Big news for New York anime fans: acclaimed Japanese animation director Satoshi Kon (Paprika, Perfect Blue, etc.) is coming to New York City this week to personally host a retrospective of his films for the Film Society of Lincoln Center. Kon will be participating in an onstage interview opening night, Friday June 27th, to kick off the series, and will be introducing all the films for the duration of the screenings (June 27-July 1).

This is an incredible opportunity to meet one of the modern masters of anime. For more information on this series, Satoshi Kon: Beyond Imagination, and to purchase tickets go to the Walter Reade Theatre website.

Harvey Deneroff has announced on his blog the forthcoming publication of his new book with Fred Ladd, Astro Boy and Anime Come to the Americas. The book details the story of Ladd’s involvement with bringing Astro Boy (and by extension, Japanese anime itself) to America in the early 1960s. Ladd was significantly involved with Tezuka’s pioneering series and subsequently responsible for bringing Gigantor, Kimba The White Lion and Sailor Moon to U.S. audiences.

The book will go on sale in November, from McFarland.

Madhouse’s 2006 film, The Girl Who Leapt Through Time, is going to get a limited U.S. theatrical release next month through Bandai Entertainment. It’ll be screening June 13 through June 19 at the ImaginAsian Center in Los Angeles (251 South Main Street, Los Angeles, California 90012), at the ImaginAsian Theater in New York (239 East 59th Street, New York, NY, 10022), as well as from August 29 through September 4 at the Landmark Varsity Theatre in Seattle (4329 University Way N.E. Seattle, WA 98105). In Los Angeles and Seattle, the English-subtitled version will be screened, and in New York, the English-dubbed version. Show times will be posted on the theater websites closer to the actual screening dates.

The Girl Who Leapt Through Time was directed by Mamoru Hosoda. The film was recognized with the Special Distinction honor at the 2007 Annecy International Animated Film Festival. It also won numerous honors at festivals in Japan, including the Animation of the Year Japan Academy Prize (akin to the American Academy Awards). I’ve seen it and it’s a wonderful film—well worth seeing on the big screen.

(Thanks, Nicholas Zabaly)

As I admitted in a post below, I’ve always been a fan of the original 60s anime of Speed Racer. One of my proudest moments came in the early 1990s, when I was co-running Streamline Pictures, and I had the opportunity to concoct my own Speed Racer “movie”.

My business partner Carl Macek had been acquainted with the Rocknowski’s (John and Jim), a father and son, who represented the U.S. rights to the Speed Racer property (I was never sure if they owned the rights outright or managed them on behalf of Tatsunoko studios). One day in 1992, Carl came into the office and told me we had the rights to make a Speed Racer movie - and handed it over to me to create something we could release theatrically. The good news is that the Rocknowski’s gave the old show to MTV to rerun - and it was suddenly a retro hit. The other good news was that I found out that the original series was shot in 35mm (many early anime series were shot in 16mm). MTV was running old, fading 16mm copies… the movie I would create would look pretty amazing in full color and 35mm clarity.

I decided I would make a theatrical “event” by creating an extra long Speed Racer TV show that the college crowd could either watch seriously or goof on, but at least it would be fun. I chose The Car Hater because it explains the gimmicks of the Mach 5 and is a particularly ridiculous episode, and and the Race Against The Mammoth Car as it was a particular favorite from my Channel 11 (WPIX) formative years. I threw in a Colonel Bleep cartoon to bridge the episodes and inserted several vintage animated commercials (from Playhouse Pictures). Rummaging the Rocknowski’s film vault I found the original uncut Mach Go Go Go opening animation and incorporated that into the beginning of the film, and left in all the additional violence I found in the uncut 35mm masters I got from Japan.

We called the theatrical feature, The Speed Racer Show and held our world premiere at the Nuart Theatre in West Los Angeles. That’s me, above, in front of the one sheet I had “wild posted” all over L.A. (click here to see the full image). The Rocknowski’s brought the original voices (U.S. dub), Peter Fernandez and Corrine Orr, out from New York and they did some local radio (KROQ) and TV (KTLA Morning News) and appeared at the opening night in person. Our first night was a smash, with lines around the block. Radio D.J. Richard Blade (from KROQ) was the M.C. of our first show and interviewed Corrine and Peter on stage. We partied at a local hotel afterward. Next to introducing Katsuhiro Otomo at the New York opening of Akira, this was my favorite moment of the entire Streamline Pictures experience.

The “film” I created was later sold to home video (the title changed to Speed Racer: The Movie). The poster, however, had an afterlife. It was used as a set decoration on the first episode (the pilot) of Friends. It’s prominently featured on the wall of Ross’ new apartment. In fact, it’s the only thing in his apartment (That’s Chandler, below, standing in front of it in the frame grab below - a frame from a hebrew subtitled clip on YouTube. If anyone has a better frame grab, please send it to me).

So that was my only professional involvement with Speed Racer. I had a great time, met many great people — and I wish the Rocknowski’s, and the Wachowski’s, all the best with their future efforts.

The Wachowski Brothers Speed Racer movie opens this week. I hope the new film is as much fun as the video below. In it, Speed Racer goes psycho. Brew reader John Kearns created it using only footage and soundtrack from the original Tatsunoko cartoon.

I love the original series. It’s one of my guilty pleasures. SciFiJapan.com has just post a number of excellent SPEED RACER reference pieces well worth reading, and bookmarking.

The first one is nice piece on the creation of the Tatsunoko studio and the origins of the Speed Racer character. The second post is a concise overview of the series, characters and the Mach 5. Read these and you’ll be all up to speed (pun intended).

(Thanks, John Cassidy)

The tortured history of the TMS feature film Little Nemo: Adventures In Slumberland (1992) could rival that of Richard Williams The Thief And The Cobbler. It was an American/Japanese joint project, with no less than Hayao Miyazaki and Isao Takahata involved in the pre-production stage (1982-83).

George Lucas, Chuck Jones, Gary Kurtz, Ray Bradbury, Chris Columbus, Moebius, John Canemaker, Leo Salkin, Paul Julian, Ken Anderson, Frank Thomas and Brad Bird (who talks about his involvement in the comments below) were attached to this film at one time or another. Bill Hurtz (George of the Jungle, Unicorn In The Garden) and Masami Hata (Sea Prince and the Fire Child) ultimately directed the final release, admittedly a mixed bag.

The idea of making a fully animated adaptation of Winsor McCay’s comic strip masterpiece somehow seems like a good idea (McCay himself authorized a musical stage play based on the strip in 1908), and the names assembled (above) to tackle such a project were certainly capable doing so.

If you’re wondering what a Miyazaki version might’ve been like, check this out. Below I’ve posted a short test film dating from December 1984. Key Miyazaki animator/director Yoshifumi Kondo (Whisper Of The Heart) directed this test sequence, supposedly filmed in 70mm. The mind boggles as to what could have been.

Oh, and who authorized this?

Perhaps the most obscure of the pioneering anime series imported to the U.S. in the 1960s was Osamu Tezuka’s The Amazing Three. Why has it has been missing-in-action for so long? Perhaps because, unlike Astro Boy, Gigantor, 8th Man and Prince Planet the show did not feature a costumed super-hero or high tech robot. Or perhaps, unlike Speed Racer and Kimba, the show wasn’t produced in color.

It did have a science fiction premise - three aliens come to Earth disguised as a rabbit, a duck and a horse and must decide if they should blow up the planet, or save it. The design of this show was faithful to Tezuka’s original manga, and the stories were always a fun mix of comedy, drama and action.

Now, as all things must, it has shown up on ebay. Someone has found twelve original negatives to the English dubbed version in the vaults of Los Angeles’s KCOP-13 and is selling them on ebay for $24,000. Close up images of these negs can be viewed here. Note that one is marked for use by New York’s TV station WPIX (where I saw it as a kid).

Twenty-four Grand is too rich for my blood. Let’s hope someone smart acquires this material and puts it out on DVD for all of us to enjoy. In the meantime, courtesy of Toontracker (via You Tube), here is the rarely seen opening to the American version:

A pair of animated films, discovered last year at an antique market in Osaka, have been identified as two of the earliest cartoons ever produced in Japan. Tokyo’s National Museum of Modern Art has announced the restoration of Jun-ichi Kouchi’s 1917 Namakura-gatana (”An Obtuse Sword” pictured above) and Seitaro Kitayama’s 1918 Urashima Taro (Taro, The Sentry: Submarine). Both films will be screened publicly on April 24th at the Museum’s National Film Center.