Quotes by Hayao Miyazaki
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Wikipedia Summary for Hayao Miyazaki
Hayao Miyazaki (宮崎 駿, Miyazaki Hayao, [mijaꜜzaki hajao]; born 5 January 1941) is a Japanese animator, director, producer, screenwriter, author, and manga artist. A co-founder of Studio Ghibli, he has attained international acclaim as a masterful storyteller and creator of Japanese animated feature films, and is widely regarded as one of the most accomplished filmmakers in the history of animation.
Born in Bunkyō ward of Tokyo, Miyazaki expressed interest in manga and animation from an early age, and he joined Toei Animation in 1963. During his early years at Toei Animation he worked as an in-between artist and later collaborated with director Isao Takahata. Notable films to which Miyazaki contributed at Toei include Doggie March and Gulliver's Travels Beyond the Moon. He provided key animation to other films at Toei, such as Puss in Boots and Animal Treasure Island, before moving to A-Pro in 1971, where he co-directed Lupin the Third Part I alongside Takahata. After moving to Zuiyō Eizō (later known as Nippon Animation) in 1973, Miyazaki worked as an animator on World Masterpiece Theater, and directed the television series Future Boy Conan (1978). He joined Tokyo Movie Shinsha in 1979 to direct his first feature film The Castle of Cagliostro as well as the television series Sherlock Hound. In the same period, he also started writing and illustrating the manga Nausicaä of the Valley of the Wind (1982–1994), and he also directed the 1984 film adaptation produced by Topcraft.
Miyazaki co-founded Studio Ghibli in 1985. He directed numerous films with Ghibli, including Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki's Delivery Service (1989), and Porco Rosso (1992). The films were met with critical and commercial success in Japan. Miyazaki's film Princess Mononoke was the first animated film ever to win the Japan Academy Prize for Picture of the Year, and briefly became the highest-grossing film in Japan following its release in 1997; its distribution to the Western world greatly increased Ghibli's popularity and influence outside Japan. His 2001 film Spirited Away became the highest-grossing film in Japanese history, winning the Academy Award for Best Animated Feature at the 75th Academy Awards, and is frequently ranked among the greatest films of the 2000s. Miyazaki's later films—Howl's Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013)—also enjoyed critical and commercial success. Following the release of The Wind Rises, Miyazaki announced his retirement from feature films, though he returned to work on the upcoming feature film How Do You Live? in 2016.
Miyazaki's works are characterized by the recurrence of themes such as humanity's relationship with nature and technology, the wholesomeness of natural and traditional patterns of living, the importance of art and craftsmanship, and the difficulty of maintaining a pacifist ethic in a violent world. The protagonists of his films are often strong girls or young women, and several of his films present morally ambiguous antagonists with redeeming qualities. Miyazaki's works have been highly praised and awarded; he was named a Person of Cultural Merit for outstanding cultural contributions in November 2012, and received the Academy Honorary Award for his impact on animation and cinema in November 2014. Miyazaki has frequently been cited as an inspiration for numerous animators, directors, and writers.
In the midst of my travels, I heard of an ominous rumor... It said that a monster from the ancient world had been excavated from beneath the city of Pejite where it had been sleeping.
But remember this, Japanese boy, airplanes are not tools for war. They are not for making mone. Airplanes are beautiful dreams. Engineers turn dreams into reality.
I think it's really good for a family or children to have a dog, cat, bird or whatever to grow up with.
There are so many ships in the animation sea that are computer driven, that I think we can have at least one that's just a log raft that we can row by hand.
To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you
have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
I think 2-D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2-D and 3-D could coexist happily.
These days, there are angry ghosts all around us, dead from wars, sickness, starvation -- and nobody cares. So you say you're under a curse? Well, so what? So's the whole damned world.
Producing an animation series merely to fill time slots in the broadcast schedule is like generating cultural pollution.
When you watch the subtitled version you are probably missing just as many things. There is a layer and a nuance you're not going to get. Film crosses so many borders these days. Of course it is going to be distorted.
The principle I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don't quite fit with my backgrounds, I never waste it and try to find the best use for it.
I wish I was better at art. I love some of the great artists of the 19th century and, compared to them, I just feel I lack this technique that they had. They have so much skill.
You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films.
Prizes do not mean anything to me. I think it is more important to make a child aware of the existence of a weird creature like a water spider that breathes through its backside.
The villains are all parts of me. For years I've been wondering what it would be like if all those negative elements were forced onto the main character's side. I can understand a character with that kind of anger.
Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It's produced by humans who can't stand looking at other humans. And that's why the industry is full of otaku!
Virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people.
I do believe in the power of story. I believe that stories have an important role to play in the formation of human beings, that they can stimulate, amaze and inspire their listeners.
In our work, the question is, how much you absorb from others. So for me, creativity, is really like a relay race. As children we are handed a baton. Rather than passing it onto the next generation as is, first we need to digest it and make it our own.
I myself become terrified of death when I am in a negative state of mind. But the thought of death ceases to bother me once I become productive.
No matter how many weapons you have, no matter how great your technology might be, the world cannot live without love.
Its not a story in which the characters grow up, but a story in which they draw on something already inside them, brought out by the particular circumstances. I want my young friends to live like that, and I think they, too, have such a wish.
I'd like to see Manhattan underwater. I'd like to see when the human population plummets and there are no more high rises, because nobody's buying them. I'm excited about that. Money and desire--all that is going to collapse, and wild green grasses are going to take over.
Modern life is so thin and shallow and fake. I look forward to when developers go bankrupt, Japan gets poorer and wild grasses take over.
When I say I get inspiration from my real life, I think of my real life as extending about 300 meters radius around me. So what I see in that area is what inspires me.
It's disgusting. On trains, the number of those people doing that strange masturbation-like gesture is multiplying.
I don't like games. You're robbing the precious time of children to be children. They need to be in touch with the real world more.
At the time, sword and sorcery stories were quite popular. There were female warriors waving swords around as well, but the genre is populated entirely with people who have absolutely no responsibility to anyone, so I knew my story would have to be completely different from any of these.
Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.
Many of my movies have strong female leads -- brave, self-sufficient girls that don't think twice about fighting for what they believe in with all their heart. They'll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.
Yet, even amidst the hatred and carnage, life is still worth living. It is possible for wonderful encounters and beautiful things to exist.
But remember this, Japanese boy... airplanes are not tools for war. They are not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality.
The concept of portraying evil and then destroying it -- I know this is considered mainstream, but I think it is rotten. This idea that whenever something evil happens someone particular can be blamed and punished for it, in life and in politics is hopeless.
Many of my movies have strong female leads- brave, self-sufficient girls that don't think twice about fighting for what they believe with all their heart. They'll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.
I managed to work for more than 50 years with just paper, pencils and film. My son's generation and the one coming up after can't work with just paper and pencils any more. I managed to avoid using a computer. I don't even have a cellphone. I feel lucky I managed to live like that.
I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.
When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
I think Tokyo is going to sink under water soon. All those stupid high-rise buildings will sink and maybe all the traffic will be gone. And everything will be peaceful and quiet.
Watching John Lasseter's films, I think I can understand better than anyone that what he's doing, is going straight ahead with his vision and working really hard to get that vision into film form. And I feel that my understanding this of him is my friendship towards him.
I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
Plants exist in the weather and light rays that surround them -- waving in the wind, shimmering in the sunlight. I am always puzzling over how to draw such things.
It seems like everything that we see perceived in the brain before we actually use our own eyes, that everything we see is coming through computers or machines and then is being input in our brain cells. So that really worries me.
Sometimes I test myself saying, 'If I get a death sentence if I don't make this movie, would I still make this movie?'