1. Hayao Miyazaki Interview PONYO
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.”