01:40:46,720 --> 01:40:49,780

<i>Otsuka is surprised</i>

<i>by the popularity...</i>

1186

01:40:50,020 --> 01:40:53,280

<i>...of today's animation,</i>

<i>which uses fewer frames.</i>

1187

01:40:53,560 --> 01:40:58,820

Japanese animation

is mass production now.

1188

01:40:59,060 --> 01:41:02,930

Films are developed from comics.

1189

01:41:03,160 --> 01:41:06,330

You have awareness already.

1190

01:41:06,570 --> 01:41:11,100

If the comic is popular,

audiences will see the film.

1191

01:41:11,340 --> 01:41:16,540

If you use pans and tricks,

characters don't need to move.

1192

01:41:16,780 --> 01:41:20,410

People will come for

the voices and the story.

1193

01:41:20,650 --> 01:41:25,980

I always believed they came

for the quality of the animation.

1194

01:41:26,920 --> 01:41:32,990

<i>Today Otsuka heads an animation</i>

<i>school that uses computers.</i>

1195

01:41:33,860 --> 01:41:36,560

<i>Today's challenge is inbetweens.</i>

1196

01:41:36,800 --> 01:41:42,330

<i>Students must fill in</i>

<i>the frames to create motion.</i>

1197

01:41:46,610 --> 01:41:49,040

<i>With computer technology...</i>

1198

01:41:49,280 --> 01:41:53,940

<i>... this can easily be done</i>

<i>without pencil and paper.</i>

1199

01:41:54,180 --> 01:41:58,120

<i>It's easy to experience</i>

<i>the fun of making pictures move.</i>

1200

01:42:03,290 --> 01:42:04,350

That's quite good.

1201

01:42:07,360 --> 01:42:08,730

It's moving!

1202

01:42:08,960 --> 01:42:12,020

I like this.

It looks so innocent.

1203

01:42:13,200 --> 01:42:16,000

Professionals start out

the same way.

1204

01:42:16,240 --> 01:42:20,230

I'll never forget seeing my

drawings move for the first time.

1205

01:42:20,480 --> 01:42:22,470

This is what it's all about.

1206

01:42:23,650 --> 01:42:26,140

<i>Here's a child's effort.</i>

1207

01:42:27,650 --> 01:42:31,350

<i>The simple joy of</i>

<i>making drawings move...</i>

1208

01:42:31,590 --> 01:42:32,810

<i>... is the first step</i>

<i>to becoming an animator.</i>

1209

01:42:33,660 --> 01:42:38,020

<i>Originality, not skill,</i>

<i>is the main thing.</i>

1210

01:42:38,260 --> 01:42:40,630

<i>Otsuka feels computers</i>

<i>are an ideal tool...</i>

1211

01:42:40,860 --> 01:42:44,060

<i>... for fostering originality.</i>

1212

01:42:44,670 --> 01:42:47,660

It's one kind of tool.

1213

01:42:48,000 --> 01:42:52,560

You don't need a particular tool

to develop your skills.

1214

01:42:52,840 --> 01:42:55,370

Computer animation

will be important too.

1215

01:42:55,610 --> 01:42:58,510

Your uniqueness will

come through...

1216

01:42:58,750 --> 01:43:01,180

...no matter what tool you use.

1217

01:43:01,280 --> 01:43:03,550

Even a crude picture

can have impact.

1218

01:43:03,820 --> 01:43:07,620

Skill is not the only thing.

1219

01:43:08,860 --> 01:43:12,850

When I started out I was

very concerned with technique.

1220

01:43:13,090 --> 01:43:15,260

Today there are

lots of skilled artists.

1221

01:43:15,500 --> 01:43:20,870

But animation with warmth

and impact is hard to find.

1222

01:43:21,100 --> 01:43:23,570

Technique is not enough.

1223

01:43:24,710 --> 01:43:29,700

It takes practice to create

motion that's convincing.

1224

01:43:30,380 --> 01:43:33,140

Computers are great for that.

1225

01:43:34,550 --> 01:43:39,040

I have some advice

for young people.

1226

01:43:39,790 --> 01:43:41,280

This is the media age.

1227

01:43:41,720 --> 01:43:47,720

Nowadays there are so many

different media to choose from.

1228

01:43:48,130 --> 01:43:52,160

It's the age of

mass-produced entertainment.

1229

01:43:53,230 --> 01:43:57,430

Just as you demand

food that's delicious...

1230

01:43:57,670 --> 01:44:03,740

...I hope you'll choose entertainment

that has wisdom and passion.

1231

01:44:04,210 --> 01:44:08,050

Entertainment that's

lovingly made and interesting.

1232

01:44:08,750 --> 01:44:12,080

You can choose animation

for the characters.

1233

01:44:12,420 --> 01:44:15,880

Or for the technique.

1234

01:44:16,120 --> 01:44:21,260

See as many foreign and

experimental films as you can.

1235

01:44:23,770 --> 01:44:27,790

Some entertainment is

very slick, but it's empty.

1236

01:44:28,040 --> 01:44:33,370

Some of it was made

without any attention to detail.

1237

01:44:35,110 --> 01:44:39,600

We don't need rules about

what's good and what isn't.

1238

01:44:39,850 --> 01:44:44,840

That's something for

each of you to decide.

1239

01:44:45,790 --> 01:44:49,780

But I hope you'll be

discriminating consumers.

1240

01:44:51,790 --> 01:44:55,420

<i>Finally, let's take a look</i>

<i>at Otsuka's hobbies.</i>

1241

01:44:55,660 --> 01:44:58,030

<i>This is his entryway.</i>

1242

01:44:58,270 --> 01:45:01,600

<i>The space is crammed</i>

<i>with models and figurines.</i>

1243

01:45:01,840 --> 01:45:04,740

<i>The theme is military vehicles...</i>

1244

01:45:04,970 --> 01:45:08,910

<i>... and knights in armour.</i>

1245

01:45:09,810 --> 01:45:14,540

<i>A knight's armour is a kind of</i>

<i>primitive machine.</i>

1246

01:45:14,780 --> 01:45:19,410

<i>It must follow the body's</i>

<i>movements smoothly.</i>

1247

01:45:19,650 --> 01:45:22,650

<i>It embodies a kind of beauty.</i>

1248

01:45:23,660 --> 01:45:26,530

<i>Here's a full-size</i>

<i>model of a Jeep.</i>

1249

01:45:26,760 --> 01:45:29,320

<i>No, it's the real thing.</i>

1250

01:45:29,760 --> 01:45:34,100

<i>Otsuka is well-known</i>

<i>among Jeep aficionados.</i>

1251

01:45:34,340 --> 01:45:38,770

<i>His life is one</i>

<i>amazingly consistent theme.</i>

1252

01:45:43,010 --> 01:45:48,450

<i>His fascination with propulsion</i>

<i>permeates his work and hobbies.</i>

1253

01:45:49,180 --> 01:45:52,880

<i>Beauty inspires each of us</i>

<i>in our own way.</i>

1254

01:45:53,120 --> 01:45:56,450

<i>Yasuo Otsuka's inspiration</i>

<i>became a journey.</i>

1255

01:45:57,690 --> 01:46:02,360

<i>For some, inspiration</i>

<i>is its own reward.</i>

1256

01:46:02,630 --> 01:46:05,960

<i>But Otsuka couldn't</i>

<i>just leave it at that.</i>

1257

01:46:06,870 --> 01:46:11,130

<i>He wanted to immerse himself</i>

<i>in the things that inspired him.</i>

1258

01:46:11,370 --> 01:46:17,070

<i>So he drew them.</i>

<i>His drawings prompted him to think.</i>

1259

01:46:17,310 --> 01:46:19,470

<i>To draw something</i>

<i>that inspires you...</i>

1260

01:46:19,710 --> 01:46:24,240

<i>... you must understand</i>

<i>how form relates to function.</i>

1261

01:46:24,490 --> 01:46:28,080

<i>Drawing and understanding</i>

<i>are inseparable.</i>

1262

01:46:28,890 --> 01:46:32,660

<i>Understanding is a source of joy.</i>

1263

01:46:32,890 --> 01:46:38,420

<i>Otsuka faced many setbacks</i>

<i>and difficulties on his journey.</i>

1264

01:46:38,670 --> 01:46:42,430

<i>But it also led to</i>

<i>fulfilment and joy.</i>

1265

01:46:42,670 --> 01:46:47,270

<i>He grasped the world</i>

<i>through his sketching.</i>

1266

01:46:47,510 --> 01:46:52,970

<i>As an animator, he took</i>

<i>the same approach to motion.</i>

1267

01:46:53,210 --> 01:46:57,980

<i>He analysed the essence</i>

<i>of motion through observation.</i>

1268

01:46:58,220 --> 01:47:04,090

<i>Now he shares his knowledge of</i>

<i>what he loves with others.</i>

1269

01:47:04,260 --> 01:47:09,220

<i>He's never lost his curiosity</i>

<i>and thirst for understanding.</i>

1270

01:47:09,460 --> 01:47:13,630

<i>He never wanted to lose</i>

<i>the sense of wonder...</i>

1271

01:47:13,900 --> 01:47:17,630

<i>... and the excitement</i>

<i>he felt as a boy.</i>

1272

01:47:17,870 --> 01:47:22,280

<i>His dedication made</i>

<i>that dream a reality.</i>

1273

01:47:29,280 --> 01:47:32,880

English translation by

Jim Hubbert

1274

01:47:32,990 --> 01:47:36,580

English subtitles by AURA