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Tokyo Weekender - October 2017

A day in the life of a geisha. Find your perfect Kyushu. Plus Q&A with anime director Keiichi Hara, are robots taking our jobs?, Explore Japanese cuisine at GINZA SIX, and Tsukuda guide

A day in the life of a geisha. Find your perfect Kyushu. Plus Q&A with anime director Keiichi Hara, are robots taking our jobs?, Explore Japanese cuisine at GINZA SIX, and Tsukuda guide

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Words by Alec Jordan<br />

On the eve of his first ever major retrospective of his work at this month’s<br />

<strong>Tokyo</strong> International Film Festival, anime director Keiichi Hara talks about why<br />

he decided to set out on his own as a filmmaker<br />

After graduating<br />

from <strong>Tokyo</strong><br />

Designer Gakuin<br />

College, director<br />

Keiichi Hara was<br />

taking a tour of the animation<br />

studio <strong>Tokyo</strong> Movie, when he<br />

decided to take his fate – and his<br />

future employment – into his<br />

own hands. He left the tour and<br />

found Kyosuke Miyoshi, who<br />

had directed some of the famous<br />

Lupin the Third anime series, and<br />

begged him for a job. Apparently<br />

impressed with the young man’s<br />

ardor, the artistic director asked<br />

for Hara to come back after a<br />

week or so with a script and a<br />

storyboard for an episode of the<br />

show. His creative abilities proved<br />

a match for his initiative, and Miyoshi<br />

got him a job at a company<br />

that made commercials.<br />

To say that he’s come a<br />

long way since then would be<br />

something of an understatement.<br />

After more than 20 years working<br />

as a director for commercially<br />

successful and critically acclaimed<br />

projects such as movies in the<br />

Doraemon and Crayon Shin-chan<br />

series, Hara decided to launch<br />

his career as an independent<br />

filmmaker, and has been able to<br />

combine the singular vision of an auteur with the ability to bring audiences<br />

into the theaters.<br />

His first film as an independent director was Summer Days with<br />

Coo, a film that depicts the adventures of an elementary school boy<br />

who befriends a kappa, a supernatural water spirit. This was followed<br />

by Colorful, an adaptation of a novel that retells the aftermath of a<br />

junior high school boy’s suicide attempt. Hara turned his hand towards<br />

live action film with Dawn of a Filmmaker: The Keisuke Kinoshita Story,<br />

a biopic about the legendary film director Keisuke Kinoshita. (Hara<br />

may have recognized something of a kindred spirit in Kinoshita, who<br />

ran away from home when he was in high school in his first bid at a<br />

career in cinema.) Finally, he took on the subject of Edo period painters<br />

and printmakers in Miss Hokusai, which was adapted from the manga,<br />

Colorful, ©2010 ETO MORI / FUJI TELEVISION<br />

NETWORK, SUNRISE, DENTSU, Aniplex, Sony Music<br />

Entertainment (Japan), TOHO All Rights Reserved.<br />

Sarusuberi. This movie<br />

focuses on O-Ei, one<br />

of the daughters of the<br />

great Edo period artist,<br />

Hokusai, a young woman<br />

whose talent and temper rivals that of her father.<br />

Hara’s independent movies have drawn attention both in Japan<br />

and overseas: Summer Days with Coo won the Grand Prize for Animation<br />

at the 11th Japan Media Arts Festival and the Best Animation Film<br />

award at the Mainichi Film Awards; Colorful took home the Excellent<br />

Animation of the Year award at the Japan Academy Awards, the Best<br />

Animation Film award at the Mainichi Film Awards, and the Audience<br />

and Special Distinction prizes at the Annecy International Animated<br />

Film Festival; and Miss Hokusai won the Jury Award at Annecy, as well<br />

28 | OCTOBER <strong>2017</strong> | TOKYO WEEKENDER

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