Showing posts with label Angoulême. Show all posts
Showing posts with label Angoulême. Show all posts

●FOREWORD● RINTARŌ's MA VIE EN 24 IMAGES PER SECONDE

  

Katsuhiro Otomo has written the foreword to the first comic written by his friend and animation director RINTARŌ (りんたろう) with whom he has collaborated many times in the past. The book was first released in French language by KANA and was presented in this year's 51st edition of ANGOULÊME FESTIVAL where several screenings and meetings were devoted to him.


MA VIE EN 24 IMAGES PER SECONDE narrates Rintarō's  journey from post-war Japan to 2001 and the release of the film METROPOLIS, based on Osamu Tezuka's (手塚 治虫) manga and with screenplay by Otomo himself. This journey is made of meetings, opportunities, endless evenings, jazz, cigarettes, but above all cinema, a passion that was passed on to him by his father and which gave him the desire to become a director very early on. And it is animated cinema that offered Rintarō this opportunity. 

You can read Otomo's foreword in French and the first pages of the comic here. 


FOREWORD by KATSUHIRO OTOMO
It was in 1958 that HAKUJADEN (白蛇伝 ), the first Japanese animated feature film in color, was made. Then came SHŌNEN SARUTOBI SASUKE (少年猿飛佐助 ), then, in 1960, SAIYUKI (西遊記) adapted from BOKU NO SON GOKU (ぼくのそんごくう) manga by Osamu Tezuka, who was credited in the film as "Original author responsible for the narrative structure'. Indeed, knowing that Tezuka was very influenced by the Disney animations that he loved, TOEI ANIMATION (東映アニメーション) , which wanted to become the Disney of Japan, had asked the mangaka to participate in the pre-production, writing and directing of the film .

Unfortunately, things didn't go the way Tezuka hoped. It's easy to imagine how difficult it was for a young, popular and promising mangaka to get along with the artisan blacksmiths of animation. He must have felt immense frustration and bitterness. At least that's a figment of my imagination. Apologies if I extrapolate!

But isn't Osamu Tezuka a man who uses failure to bounce back? This is how he created his own company, MUSHI PRODUCTION (虫プロダクション), in 1961, just a year after Sayuki. Was he very angry? Had this harsh ordeal triggered a real trigger in him? Still, the following year, he directed ARU MACHIKADO NO MONOGATARI (ある街角の物語) and the first episode of TETSUWAN ATOM (鉄腕アトム ).

From the start, Mushi Production operated recklessly, since, in the event of a financial deficit, Tezuka drew his mangas to cover debts.

The first Japanese television animation, Tetsuwan Atom, was created from Tezuka's own manga, so it was not subject to adaptation rights. It even ultimately generated revenue through the sale of derivative products, and this success led to the proliferation of animated television series. Rintarō's comic strip clearly shows that at the time, at the dawn of this flourishing industry, Mushi Production even ensured human resources devoid of any experience because its production system seemed attractive to certain young people. Unlike Toei animators, endowed with a real educational background and solid technical training, those of Mushi Production launched into the adventure simply being pushed by the spirit of entrepreneurship: the one who has the greatest passion is capable of doing for the best.

How exciting it was to acquire the know-how alongside older animators or the same age, despite the pressure of deadlines and the mountain of work that was piling up! In Japan, this spirit still seems to prevail in this industry.

Mushi Production faced some criticism because its preferred themes were neither educational nor emotion-based, but rather entertainment-oriented. The fact remains that society has enabled previously unknown artists to flourish. And, quite naturally, Japanese animation has moved towards the adaptation of popular manga, since young artists have naturally followed the example of Tezuka, the founder of Mushi Production, who himself adapted his own manga. one after the other. Of course, there were successes and failures!

In the 1970s, television animation therefore developed alongside the rise of manga. Japan was probably the only country experiencing such a phenomenon at the time. Rintarō, too, began directing within Mushi Production, directing works such as JUNGLE TAITEI SUSUME LEO! (ジャングル大帝 進めレオ！) or SABU TO ICHI (佐武と市), before leaving the company to become independent. His series JETTER MARS (ジェッターマルス) , GRAND PRIX NO TAKA (アローエンブレム・グランプリの鷹) and UCHŪ KAIZOKU CAPTAIN HARLOCK (宇宙海賊キャプテンハーロック)  attracted the attention of the president of TOEI so much so that he entrusted Rintarō with the direction of the feature film GINGA TETSUDO 999 (銀河鉄道９９９)  which was a huge success. This is how animated television series reached the level of quality of a feature film. Subsequently, feature films were screened in international festivals, then occupied a dominant place with the arrival of video cassettes, laserdiscs and DVDs. And it is therefore thanks to the influence of these precursors that today young people are creating original animations all over the world.

By reading this comic, which closely combines the history of animation with Rintarô's personal life, from his childhood to his adolescence and adulthood, I realize how much I owe to my elders, the "anarchists" from the Showa era (1926-1989), which I warmly thank.

大友克洋

BOOK DETAILS
Publisher: KANA
Release date: 2024-I-26
Language: French
Number of pages: 256
Size: 22.8 x 2.8 x 30 cm
Retail price: 27.9€
ISBN-10: 2505076383
ISBN-13: 978-2505076384

AVAILABILITY
Amazon JP: -
※We earn a commission from your purchases through these links.

JAPANESE EDITION
1-BYŌ 24 KOMA NO BOKU NO JISEI (秒24コマのぼくの人生)
Publisher: Kawade Shobō Shinsha (河出書房新社)
Release date: 2024-XII-2
Language: Japanese
Number of pages: 256
Size: 22.8 x 29.7 cm
Retail price: ¥3,520
ISBN-10: 4309257844
ISBN-13: 978-4309257846

AVAILABILITY
Amazon US: 
※We earn a commission from your purchases through these links.

US EDITION
MY LIFE IN 24 FRAMES PER SECOND
Publisher: Harry N. Abrams
Release date: 2025-X-7
Language: English
Number of pages: 256
Size: 22.8 x 29.7 cm
Retail price: $29.99
ISBN-10: 1419784048
ISBN-13: 978-1419784040

AVAILABILITY
※We earn a commission from your purchases through these links.
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●EVENT● RENCONTRE OTOMO



Katsuhiro Otomo has offered in the 'Festival International de la Bande Dessinée d’Angoulême' an extended lecture about the days in which he was working on the serialization of AKIRA back in the 80's

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●EVENT● AUTOGRAPHING SILKSCREENS


Katsuhiro Otomo has autographed collector silkscreens copies of his key illustration for this year's 'Festival International de la Bande Dessinée d’Angoulême' at the Cultura stand. The prints will be on sale for 250 euros at the store in Champ de Mars and in internet after the Festival (by writing to info@bdangouleme.com)

The Silkscreen was done by 'Les Mains Sales' workshop
Comisioned by 9eme Art
lesmainssales.eu
Here the making of video by Nicolas Olivier:

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●EVENT● THE ARRIVAL OF KATSUHIRO OTOMO



Katsuhiro otomo has arrived to Angouleme where he will be this years honor guest at the s 'Festival International de la Bande Dessinée d’Angoulême'

●EXHIBITION● TRIBUTE TO OTOMO



Gallerie Glénat has organized in the caves of the theatre of Angouleme a tribute exhibition to Katsuhiro Otomo that is going to be the honor guest in the 'Festival International de la Bande Dessinée d’Angoulême' that starts today and last until January 31. The exhibition will take place again in summer time in Paris at the galerie Glénat. Otomo has designed the key image that was also used in the catalogue cover.

Here the list of the  artist that have participated in the exhibition:

Virginie Augustin, Bannister, Dominique Bertail, Matthieu Bonhomme, Aleksi Briclot, Francesco Cattani, Lorenzo Ceccotti, Merwan Chabane, Olivier Coipel, Luigi Critone, Simone D’Armini, Ludovic Debeurme, Benoît Feroumont, Manuele Fior, Juan Gimenez, Joël Jurion, Jean-Philippe Kalonji, Viktor Kalvachev, Nicolas Keramidas, Kim Jung Gi, Olivier Ledroit, Stéphane Levallois, Li-An, Liberatore, Julien Loïs, Vincent Mallié, Dilraj Mann, Stan Manoukian, Thierry Martin, Laureline Mattiussi, Hugues Micol, Timothée Montaigne, Nicolas Némiri, Vincent Perriot, Gloria Pizzilli, Victor Santos, Stan Sakaï, Otto Schmidt, Guillaume Singelin, Jirô Taniguchi, Lucio Villani & Vince.

The exhibited works were collected in the exhibition catalogue: TRIBUTE TO OTOMO

●EVENT● Katsuhio Otomo's reception at Louvre

 

Katsuhiro Otomo has been received at the museum of Louvre in Paris where he has answered the questions of the media extensively. Otomo is on his way to the 'Festival International de la Bande Dessinée d’Angoulême' that will take place from january 28 to 31 in the city of Angoulême. He will be the honor guest in the festival after receiving the 'Grand Prix' last year. Otomo has contributed designing the key art for this year's Festival and he will held a conference on Saturday 30 at 14:30.

●CONFERENCE● PRESS CONFERENCE at LOUVRE


Katsuhiro Otomo has answered to the French media from the Museum of Louvre in Paris where he has arrived today in it's way to the 'Festival International de la Bande Dessinée d’Angoulême'. Manga.tv & Musekai Productions have created the videos that collect most of the event.


TRANSLATION OF OTOMO'S ANSWERS
(Thanks to Noelis Prieto for the translation)

Q: You have always talked about your work in your place, why do you open up to your readers and followers today?

A: I was extremely delighted and grateful to the Festival d'Angoulême for awarding me such a prestigious prize rendering homage to my career. I would like to thank the Festival d'Angouleme and the French public who has always supported me. As you may know, I am someone who talks very little in front of the camera, I don't usually do this kind of thing, so I would like to thank you very much. The international meeting is planned in Angouleme, and suddenly, not being accustomed to conferences, I didn't know if I was going to be here. Anyway, I'll do my best and hope that you will be kind to me.

Q: In an interview in 2009, Naoki Urasawa said that Fireball was for a whole generation of mangaka equivalent to "Nouvelle Illustration". What is it like to be a superstar and is it not a bit paralyzing?

A:I am touched by all the praise, but I try not to be disturbed by the appreciation of others because creation is a whole other thing. So, I try to be faithful to my opinion and be creative.

Q: In retrospect, what would you do different and what would you change about your work Akira?

A: Nowadays, I think I would never do Akira. That's a question I have never asked myself, so it's hard to answer. When I think about the times in which I created Akira, I really gave everything to it. There is nothing that I didn't manage to put in the work. While I was working on the manga I began working on the animated film and there were a lot of constraints, like it was necessary for the film to last less than two hours. I was very frustrated during the theatrical release and so I finished the manga. When I look at the manga I feel like I put in everything I wanted. In any case, I will not repeat Akira.

Q: In France, Manga sales are dominated by works such as Naruto or One Piece. What is your view on these types of Manga?

A: I hope that my works are selling as well as those titles.

Q: We have the unfortunate habit of forgetting that the Akira was released more than 30 years ago. You have inspired many filmmakers and comic fans. What do you think of the younger generation of manga artists (beginners or experienced), like Mamoru Hosoda and his recent work The Boy and the Beast. Do you have names you would like to highlight through this platform?

A: I recently participated in a book called Oyajishu which is a collection of stories, manga, and illustrations where I worked alongside young Japanese authors. I loved it. The mangaka work a lot and are not necessarily known. It was a really fabulous experience that made me really happy so I hope it'll continue. In any case it has made me want to work with young authors.

Q: Akira is a phenomenal success. Does this not lock you in an international momentum? Does this not put aside your other works? Does this summarize you to Akira?

A: It all really depends on the works. Some of my works have met their success and others haven't. All of these works remain as my works and I have no reason to complain. They are all as important as each other.

Q: The idea of making a televisions has crossed your mind. Is this still relevant or is that gone?

A: I don't know how or what to say. It's true that there is a television project. On the other hand, I'm not with the person involved with this project, so I don't know what I am entitled to say or not. It would be better that you were not talking about this issue.

Q; What has been the imaginative and creative base of your works?

A: Daily life gives me a lot of inspiration, but it is not only that. There are also creations, Mangas, novels, and works that I've discovered and read during my childhood and have inspired me a lot. Maybe not at that time, it took some time, but those are all memories that have given me inspiration. It took a certain maturation time for this influence to permeate my creations.

Q: Apart from your main work, you have participated in four films including "Manie Manie", "Robot Carnival", "Memories", and "Short Peace". What do you like most? Would you do it again?

A: Yes, I would like to repeat those experiences if the opportunities arise. Short film is lighter than the feature film, because I am less concerned about commercial success. In addition, it allows me to try things, make experiments that are practical in the short film format, but are more complicated with the feature film format.

Q: We are getting closer to 2030, the time in which Akira takes place. Does it amuse you to see the differences between what you imagined and what you see today?

A: I think that everyone working in the Science-Fiction world shares that idea. Nobody could imagine what the future really would be. Who could have predicted, for example, the importance of the mobile phone today? And I think that with the progress of technology, both the present and future are very different from what we had imagined.

Q: What do you think of the colorized version of Akira?

A: Today, I find it perfectible, but back then it was a good job. It was Marvel who had the idea and wanted to work with a colourist -I forget the name- who wanted to work the colouring with a computer. I didn't know this technique and it intrigued me, so I accepted and worked with the team. It would have been better now, but at the time we worked well.

Q: Could you tell us a bit about your current projects? There was talk about you working with the Louvre on a comic about the Edo period. Will there be a return to animation...?

A: I cannot give you any details, but yes, the manga on the Edo period is still ongoing but I cannot move forward because I do many things simultaneously. I have a live-action film project, an animated film...I am currently working to find budgets but I am also in discussion with the Louvre and the Orsay museums. I would like to finally plan everything this year.


Q: Do you know European comics, especially the French-Belgian? What do you think of the production and do you have any favorite authors?

There are many authors I like! It's been a couple of years since I've visited France so, I don't really know all current authors but I like Nicolas De Crécy, Kerascoët, and Lewis Trondheim. I'm certainly all ears if you have authors to recommend!

Q: Is a project for making an Akira film with real actors conceivable? To what extent would be your investment?

A: So, I guess you're referring to a live Akira film project produced by Warner. To this day, I have still not received the script, so I'll have trouble commenting. I know the Warner team is working very hard on it but I have no more information to give you. On my part, I did the Manga and an animated film, I think I did everything I could and I do not really intend to participate in this project. I'd rather watch the film as a spectator.

Q: One can feel an anguished view on the world in your work Akira. Has your view of the world changed? Is that anguish still the same?

A: Yes, it's true I can have a kind of anguish towards the world today; the same anguish as when I wrote Akira. Human beings are creatures that aren't absolutely perfect, and that is why sometimes unfortunate, strange, and mysterious events happen, and this is reflected in my works; this spirit that we must have to cope with such events.

Q: You are absolutely a great influence to other comic artists and many of them have said they would like to access your brain to know the origin of your genius and your ideas. Is there an artist about who you feel the same way?

A: I confess I don't worry too much about other authors and rather concentrate on my work. With age, I've realized that I still have many things to do and I want to fulfill my duty. Others do not interest me.

Q: What inspired you for this festival's poster?

A: Finding the idea for the festival's poster took me an enormous amount of time. I was very late and I had to bother the world because of it. I wanted to make a poster that nobody had seen before, something surprising. For some time I've been very interested in traditional Chinese and Japanese writings, so I wanted to insert this traditional culture. Before that, I did a poster for a very colorful Jazz music festival, much like the Japanese prints "Ukiyo-e". Wanting to do something very different for Angouleme, I used the Chinese inkwash technique with very little colors, hoping that you liked it. 

Q: What do you think about the polemic concerning the lack of nominations of female artists in the Festival d'Angouleme?

A: I think the sex difference, man, woman, ultimately doesn't matter when facing the interests of the work. It is simply that the works should be interesting.

Q: In which way does the matter of equality (male/female) concerns and/or interest you (or not)?

A: It is true that equality between men and women is not fully implemented in today's world. However, I am speaking purely of creation, and the world of online publishing doesn't pay attention to whether the author is a man or a woman. I have to do works that sell, otherwise the publisher wont publish it. Thus, the criteria for publication does not depend absolutely on sex or color.

Q: Some years ago you adapted a Manga into a live action film. What have you retained from this experience? What are the differences between the Manga and the actual shooting? What are the filmmakers that have inspired you?

A: I love live-action films and I can mention plenty of directors I respect, like Akira Kurosawa. When I make a live-action film, I like to mix real life and the fantasy side. That is why I made the film you mentioned, in order to mix the universe of those two worlds. In the old days, it was very difficult to realize this because the computer processes did not allow it. Suddenly, the special effects were very artisanal. Today, with the technological advances, we can absolutely make extraordinary special effects. I am very interested in that today and if I should give you other names of classic Japanese film directors apart from Kurosawa, I would mention Yasaujiro Ozu or also Shohei Imamura. I love all the classic directors that you certainly also know.

Q: To stay on the cinematographic side: How was the transition from solitary profession of designer to team work as director of Akira? What were the challenges? How do you write a movie without revealing the end of the Manga?

A: It may seem a little strange, but when I draw only for my Manga, it makes me want to work for the cinema, which is a collective work, and when I work on a cinematographic project, it makes me want to go back to my solitary work. When I started to work on the animated version of Akira, I had not finished my Manga, but I had already drawn the end of the story. The most important constraint was the duration of the film, because it was necessary that I tell it all in 2 hours, so I didn't do everything I wanted. That is why only after the completion of the film, when I took up the manga, I took a long time to do all that I had not been able to do in the film.

Q: You say you don't know too many contemporary comic authors but in particular I think you were working with Moebius on a project that was aborted called Airtight Garage. Could you talk a little about Moebius and your relationship?

A: I absolutely love Moebius' work and it's true we had a common project that was abandoned. We were working on an animated film and we discussed it a lot in Japan with Moebius because I also like other European comic artists like Enki Bilal. In fact, I found out I'm not the only one who enjoys Bande Dessines. In the late 70's and early 80's many people loved European comics and there were people coming to France every two years to check up on the comic scene.

Q: Video games can be considered an art form, same as manga. Would you not want to contribute your touch in this environment, or would you prefer to concentrate uniquely on manga and Japanese animation?

A: Personally, I love video games. I know one mustn't abuse, but I play a lot. But, the video game world has changed dramatically and we invest a lot of money to create video games. The image quality of video games has increased in considerable ways and now high definition 4k is used to create images for video games. It's become extremely complicated for me to go into that environment because it has changed and when I look at the work done, I find it very difficult. I also have a very good friend who is one of the most important people in Bandai-Namco, important society of video games in Japan, who told me that it has become very expensive to produce video games.

Q: Animation techniques have evolved a lot. Has that influenced your way of writing and approaching new projects?

Finally, advanced technology and history have nothing to do with the plot of a film. Even if there is progress, technology doesn't change my way of writing. But it is sure that this technological progress gives me ideas, and it is through this that I have the opportunity to show some sequences. But the technology and the content of a movie are two different things.

Q: Kaneda's bike has become an emblem of Akira. What was the creative process of this bike? What do you think of the excitement around Kaneda?

A: In fact, I intended to mention Kaneda's motorcycle at the Festival d'Angouleme so I don't think I'll talk about it here.

●ILLUSTRATION● ANGOULĒME 2016 VISUAL KEY



As is it usual, the artist who receives the Grand Prix in the Angoulême  Bande Dessinée International Festival one year,  designs the graphic key for next year's festival. So Otomo created this illustration for next year's event.

Katsuhiro ‪Otomo‬, who was in january granted with the Grand prix du Festival d’Angoulême will occupy the place of honor at next year's festival that will take place from january 28 to 31 in the french city of Angoulême. Otomo himself will held an special meeting at the theatre of angoulême during which he will talk about the genesis of his master work Akira. The mayor french publisher of his works Éditions Glénat BD, will also curate an exposition where forty cartoonists from all over the world will deliver an original creation inspired by Otomo and his work that will be released as a book too.


Stay tunned to the official channels of the 'Festival International de la Bande Dessinée d’Angoulême':
Website: http://www.bdangouleme.com/
Facebook site: https://www.facebook.com/festivalBDangouleme
Twitter: @actudufauve

●AWARD● Grand prix du Festival d’Angoulême



Katsuhiro Otomo was awarded with the the 'Grand prix du Festival international de la bande dessinée d’Angoulême'. This is one of the most prestigious international comics convention that takes place every year in the city of Angoulême in France. The other finalist were Hermann, Alan Moore. Otomo, who was also nominated last year is the first Japanese and the fifth non european artist that receives this award.

Katsuhiro Otomo's message:  
Hello, I'm Otomo. I want to thank you, profoundly, for this extraordinary price. For me, the bande desinée universe has opened my eyes. My work has been strongly influenced. To receive a price from France, from Angouleme, it's still hard to believe. Lately I don't draw as much so I'm even more surprised to receive this price. I'm truly thankful. This price serves as a motivation and I intend to get to work. Again, a big thank you.

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