People often like to talk about the meaning of Hayao Miyazaki's animated films, and after watching the film, questions come to mind. What is Red Pig about? What does Spirited Away satirize? What does "Princess Mononoke" reflect on? These questions take us deep into the world of the movie and understand the story in the movie, and they seem to have some answers, but they don't seem to be so clear.
"My employees have told me they don't understand the world in my films at all. When we were working on Spirited Away, I didn't understand either. In my eyes, maybe we'll never understand. How much do you know about this world... The world is not as simple as it can be explained in words."
Whether it is writing or painting, when people create, they often have a certain purpose in the beginning. This purpose builds a bridge to art, but is diluted in the process. The world of art is grander, transcending intentional purpose and sublimating purpose, becoming a perceptual intuition, and this intuition is the direct flow of emotion and genius. Miyazaki's film world, the various expressions, may be the embodiment of art.
The time described in this documentary is exactly in the production cycle of "The Wind Rises", and in this so-called last work, it also expresses a certain thinking of Hayao Miyazaki.
"No matter how good the intentions of those who design aircraft and machinery, the wind of the times will turn it into a tool of mechanical civilization. It is never harmless, it is a cursed dream, and animation is also Of course."
Dreams have always been regarded as beautiful, and being able to realize dreams and do what you like can also be regarded as a kind of happiness. But is it really happiness? Erlang in the movie, although he loves designing airplanes, and even actually does what he likes, but his airplanes have brought disaster and pain to people and tormented his heart.
And Hayao Miyazaki and Mr. Suzuki often discuss current affairs, and the current situation has made Hayao Miyazaki labeled as "right-leaning". Under such an environment, free creation is naturally strictly restricted. There are not only dreams and ideals in the world, but also the reality in which they live. They are contradictions that are constantly fighting. If you want to persist, you must bear the burden accordingly.
Miyazaki likes children very much. Every day on the way to the studio, he always says hello to the children in the nearby school.
"As soon as a person is born, the problem begins. Children are born with infinite possibilities, and these possibilities are given up one by one in the process of growing up. Choosing one thing means giving up another thing. This is also life, human beings. That’s how it exists.”
As said in this passage in the documentary, the simplicity and infinite possibilities of children may be the reason why Hayao Miyazaki loves children, and to a certain extent, it is also his original intention of making animations. For his "Porcupine", he called it a "stupid work" and mentioned "because I've always been making movies for children, and that movie wasn't for children." Such words are a great deal for Miyazaki's It seems a little strange for a character with such achievements. But his dream may not only be some kind of perfect result, but also the original intention that has never changed.
In addition to the animation itself, in addition to director Hayao Miyazaki, Studio Ghibli also has an equally important backbone.
As for when to show the finished product to whom, the very strategic supervisor Toshio Suzuki has worked with Hayao Miyazaki for more than 30 years. When Hayao Miyazaki was devoted to animation, he went to operate and promote it. It was Miyazaki. Jun's best helper.
Mr. Isao Takahata, known as "Apo", tapped the talents of Hayao Miyazaki and Joe Hisaishi, and taught Mr. Suzuki how to become a producer. Hayao Miyazaki often praised A Pu's talent, and he constantly ridiculed him for "doing not finish the work on time". And for Mr. Suzuki sometimes helping Apo and ignoring himself, Miyazaki will also have some "cute" complaints.
A perfect animation, perhaps Ghibli, is Hayao Miyazaki's dream, and the three decades of mutual support and friendship are the most valuable asset in the pursuit of their dreams.
As Mr. Toshio Suzuki said, "Only by choosing to work with the right people can you get the career you want." And the three of them found such an enviable fit.
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