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Isao Takahata

From Wikipedia, the free encyclopedia
(Redirected from Takahata Isao)

Isao Takahata
高畑 勲
Takahata at the 2014 Annecy International Animated Film Festival
Born(1935-10-29)October 29, 1935
Ise, Mie, Japan
DiedApril 5, 2018(2018-04-05) (aged 82)
Tokyo, Japan
Other names
  • Tetsu Takemoto (武元 哲)
  • Isao Yamashita
  • Paku-san
Alma materUniversity of Tokyo
Occupations
Years active1961–2018
Employers
Children1[1]
Awards

Isao Takahata (高畑 勲, Takahata Isao; October 29, 1935 – April 5, 2018) was a Japanese director, screenwriter and producer. A co-founder of Studio Ghibli, he earned international critical acclaim for his work as a director of Japanese animated feature films.

Born in Ujiyamada, Mie Prefecture, Takahata joined Toei Animation after graduating from the University of Tokyo in 1959. He worked as an assistant director, holding various positions over the years and eventually directing his own film, The Great Adventure of Horus, Prince of the Sun (1968). Under Nippon Animation he directed the television series Heidi, Girl of the Alps (1974), 3000 Leagues in Search of Mother (1976), and Anne of Green Gables (1979). He also collaborated with colleague Hayao Miyazaki on Nausicaä of the Valley of the Wind (1984) and Castle in the Sky (1986), .

Takahata, Miyazaki and others formed Studio Ghibli in 1985, where he would direct Grave of the Fireflies (1988), Only Yesterday (1991), Pom Poko (1994), and My Neighbors the Yamadas (1999). His last film as director was The Tale of the Princess Kaguya (2013), which was nominated for an Academy Award in the category of Best Animated Feature Film at the 87th Academy Awards.

Personal life

[edit]
Okayama Asahi Prefectural High School, Takahata's high school

Takahata was born in Ujiyamada (now Ise), Mie Prefecture, Japan, on October 29, 1935, as the youngest of seven siblings and third son in the family.[2][3][4] His father, Asajirō Takahata (1888–1984),[5] was a junior high school principal, who became the education chief of Okayama prefecture after the war.[4] On June 29, 1945, when Takahata was nine years old, he and his family survived a major United States air raid on Okayama City.[6][7] During the raid, Takahata and his sibling were separated from their family for two days, which he called "the worst experience of his life."[8] In 1954, he graduated from Okayama Asahi Prefectural High School and entered the University of Tokyo.[9][10]

Career

[edit]

Early career

[edit]

Takahata graduated from the University of Tokyo in 1959 with a degree in French literature. During this time at the school, he had seen the French film Le Roi et l'Oiseau (The King and the Mockingbird), which led him to become interested in animation.[11] Takahata was more interested in animation as a medium, and wanted to write and direct for animated works rather than create animations himself.[12] A friend suggested he apply for a directing job at Toei Animation; Takahata passed their entrance exam, and was hired as an assistant director for several of Toei's animated television shows and films including Wolf Boy Ken, on which he was mentored by Yasuo Ōtsuka.[11][13] Tze-yue G. Hu, author of Frames of Anime, reports that Takahata was one of a small number of university graduates recruited by Toei in 1959 and later trained as animation directors.[14] At Toei, Takahata, Miyazaki, and Michiyo Yasuda were officials in the animation workers' union.[15] Ōtsuka eventually asked Takahata to direct an animated feature film of his own; his directorial debut was The Great Adventure of Horus, Prince of the Sun (1968). Ōtsuka served as Animation Director on the film, while another Toei employee, Hayao Miyazaki, served as key animator.[11] Toei screened Horus, Prince of the Sun in cinemas for only 10 days.[16] Though it would later be recognized as one of the first defining works of modern Japanese animation,[12] the film was a commercial failure, and Takahata was demoted to an assistant director on TV anime.[6][11][16] His later Toei works were Secret Little Akko and Kitaro of GeGeGe.[16]

Unable to further improve his standing at Toei, Takahata left the studio in 1971, along with Miyazaki and Yōichi Kotabe. Takahata and Miyazaki came up with the idea of creating an animated feature film based on the stories of Pippi Longstocking. They developed the idea along with "A Production", an animated studio formed by another former Toei animator, Daikichiro Kusube (the company became Shin-Ei Animation). Zuiyo Enterprise had produced the 1969 Moomin for the Calpis Comic Theater by contracting Tokyo Movie Shinsha, which worked with A Production on the series; this earlier children's-literature adaptation helped make A Production appear to Takahata and Miyazaki as a studio where television animation could support meaningful literary projects rather than routine commercial work.[17][18] Takahata and Miyazaki had developed a number of storyboards and had flown out to Sweden for location shots, to meet with the books' author, Astrid Lindgren, and secure the rights for the character. However they could not reach an agreement with the rightsholders, and were forced to drop the project.[16][19] The failed project became an provisional bridge between Takahata's Toei period and his later work in literary television animation. Takahata and Miyazaki collaborated at A Production on several other animation projects from 1971 to 1974, including taking over production of the anime series Lupin III at Ōtsuka's request, due to its poor ratings.[16] They also made Panda! Go, Panda! for TMS around this time, which utilized some of the scenes, character designs, and concepts developed for the Longstocking project. Takahata directed the film, Miyazaki wrote it and designed scene layouts.[20] Takahata tried to make Panda! Go, Panda more audience-friendly than his first directed one. Panda! Go, Panda! and its sequel were commercial successes.

Nippon Animation

[edit]

Not long afterward, Takahata, Kotabe, and Miyazaki were approached by the studio Zuiyo Enterprise to create an animated series based on the novel Heidi, which resulted in Heidi, Girl of the Alps (this also incorporated some of their work from the Pippi Longstocking concept).[16] Takahata gave Heidi, Girl of the Alps a predominantly realistic style, that shows changing seasons, weather, rural work, cooking, and small details of the everyday life in the Alps.[21] Heidi, Girl of the Alps was the sixth and final entry in Calpis Comic Theater. Although the series was successful, Zuiyo entered financial difficulties after Heidi's TV production costs exceeded international sales. In the 1975 reorganization, the financial and rights-holding side remained with Zuiyo.[22] The animation production section of Zuiyo was established as a subsidiary company named Zuiyo Eizo, later becoming Nippon Animation, which Takahata and Miyazaki joined.[11] During this period, He directed three long-form literary adaptations: Heidi, Girl of the Alps, 3000 Leagues in Search of Mother, and Anne of Green Gables.[23] He also contributed storyboards to other Zuiyo and Nippon works, including A Dog of Flanders, Monarch: The Big Bear of Tallac, and The Story of Perrine.[24][25]

3000 Leagues in Search of Mother followed Heidi and had all 52 episodes made with Takahata as director and Miyazaki in charge of layout and scene composition.[23] This series connected Takahata's approach with his interest in Italian neorealism, particularly its focus on children from the working class, their struggles, and their experiences within socio-economic hardships of child labour.[26]

Miyazaki began directing Future Boy Conan for NHK in late 1977[16], after Takahata refused Nippon's plans to direct The Story of Perrine. Animétudes states that Takahata's refusal led Miyazaki, Yōichi Kotabe, Oh! Production, and other artists to avoid Perrine, opening the way for Miyazaki's directorial debut on Future Boy Conan.[27] Takahata assisted Miyazaki with storyboards, direction, and he wrote episodes from 7 to 13.

By turning down Perrine, Takahata had little choice but to accept the next assignment that came his way, which was :Anne of Green Gables. Though initially thought unadaptable for animation, being "full of dialogue, lacking in dramatic developments and narrative shifts[28] Thus Takahata directed the World Masterpiece Theater adaptation of Anne of Green Gables in 1979.[29] For Anne of Green Gables, Takahata and the production team used location research on Prince Edward Island to reproduce the setting, architecture, and atmosphere of the original novel.[28] A 2015 Ghibli Museum research report identifies Yoshifumi Kondō as animation director on the series and states that Miyazaki, who had participated in screen composition and layout for the first 15 episodes, left Nippon Animation during production and moved to Telecom Animation Film.[30] The move followed Yasuo Ōtsuka's offer to Miyazaki at Nippon Animation after Ōtsuka had been assigned to direct the next theatrical Lupin III film which Miyazaki accepted.[31] Takahata commanded over the screenwriting. He was credited as sole writer on several episodes and co-writer on many others.[28] Producer Junzo Nakajima said that Takahata examined every cut, which contributed to the series' severe production schedule.[32] Disrupted scheduling had a severe effect on the staff's health. Character designer Yoshifumi Kondō refused to quit work while receiving treatment for a serious lung disease, refusing hospitalization to finish the series.[32] Art director Masahiro Ioka regularly operated on a loop of sleep deprivation to personally redraw, correct, and hand-paint massive volumes of background art under tight weekly deadlines.[32][28] During this decade, Takahata directed and storyboarded long-form literary adaptation.

After Anne ended in 30 December 1979, Takahata left Nippon in early 1980. He joined Kotabe, Okuyama, and Miyazaki at Telecom Animation Film. He began work on Jarinko Chie in September 1980, releasing it in April 1981.[31]

Telecom Animation Film

[edit]

Around 1980, Takahata left Nippon to join Telecom Animation Film Co., Ltd. (a subsidiary of Tokyo Movie Shinsha or TMS Entertainment), where he led production of an animated feature based on the manga Jarinko Chie, and a subsequent television spinoff.[11] Animation work on the film began in September 1980, and it was released in April 1981.[31] During the same period, Takahata also wrote and directed Gauche the Cellist, a 1982 animated feature based on Kenji Miyazawa's short story Gauche the Cellist.[33] It surfaced Takahata’s demanding, observational style.[26] Takahata’s focused on realistic musical performance. The project relied on a small core staff, primarily background artist Takamura Mukuo and key animator Shunji Saida from Oh! Production. Production extended the 63-minute film's production to six years.[34] Key animator Saida went to learn to play cello so that Gauche's fingering could be animated without mistakes.[35] Around 1982, Telecom came up with the idea of an animated feature film Little Nemo: Adventures in Slumberland which adapted the Little Nemo comic, which was to feature joint direction between Japanese and American animation techniques.[29] The project had been pursued since 1978, when producer Yutaka Fujioka, founder of TMS Entertainment, approached George Lucas about a film adaptation; Lucas and later Chuck Jones found problems with the narrative, before the project was announced in 1982 and Gary Kurtz was hired into directing the American side.[36] The project was developed as a Japanese-American co-production and involved figures including Ray Bradbury, Gary Kurtz, Moebius, Frank Thomas, and Ollie Johnston.[31] While both Takahata and Miyazaki were originally involved, they opted to leave the project and Telecom itself due to discord between the Japanese and American project directions.[29] More specifically, Miyazaki left Telecom in November 1982 after his proposals for the project were rejected, and Takahata, who succeeded him as the Japanese-side director, also left in March 1983 after Kurtz rejected his direction plan.[37]

Studio Ghibli

[edit]

Concurrent to these events, Miyazaki had made his own directorial debut in the Lupin III feature film The Castle of Cagliostro in 1979, which was a critical success.[16] Following Cagliostro, Miyazaki began developing his own manga, Nausicaä of the Valley of the Wind, and directing its 1984 film adaptation, which was commercially and critically successful.[16] Takahata served as producer on the film, which was animated at Topcraft before the formation of Studio Ghibli.[38] Napier writes that Takahata producing the film reassured Miyazaki while working with Topcraft's unfamiliar team.[39] Takahata introduced Joe Hisaishi, starting his long association with Miyazaki.[39] The success of Nausicaä helped create the financial and professional basis for a new studio. Miyazaki approached Takahata with the idea of co-founding an animation studio for theatrical features, and Studio Ghibli was subsequently formed in 1985 by Miyazaki, Takahata, Toshio Suzuki, and Yasuyoshi Tokuma, with financial support from Tokuma Shoten.[16][40] Studio Ghibli opened on 15 June 1985 in Kichijōji, Tokyo.[40] Miyazaki and Takahata founded the studio to produce original, high-quality feature films as an alternative to the stagnation of television-derived animation.[40]

In 1985, Miyazaki researched Wales for Castle in the Sky, Takahata and Suzuki remained in Japan planning the new studio.[41] Takahata produced Miyazaki's Castle in the Sky.[42][43] Napier states that Takahata insisted the studio spare no expense in producing Castle in the Sky, whose fluid animation, detailed settings, and imaginative designs helped establish a new standard for Japanese animation.[40] In 1987, Takahata directed the documentary The Story of Yanagawa's Canals, a mix of nature and engineering that failed to attract audience.[44]

Studio Ghibli's later headquarters in Koganei, Tokyo.

The studio primarily released animated feature films that were directed by Miyazaki, with Takahata serving as producer or in other roles. Takahata did direct several Studio Ghibli films as well. His first, Grave of the Fireflies, released in 1988, was based on the semi-autobiographical short story of the same name written by Akiyuki Nosaka, but Takahata was also partially inspired by his own experiences from the bombing of Okayama City.[29] The film was released in 1988 as a double feature with Miyazaki's My Neighbor Totoro, contrasting Takahata's grim portrayal of wartime Japan with Miyazaki's postwar rural idyll.[45] Both films ran in parallel during Ghibli's early years, requiring a second studio in 1987. The studio struggled to balance quality with tight deadlines under resource constraints.[46][47] Despite high commercial risks and distribution challenges, Tokuma Shoten’s president Yasuyoshi Tokuma personally brokered a deal to rescue the dual release.[46] Released as a package in April, the double feature earned modest box-office returns; Ghibli lacks individual earnings data.[46] Grave of the Fireflies received critical acclaim for its emotional impact and anti-war themes, and is considered the film that established the international esteem of Studio Ghibli.[48] Takahata rejected the anti-war reading as reductive. He viewed Seita’s tragedy not as anti-war, but as the outcome of his prideful isolation and his defiance against society, which destroyed the family unit he sought to protect.[49] Takahata's posthumous notebooks reveal he introduced "F Seita," a new phantom observer who retrospectively witnesses and intervenes in the narration of the siblings' experiences. Production notebooks and testimony were the subject of a 2025 NHK Educational Television documentary.[50] The financial recovery came slowly. Totoro merchandise, first produced two years later after a manufacturer's independent push, generated sustained revenue that helped Ghibli recoup losses from the modest theatrical run. Licensing success turned Totoro from a risk into the studio's symbol and brand asset. [46] Despite uneven merchandise revenue, Ghibli prioritized creative vision over fan service or consumer preferences, refusing to alter films for marketability.[46]

After Grave of the Fireflies, Takahata remained involved in Miyazaki's productions, serving as music director on Kiki's Delivery Service in 1989.[51] He returned to feature direction with Only Yesterday, for which Miyazaki served as production producer and Toshio Suzuki as producer.[52] Other Ghibli films which Takahata served as director included Only Yesterday (1991), Pom Poko (1994) and My Neighbors the Yamadas (1999). In addition to directing and producing, he also served as music director for Miyazaki's Kiki's Delivery Service (1989).[29]

Later career

[edit]

Takahata announced that he would direct one last film for Studio Ghibli, The Tale of the Princess Kaguya (Kaguya-hime no Monogatari, 2013). "Someday we should make a Japanese Heidi", Takahata and Miyazaki had both agreed after making Heidi noting its similarities to the Princess Kaguya story. Heidi's carefree depiction, Takahata had told one journalist, "stems from my ideal image of what a child should be like".[53][54][13][55] When the film arrived in Western markets the following year, it was nominated for the Best Animated Feature at the 87th Academy Awards.[56] Takahata continued to work at Ghibli, serving as an artistic producer for The Red Turtle (2016), the first feature film of Dutch animator and director Michaël Dudok de Wit in collaboration with Ghibli. The film premiered in September 2016.[57][58]

Death

[edit]

Takahata had been diagnosed with lung cancer, and died on April 5, 2018, at Teikyo University hospital in Tokyo, at the age of 82.[59][60][2] On May 15, 2018, a farewell ceremony for Takahata was held at the Ghibli Museum in Tokyo. Hayao Miyazaki publicly spoke for the first time about Takahata's death, saying "I was convinced that Paku-san [Takahata's nickname] would live to be 95 years old, but he unfortunately passed away. It makes me think my time is also limited...Thank you, Paku-san."[61][62]

Influences and style

[edit]

Takahata was influenced by the works of Paul Grimault, a French animator, as well as French New Wave directors, including Jean-Luc Godard.[13] He was also influenced by French-born Canadian director Frédéric Back, including his works Crac and The Man Who Planted Trees.[55] He felt it was important to be able to achieve trompe-l'œil, the illusion of three dimensions using a two-dimensional medium.[55]

Takahata's films had a major influence on Hayao Miyazaki, prompting animator Yasuo Ōtsuka to suggest that Miyazaki learned his sense of social responsibility from Takahata and that without him, Miyazaki would probably have been interested in comic book material.[63] As with Miyazaki, Takahata and Michel Ocelot were great admirers of each other's work. Ocelot names Takahata's Grave of the Fireflies and Pom Poko among his favorite films.[64][65]

TV works

[edit]
Television series directed or storyboarded by Isao Takahata
Year(s) Title Romanized Japanese title Role Episodes / notes
1963–1965 Ken the Wolf Boy[13] Ōkamishōnen Ken Advisor, director
  • Directed episodes 6, 14, 19, 24, 32, 38, 45, 51, 58, 66, 72 and 80
  • Episode 6 credited to the pseudonym "Isao Yamashita"
1965 Hustle Punch[16] Hassuru Panchi Director Opening credits only
1968–1969 Kitaro of GeGeGe[16] GeGeGe no Kitarō Storyboard artist Episode 62 only
1969–1970 The Secret of Akko-chan[16] Himitsu no Akko-chan Assistant director Based on Fujio Akatsuka's magical girl manga
1969–1970 Ataro the Workaholic[33] Mōretsu Atarō Storyboard artist, director
  • Storyboarded episodes 10, 14, 36, 44, 51, 59, 71, 77 and 90
  • Directed opening credits for episodes 70–90
1971–1972 GeGeGe no Kitarō – Vol. 2[16] GeGeGe no Kitarō Storyboard artist Episode 5; also directed opening and closing credits
1971–1972 Apache Baseball Team[33] Apatchi Yakyūgun Storyboard artist Episodes 2, 12 and 17
1971–1972 Lupin III[13] Rupan Sansei Director
  • Cleanup for episodes 6, 9 and 12
  • Directed episodes 7–8, 10–11 and 13–23 with Hayao Miyazaki
1972–1973 Suzunosuke of the Red Cuirass[33] Akadō Suzunosuke Director Based on a jidaigeki manga by Eiichi Fukui and Tsunayoshi Takeuchi
1973–1974 Isamu, Boy of the Wilderness[33] Kōya no Shōnen Isamu Storyboard artist, director Storyboarded episodes 15 and 18; directed episode 15
1974 Heidi, Girl of the Alps[13] Arupusu no Shōjo Haiji Series director, storyboard artist Storyboarded episodes 1–3
1975 Dog of Flanders Furandāsu no Inu Storyboard artist Episode 15 only
1976 3000 Leagues in Search of Mother[33] Haha o Tazunete Sanzenri Series director, storyboard artist Storyboarded episodes 1–2, 4–5 and 7
1977 Monarch: The Big Bear of Tallac[33] Seton Doubutsuki: Kuma no Ko Jacky Storyboard artist Episodes 5 and 8
1978 Future Boy Conan[16] Mirai Shōnen Konan Director, storyboard artist
  • Storyboarded episodes 7, 13 and 20
  • Storyboarded and directed episodes 9–10 with Hayao Miyazaki
1978 The Story of Perrine[33] Perīnu Monogatari Storyboard artist Episodes 3 and 6
1979 Anne of Green Gables[13] Akage no An Director, writer, storyboard artist
  • Directed and wrote episodes 1–4, 6, 8, 10, 12–13, 17–18, 20, 23, 25–44 and 47–50
  • Storyboarded episodes 1–4 and 29
1981–1983 Chie the Brat[11] Jarinko Chie Series director, storyboard artist Episodes 2, 6 and 11 credited to the pseudonym "Tetsu Takemoto"

Filmography

[edit]
Year Title Director Writer Producer AD Notes
1961The Littlest Warrior[33]YesBased upon Mori Ōgai's Sansho the Bailiff
1962Interesting History of Civilization, Story of IronYesTakahata was also a script supervisor
1963The Little Prince and the Eight-Headed DragonYes
Duel of the UnderworldYesDirected by Umetsugu Inoue
1968The Great Adventure of Horus, Prince of the Sun[11]Yes
1972Panda! Go, Panda![13]YesShort film; written by Hayao Miyazaki
1973Panda! Go, Panda! The Rainy-Day Circus[13]YesShort film; written by Miyazaki
1981Jarinko Chie[33]YesYes
1982Gauche the Cellist[33]YesYes
1984Nausicaä of the Valley of the Wind[11]YesDirected by Miyazaki
1986Castle in the Sky[11]Yes
1987The Story of Yanagawa's Canals[33]YesYesDocumentary
1988Grave of the Fireflies[66]YesYesTakahata's first film for Studio Ghibli
1989Kiki's Delivery Service[29]Directed by Miyazaki; Takahata was musical director
1991Only Yesterday[67]YesYes
1994Pom Poko[67]YesYes
1999My Neighbors the Yamadas[11]YesYes
2003Winter Days[11]YesYesCollaborative movie; Takahata created segment 28
2013The Kingdom of Dreams and Madness[68]Documentary featuring interviews with Takahata
The Tale of the Princess Kaguya[11]YesYesTakahata's final film as director
2016The Red Turtle[11]YesDirected by Michaël Dudok de Wit; Takahata was artistic producer

References

[edit]
  1. ↑ Nazru, Ami (November 12, 2025). "The Tale of Princess Kaguya's Unmade Prequel Discovered In Ghibli Director's Long-Lost Drafts". Animehunch. Retrieved March 5, 2026.
  2. 1 2 Smith, Harrison (April 8, 2018). "Isao Takahata, poignant Japanese director who co-founded Studio Ghibli, dies at 82". The Washington Post. Archived from the original on April 9, 2018. Retrieved April 9, 2018.
  3. ↑ Slotnik, Daniel E. (April 7, 2018). "Isao Takahata, Leader in Japanese Animation, Dies at 82". The New York Times. p. B7. Archived from the original on April 12, 2018. Retrieved April 16, 2018.
  4. 1 2 〈特集〉高畑勲とその時代 ～『かぐや姫』を迎え撃つために～(2013.11.16) (in Japanese). Kyoto University Press. November 16, 2013. Archived from the original on April 8, 2018. Retrieved April 9, 2018.
  5. ↑ "Asajiro Takahata". MyHeritage.
  6. 1 2 Blair, Gavin (April 5, 2018). "Studio Ghibli Co-Founder Isao Takahata Dies at 82". The Hollywood Reporter. Archived from the original on April 6, 2018. Retrieved April 6, 2018.
  7. ↑ "Studio Ghibli film director Takahata reflected on war experience in 'Grave of the Fireflies'". Mainichi Shimbun. June 17, 2015. Archived from the original on June 17, 2015. Retrieved June 17, 2015.
  8. ↑ Goldberg, Wendy (2009). "Transcending the Victim's History: Takahata Isao's Grave of the Fireflies". Mechademia. 4: 40. ISSN 2152-6648. Project MUSE 368618.
  9. ↑ Sharp, Jasper (April 8, 2018). "Isao Takahata obituary". The Guardian. ISSN 0261-3077. Retrieved June 13, 2026.
  10. ↑ "「文学の中の岡山」vol.3『君が戦争を欲しないならば』高畑勲". 岡山市 (in Japanese). Retrieved June 13, 2026.
  11. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Sobczynski, Peter (April 5, 2018). ""Why Do Fireflies Have To Die So Soon?": A Tribute To Isao Takahata, 1935-2018". RogerEbert.com. Archived from the original on April 6, 2018. Retrieved April 6, 2018.
  12. 1 2 Anderson, Kyle (January 9, 2016). "Takahata Textbook: The Great Adventure Of Horus, Prince Of The Sun". The Nerdist. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  13. 1 2 3 4 5 6 7 8 9 Lambie, Ryan (March 20, 2015). "Isao Takahata's contribution to Studio Ghibli". Den of Geek. Archived from the original on March 23, 2018. Retrieved April 6, 2018.
  14. ↑ "Isao Takahata (1935-2018): A Towering Presence in Japan's Postwar Animation | animationstudies 2.0". blog.animationstudies.org. Retrieved June 13, 2026.
  15. ↑ Talbot, Margaret (January 10, 2005). "The Auteur of Anime". The New Yorker. Retrieved June 13, 2026. The three of them were officials of the animation workers' union
  16. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Lambie, Ryan (January 5, 2018). "Hayao Miyazaki's Path to Studio Ghibli". Den of Geek. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  17. ↑ Beck, Jerry (March 5, 2014). "The Animated History of "Moomin"". Cartoon Research. Retrieved June 17, 2026.
  18. ↑ Clements, Jonathan (April 30, 2017). "The Phantom Pippi Longstocking". All the Anime. Retrieved June 17, 2026.
  19. ↑ Anderson, Kyle (April 24, 2015). "Sketches For Hayao Miyazaki's Cancelled Pippi Longstocking Anime". The Nerdist. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  20. ↑ Encyclopedia of the world's zoos, Volume 3. Catharine E. Bell. 2001. ISBN 9781579581749.
  21. ↑ Salas Herrera, Oliver (2024). "The Alps as a Therapeutic Landscape in the Animation Series Heidi, Girl of the Alps (1974)". Journal of Alpine Research / Revue de géographie alpine. 112 (4). doi:10.4000/12zpd. Retrieved June 13, 2026. Isao Takahata chose to assign a predominantly realistic style to this anime, ..... This realistic style is not only present in the aesthetics of the designs, ....., but also in its audiovisual language, ..... cinematographic language through shots that seem to be taken as if they were from a non-animated production.
  22. ↑ Watzky, Matteo (August 22, 2021). "A Dog of Flanders". Animétudes. Retrieved July 2, 2026. Zuiyo Video found itself in a difficult financial position after Heidi
  23. 1 2 "Isao Takahata Exhibition Held at Azabudai Hills Gallery! The Trajectory of the Director Who Planted Japanese Animation". Visit Minato City. August 19, 2025. Retrieved June 28, 2026.
  24. ↑ Watz, Matteo (August 22, 2021). "A Dog of Flanders". Animétudes. Retrieved June 28, 2026.
  25. ↑ Watz, Matteo (April 3, 2022). "The Story of Perrine". Animétudes. Retrieved June 28, 2026.
  26. 1 2 Lucca, Violet (July–August 2018). "Worldly Wise". Film Comment. Retrieved July 2, 2026. Takahata later attributed this to his interest in Italian neorealism.
  27. ↑ Watzky, Matteo; Toadette (April 3, 2022). "The Story of Perrine". Animétudes. Retrieved July 2, 2026. This, then, opened new possibilities, especially for Miyazaki
  28. 1 2 3 4 Matteowatz, ~ (May 8, 2022). "Anne of Green Gables". Animétudes. Retrieved June 15, 2026. {{cite web}}: |first= has numeric name (help)
  29. 1 2 3 4 5 6 Hughes, William (April 5, 2018). "R.I.P. Isao Takahata, co-founder of Studio Ghibli and director of Grave Of The Fireflies". The A.V. Club. Archived from the original on April 6, 2018. Retrieved April 6, 2018.
  30. ↑ 公益財団法人徳間記念アニメーション文化財団年報 2014－2015 [Annual Report: The Tokuma Memorial Cultural Foundation for Animation 2014–2015] (Report) (in Japanese). Tokuma Memorial Cultural Foundation for Animation. 2015. p. 15.
  31. 1 2 3 4 公益財団法人徳間記念アニメーション文化財団年報 2014－2015 [Annual Report: The Tokuma Memorial Cultural Foundation for Animation 2014–2015] (Report) (in Japanese). Tokuma Memorial Cultural Foundation for Animation. 2015. p. 16.
  32. 1 2 3 Nakajima, Junzō (2010). "スケジュールは酷かったけれど、幸運に恵まれた作品". Ghibli Museum. Retrieved July 2, 2026.
  33. 1 2 3 4 5 6 7 8 9 10 11 12 Clements, Jonathan; McCarthy, Helen (2015). The Anime Encyclopedia, 3rd Revised Edition: A Century of Japanese Animation. Stone Bridge Press. ISBN 978-1611729092.
  34. ↑ Osmond, Andrew (August 3, 2018). "Isao Takahata: Endless Memories, Part II: Chie the Brat and Gauche the Cellist". Anime News Network. Retrieved June 12, 2021. Aside from the in-between animation team, most of the film was made by two artists
  35. ↑ Neece, Curator, Brenda (September 7, 2020). "The Cello Museum – Learn from the Animals - Lessons in Life and the Cello". The Cello Museum. Retrieved July 5, 2026.{{cite web}}: CS1 maint: multiple names: authors list (link)
  36. ↑ "Masami Hata Filmography > 28". Pelleas.net. July 15, 1989. Archived from the original on October 16, 2012. Retrieved July 2, 2026.
  37. ↑ 公益財団法人徳間記念アニメーション文化財団年報 2014－2015 [Annual Report: The Tokuma Memorial Cultural Foundation for Animation 2014–2015] (PDF) (Report) (in Japanese). Tokuma Memorial Cultural Foundation for Animation. 2015. p. 17. 宮崎は、1982年の『アニメージュ』2月号から漫画「風の谷のナウシカ」の連載を開始。11月には、テレコムを退社した。宮崎の後に演出を務めることになった高畑勲も、1983年3月、ゲーリー･カーツに演出プランを拒否され、辞意を表明して降板、テレコムを退社した。
  38. ↑ 風の谷のナウシカ [Nausicaä of the Valley of the Wind]. Studio Ghibli (in Japanese). Retrieved July 14, 2026.
  39. 1 2 Napier, Susan J. (2018). Miyazakiworld: A Life in Art. Yale University Press. p. 71. ISBN 9780300226850.
  40. 1 2 3 4 Napier, Susan J. (2018). Miyazakiworld: A Life in Art. Yale University Press. p. 91. ISBN 9780300226850.
  41. ↑ Napier, Susan J. (2018). Miyazakiworld: A Life in Art. Yale University Press. p. 90. ISBN 9780300226850.
  42. ↑ "Interview: Isao Takahata - The Tale of The Princess Kaguya". Close-Up Film. March 14, 2015. Retrieved July 14, 2026. Then, the next film, Laputa Castle in the Sky, I was also producer on that.
  43. ↑ Steffen, James. "Castle in the Sky". Turner Classic Movies. Retrieved July 14, 2026. Producer: Hideo Ogata, Isao Takahata, Yasuyoshi Tokuma, Tatsumi Yamashita
  44. ↑ Dudok de Wit, Alex (April 7, 2018). "Takahata Isao obituary: Studio Ghibli's quiet visionary of the real". Sight and Sound. British Film Institute. Retrieved July 14, 2026.
  45. ↑ Napier, Susan J. (2018). Miyazakiworld: A Life in Art. Yale University Press. p. 102. ISBN 9780300226850.
  46. 1 2 3 4 5 スタジオジブリの歴史 [History of Studio Ghibli]. Studio Ghibli (in Japanese). Retrieved July 24, 2026.
  47. ↑ スタジオジブリの年表 [Studio Ghibli chronology]. Studio Ghibli (in Japanese). Retrieved July 24, 2026.
  48. ↑ Cavna, Michael (April 5, 2018). "RIP: How Isao Takahata's haunting war masterpiece changed animation". The Washington Post. Archived from the original on April 6, 2018. Retrieved April 6, 2018.
  49. ↑ Goldberg, Wendy (2009). "Transcending the Victim's History: Takahata Isao's Grave of the Fireflies". Mechademia. 4: 39–52. doi:10.1353/mec.0.0030. JSTOR 41510905.
  50. ↑ NHK・Eテレ特別番組「ETV特集『火垂るの墓と高畑勲と7冊のノート』」が、8月2日(土)午後11時に放送されます [NHK ETV special Grave of the Fireflies, Isao Takahata and Seven Notebooks to be broadcast on 2 August]. Studio Ghibli (in Japanese). July 25, 2025. Retrieved July 24, 2026.
  51. ↑ 魔女の宅急便 [Kiki's Delivery Service]. Studio Ghibli (in Japanese). Retrieved August 2, 2026.
  52. ↑ おもひでぽろぽろ [Only Yesterday]. Studio Ghibli (in Japanese). Retrieved August 2, 2026.
  53. ↑ "{title}". July 21, 2015. Archived from the original on September 1, 2015. Retrieved September 18, 2018.
  54. ↑ "{title}". Financial Times. April 13, 2018. Archived from the original on September 18, 2018. Retrieved September 18, 2018.
  55. 1 2 3 Kamen, Matt (March 19, 2015). "Studio Ghibli's Isao Takahata on animating his final film". Wired UK. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  56. ↑ "Studio Ghibli co-founder Isao Takahata dies at 82". BBC. April 6, 2018. Archived from the original on April 6, 2018. Retrieved April 6, 2018.
  57. ↑ "Studio Ghibli Co-Produced Film The Red Turtle Opens Next September". Anime News Network. December 11, 2015. Archived from the original on December 13, 2015. Retrieved December 12, 2015.
  58. ↑ Collins, Robbie (May 26, 2017). "The Red Turtle: how a Japanese animated classic was made in a North London shed". The Telegraph. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  59. ↑ "高畑勲氏が死去…昨年夏頃に体調崩し入退院を繰り返す（サンケイスポーツ） - Yahoo!ニュース". Yahoo!ニュース (in Japanese). Archived from the original on April 5, 2018. Retrieved April 5, 2018.
  60. ↑ Meixler, Eli (April 5, 2018). "Isao Takahata, Co-Founder of Japan's Studio Ghibli, Has Died". Time. Archived from the original on April 7, 2018. Retrieved April 6, 2018.
  61. ↑ 高畑勲さん「お別れ会」 宮崎駿監督は声を詰まらせながら、亡き盟友を偲んだ（追悼文全文）. HuffPost Japan (in Japanese). May 15, 2018. Archived from the original on May 15, 2018. Retrieved May 15, 2018.
  62. ↑ Peters, Megan (May 15, 2018). "Hayao Miyazaki Releases First Statement About Isao Takahata's Death". Comicbook.com. Archived from the original on May 15, 2018. Retrieved May 15, 2018.
  63. ↑ Ōtsuka Yasuo no Ugokasu Yorokobi DVD. Studio Ghibli. 2004.
  64. ↑ "Bring Me Beauty". Little White Lies (12: The Tales from Earthsea Issue). 2007.
  65. ↑ De Schrijver, Benjamin (March 10, 2006). "Notes Isao Takahata lectures – Anima 2006". benjaminds.blogspot.com. Archived from the original on July 16, 2007. Retrieved October 26, 2015.
  66. ↑ "Isao Takahata's contribution to Studio Ghibli". Den of Geek. Archived from the original on August 7, 2017. Retrieved August 6, 2017.
  67. 1 2 Collin, Robbie (August 4, 2014). "Goodbye Studio Ghibli, your genius will endure". Archived from the original on April 9, 2018. Retrieved April 5, 2018 – via www.telegraph.co.uk.
  68. ↑ Byford, Sam (November 28, 2014). "'The Kingdom of Dreams and Madness' reveals the tortured genius of Studio Ghibli". The Verge. Archived from the original on September 7, 2018. Retrieved April 6, 2018.

Further reading

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