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Sunday, July 8, 2012

Filmography

Filmography
Miyazaki at the 2009 San Diego Comic-Con International

[edit] Early works

[edit] Films in the Studio Ghibli canon

[edit] Ghibli works (screenplay and storyboards)

[edit] Shorts

[edit] Other work

Family Life

Family life
Miyazaki's dedication to his work has often been reported to have impacted negatively on his relationship with his son Gorō.[45] He has expressed he does not wish to create a dynasty of animators and his son has to create a name for himself.[23] Nonetheless he has shown support of his son's career in animation in recent times, co-writing the screenplay for Gorō's feature From up on Poppy Hill and is currently in the process of developing the story for his son's third film.[46]

Influences

Influences
A number of Western authors have influenced Miyazaki's work, including Ursula K. Le Guin, Lewis Carroll, and Diana Wynne Jones. Miyazaki confided to Le Guin that Earthsea had been a great influence on all his works, and that he kept her books at his bedside.[35] Miyazaki and French writer and illustrator Jean Giraud (a.k.a. Moebius) have influenced each other and have become friends as a result of their mutual admiration. Monnaie de Paris held an exhibition of their work titled Miyazaki et Moebius: Deux Artistes Dont Les Dessins Prennent Vie (Two Artists’s Drawings Taking on a Life of Their Own) from December 2004 to April 2005. Both artists attended the opening of the exhibition.[26][36] Moebius named his daughter Nausicaa after Miyazaki's heroine.[37] Miyazaki has been deeply influenced by another French writer, Antoine de Saint-Exupéry. He illustrated the Japanese covers of Saint-Exupéry's Night Flight (Vol de nuit) and Wind, Sand and Stars (Terre des Hommes), and wrote an afterword for Wind, Sand and Stars.
In an interview broadcast on BBC Choice on 2002-06-10, Miyazaki cited the British authors Eleanor Farjeon, Rosemary Sutcliff, and Philippa Pearce as influences. The filmmaker has also publicly expressed fondness for Roald Dahl's stories about pilots and airplanes; the image in Porco Rosso of a cloud of dead pilots was inspired by Dahl's They Shall Not Grow Old. As in Miyazaki's films, these authors create self-contained worlds in which allegory is often used, and characters have complex, and often ambiguous, motivations. Other Miyazaki works, such as My Neighbor Totoro, Princess Mononoke, and Spirited Away, incorporate elements of Japanese history and mythology.
Miyazaki has said he was inspired to become an animator by The Tale of the White Serpent, considered the first modern anime, in 1958. He has also said that The Snow Queen, a Soviet animated film, was one of his earliest inspirations, and that it motivated him to stay in animation production.[38] Yuriy Norshteyn, a Russian animator, is Miyazaki's friend and praised by him as "a great artist."[39] Norshteyn's Hedgehog in the Fog is cited as one of Miyazaki's favourite animated films.[38] Miyazaki has long been a fan of the Aardman Studios animation. In May 2006, David Sproxton and Peter Lord, founders of Aardman Studios, visited the Ghibli Museum exhibit dedicated to their works, where they also met Miyazaki.[40]
Pete Docter, director of the popular films Up and Monsters, Inc. as well as a co-creator of other Pixar works, has praised Miyazaki and described him as an influence.[41] Glen Keane, the animator for successful Disney films such as The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Aladdin, and Tangled, has also credited Miyazaki as a "huge influence" on his work and on Disney in general during the past two decades.[42]
Miyazaki has also been cited as an influence on various role-playing video games. The creator of Square's Final Fantasy series, Hironobu Sakaguchi, cited Miyazaki as inspiration for elements such as the airships and chocobos featured in the series.[43] The post-apocalyptic setting of SNK's Crystalis was inspired by Miyazaki's Nausicaa of the Valley of the Wind, and Crystalis in turn influenced Square's Secret of Mana.[44]

Theme and Devices

Themes and devices
Miyazaki's works are characterised by the recurrence of progressive themes, such as environmentalism, pacifism, feminism, and the absence of villains.[24] His films are also frequently concerned with childhood transition and a marked preoccupation with flight.
Miyazaki's narratives are notable for not pitting a hero against an unsympathetic antagonist. In Spirited Away, Miyazaki states "the heroine [is] thrown into a place where the good and bad dwell together. [...] She manages not because she has destroyed the 'evil', but because she has acquired the ability to survive."[25] Even though Miyazaki sometimes feels pessimistic about the world, he prefers to show children a positive world view instead, and rejects simplistic stereotypes of good and evil [26]
Miyazaki's films often emphasize environmentalism and the Earth's fragility.[27] In an interview with The New Yorker, Miyazaki claimed that much of modern culture is "thin and shallow and fake", and "not entirely jokingly" looked forward to an apocalyptic age in which "wild green grasses" take over.[28] Growing up in the Shōwa period was an unhappy time for him because "nature — the mountains and rivers — was being destroyed in the name of economic progress."[29] Miyazaki is critical of capitalism, globalization and their impacts on modern life.[30] Commenting on the 1954 Animal Farm animated film, he has said that "exploitation is not only found in communism, capitalism is a system just like that. I believe a company is common property of the people that work there. But that is a socialistic idea."[31] Nonetheless, he suggests that adults should not "impose their vision of the world on children."[18]
Nausicaä, Princess Mononoke and Howl's Moving Castle feature anti-war themes. In 2003, when Spirited Away won the Academy Award for Best Animated Feature, Miyazaki did not attend the awards show personally. He later explained that it was because he "didn’t want to visit a country that was bombing Iraq".[32]
Miyazaki has been called a feminist by Studio Ghibli President Toshio Suzuki, in reference to his attitude to female workers.[33] This is evident in the all-female factories of Porco Rosso and Princess Mononoke, as well as the matriarchal bath-house of Spirited Away. Many of Miyazaki's films are populated by strong female protagonists that go against gender roles common in Japanese animation and fiction.[34

Creation process and animation style

Creation process and animation style
Princess Mononoke was Miyazaki's first film to use computer graphics. In this sequence, the demon snakes are computer-generated and composited onto Ashitaka, who is hand-drawn.
Miyazaki takes a leading role when creating his films, frequently serving as both writer and director. He personally reviewed every frame used in his early films, though due to health concerns over the high workload he now delegates some of the workload to other Ghibli members.[16] In a 1999 interview, Miyazaki said, "at this age, I cannot do the work I used to. If my staff can relieve me and I can concentrate on directing, there are still a number of movies I'd like to make."[17]
Miyazaki uses very human-like movements in his animation. In addition, much of the art is done using water colors.
In contrast to American animation, the script and storyboards are created together, and animation begins before the story is finished and while storyboards are developing.[18][19]
Miyazaki has used traditional animation throughout the animation process, though computer-generated imagery was employed starting with Princess Mononoke to give "a little boost of elegance".[16] In an interview with the Financial Times, Miyazaki said "it's very important for me to retain the right ratio between working by hand and computer. I have learnt that balance now, how to use both and still be able to call my films 2D."[20] Digital paint was also used for the first time in parts of Princess Mononoke in order to meet release deadlines.[21] It was used as standard for subsequent films. However, in his 2008 film Ponyo, Miyazaki went back to traditional hand-drawn animation for everything, saying "hand drawing on paper is the fundamental of animation."[22] Studio Ghibli's computer animation department was dissolved before production on Ponyo was started, and Miyazaki has decided to keep to hand drawn animation.[23]

Magna

Manga
Miyazaki has illustrated several manga, beginning in 1969 with Puss in Boots (Nagagutsu wo Haita Neko). His major work in this format is the seven-volume manga version of his tale Nausicaä of the Valley of the Wind, which he created from 1982 to 1994 and which has sold millions of copies worldwide. Other works include Sabaku no Tami (砂漠の民 People of the Desert?), Shuna no Tabi (シュナの旅 The Journey of Shuna?), The Notebook of Various Images (雑想ノート Zassō Nōto?), which was the basis of his film Porco Rosso.
In October 2006, A Trip to Tynemouth was published in Japan. Miyazaki based it on the young adult short stories of Robert Westall, who grew up in World War II England. The most famous story, first published in a collection called Break of Dark, is titled Blackham's Wimpy, the name of a Vickers Wellington Bomber featured in the story, whose nickname comes from the character J. Wellington Wimpy from the Popeye comics and cartoons (the Wellington was named for Arthur Wellesley, 1st Duke of Wellington, victor over Napoleon).
In early 2009, Miyazaki returned with a new manga called Kaze Tachinu (風立ちぬ The Wind Rises?), telling the story of Mitsubishi A6M Zero fighter designer Jiro Horikoshi. The manga was published in two issues of the Model Graphix magazine, published on February 25 and March 25, 2009.[15]

Television

Television
Miyazaki's work in television is less known than his films. In the 1970s he worked as an animator on the World Masterpiece Theater television animation series under Isao Takahata. His first directorial credit is for the television version of Lupin III in 1971; he was co-director (with Takahata) of the second half of the first television series, and director of two episodes of the second series.
Miyazaki's most famous television work was his direction of Future Boy Conan (1978), an adaptation of the children's novel The Incredible Tide by Alexander Key. The main antagonist is the leader of the city-state of Industria who attempts to revive lost technology. The series also elaborates on the characters and events in the book, and is an early example of characterizations which recur throughout Miyazaki's later work: a girl who is in touch with nature, a warrior woman who appears menacing but is not an antagonist, and a boy who seems destined for the girl. The series also featured imaginative aircraft designs.
Miyazaki also directed six episodes of Sherlock Hound, an Italian-Japanese co-production which retold Sherlock Holmes tales using anthropomorphic animals. These episodes were first broadcast in 1984–85.