Miyazaki: The greatest challenge we have right now is that my staff has aged along with me, and so we need to get some fresh blood into our studio. And we’re making those efforts, but that’s a big challenge we have. But of course I don’t want to fire my old staffs, so I want them to stay on, and we are trying to figure out ways where they can continue to work, as well as have [bring on] new staff. So the waves weren’t as difficult as I thought they would be. So as I was drawing, I thought, “Well, I should have done this from the beginning.” I realized that I should do it like an Ukiyo-e woodblock print, draw them that way. (more)
2. Hayao Miyazaki Wants You To Know Why Nausicaä Has Large Breasts
Miyazaki: That’s not only so she’ll be able to feed her children, or for sleeping with the guy she likes. They’re when she embraces the old man and old ladies in the castle when they are dying. I think her bosom is something like that. That’s why it had to become big. (more)
3. A god among animators
In 1997 the director signed a distribution deal with Disney. It was to prove a springboard to global renown, paving the way for a dedicated exhibition at New York’s Museum of Modern Art and helping him secure the 2003 Oscar for Spirited Away. Even so, the nature of Miyazaki’s films has been tweaked in transit. In Japan, his films are blockbusters the whole family can enjoy. In Britain and the US, he remains a predominantly adult, art-house phenomenon.
Miyazaki taps a cigarette from a silver case. The Disney deal suits him, he explains, because he has stuck to his guns. His refusal to grant merchandising rights means that there is no chance of any Nausicaa happy meals or Spirited Away video games. Furthermore, Disney wields no creative control. There is a rumor that when Harvey Weinstein was charged with handling the US release of Princess Mononoke, Miyazaki sent him a samurai sword in the post. Attached to the blade was a stark message: “No cuts.”
The director chortles. “Actually, my producer did that. Although I did go to New York to meet this man, this Harvey Weinstein, and I was bombarded with this aggressive attack, all these demands for cuts.” He smiles. “I defeated him.” (more)
4. The legendary director talks about his final and most controversial animated film, ‘The Wind Rises.’
HM: As I was growing up, I remember the last years of World War II. The period before Japan entered into World War II, this is the period of my parents. All of that is a grey color to me. I don’t know what happened. I didn’t know that much about that era. Jiro Horikoshi and Hori Tatsuo were two people that were very interesting to me. Both experienced very sad things in their lives during that period. From the tragedy they experienced, these two people, as I continued to look at them, became the one protagonist in my film. (more)
5. The following interview below is a report of the debate/press conference Miyazaki gave in Paris in late December 2001
Is it true that your films are all made without a script?
That’s true. I don’t have the story finished and ready when we start work on a film. I usually don’t have the time. So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. We never know where the story will go but we just keep working on the film as it develops. It’s a dangerous way to make an animation film and I would like it to be different, but unfortunately, that’s the way I work and everyone else is kind of forced to subject themselves to it. (more)
6. Miyazaki On Miyazaki: The Animation Genius On His Movies
Miyazaki on Miyazaki “I wanted to make an adventure story with the kind of boy hero who starts out fighting and has a lot of dreams. And I was able to confirm that people don’t come to see that kind of film! After the time, a lot of people started saying, ‘I love Laputa,’ but at the theatrical release, it didn’t attract much of an audience. A male is recognized as an adult when he has a job, an occupation. For a woman, her physical presence itself makes her a character, but a man needs to have this social occupation or some kind of status, or some kind of fate — something that you can’t see.
7. Animerica Anime & Manga Monthy magazine interview with Hayao Miyazaki Copywrite 1997 Viz Communications, Inc.
MIYAZAKI: It’s because I wouldn’t want to draw a character like that as a human being. :: LAUGHS::
ANIMERICA: I’ve been reading MODEL GRAPHIX since the serial began. When Porco Rosso first showed up, I thought that it would make for some interesting animation…
MIYAZAKI: Pigs are creatures which might be loved, but they are never respected. They’re synonymous with greed, obesity, debauchery. The word “pig” itself is used as an insult. I’m not an agnostic or anything, but I don’t like a society that parades its righteousness. The righteousness of the U.S., the righteousness of Islam, the righteousness of China, the righteousness of this or that ethnic group, the righteousness of Greenpeace, the righteousness of the entrepreneur…. They all claim to be righteous, but they all try to coerce others into complying with their own standards. They restrain others through huge military power, economic power, political power or public opinions.
8. Hayao Miyazaki: Modern movies are too weird for me
“I can’t stand modern movies,” he winces. “The images are too weird and eccentric for me.” He shuns TV and most modern media, reading books or traveling instead. It is no surprise to find that the multimillionaire director’s car, parked outside the Ghibli studio, is an antique Citröen CV, an icon of minimalist, unfussy driving. ……”Young people are surrounded by virtual things,” he laments. “They lack real experience of life and lose their imaginations. Animators can only draw from their own experiences of pain and shock and emotions.”
Background Art Studio “Dehogya Galleries Shareholder Darling” was established to protect Japan’s hand-drawn background art culture, initiated by Hideaki Anno (庵野秀明), Yoshiaki Nishimura (西村義明) and Nobuo Kawakami(川上量生) and they talked together on the theme.
This event was held in commemoration of the opening of the feature animation work “Mary and the Witch’s Flowers” for the first time after Director Nishimura left the Studio Ghibli. Anano said about the thought that agreed with the establishment of the same studio “The hand drawing will become more severe in the situation from now on. Because the digital one is more efficient and it will work, in that kind of situation, I want to leave things like traditional crafts, I want to say that although it can be said to drawing, so I just want you to get a newcomer anyway, if it keeps even a little new, I can continue even though it is small. ”
As regards the importance of background art, Anno says, “If there are fine arts, it will be possible to make a long scene without characters, and the direction will change as well. On the contrary it could not, if you do not budget art. In that sense, it is important that art director do well as much as character design do well”. Kawakami also says, “Animation directors do not spend money on art even though they think it is important, but in my sense, it is a good idea to look at web services, there art design is one of the important parts,” he said.
Kazuo Oga (男鹿和雄) who served as a director of art such as “My Neighbor Totoro”, “Princess Mononoke” and the naming person of this studio name Dehogyallyary. “Dehogya(でほぎゃ)” is the meaning of saying “let’s leave it, let’s leave it” appropriately in Akita(秋田) dialect, and it was the name that he thought to use if he launched a studio to support the hands-painting. The all of speakers are on the same point to do a good background art” to draw carefully where is important and to draw less where is not important.” (Akita is a prefecture of japan located in the north part of japan)
From such a trend, Nishimura tolled an opinion from Oga that “Because the character is the leading role, we watch the background draws in the edge of our view”. Anano also said that “Hayao Miyazaki（宮崎駿）drew Perth (perspective) incorrectly”. “Animation is exciting, so there are lots of widths. These days polygons (Pictures) are used well, but hand-drawing is also nice. Dehogya gallary also has hand-drawin like Ghibli. It would be better to have it, so I hope that Dehoga gallary will also cooperate when we make animation. ” this article is cited from here.
*Hideaki Anno (庵野 秀明 Anno Hideaki, born May 22, 1960) is a Japanese animator, film director and actor. He is best known for his part in creating the popular anime series Neon Genesis Evangelion.
＊Yoshiaki Nishimura (西村 義明 Nishimura Yoshiaki, born September 25, 1977 in Tokyo, Japan) is a Japanese lead film producer formerly of Studio Ghibli and founder of the company Studio Ponoc. He was nominated for the Academy Award for Best Animated Feature in 2014 for The Tale of Princess Kaguya.
*Nobuo Kawakami (川上 量生, September 6, 1968 -) is a Japanese businessman and film producer. Kadokawa Corporation President and Representative Director (first generation), Dwango Representative Director and Chairman (first generation), KADOKAWA Corporation Director, Studio Ghibli affiliation, Color Director, Inc., Hiragiri Director, Public Interest Foundation Tokuma Memorial Animation Culture Foundation board director, school corporation director Kadokawa Dwango.
According to Director Yonebayashi, “when I first decided to make this work, I reported to Studio Ghibli Director Hayao Miyazaki and Suzuki Toshio Producer, and they gave me inspiration that they could “be prepared for it”, and Director Isao Takahata described it “interesting”.
Director Yonebayashi said, “Director Miyazaki said I do not watch this work, after having finally finished a new work and visiting Ghibli”. However, Yonebayashi also revealed that Miyazaki put words of appreciation for my best efforts on this work. Also, “Since the completion of the work was late for the delay, Mr. Miyazaki was worried and said to me that” Can you really finish it? “, So I am glad that I could report the completion successfully. ” He showed the expression of relief.
“Nishimura producer showed his confidence of this work as it is started by Yonebayashi’s Motivation from his 20 years carrier in Ghibli. Yonebayashi also stated “I’ve made it very hard for two and a half years.” “In the movie, Mary loses its magical power on the way, but what kind of feeling helps her to stands up with at the time to move forward?, … please watch this movie and I will be happy, when you are encouraged to take a next step”, he added a comment as if he overplayed himself with Mary, and appealed the movie.
July 8 (Sat) 2017, An animation movie “Mary and the Witch’s Flower” （メアリと魔女の花）will celebrate the theatrical release. Director Hiromasa Yonebayashi （米林宏昌）who painted the sensibility of a female girl in a studio ghibli with “Arrietty”（借りぐらしのアリエッティ）, “When Marnie Was There（思い出のマーニー）” . He finished his work in Ghibli and found a new anime studio Ponock. “Mary and the Witch’s Flower” is the first Movie from this studio.The origin of the name of “Ponok” is Croatian, meaning “0 o’clock midnight, the day began and it became zero, a new day begins again”. Director Uri Hayashi wondered what he thought of his idea.
Director Yonebayashi said:
After the work When the Marnie was there, and “Marney” is a work of “static”, this time I want to make a work of “dynamic”, emotions and emotions appear in the new work, I made it with the desire to make it work that goes around and moves like that a girl moving across a vast space riding on the broom.
After a while since making “Marnie”, Nishimura producer tells me, “What will you do next?” And I said “I will do it!” It was already decided that the Studio Ghibli production division had already been decided to close at that point, but still I would like to create a single work. I did not understand what it would be like at all, but if I did not do it, I will do it. So I decided to move on to the next action.
After that, I went to the library with Nishimura Producer and two people started from searching for the original. I hope to concentrate on making works, but Nishimura Producer seems really hard at finding real estate and doing the procedure of the new studio.”