Yasuo Ootsuka

Wiki jphttps://ja.wikipedia.org/wiki/ Wiki enhttps://en.wikipedia.org/wiki/Yasuotsuka In 1956 Ootsuka saw an advertisement in Yomiuri Shinbun where Toeihttps://anilist.co/studio/18/ were asking for applications for animators. After passing the test Ootsuka worked with Yasuji Morihttps://anilist.co/staff/103602/ and Akira Daikubarahttps://anilist.co/staff/131868/ on the Tale of the White Serpenthttps://anilist.co/anime/4513/ and learnt their approaches. Wanting to learn more animation theory he began to seek out textbooks and was shown a textbook on US animation written by Preston Blair. After working on Magic Boyhttps://anilist.co/anime/4948/ in 1959 his animation of a skeleton was unintentionally considered comical due to its realism. This led to comical bad guy characters becoming Ootsukas speciality. Ootsuka believed that genuine realism doesnt suit animation and constructed realism is more suitable. Hayao Miyazakihttps://anilist.co/staff/96870/ compared Ootsuka to Kenichi Enomoto a Japanese comedian in the use of this approach. After completion of his next film The Wonderful World of Puss n Bootshttps://anilist.co/anime/2279/ Ootsuka left Toei to join ShinEi Animationhttps://anilist.co/studio/247/ then A Production. Ootsuka wrote several books about the anime industry. His Sakuga Asemamire is considered a prime resource for the history of 60s and 70s anime. In July 2002 an exhibition of his work and personal pieces was held in Ginza. Source: Wikipedia