Hayao Miyazaki is arguably one of the greatest animators of our time. Starting Point 1979 – 1996 is a series of essays, interviews and memoirs that are compiled to cover the first 20 years of Hayao Miyazaki’s career.
Highlights:
The first half of the book covers the more general issues and is mostly a series of essays and excerpts from his memoirs. Some of the more notable discussions occur when Miyazaki talks about his relationship with Osamu Tezuka. He is rather blunt about his feelings of this relationship, stating that this rivalry was something he detested and that he had a very low regard for Osuma. The turning point for Miyazaki-san was when his work was compared to Tezuka’s work. This appears to have had a lasting impact. However, it is possible that any young talented anime artist of that time would have been compared to Tezuka.
There is a nice section that contains reproductions from his notebook and a short story that was produced in a Japan Airlines in-flight magazine in June of 1994. These are great examples of his work and a simple little look into the working of his imagination.
The last half of the book is related to his work and gets very specific about his views and experience in his working life. The section begins with how they were able to change Lupin and create something new with Lupin III. It is a fascinating look into the Japanese culture and mindset of the times. A change was coming and it seems as though it was a natural to have the pop culture be on the cutting edge of society’s movement. It is odd that the network allowed the animators to make the changes to a popular character, but this also reflected something different in the system. Miyazaki reveals why he and the studio moved away from doing work for TV. In getting the first big opportunity with Lupin III, the studio worked day and night, expending a lot of energy creating the best product they could. It was well received, but set them up to having to continue to perform at that level. They soon learned that it was not a pace they wanted to work or live at. The change to creating stand-alone movies seems to have been the right move.
Overall:
This book has an astonishing amount of information and all 461 pages are an enlightening peek into this enigmatic artist. The essays say a great deal about this man’s rather pointed ideals and opinions of many of the animators who opened up the industry for the work that was to come. I did get a feeling that he is often unimpressed with what is out there and feels that much of the Anime that is produced is a waste of time and money. I also got the feeling that he does have a sense of his place in history. I have always revered Miyazaki and find that this book gives me a much more human side of the man, with the good and the bad. I would say that my level of respect and understanding for his viewpoint is even stronger than it was before.
Any student of animation should take the time to read this book. There is a ton of material in here that gives true insight into the Japanese Animation industry of the 1970s through the early 1990s. It was a formative period that has led to the growth of Anime and export to the West. For all of us that just want to experience and learn more about those who have a real impact on the worlds around us, this book fits the bill.
ComicsOnline gives Starting Point 1979 – 1996 5 out of 5 Kodamas.
