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There are several Mamoru Oshii book lists on the Internet, but they do not provide detailed descriptions of the contents. My collection of Mamoru Oshii books is not yet complete, but I would like to write a short summary for each of those books.
I apologize in advance for any grammatical errors or incorrect information.
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title: すべての映画はアニメになる
(All Films Will Become Anime)
release: 03/31/2004
publisher: Tokuma Shoten
[contents]
My Dear, Hayao Miyazaki: Mamoru Oshii
"Motivation" and "Affection": Hayao Miyazaki
I Want To Show My Way of Life in Films: Kazuki Omori
In This Era, What Should We Make For Whom?: Hayao Miyazaki
What Is the Auteurism of Film Directors: Yoshikazu Yasuhiko
This Is the Last Train of Japanese Film, Our Enemy is Spielberg!: Akiyoshi Imazeki
If You Can Make This, I Wanted You to Do A Little More: Shoji Kawamori
Someday, You Have to Answer the Question "Who Are You?": Ryu Mitsuse
Oshii-san's Graduation Work Is a Bit Similar to Angel's Egg: Shusuke Kaneko
Urusei Yatsura 2 Feels Like Art Theatre Guild in Anime Form: Akiyoshi Imazeki
Huh, He's Deeply Inspired by Tarkovsky: Hideo Osabe
When The Boy Climbs The Slope By Tank, It Sounds Like The Footsteps of The Riot Police: Toshiharu Ikeda
A Story Of A Dog Looking For His Owner (Stray Dog): Mamoru Oshii
Oshii's Favorite Super-Helicopter, Gazelle: editorial staff
Two Layers of Nostalgia (Stray Dog): Mamoru Oshii
I Was One of Those Sub-Directors (Talking Head): Mamoru Oshii
We Are Already In A War (Patlabor 2): Mamoru Oshii
Whether It's Monitor Image or Real Event, A War Is Still A War (Patlabor 2): Mamoru Oshii
When Real Life Becomes Like Anime: Yoshiyuki Tomino
Char Is Tomino's Best Villain: Mamoru Oshii
To Summarize This Era: Hayao Miyazaki
When Mamoru Oshii and His Fans Gained Access to the Network: Yoshinori Sayama, Atsushi Sugita, and Oshii fans
Comments on Animage's 200th Issue Anniversary: Mamoru Oshii
The Truth of "Live Action" and "Movie": Katsuyuki Motohiro
Reinstatement of Animation's Power: Hiroyuki Okiura
All Films Will Become Anime (Avalon): Mamoru Oshii
A Discussion about "Innocence": Masaki Yamada
Seeking For The Home of Our Souls (Innocence): Mamoru Oshii
Is Anime in The Declinig Era?: Mamoru Oshii
Mamoru Oshii's Chronicle
about Interviewees
[review]
This is a collection of interviews and essays from Animage. Animage has featured Mamoru Oshii for over 100 issues. This book contains important interviews and essays selected by Oshii himself. Buying all the back issues can be quite tiring, so it is very useful for a casual fan like me.
In his comments on the 200th anniversary of Animage, he mentions the importance of Animage to anime creators.
"Before Animage, anime creators didn't know much about the other studios. Thanks to them, we became aware of other projects, saying, "This one looks more interesting." That's why there were times when people from Tatsunoko joined Toei's projects under false names (laughs). Thanks to Animage, creators were able to communicate with each other. I'm sure the rapid increase in the number of freelance animators is also due to the influence of Animage."
"From my point of view, anime magazines nowadays seem to be completely dead. There was so much excitement during the Yamato and Gundam eras. Back then, anime magazines reflected the energy of the anime movement, and anime fans were happy to see that. I think it was a very happy time. Anime magazines have lost that energy. I am far from the mainstream of the anime industry, but even I sincerely hope that a big movement like Gundam will happen. I'm in the position I'm in now because of Gundam and other big movements."
That comment was written in 1995.
The book also contains a number of interviews with Hayao Miyazaki, including the first conversation between him and Oshii.
M: I just watched Only You, and I have a few questions. First of all, parody is a kind of knock-off, isn't it? By imitating something, you try to change the way people think about it. In other words, the main focus is to give some kind of critical commentary to the original work. It's a "lose the battle, but win the war" kind of approach. But in this movie, I think "you didn't win the war". It seems to me that you just chose the easy way out.
O: I assume you're referring to "The Graduate" scene, but...
M: No, I don't mean just that scene, I mean the spaceship, the clock tower, the familiar gears (laugh), and all the other visuals in the film. They don't look like decent parody, so I thought you just stole the ideas. If you want to do parody, you have to go all out.
---.
M: The regular characters participated in the war without thinking. You referred to it as a personal way of fighting, but it doesn't seem that way. Aren't you just indifferent to wars?
O: You seem to be simplifying the issue...
M: Because the film didn't show anything more than that. That may be a bit too harsh, though. I was also curious about this. The characters were looking through a window and said, "It's a war, so cool!" They were watching the war through a window, not a TV screen, right? But their ship is parked in a big hangar. So how do they watch the war through a window? If you added a little scene where a hatch opens and an enemy ship comes out, it might have had more impact. You need to pay attention to those details. Even in slapstick comedy, it's important to build in detail.
---.
O: I admit you're right. In the TV series we had to worry about the schedule, so in the movie we tried to develop the settings and the drama. I wanted to create a big and consistent world. But... This is just an excuse, but I was given only four months. I couldn't do a lot of things. I was going to work on the setting and the layout, but in the end I had to concentrate on finishing the film.
M: I know what you mean. I went through the same thing. (laugh)
