No matter how deeply you have been hurt, there will always be someone who will make you forgive all the hardships of life for you. -Hayao Miyazaki
Because of you, I want to be a better person, I don't want to be a burden to you, so I work hard, just to prove that I am enough to match you. - Hayao Miyazaki
If we show our childhood again, we will laugh first, then cry bitterly, and finally hang on to tears and smile and go to sleep. - Hayao Miyazaki
Miyazaki was born in Tokyo in 1941. The family originally lived in Bunkyo-ku, Tokyo, but was evacuated during World War II and moved to Utsunomiya and Shimanuma. His family ran an aircraft factory and belonged to the military industry, so they could maintain a considerable subsistence life in the later stages of the war. However, Miyazaki, who grew up in this environment, unexpectedly became suspicious of the family's privileges.
As a child, Miyazaki loved to read books and read manga. In middle school, I planned to become a manga artist and began to actively practice manga. In the third grade of high school, he met the first person he fell in love with: the White Lady in Toei Animation's first full-length color film "The Legend of the White Snake".
Miyazaki then joined the Faculty of Political Science and Economics* at Gakushuin University. There was no manga club in the university, so I entered the children's literature research association closest to it, and the legendary member of the club was only Miyazaki. During this period, he created a large number of manga, and also submitted articles to the Loan Manga Publishing House, but there seems to be no finished work. Miyazaki was merely a spectator in the turbulent security movement at the time, participating only as a nonpartisan at the last minute.
At this time, Miyazaki made a lifelong employment decision: to go to Toei Animation.
Since Miyazaki is the second son and has the eldest son to inherit the family business, he can choose his own profession according to his liking. The reason for giving up manga and choosing anime is because I said that my work was imitating Tezuka, and I didn't think so. Realizing that he could not surpass a manga artist like Tezuka, he chose an anime that didn't matter if it wasn't original. It was 1963.
Toei Animation was established by Toei Films to absorb Hindō Pictures Co., Ltd. Before the establishment of Osamu Tezuka's Bugspro in 1961, it was almost the only company in Japan to produce animation, with a strong humanistic atmosphere and a long tradition. Bugpro was influenced by low-cost TV animation, and at that time, high cost, fine graphics, and traditional animation films were still the world of Toei. When Miyazaki entered Toei, he was only the lowest original artist. At that time, there was a leftist trend in the post-war literary and art circles (don't forget that the security movement had just ended), the company was full of democracy, and many things in the works were decided by everyone's discussion. The hard-working, highly educated Miyazaki thus came to the fore in the discussion. In 1964, the company began to carry out trade union activities, led by Yasuo Otsuka, vice chairman by Takahata Hon, and secretary general by Miyazaki.
Yasuo Otsuka, an elder in the company, discovered the talents of Takahata Anderson, who graduated from the University of Tokyo. In 1965, the union's group began working together on The Adventures of The Sun Prince Halls, with Otsuka as the painting supervisor and Takahata, who was then a newcomer, promoted to superintendent. Because Miyazaki played such a big role in his work, everyone invented a position for him: scene design. Takahata, who is full of literary talent, brought a new concept to this work, adding more profound connotations and rich performances, and it can be said that this is japan's first long-form color animation that is not only made for children. It is also worth mentioning that due to the interference of the work of the trade unions and management in negotiating treatment and working conditions, the production of this animation was interrupted in October 1966, continued in January 1967, and officially screened in July 1968. During this period, Miyazaki married his colleague Jumi Ota in 1965, and the eldest son was born in 1967. Due to the spirit of excellence of the producers, the work was constantly postponed and budgeted. However, although the work was later highly praised, it did not break even in terms of box office revenue at the time. After completing this work, Yasuo Otsuka, who had caused a union and a deficit, left Toei Animation and joined A-Pro.
Miyazaki continued to work at Toei Animation along with takahata and Yoichi Odabe, and his position was still the original painting. In 1969, he began serializing the short manga "Desert People" in newspapers under the pseudonym of Saburo Akitsu. This may have been a bit of a prototype for the later "Valley of the Wind".
In 1971, the trio jumped from Toei Animation to Yasuo Otsuka's A-Pro. As an aside, it was at this time that Yoshifumi Kondo, the director of "Listening in The Ear", who served as a painting supervisor in many of Ghibli's works, met at this time, and this group of people had a cooperation of 20 to 30 years, which was a terrible fate. As one of the main creators of the new project "Pippi of Longstockings", Miyazaki traveled abroad for the first time to visit Scotland. However, due to the original author's reasons, the project was eventually abandoned. Originally, Miyazaki loved the scenery of European villages and towns, and the impression of this experience appeared in many later works.
Next, they all participated in the production of the TV version of "Lupin III" led by Yasuo Otsuka. Until now, almost every year has been released in TV special or theatrical versions, and Lupin has changed from a thief in a mansion to a familiar civilian image, and Takahata and Miyazaki's unauthorized adaptation of the original work can be described as far-reaching.
After that, the combination of Takahata Hoon and painting supervisor Odabe Yoichi and Miyazaki created a large number of works, the most noteworthy of which is "Panda Family". For the first time, the work was based on depicting everyday life, and was the first attempt at a new style after Takahata. In the panda fever, this adventure evaluation is very good.
In 1974, the trio moved together to Zuiyou Images, the parent company of Japanese Animation, which later became known for the "World Masterpiece Theater" series. The first animation "Girl of the Alps" that the trio collaborated on can be said to have laid the foundation for the style of the entire series, and Takahata's depiction of daily life was mainly based, and the director's style of emphasizing action timing was formed. This new style of animation was a great success. Miyazaki's current role is layout and picture composition, and a new job invented to match the new form of painting. For Takahata, who can't paint, Miyazaki turns his ideas into compositions like his hands and feet.
The trio also served as the supervisor of "Three Thousand Miles for Mother" (1976) and "Annie the Red-Haired Girl" (1979) in the world famous theater series. Later, Miyazaki, who had been practicing for a long time and had many experience in dominating TV episodes, was first given a supervisory position in 1977, which was "Future Boy Conan" (1978). Compared with Takahata, who respects the original and has a calm style, Miyazaki is characterized by imagination and rich expressiveness for action. The original, which was originally pessimistic, was changed by Miyazaki to a bright teenage girl story. This story can be seen in the shadow of later stories such as "Castle in the Sky".
In 1979, in order to produce the theatrical version of the anime "Lupin III Kallistero City", he was transferred to Tokyo Movie Shinsha, and the art supervisor was Yasuo Otsuka, the original creative member of the Lupin animation series. If you think about GHIBLI's work, be sure to check out this work, which has the same quality and charm as the later GHIBLI works, and is still a legendary classic. However, at that time, it was a well-received work. After that, Miyazaki worked at TELECOM, a newcomer development company at Movie Shinsha in Tokyo, where he continued to produce the New Lupin TV series. Here, Miyazaki proposed a plan to become the predecessor of the later Totoro and Princess Mononoke. However, of course, it was not adopted.
Life is a turning point
In 1981, Miyazaki took another turning point in his life. Toshio Suzuki, editor-in-chief of Tokuma Shoten's newly launched animation magazine Animage, wanted to produce an animator to access the album, presumably intending to visit Takahata Hoshi, who had become famous for his success in the World Masterpieces Series, but was rejected by Takahata and Miyazaki. In the end, for some reason, it actually became an interview album by Hayao Miyazaki, who was quite young and had no fame at all. This seemingly chaotic move can be said to have pulled a hen with a golden egg to the Tokuma Bookstore.
Animage also discovered and funded other young and talented animation supervisors such as Mori Oshii in an effort to make a name for them, but the cooperation was not as smooth as That of Miyazaki, but the cooperation was not as smooth as that of Miyazaki.
Led by Toshio Suzuki and Tokuma Shoten, Miyazaki began to create his own animation. The theatrical version of the anime Nausica of the Valley of the Wind was originally reverted because there was no original work, so in 1982 Miyazaki serialized his manga on Animage. The dense drawing, the deep and multiple reflections, make this intermittent comic epic reach considerable achievement. After Miyazaki finished his work on the production of "Detective Sherlock Holmes", he left Tokyo Movie Shinsha to prepare for a new work.
In 1983, the legend began. People who have worked together since the time of the Prince of the Sun have gathered again, and the animation of "Valley of the Wind" has begun to be produced. Miyazaki alone is responsible for supervising, scripting, and storyboarding. Working from the lowest level to the top, Miyazaki has the ability to dominate most of the work of animation from story to painting. The film ends up with a religious ending, and although the producers are not satisfied, they are unexpectedly very moving during the screening. In the context of the success of the game, in 1985, with the investment of Tokuma Shoten, Miyazaki and Takahata co-founded Studio Ghibli, which comes from a reconnaissance aircraft in Italy during World War II (a family hobby), meaning "the hot wind of the Sahara Desert", because Miyazaki's father used to work in an aircraft factory, and since Miyazaki was a child, he was full of yearning for flight and the sky, which is also one of the origins of Ghibli. It is precisely because this Miyazaki hayao has always been depicted in many of his future works through the sky scenes and various aircraft. Miyazaki oversees the work here, and the picture book Shuna Tour.
With the production of the new anime Sky City, the manga Kaze no Dale was discontinued. Since then, Nausicaä has been suspended and reopened intermittently with the production of Ghibli Animation until 1994. Castle in the Sky is also still a solo performance supervised by Miyazaki. Miyazaki's action and dramatic tension, full of realistic touch and detail, the fantasy world style is fully exerted.
(Set in 19th-century Europe of the Industrial Revolution, Sheeta, a cute and innocent little girl, accompanied by a kind and brave little boy Pazu, searches for her lost homeland, and at the end of her journey, Sky City finally understands that no matter what the progress of science and technology and the development of mankind, people cannot leave the land.) The themes of man and nature are further embodied here, and the final destruction of the great city of Lapta floating in the air seems to warn the world that in the century of machinery and steel, what is facing is actually an uncertain future. ）
Next up is the play of Takahata's supervision. In 1988, Miyazaki supervised "Totoro" and Takahata supervised "Tomb of the Fireflies" were screened at the same time. Although the latter has been widely praised by the literary and artistic circles and has touched countless audiences, the former is one of Ghibli's most popular works. After Ghibli, a system of two supervisors taking turns making animated films was formed.
In 1989, "Witch House Rush" was released. Miyazaki oversees the theme of challenging the growth of young girls for the first time. After completing the Valley of the Wind anime, when he went to his father-in-law's mountain hut to spend the summer, he was bored reading Chizuru Takahashi's "On the Concrete Ramp", and the experience of reading with the little girls of the younger generation made him professionally think of the possibility of adapting a girl manga into an anime. Originally, Miyazaki supervisor was a kind of female supremacist, and the film idea of the contemporary girl as the protagonist was formed. This work and Spirited Away should be the result of this encounter.
In 1992, "Porco Rosso" was released. Superintendent Miyazaki, who loves the beauty of weapons but hates war, serializes a series of short comics in Weapon Model Magazine, and this work is one of them.
After this, Studio Ghibli felt that the two supervisors were old and began to develop new talents. In 1993, the newcomers led the production of TV Special Sound by director Tomomitsu Mochizuki, which can be said to be studio Ghibli's most heterogeneous work. In 1994, Takahata supervised the "Heisei Tanuki Battle". Although 1995's "Side Ear Listening" was supervised by Yoshifumi Kondo, whom he had known since the A-pro era, the script and storyboard were still handled by Miyazaki.
The 1994 manga "Valley of the Wind" that was serialized for ten years has finally come to an end. I have to admit that the success of the 1994 animation of the same name is not unrelated to the environmental protection ideas of the time. And this work in the series witnesses the constant change and reflection of Miyazaki's idea of supervision. Ideas since the anime have been constantly overturned and denied, and people who think that Miyazaki's idea of supervision is simple environmental protection should read this work carefully.
(In 1995, "On Your Mark," which was considered to be GHIBLI's experimental theater, a short story produced by Chuck and Asuka, was screened at SuperBest3.) It tells the story of two young people who send a winged girl to the blue sky in a world contaminated with radioactive energy. But what Miyazaki wants to show is not "salvation", but "his own hope", which is the most touching thing. ）
After a break, Miyazaki began to produce what was a summative "Princess Mononoke". Studio Ghibli's works, in general, Aresei Miyazaki's works are more lively, clear and fantasistic, and more popular with audiences. And his works are often within the top three of the domestic film box office that year. Due to the grandeur of the scene, the exquisite production, coupled with the call for a comeback after Miyazaki's supervision retired for several years, and more importantly, this unprecedented advertising campaign made the box office create the history of Japanese cinema! Japanese films have always been the leading foreign films at the box office, and this success can be said to be of great significance.
Princess Mononoke responds to and summarizes the changes in Miyazaki's supervisory thinking since Nausicaä of the Valley of the Wind, which should have been a perfect end to Miyazaki's supervision, but two things disrupted the plan. The first was the overworking of Kondo, who was trained as a successor, and the second was Takahata's failure to supervise the box office of My Neighbors The Yamadas. Originally, the box office of this film was also quite good, but this was due to the success of the promotional strategy of "Princess Mononoke", and the result of investing a lot of advertising budget. Combined with the game's innovative computer animation methods and continuous production, it has lost billions of yen in total.
In desperation, Takahata's supervisor retired from hiding, and the box office guaranteed that Miyazaki would only be out of the mountains again. Since Princess Mononoke's box office was once again surpassed by Titanic (the movie), the slogan this time is to win the first place again.
In 2001, Spirited Away was released. The work did not live up to expectations, once again winning the first place in the total box office, and the box office of more than 30 billion yen became the box office monster in Japanese history. It should be noted that the annual economic volume of Japanese animation is only 500 billion yen, while the average annual box office top works are often less than 3 billion or so. A powerful propaganda campaign even mobilized the Prime Minister to cheer for the premiere. Not only that, Miyazaki's success even began to be recognized internationally, and his works won international film awards such as Oscars, Venice, and Berlin.
(Spirited Away recounts a small segment of Chihiro's life, telling how she gradually unleashes her potential and overcomes difficulties in the face of difficulties.) This is exactly what Miyazaki wants the audience to understand. Miyazaki himself believes that this is a film that is different from his previous stories, in the past, his protagonists were all his favorites, but this time Miyazaki deliberately portrayed Chihiro as an ordinary character, a typical ten-year-old Japanese girl who is unremarkable, and his purpose is to make every ten-year-old girl see herself in Chihiro. She is not a beautiful girl, nor is she particularly attractive, and her cowardly personality, listless demeanor, is even more annoying. Miyazaki was a little worried about her when she first created the character, but by the end of the story, he was convinced that Chihiro would become a likable character. ）
The box office failure of "Cat's Reward", which was taken over by novices the previous year, forced Miyazaki to continue shooting. The box office of 2004's Hal's Moving Castle was estimated to be close to That of Princess Mononoke, not yet to the level of Spirited Away. Judging from the quality and strength of the completion of the work, these two films are not as good as the previous works of "Princess Mononoke". However, if not from the point of view of anime fans, but from the perspective of ordinary people, princess Mononoke is the beginning of Miyazaki's real success and affirmation of the traditional world.
Another major event related to Miyazaki's supervision was the completion of the Ghibli Museum of Art in Tokyo's Mitaka. Compared with international film awards such as the Oscars, I wonder if this is some form of Miyazaki's summary of his animation career?
The most recent news (2004 – Editor's Note) was that Studio Ghibli had separated from its parent company because its parent company, Tokuma Shoten, had reversed its long-term losses. From this point of view, Studio Ghibli is now such an astonishing financial scale, will miyazaki, as a cash cow, have to continue to supervise? It should be known that Miyazaki supervisor is an animator who participated in the creation of the first generation of post-war Japanese animation, and after 40 years of animation, his energy has not been as good as before.
(In NNN News, a show broadcast on Toho, Japan, on the 19th, the news was announced that Master Miyazaki's new film "Goldfish Hime on the Cliff" (崖上ののポニョ) will be released in the summer of 2008.) This is also another masterpiece of Miyazaki's "Hal's Moving Castle", which attracted 15 million viewers in 2004, after a gap of four years. It has now been released and received wide acclaim. ）
*Note: The current Prime Minister of Japan, Taro Aso, has vigorously promoted his and Miyazaki's university classmates, but Miyazaki does not have a high opinion of the former.
Family
In 1965, she married her colleague Jumi Ota, and the ceremony was Yasuo Otsuka.
In 1967, he was a member of the Animation Culture Foundation.
1970 Second son Keisuke Kashizaki, Woodblock Printmaker
Four brothers of Hayao Miyazaki: Shin Miyazaki, Hayao Miyazaki, Toyo Miyazaki, Shiro Miyazaki
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