On May 5, the father of the classic anime "Mobile Suit Gundam" series, Japanese director "Yuki Tomino", gave a special lecture at Takarazuka University. At the event, a speech on creative attitude shocked everyone:
I've always wanted to "kill" Miyazaki, but I've never been able to.
Yuki Tomino, who is lecturing
In fact, it's not just Yuki Tomino who is fighting Miyazaki. Miyazaki, who created "Spirited Away" and became famous all over the world, also spent half his life "scaring" Osamu Tezuka.
The movie "Spirited Away" will be released in China in the near future
In fact, in 1989, when Tezuka died and "Comic Box" made a commemorative album. Miyazaki said a lot of things very confused. Here, let xiaobian provide you with a translation of these original texts ——
Tezuka is not a god, but an opponent in battle
In that issue of the magazine, Miyazaki had this to say:
This time it seems to be a special edition of Osamu Tezuka, and next, it will be a chorus of mourning. But this time, I don't want to sing along with everyone.
In short, my relationship with Tezuka is much deeper than those who say that Tezuka is a "god." He is an opponent that I must fight, and I should not respect him and put him on the altar to offer. Although to Tsukasa, I may just be a passerby who is not worth taking seriously. But since he was doing animation, he still couldn't put him on the altar.
Hayao Miyazaki in the process of producing "Witch House Rush" (from the May 1989 issue of "Comic Box")
First of all, Tezuka has profoundly influenced me, which is an undeniable fact. From elementary school to middle school, of all the manga, my favorite works are Tezuka. In the Showa 20s, in Tezuka's monobook era, the very beginning of Astro Boy, his manga used to be very attractive. The tragic nature of the story made me, who was still a teenager, terrified to the point of hair.
Whether it's Locke or Astro Boy, the depth of the story is tragedy. Although there are some changes in the late Astro Boy...
Tezuka's early works "Young Detective Locke" and "Astro Boy"
When I was 18 years old, I thought, "I have to draw my own caricature next." At this time, how to eliminate the influence of Tezuka became a big burden for me.
Although I didn't want to imitate him at all, I didn't actually paint like him. But people around me always say that my manga is like Tezuka. It makes me feel very humiliated. Some people say that "drawing comics starts with copying others". But I drilled the tip of the bull's horn and thought it must not be done.
How to imitate the predecessors is a permanent topic in the creative field (from the fourth episode of "Comic Book Berserk")
Maybe because I am the second oldest in the family, I have been subconsciously reminding myself that I can't imitate the boss. Finally, when I had to admit that "my work is very similar to Tezuka's", I took out all the drafts in the closet drawer and burned them.
After burning these things out, I decided to start again and re-learn from the most basic sketches and designs. But Tezuka's influence is not so easy to get rid of...
It was time to really start getting out of Tezuka's influence and enter Toei Animation. Probably 23 or 4 years old. After entering Toei Animation, I entered another system and then did animation with my personal characteristics here.
During the Toei period, Miyazaki saved the Lupin III anime series
The so-called animators do not need to create their own characters. The problem I faced became how to use action and acting skills to continue to rise in the field of animation. Unconsciously, it doesn't matter who the painting style is like.
However, when it comes to influence, during my time with Toei Animation, I was influenced by the tradition of animation production on the one hand, and on the other hand, my ideas were also influenced by Mihira Shiratsuji's manga.
The list of similar sources is endless. When he was in elementary school, Tetsuji Fukushima's "Desert Demon King" also won Tezuka for a while.
Published in 1949, Tetsuji Fukushima's The Devil of the Desert
A writer's trick
If you ask me, "When exactly did I get out of the shadows of Tezuka," that's when I watched some of the animations that Tezuka made in the early days.
The man who drifted the sea, and the "Water Drop" and "Mermaid" (published in September 1965 and September 1964, respectively). The cheap pessimism in both animations made me feel bored.
Compared to the pessimism of the early Astro Boy, the quality of these things is really poor — of course, it may also be that I am still young, so cheap tragedies can also make me chill in the back. But it can't be verified anymore. Those animations are just wreckage. It's like taking something out of countless drawers and combining things you've used before.
Before these two animations, there was a movie called "A Street Corner Story" (November 1962), which was the first full-length animation of "Bug Productions".
Inside there are posters of a violinist and a ballet dancer, a man and a woman. The poster was trampled by military boots in the air raid, then fell into the fire and burned and soared. When I saw this, I had that cold, very nasty feeling in my back.
Subconsciously describing the beauty of the end and then moving others is Osamu Tezuka's "hand of God".
These things also run through "The Mermaid" or "Water Drops". The works of the Showa 1920s, which were supposed to be the "creations" of writers, unknowingly became Tezuka's "tricks".
This story was heard from his predecessors, when Tezuka participated in the production of the Journey to the West animation, he once wanted to insert such a plot - when Sun Wukong returned to his hometown, he found that the monkey that was originally his lover had died.
Osamu Tezuka adapted Journey to the West's "My Monkey King", which also has anime and manga
But in fact, there is no reason to let this lover die. According to Tezuka, adding this passage is only "because of this that it is touching." When I heard this rumor, I felt that I could finally start saying goodbye to Tezuka.
My Tezuka theory has come to an end here.
Then, for his achievements in animation. I can't make any comments. Worm-made works, I also don't like it very much.
I don't even like it, I think it's weird. It's too much work to organize into words. So try not to talk about it here.
"Exhibition Exhibition Exhibition" (November, 1966) 让觉觉这覙电觉让觉觉 Cleopatra (September 1970) Yo-en-empress "Return home in Rome", Two Two动让让让.
Paintings of exhibitions
Ming Ming tried his best and did so many erotic scenes, how did it end up being "ローマよ帰れ"? This incident made me feel Tezuka's vanity.
At one point, he once said, "The next step is the era of limited animation." One beat three is enough, one shot three is enough." However, limited animation is not a "one-shot three".
Next, he changed his speech to "The next is the era of full animation" and preached it everywhere. I think "he doesn't understand at all". Then when he panicked and bought the rotoscope, I couldn't help but laugh.
Help animators observe live-action motion, rotoscoping animation "Rotoscope"
There are kinds of landlords who learn two hands with professional actors, gather tenants together, and start talking about paragraphs. Tezuka does animation, and that's how it feels.
In Showa 38, he produced Japan's first television anime, Astro Boy, at a low price of 500,000 yen per episode. Because of the bad precedent, the animation production fee has been artificially depressed.
PS: Tezuka subsidized the animation production of Astro Boy with his own manga fees, so the income of employees is not low
(Japanese animation) It's really unfortunate to start like this. As Japan's economy grew, it was destined that sooner or later there would be television animations. Tezuka just happened to fire the first shot.
However, if Tezuka did not do it at that time. Everything will be 2 or 3 years late. In this way, I may be able to relax and continue to produce long-form theatrical animation in the old way.
Of course, this kind of thing is now all right.
The end of Showa
For him as a person, I think "Tezuka is the one who created the current workflow, including the drama manga."
In public, I say this about Osamu Tezuka. Not as an opponent, but as an ancestor. Like ancient figures, write as history. That's not wrong.
Whether it is anime or manga, Osamu Tezuka's influence is immeasurable
But when it comes to animation specifically – only in this area do I have some say, or obligation to speak. When people talk about Tezuka as a person, the arguments they say or argue are actually wrong.
Why this misfortune happened, in fact, you can see from the early manga of Hazuka. His starting point was Disney.
In Japan, there are no teachers for him. Almost all of Tezuka's early works were modeled (Disney).
Later he added his own story. Although original, the entire worldview continues to be influenced by Disney. Ultimately, I think he's always had a sense of inferiority deep within him that couldn't surpass the "(Disney) old man."
"Walt Disney" that created a century-old media empire
So Tezuka has always thought, "Can't go beyond Fantasia, can't go beyond Pinocchio," and has always been unable to get rid of this obsessive-compulsive disorder — I think so.
It is clear to understand it as a hobby. A big money, doing all kinds of things for your hobbies...
Listening to the news of his death, I had a feeling similar to the death of the emperor, the end of an era.
He is a man of great mobility. Probably did 3 times as much as the average person. Although he died at the age of 60, his achievements weighed 180 years. It can be said that it is the end of the day.
Summary of the editor
After reading these words of Miyazaki, I understand the relationship between these people.
Yuki Tomino wants to defeat Hayao Miyazaki.
Miyazaki spent half his life getting rid of Osamu Tezuka.
And then Osamu Tezuka, who has not been able to win Disney.
Tomino → Disney by Yuji → Hayao Miyazaki → Osamu Tezuka
Why do these creators beg for themselves and challenge such a formidable opponent? In fact, Yuki Tomino explained at the lecture that "why he wanted to destroy Miyazaki":
Enter the world of animation and find that there are many talented people. Such a person may sit next to you now. If Miyazaki sat next to him, nothing would be done.
But at the same time, this kind of opponent who wants to "destroy him" is also the reason why I have been chasing my dreams and making myself feel at ease. Because of their presence, I was able to stand on my own.
I created a work like Mobile Suit Gundam as a result of encounters with Takahata and Hayao Miyazaki.
The Mobile Suit Gundam series, which has a profound impact in various fields such as culture and commerce
The artist "Michelangelo" has a famous saying, which is actually the same as these people's ideas -
The biggest danger is not to set the goal too high and then fail to do it.
It's that the goal is set too low, and the simple goal is made.
Without a strong enough opponent, there is no incentive to develop further. These creators who choose strong enemies have suffered a lot. But this kind of goal is also the basis of their success.
This article ends here first. For this topic, if you have anything to say, you can leave a message after the article. In addition, if you want to collect those classic Gundam bodies, you are also welcome to use OurPlay to download and accelerate bandai's official mobile game "Super Gundam: King".