Makoto Hoshi / profile

Makoto Hoshi

profile

Born in Fukuoka prefecture in 1964.
A Seeker of Manga and an Animated Cartoon.
From his childhood he was fond of books, manga and animated cartoons.
In 1977, he was exposed to the “animation boom” occurring right before and after the public showing of the movie “Space Battleship Yamato” (Space Blazer), and he indulged in animation even more.
After his days as an editor of various magazines and books, he contributed to many magazines in addition while working for a company. He has continued his lifework since childhood–his research on manga and anime cartoons.
He is friendly with many people concerned with manga and anime. His activities range widely: planning and management of one-person exhibitions and other events, advisor for the composition of DVD or republication of manga, writing on web site, and others.
He wrote and edited “Zusetsu TV Anime Zensho (TV Animated Cartoon Complete Works)” (Hara shobo / under the name of Makoto Misono).Other works include commentaries for “Dream for Children of the World” and “Anime Producer Masaaki Sagisu” (Bunka-sha /cowritten by Osamu Tajima and Masayasu Sagisu.), interviews for “Kazuo Komatsubara; A Book of Animation Pictures” (Tokyu Bunka Agency), manga scenarios for “A Pond Skater’s Song” (Akihiro Kanayama), etc.
In 2018, he published “Densetsu no Anime Creators (The Legendary Animated Cartoon Creators)” Vol. 1, a collection of his serial interviews in “Mandarake ZENBU” from 1999.
He also is continuing his blog “Thanks for Anime”.
(animenikansya.blog.fc2.com)

In May 2018, “Densetsu no Anime Creators (The Legendary Animated Cartoon Creators)” (Mandarake Publisher) was published. It is a book consisting of serial interviews with anime creators since 1999 in the catalogue “Mandarake ZENBU”.
I will write down some of the creators featured in this book according to the table of contents. The names are a lineup of those creators who have made the backbone of Japanese animation from the pioneering days to its prosperity.Of course, these are only a few people among the interviewees during the 19 years.

Akira Daikuhara/”Hakujaden(The Tale of the White Serpent)””Shohnen Sarutobi Sasuke(A boy Sarutobi Sasuke)””Anju to Zushioumaru””Saiyuki(Alakazam the Great)”key animation.

Nobuhide Morikawa/”Ohgon Bat(Golden Bat)”in-between animation director,”Yokai Ningen Bem”animation supervisor,”Manga Nippon Mukashibanashi(Manga Tales of Old Japan)”key animation,direction

Soji Ushio(Tomio Sagisu)/”Zerosen Hayato””Harris no Kaze(The Whirlwind of Harris)””Donkikko””Chibikko Kaiju Yadamon(Little Monster Yadamon)”production.P-pro president&CEO

Noboru Ishiguro/”Tetsuwan Atom(Astro Boy)”key animation and direction.”Uchu Senkan Yamato”(Space Battleship Yamato)””Chojiku Macross(The Super Dimension Fortress Macross)” “Ginga Eiyu Densetsu(Legend of the Galactic Heroes)”director. “Magazone 23″director,original writer

Shingo Araki/”Kyojin no Hoshi(Star of the Giants)”key animation.”BabelⅡ””Majokko Megu Chan(Little Meg the Witch Girl),”Berusaiyu no Bara(The Rose of Versailles””Saint Seiya” character design,animation supervisor.

Akihiro Kanayama/”Ashita no Joe(Tommorow’s Joe)”Chodenji Macine Voltes V(Super Electromagnetic machine Voltes V)””Tosho Daimos(Fighting General Daimos)” animation supervisor.

HisayukiToriumi/”Kagaku Ninja Tai Gatchaman(Science Ninja Team Gatchaman)””Shima Shima Tora no Shimajiro”,director

Takeo Kitahara/”Neo Lupin the Third” character design,chief animation supervisor.

It was quite some time ago when I asked Mr. Hoshi to talk for this blog.At the time, he declined, saying that he isn’t an enthusiastic collector,But he seemed to give in to my tenacious pleas, and he accepted under the condition that I would coordinate it with the publication “Densetsu no anime creators”. But after that, he continued to say that he didn’t stick to things and that he did not know what he should talk about.

Neither collectors nor enthusiasts are restrictive, and they are diverse.Aside from Mr. Hoshi’s inclination to be self-limited, I considered that I would be satisfied with anything that Mr. Hoshi chose to talk about.

Looking back, I think that I persisted so much because I read an article on Mr. Noboru Ishiguro in Mr. Hoshi’s blog “Thanks to Animation”.
Mr. Ishiguro is a well-known director of ” Battleship Yamato.” He boxed and sent a lot of materials on hand to Mr. Hoshi, I read. Furthermore, Mr. Ishiguro continued to encourage Mr. Hoshi, saying that this anime interview would become excellent material in times to come.
“Space Battleship Yamato” created an anime-boom all over Japan and changed the status of anime cartoons fundamentally.Its director selected Mr. Hoshi as the person to entrust his things with, and this impressed me deeply.
I think that was the moment that I wanted Mr. Hoshi to absolutely appear in this blog.

In May 1999, just before Mr. Hoshi started his interviews, he published a book.
“TV Animated Cartoons Complete Works” (under the name of Makoto Misono / Hara Shobo )

DSC_0256

Mr. Hoshi wrote as follows in the preface of this book.
” How did “TV animated cartoons” start? Did Japanese TV animated cartoons appear suddenly, completely unrelated to previous animation history? Why did “Yamato” and “Gundam” capture the heart of the youth? Where was the origin of Hayao Miyazaki? What did original video animated cartoons bring to the TV animated cartoons? And why did “Neon Genesis Evangelion,” said to be the largest hit of the 90s, enter the stage ?……. We may be able to get the answers to these questions by looking at history.”

This book commands an aerial view of the 35 years of TV animated cartoon history from the times of TOEI’s long anime works, considered the prehistory of animated cartoons.
All chapters are placed in a broad prospective, including the change of mechanic and the special techniques, writer theories and so on.
This book is a must-read to know the history of animated cartoon.

This ability of broad perspective and synthesizing…. I think that’s Makoto Hoshi’s true worth. On the other hand, Mr. Hoshi’s attention is always turned to individuals who lived in those times. It is Mr. Hoshi’s consistent attitude to constitute the larger history from individual people and things.

This time, Mr. Hoshi brought various things along and showed me according to this blog’s theme.
Someone who knows Mr. Hoshi ordinarily may be appalled at me for have made this expert talk of such basic things, accusing me of being too much of a novice?
But it will be most difficult to find a person who can talk about anime creators’ ability in accordance with thing as clearly as Mr. Hoshi.
I will just leave the words of Mr. Hoshi, who has lived with animated cartoons, to show the readers as is. Please enjoy.

Makoto Hoshi / an anime seeker (1)

“What I like you say? Hmm, I like anime.
What title in particular? Too many to name.
I love the gekiga-style of Tatsunoko Production, I love the robot works by TOEI ANIMATION, I love gag anime, and I also love sports anime. So, I can’t really name my taste.

For example, “Hakuja-den” (The Legend of the White Serpent) by TOEI. Although I didn’t live in that time, I’m captivated with the heroine Bai Niang, and am moved by the way it expresses things.
As for “Wanpaku-ohji no Takara-sagashi”(The Little Prince and The Eight-Headed Dragon), that impressive aerial fight, the large snake closing in overwhelmingly…You can’t know the awesomeness without seeing it on a large screen. It excites me, and so I love it.
I love “Dobutsu Takarajima”(Animal Treasure Island) too, and I love “Nagagutsu o haita Neko”(Puss in Boots).The last scene of “Puss in Boots,” where the hero and the heroin go up the stairs with a skull raised high, calling the morning sunlight … It’s so exciting, isn’t it?

Then, when I am asked what my top ten is, I can’t answer right away. That may be because I am not mature yet, because I am still a kid.
But on the contrary, maybe it’s because I have too many favorites that I can ask many creators to talk with me.

These are the originals of the animated cartoon “Aku Daisakusen Srungle”(Hyperspace Great Strategy Srungle).This is the end of a poor soldier of the ally defense force who was beaten by the enemy robot.Here, please flip through.

This is how the smoke of the explosion is expressed.In the 80s, the expression of explosion made rapid progress, but you can’t recognize it in the clip distinctly, can you?
OK, ladies and gentlemen.What happens when this plain picture in pencil becomes a Cel?
See, debris appears and sparks appear, because airbrush is splattered over.

 
This is entirely different from the original picture, isn’t this?
This is an animation cel’s appeal.Now, there is nothing like this in digital works of the present.
There is not the feel of a material like this.This is a piece of the domestic handicraft industry, which has already been lost.
Good scenes of a good character are not the only nice scenes.I love these materials.
Things like this, which a common enthusiast may throw away, are important for me.”

Makoto Hoshi / an anime seeker (2)

“Because I had a good physique when I was small, I attended kendo practice in elementary school.
But, in the first place, I liked manga, and then, I liked anime.
Well, I loved animated cartoons.

I wanted pictures of my favorite anime characters.I wanted a cool picture.
But in the old days, pictures of anime didn’t remain after the broadcast.
I could not imagine that they would remain and not disappear in those days.When I would find one in a magazine by chance, it was different from the picture on screen.
I wonder why I wanted an anime picture so much.
I wanted it very much…
I wanted a picture of an animated cartoon.
Because there was no animated cartoon as printed matter, I took photos of the TV screen.

In those days, the only way we could meet some anime’s pictures were on mini-cards. To tell the truth, a card other than those of special effects films were 1 or even 2 ranks lower for kids.
Just a picture wasn’t worth much.
Therefore, few kids collected pictures of animated cartoon.
I think the company of the mini-cards itself thought so, too.
But I wanted an anime picture.
Mini-cards used the same picture as the film “Getter Robo” or “Gatcaman”and so were valuable for me.
I remember I was very glad to find the same picture.
The way to obtain an anime picture was only by mini-cards in those days.

You ask when I noticed a difference of creators of animated cartoons. It was when I was a 5th or 6th grader of elementary school.
For example, “Tiger Mask.” Its picture was different every time.
In the case of TOEI, pictures were different because the art director changed every time.
At first, I did not understand why pictures changed.
But while I watched the credits on TV each time, I felt I liked pictures by particular people, for example, “I like the picture of Shingo Araki” or “I like one of Kazuo Komatsubara” and others.
And then, I came to write down the names while watching.
I made a note of the creator’s names when I felt it was attractive.
I made a list and planned to watch the rerun for sure and made a schedule.

In an out-of-the-way place of Kyushu, my friends graduated from comics. Only I could not graduate from animated cartoons.
But on the other hand, maybe that’s why I received pure education and received something like a correspondence course through TV.”

Makoto Hoshi / an anime seeker (3)

“When I was a second grader of junior high school, an anime boom occurred.
It was in 1977 when the movie “Space Battleship Yamato (Star Blazers)” was released.
Many magazines and mook books were published, and special programs featuring voice actors were broadcasted on TV shows.The movement spread to the public.
Anime changed from a child’s hobby to a teenager’s amusement which they paid money for.

I was glad.
Many classmates began to watch anime.
I was glad. Thank Heavens! Now, I can talk about anime openly.
But talking with classmates was not satisfactory.

In those days, there was a manga circle which produced professional manga artists in Kita-kyushu, and there was a base for manga fans.
I was able to get acquainted with elder fans, fans in high school and in university, by chance. There I could say openly that “I liked Araki” or “I liked Kanayama.”
They educated me, telling me to read all the SF blue backs from Hayakawa publishing and others.
After being told to read Ryo Hanmura, I read his novel.After that, watching the re-broadcast, I found out that Hanmura had written the script of “Super Jetter.”
I also read Aritsune Toyoda, and then, I found out that he was the writer of the script of “Astro Boy”.These things gradually connected to one another.
I was very lucky that I had a relationship with such a group to enjoy things lively.

They also told me about Led Zeppelin and I began to listen British Rock.
I always listened to the radio, too. In those days, radio was a necessity for learning about subculture and I collected information steadily.
Moreover, I was awakened to R&B in high school, and I became enthusiastic about music in my school days too.”

The cel which Mr.Hoshi first bought.

Makoto Hoshi / an anime seeker (4)

“I had always liked books from the beginning. I read all the completed works of masterpieces in primary school, and after that, I read Ranpo Edogawa, Maurice Leblanc, Conan Doyle, and so on.
I remember I liked biographies. Hideyo Noguchi, Fabre, Lincoln, Washington… I loved biographies of great men.
I didn’t want to become such a great man myself, but I enjoyed knowing that there was such a way of living in different times.

I encountered some valuable works of the field of nonfiction in high school.

Roh Takenaka “Uncle Kurama-Tengu … Oral Transcription of Arrakan Biography”(1976 Shirakawa Shoin)
Tetsuo Takahira “Deep Interview …… Everybody was Naughty Boy” (1977 Shirakawa Shoin)


The former is a collection of notes recording the talking of Kanjuro Arashi, a famous movie actor who performed Kurama-Tengu. Takenaka exactly reenacted everything including the tone of voice.
It is said he didn’t use a recorder but wrote down everything by hand.
Takahira is the person who worked as a constitution writer of the TV variety program “Waratte-Iitomo”. This is also a book writing down what he hears, in which he interviewed Fujio Akatsuka, Masaaki Sakai and other people who were cool at that time. I didn’t know all the people in those days.But it was interesting to understand their characters. Everyone was passionate and young.

At that time, I met this way to describe a person.I opened my eyes to the world of non-fiction, and the technique of describing a human being, so vividly.
This was a big discovery for me. I think this is the origin of my interviews.

I hope my interview will become a writing like that.
I hope it will become one that the readers can feel the interviewee’s talking tone and movement clearly.
I am glad if they think these anime creators are living in this book and am glad if they think they can meet them anytime if they open this book.

Both Takenaka and Takahira have love and respect for the interviewee. It’s like they can write about them like this because they have so much respect. I was affected by them very much. This is my textbook.”

Makoto Hoshi / an anime seeker (5)

I came to Tokyo for university and went to Mandarake almost weekly.
It was when there was only one Mandarake store on the third floor of Nakano Broadway. I went there many times, and became acquainted with the owner, Mr. Furukawa.

In 1999, I was called by Mr. Furukawa and was asked about the anime-interview for Mandarake’s catalogue “Mandarake ZENBU”.The catalogue was to be the Special Issue of “Lupin Ⅲ”.
I was asked who was good as an interviewee. Although people usually would mention Mr. Otsuka or Mr. Hayao Miyazaki, I recommended Mr. Takeo Kitahara who had created neo-Lupin.
Mr. Furukawa said, “That’s fun!” and said “Will you do it, then?”I was surprised because I expected just to help behind the scenes to the end.
Mr. Kitahara appears at the end of this book, but originally, he was the first interviewee.
In that meaning, I’m lacking in naivety. When I reread it, I was speaking from the beginning in an ordinary way.

I am not a critic. I will not give meaning.
I will leave the undiluted solution in the interview like in a vacuum-pack.
I want to write it so the readers in times to come can feel that this person is such a soul.
I want the readers to talk with the creators in this book, even if the people disappear. I have been doing this with that aim.

Makoto Hoshi / an anime seeker (6)

“One of the characteristics of this anime-interview is that I often interview background animators, I think.Though people commonly pay attention to animation characters, background painting is in fact terribly important.
When we watch a scene, 70%-80% of it is background.
How will you depict a background in an anime-cartoon: gag-like or realistic What tone will you paint it with?

This is the key animation.
It’s the background key animation of “Pole’s Miraculous Adventure”.
It is an art board by Mitsuki Nakamura, the art director of “Nausicaa of the Valley of the Wind”,”Gatchaman”.

Then, how will the mood be in this world at night?

It becomes like this. The trees grow luxuriantly in the mountain behind the mansion, dark clouds enshroud the sky, and then, Belt-Satan comes to kidnap Nina.There is a background like this, and the world appears. Here, an animator puts characters on this painting.

The greatness of an anime art director is that they have a town in their heads, while normal painters commonly see a scenery.
It is in 3D before computers even appeared.
Nobody knows the White Base of Gundam.But how the corridor is, or how a light is shining etc.… the art director decides all the details of the scene.
They have a perfect 360 degrees plan in their heads, and they can look at it from all angles and decides how to picture it. They can make the lighting like this or that, or they see it dark because it’s the inside of a warship. Therefore, we can walk inside the warship.

An art-director shares the world inside the general director’s head and embodies it.He lingualizes it and explains to several hundred staff…the scene in morning should be painted with this color, in daytime with this color, in night with this color, and others. It’s an extraordinary matter.
After all, I think that the background picture is the main color of the anime we watch.
Had it not been for the background picture, it is no use even if a good character works so much.

Now it is the age of the computer. If they draw a background a little, they can move the angle on the computer, can’t they? But in those days, everything was manual labor.
See, the difference of this painting and a common picture is that it is in focus everywhere.
They must neatly draw it for the setting, and so everywhere is in focus.
It is drawn well and realistically like a photo with a digital camera.
This is a picture around 30 years ago. Art directors of anime cartoons did so like this from those days. This is a skill of a master.”

Makoto Hoshi / an anime seeker (7)

” Mr. Akihiro Kanayama, he is incredibly good at drawing.
For example, in “Tosho Daimos” (Fighting General Daimos), Mr. Shioyama of”Soko Kihei Votoms”(Armed Trooper Votoms) revised the original pictures as the product director and Mr. Kanayama oversaw as the total drawing director.
The original painting is good too.But Mr. Shioyama revised it and the expressions were tightened, and in addition, Mr Kanayama touched up just the eyes.
It is a very delicate difference.But they became the uneasy eyes of the youth.
This difference of eyes revealed Kazuya’s feeling. It showed all the delicate ambivalent feelings of the teenage youth.

The greatness of Mr. Kanayama is in this point.
A delicate emotional expression. One hair, the corner of the eye, and so on. Such a trivial part changes the face dramatically.Mr. Kanayama does this so normally.
He had to revise several hundred pieces every day and was running out of time. So, he changed only the line by a little. Then what happened? Kazuya’s face became one of determination.His expressions were entirely different.
This is the power of the drawing director.”

“This is Erika, the cute heroine of “Daimos” which Mr. Kanayama drew. She keeps closing her eyes; we know she has fainted. We know she is a young lady from a good family by just this one piece of painting.
As for the characters of “Daimos,” Yuki Hijiri had designed them in a very stylish way.
Mr. Kanayama gave them life.
Glamour or a feeling of vitality was given to the characters, as if the characters were taken over. That is Mr. Kanayama’s drawing.”

Makoto Hoshi / an anime seeker (8)

Mr. Akira Daikuhara received little attention at the time when I interviewed him.
But the present TOEI animation is a result of his contribution.
Although staff kept retiring after the several labor struggle, Mr. Daikuhara stayed in the company to the end.Therefore, I repeatedly said to him during the interview: “You supported the foundations of TOEI.”

This is a picture by Mr. Daikuhara. Extremely good!
This “Tantei-Oh” (an old mystery magazine), which I bought at a secondhand book store, is worn-out with a tattered cover.But this content is great.Takeo Nagamatsu, the creator of “Golden Batt”, and Jiro Kuwata, the creator of “the Eightman,” contributed to this issue. Mr. Daikuhara, too.
Mr. Daikuhara drew fascinating drawings in this.


(Contens of the “Tantei-oh”)

In Mr. Soji Ushio ‘s interview, it was the most interesting to hear why Tokyo-Movie Shinsha came into existence.Nobody asked why until this interview was released.

Mr. Ushio had the permission of Osamu Tezuka to animate “Big X” with P-production.
But the plan hit a setback by the opposition of the staff of P-Pro.So TBS, the TV station which was going to televise it, was troubled and made Tokyo-Movie in a hurry.
As there were few staff, the president Fujioka kept scouting here and there.
I hear that some animators of Mushi-Pro did a part-time job there in those days.
Mr. Osamu Dezaki, famous for supervising “Ashita no Joe (Tomorrow’s Joe)”, seemed to have established a relationship with Mr. Fujioka there at the time.

Makoto Hoshi / an anime seeker (9)

“There are several people who decline an interview.
I wrote a letter using five or six pieces of letter-papers to Mr. Nagayuki Toriumi, in which I mentioned my impressions of his books and asked to interview him.

It is said that only the last story of “Sience Ninja Team Gatchaman” does not have a scenario.
I heard that Mr. Toriumi wrote a story-board that became the post-recording script.
Mr. Tatsuo Yoshida thought Mr. Toriumi was the best person to film a realistic drama and chose him as the director of “Gatchaman”.And then, Mr. Sadao Miyamoto, Mr. Mitsuki Nakamura and Mr. Kunio Ohkawara, who all had an ability for realizing Mr. Toriumi’s vision, met there.
All the conditions were fulfilled to become “Gatchaman.”

Without Mr. Toriumi, “Gatchaman” could not have been made.
The last episode was created because Mr. Yoshida entrusted so much.
I wanted to hear such episodes from Mr. Toriumi, but I could not.
When I asked him, “Was the overseas joint work “Pierre’s Journey of History” your turning-point?” he said yes.
But he wouldn’t talk about “Gatchaman” itself.

To be frank with you, my interview always becomes a quarter or one-fifth of the original conversation. But most of the content I heard is included.
I want to disclose the contents as much as possible.Even if it is impossible to disclose everything, I want to get permission to reveal until the limits.

Therefore, as I truthfully wrote, I couldn’t hear about “Gatchaman”. From Mr. Toriumi’s manner, it seemed as if he said “I don’t have to talk about it. You already know, don’t you?”
But I wanted to hear it!


Makoto Hoshi / an anime seeker (10)

Speaking of Mr. Shingo Araki, the power of his still images and beautiful characters are well known.
For example, Hyuma Hoshi of “Kyojin no Hoshi(Star of the Giants)”.
A picture of Hyuma drawn by a normal animator is this. This is good, of course.
But when Mr. Araki draws it, how will it be?
… Entirely different.
Even the former is good enough.But when Mr. Araki draws it, it becomes this. Mr. Araki himself does not know why.He just says “I don’t know why. This comes automatically.”

Mr. Araki draws such great powerful paintings, but in addition to it, I have always considered that his pictures had poetic sense and lyricism, and I wondered about it.
Just then, an anime magazine “Animage” ran a special feature on Mr. Araki, and I read that he had once drawn gekiga there.So I looked for it very hard.


Speaking of gekiga, young manga fans imagine a gang or a hard-boiled story, but it is different.
There is such a world like this, too.It’s lyrical, and the development of frames is like “Jun” by Shotaro Ishinomori.
Some teenagers who had aimed to be an Osamu Tezuka could not debut in a manga magazine and came to the world of gekiga.

Mr. Araki lost his father in the war when he was a child. After graduation from the junior high school, he worked hard in the ironworks where a slight error could lead to a lost finger, but at night he drew manuscripts of manga all-night.
He drew after he recognized contradiction or coldness in the world, which all oozed out from Mr. Araki’s pictures.We also perceived it through the screen.

Mr. Araki was delighted at my having brought his old gekiga and asked me how I felt reading it.
He said he rejoiced in hearing someone’s impressions of it, which he couldn’t hear in those days.
At the time, I thought Mr. Araki was a depicter…that he was a first-class creator.
I understood we have been impressed with his picture because we have received that.

Makoto Hoshi / an anime seeker (11)

For example, as for the special effects shows on TV, movie staff who were unable to make a living from the decline of the movie industry came to create it.
The animated cartoon is the same.Some entered because Kamishibai (storytelling with pictures) business was crumbling, and others entered because Akahon (early comic books) business was ruined, or because the gekiga business became depressed.
Many people entered the anime world with just an expectation to draw a picture.
Though there is criticism, the achievement of Tezuka, who made what’s called an animator as one occupation, is great.
I am attracted by these people who drew pictures every day and fed their family and put children through university and so with just a pen… I respect such people very much.

Ages ago, before a reporter went to interview someone, he/she would go to the Soichi Oya library to check all the articles on the person.
But do these people have such a record?

Nothing.

The only clue is the work career of the person.
The work career is in my heart.Then, with emotions, with the impression I got in those days, and in addition to that, the skill that I acquired in my job… anyway, with a fan’s point of view like that, I go to the creators.Well, I have considerably aggravated it.

Then I ask him whether the thing which I have received is truly so. The thing which the person created comes to us, diluted through film and a cathode-ray tube.But its essence must exist in that. I am interested what that essence is.I really meet the person and talk to him about what I received. Well, there has never been a case in which I was told that I was wrong.

Makoto Hoshi / an anime seeker (12)

I suppose that children in those days were all intrigued by the strange mood of “Yohkai-ningen Bem” and “Ohgon Bat”.
Well, for example, “GeGeGe no Kitaro ̅” is indeed a story of Yohkai but it is cheerful.
But as for “Bem” and “Ohgon Bat”, they gave us a true stateless feeling.
That gray sky, the dim atmosphere of the European-style building. It felt dark even if it was a blue sky.

Mr. Morikawa Nobuhide lost his father in his teens and learned animation by self-education. He made this manual by himself in the ages when copying was still expensive.

Then, he went alone to Korea and instructed people on anime with this manual.
The way to move a character’s mouth, the way to describe time-sheets, the way to make Ohgon Bat fight.
He even made a color chart of cel by himself, and distributed it and taught how to make an animated cartoon from the beginning.
He studied by himself, and collected all the materials through his own efforts, and then, taught how to make animation in Korea from scratch.
I was curious about the world of “Bem” and I was hooked on it.I understood what the origin of my wonder was from talking with Mr. Morikawa. That mood came from Korea. Although many art boards were drawn by staff in Japan, that mood still appeared.Mr. Morikawa went alone there and created the work with the local staff in that way. That’s why the mood appeared.

Makoto Hoshi / an anime seeker (13)

This is an original picture of “Lupin the Third” by Mr. Takeo Kitahara, who is the first interviewee of this interview series.
Mr. Kitahara could draw any picture.But as for Lupin, his picture really changed, didn’t it?
He drew this picture first.

 

The splitting problem of Tokyo-Movie occurred, and A-Production moved.I heared only Mr. Kitahara stayed there to supervise “Lupin”.He did it, saying that he was glad to do it because he had wanted to make”Lupin”.
At first the picture was slightly awkward.He gradually got used to drawing it. Then, Lupin like this appeared.It looks fine, doesn’t it?

Pictures change constantly. It is changing while being drawn many times.
That’s what an object is. It is inserted into the creator’s life.
I am not a collector.I don’t have a sense called “complete”.
I am looking for a thing, an object, as a lead to feel the trail of a creator’s life. I definitely want to reach the person who made it through it.
The “thing” is a start to talk with the creator, and to know the creator more deeply.

Now is when we have Mandarake and various data on the Internet, and many things are dug up.
But in the past, we couldn’t research what the person created.
In 1977, the first number of “Rendezvous”(; the extra number of anime magazine “OUT”) ran a special feature on Tatsunoko-Production. I liked Tatsunoko for many years and I had been searching for its materials.
Just then, the color mook book was released for the first time.A picture of Mr. Tatsuo Yoshida appeared on the mook, and this was splendid.
At that time common book stores didn’t sell Mr. Yoshida’s comics, so I looked for it in secondhand bookstores. His picture is splendid.Though I knew a famous illustrator, Goichi Yanagawa and others, Mr. Yoshida’s picture is favorable compared with them. I thought it was great.

On “Rendezvous”, I read that Mr. Yoshida had made a picture story, and I looked for this.
It is this, a picture story by Mr. Yoshida.

His picture had some sorrow, or refinement. There is not vulgarity.
I think that this shows the best part of Mr. Yoshida’s picture. It is juvenile literature. This is Mr. Tatuo Yoshida. He is really great.
Though he cannot have been to the United States in those days, he drew it without it having a Japanese style.He must have had no material, but this picture is really good.
Despite being a picture, it’s moving. Hey, this is like a movie, isn’t this?
He might have had a desire to move his picture from those days.
Now, I write “The Miracle of GATCHAMAN” in a serial column “I want to know manga moreover” on “Mandarake ZENBU”.I explore what Mr. Tatsuo Yoshida thought about in that time.
It is exciting for me to find out gradually what he was thinking.
To research the person who influenced me teaches me many things, even if I can’t meet them.

Makoto Hoshi / an anime seeker (14)

“This is an original of a rejected cover picture of “Captain Shark” (Sonorama library)which Mr. Noboru Ishiguro drew. In fact, he was a really amazing person who could make a superb picture like this.”

“Mr. Ishiguro once drew manga with Yoshiharu Tsuge, the famous manga artist.He threw that away and entered the world of anime.It’s extraordinary, I think.
You say it’s the charm of animation? But it’s a thorny path, isn’t it?
You can write a novel for yourself. You can draw manga for yourself, too.
But, as for an anime, it is teamwork and so various people’s intentions get in inevitably.
An animator should worry about the producer, the sponsor, the director, the original author and the TV station. Besides that, the authority’s check is severe.
After synthesizing all these intentions, how much the animator can show his/her originality is the unceasing challenge.

Mr. Ishiguro is a restrained shitamachi Tokyoite and has never boasted his achievement at all.
But too many persons who are great masters now were his works’ staff when they were young.
I was very much interested in how he foresaw that these people would transform into great creators.
Mr. Ishiguro said that they were brought up by themselves from beginning to end.
But according to him, he painted a cel with his fingers like this when he created the explosion scene in “Yamato”.
Mr. Hideaki Anno did an anime with experimental expression in “Neon Genesis EVANGELION” and “Karesi Kanojo no Jijo(Kare Kano)”,but Mr. Ishiguro was already doing so on his own, and he let young staff do so freely, which we can see.

Mr. Osamu Dezaki and Mr. Yutaka Tomino became masters, and they do as they please.
Mr. Ishiguro, you don’t do so. Why? I asked him, “You don’t have a leader album, do you?”
Then, he answered that he preferred to ad lib like in jazz.
I think I got a good answer.
To Mr. Ishiguro, who had been a musician, that was a question which I could ask because I had dabbled in music. All experience was helpful, and I felt I have done everything for this.

The reason why I said that I wanted to see the slapstick of Mr. Ishiguro?
Originally, I wondered why Mr. Ishiguro entered not Mushi-Pro but TV-Dohga which created “Kaitoh Pride(Phantom Thief Pride)”.
“Kaitoh Pride” is a fun anime like an overseas work.Therefore, I guessed Mr. Ishiguro had wanted to create a relaxant and nonchalant gag anime.
I loved anime like that, too. Mr. Ishiguro said that he wanted to create it.Well, we were in common there, too.”

 

Makoto Hoshi / an anime seeker (15)

“I like music, I like books, I was also hooked on nonfiction and pro-wrestling. I’m the follow-the-crowd type.If Makoto Hoshi is not so, that is not Makoto Hoshi anymore.
Everything that I have been doing in many places is finally coming to use.
Now I finally became like that, what do you think?

Life appears in a painting. It reveals itself.
Although an animated cartoon is a group creation, something comes through the group work.I took that in in the countryside of Kyushu, as if I had received a correspondence course through a TV screen.Through a picture, through a thing, I aim definitely for the person.
In that way I want to leave the trail which the person walked like vacuum pack.

There is a phrase I like. It is the words “being rude, being uncivilized, but not being mean” from the title of a book by Saburo Shiroyama.
I think that we must not lose dignity even if we are very rude or uncivilized.
Though I may be rude and uncivilized, I won’t be mean. I always think so.
After all, I like a person who hopes so. I go to such people.”

*

Mr. Hoshi’s words end here.Please read his interview book “The Legendary Animated Cartoon Creators” after this.
The question of who he is seems to have a big meaning for Mr. Hoshi himself.
A seeker is what Mr. Hoshi names himself.This is not a very general expression.
It is usually a researcher, isn’t it?

From the self-introduction of Mr. Hoshi, his thought that he wants to only understand and seek after the longed-for world in his boyhood seems to shine through.
Therefore, his title is also not a commentator.To know exactly what moved him in the past is different from attaching a meaning to it, Mr. Hoshi thinks.
And when he talks about a work, he wants to talk about its appeal no matter how trifle the work is, like Aunt Komori or Mr. Nagaharu Yodogawa in the movie commentary world.
His self-restriction including such self-reliance and scrupulousness. on the other hand, indicates the overwhelming strength of his awareness of the distance with the object and the methodology.

As I mentioned in the beginning, Mr. Hoshi published “Zusetsu TV Anime Zensho” a must-read book to grasp the overall history of animation back in 1999.
20 years since, Mr. Hoshi seems to enter the domain others are incapable of following, more and more. But I do not need to repeat this now.
Because the person who had amazing power to see the possibility in the young, a director of “Space Battleship Yamato”, had already seen through and foresaw everything.

FIN