Tove Jansson was no shrinking violet. She’d made it very clear to the Japanese animators that the policy on her Moomins books was “No Money! No Cars! No Fighting!” That wasn’t clear enough for Tokyo Movie, who let a guy called Hayao Miyazaki put a tank in one episode. It wasn’t the only sore point with Jansson, but it sure didn’t help. Amid much finger-pointing and recriminations, and whispers in the industry that someone had offered a cheaper deal, production on the 1969 Moomin series suddenly shifted to Mushi Pro.
Jansson never knew that many of the underlings and out-sourcing companies remained the same. Noboru Ishiguro, who’d been an inbetweener beforehand, got bumped up to director, and recalled that a number of the staff were self-medicating due to the stress of drawing squashy little Finnish trolls.
One Kanazawa-san was stopped by the police after a particularly boozy night at the studio, and breathalysed.
“Why are you up this late?” asked the policeman.
“We’re animators,” he slurred. “We worked… we finished and I had a glass. We draw… we draw… do you know the Moomins? Like this. Look.” And he dashed off a sketch on a piece of paper.
The policeman was impressed.
“My kid loves the Moomins,” said his fellow officer. “Can you draw one for him?”
All too aware of the threat of a drunk-driving conviction, Kanazawa smilingly complied, only to discover that every cop at the road block now wanted his own Moomin pictures. But eventually, all fan-art desires satisfied, the animators were waved on their way. It was close escape.
A week later, a suitably cowed Kanazawa clocked off at the studio and headed out, without a drink – he had learned his lesson. As was his habit, he offered a lift to a bunch of other animators, and the crowded car set off on the dark streets, only to run into a police roadblock.
An officer approached the car with a torch, and suddenly yelled out.
“They’re here! I’ve found them!”
Kanazawa was confused. He knew his driving wasn’t at fault, but could not help but notice half a dozen policemen running over towards his car.
“What is it?” he asked, butterflies in his stomach.
“Those Moomin drawings were so popular at the police station,” said the lead cop, “that all the other officers wanted ones of their own. We figured you would come back this way some time, so we’ve been waiting for you.”
Kanazawa reddened with anger, and pointedly started up his engine.
“How can I draw when I’m sober?” he growled, driving off into the night.
Jonathan Clements is the author of An Armchair Traveller’s History of Finland. This article first appeared in NEO #160, 2017. This story does not appear in the Adventures in Moominland exhibition, which is running on London’s South Bank until 23rd April.
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