"Actually, Oshii Mamoru and the high school student Hayao Miyazaki have many similarities. Their encounter became a great opportunity and changed their battlefield. Since then they have fought together on the same battlefield, so they can play their own roles in different aspects. During this period, it has formed its own creative characteristics.” (Suzuki Toshio) No matter whether the pair of central figures we describe really has a little ugly duckling-like inferiority complex or a proud image of a tall horse, Judging by their names, one side does seem to be bottomless, while the other side is like a prison, but they have in common that they cannot escape and have never really escaped their own destiny. Before talking about the two masters, we will first mention a 19-year-old boy who was 19 years old in 1984. That year he watched "Fortune Star Kid 2: Beautiful Dreamer" and "The Wind" in the theater. Valley", so everything changed, whether it was his own world or the pattern of the future Japanese animation industry. "Fu Xing Boy 2: Beautiful "Dreamer" and "Nausicaa" are the starting points of Oshii Mamoru and Miyazaki Hayao, even if they are not their debut works; and 1984 is known as the "first year of Japanese animation masters", and it deserves its name. The two supervisors met for the first time a year before the first year of the master, but since then the common stubborn character has gradually contributed to their respective battles, and at the same time their characteristics have become increasingly clear. In 1985, Mamoru Oshii and Hayao Miyazaki's so-called "history of evil" kicked off. "The first impression he gave me was a very relaxed and pleasant person, but when the discussion got heated up, he didn't give you any leeway at all. He was incredibly energetic. He was also very active and loved to talk. , As if whoever said more is better. Every time we speak, we always want to persuade each other, so it’s really tiring.” Of course, Oshii Mamoru can’t be regarded as a taciturn person, but this time we are indeed encountering an opponent. NS. This first meeting left Miyazaki with the impression that "he is really a jerk" in Oshii's mind. The word "Evil" comes from "Zuo Zhuan · Yin Gong Three Years", which means "The two sides have broken relationships and hate and hate each other." Therefore, the point that we can conclude is that the two sides must have cherished each other. Six years after cooperating with Yasuo Otsuka on "Lupin III: The Castle of Cagliostro", Hayao Miyazaki has once again received an invitation to produce "Lupin III" theatrical version. It was the first movie in the theater that won the Oto Noburo award in 1979, but the father had no plans to do it again. Perhaps he has already realized that no matter what kind of animation he does in the future, he will become a frequent visitor of this award. On the other hand, it was because of the short-period and high-intensity work of this commercial animation that left him with lingering fears. It took only half a year for the second theater of "Lupin the Third" from the start of construction to the release of the film. According to Mr. Miyazaki's own statement, "I knew the limits of my physical strength for the first time from this work." This kind of desperate effort It is especially scary for those who practice. In this case, it is certainly wise to decline the invitation. Miyazaki turned to the producer to recommend Mamoru Oshii. That was about two years after the two sides knew each other. Because Otsuka Yasuo was the painting supervisor of "Lupin III" and the keynote maker, and at the same time, he had a comradeship with Hayao Miyazaki in the labor union during the Toei period. In 1964, Hayao Miyazaki became the Toei Animation Labor Association. At that time, Takahata was the vice chairman of the association, and Otsuka Yasuo was the chairman-so Miyazaki's recommendation was soon made. Although the project failed to settle afterwards, Otsuka and Oshii still forged a strong friendship, so that when shooting the realistic film "Red Glasses" (1987), Yasuo Tsuka not only made a cameo appearance in the film, he even provided his own jeep for filming purposes. In 1985, Oshii Mamoru enthusiastically handed over his plan for "Lupin the Third: The End" to the producer-the original Shredder was not a mere name, at least it scared the producer, so Miyazaki rejected the producer. , And the producer rejected Oshii Mamoru. The shadow of this incident made Oshii worry about it for ten years. It was not until the release of "Ghost in the Shell" in 1995 that he was relieved: "I can finally get rid of Lupin when I was attacking the shell!" In 1968, three years of production. "The Sun Prince" was released. This animation, co-authored by Otsuka Yasuo (painting supervision), Takahata (supervision) and Miyazaki Hayao (scene design) is regarded as the first breakthrough in the original animation style, and it is also the "original" and "original" of Japanese animation. The "progressive animation" movement laid the foundation. Miyazaki and Mamoru Oshii are also the flag-holders who participated in the later Japanese animation "originalization" and "progressive animation" movements-although they are both paranoid, but still, there is a huge difference between the two people's ideas; From Miyazaki Hayao, Oshii Mamoru and Takahata may have more in common. When referring to Takahata, Mamoru Oshii said: “On the surface, Mr. Takahata also likes to argue with people and desperately wants to convince others, but in his heart he is a very different person. Mr. Miyazaki has a very cute quality. His philosophy is always the last sentence: "Good things are good, whatever the logic is!" But Mr. Takahata is a completely consistent person, he is very logical. I have heard Mr. Yasuo Otsuka describe Mr. Takahata and me like this: Mr. Takahata is like a'walking logic', and I'm like'logic is riding a bicycle'." As Mr. Otsuka said, they have logical similarities, a pursuit of continuous creativity and innovation. , But the degree of urgency is different. This is why Takahata can abandon Ghibli’s usual transparent painting animation, try to use digital technology to use the form of pencil lines and watercolor tones to create a sketch-like work "My Neighbor Yamada-kun"; and Oshii Mamoru can also invent A "live-mation" (Live-mation) allowed his disciple Kamiyama Kenji to shoot "Mobile Police Mini", and Nishkubo Mizuho, who was also one of the "Four Kings of the Dragon", to film "Miyamoto Musashi: "Dream of Two Swords Galloping", or let yourself shoot something like "The Biography of Tachishishi"—as if some kind of obsessive-compulsive disorder must occur; at the same time, Miyazaki will not even touch the computer, artificially Other painting methods will inevitably make him feel contempt. Takahata, who is only 6 years older than Hayao Miyazaki, is like Hayao Miyazaki’s elder brother-19 and 13-year-old brothers, while Hayao Miyazaki, who is 10 years older than Mamoru Oshii, is completely different. The stubborn temperament of the old man who gave up childishness and became more arrogant as he grew older. It is a miracle that the combination of Takahata and Hayao Miyazaki has been preserved; on the other hand, Takahata's coldness, as if not really hurt or simply admit failure, also really attracted Oshii Mamoru. In short, the character determines that Oshii and Hayao Miyazaki can't really come together, and this also affects Oshii and Ghibli in the end; and the veto of the "Lupin III" theater version became this scene. The fuse of the opposite journey. In 1978, the second year after Mori Oshii entered the industry, the monthly animation magazine "Animage" under Tokuma Bookstore was launched. This is an extremely important event, at least for people like Hayao Miyazaki and Mamoru Oshii who were still newcomers at the time, it is like "Vanity Fair" in the animation industry, and Yasushi Tokuma (as a representative of a legal person) is like Their Bole. In 1981, the clown club separated from Dragon Sons was short of manpower, so that Oshii Mamoru, who was established at the 30th year of the year, was able to work on the animation adaptation of "Fortune Boy", and also took this opportunity to make Oshii Mamoru in the path of the original shredder. Go unscrupulous. The year was also a turning point in Miyazaki's life. Toshio Suzuki, the editor-in-chief of "Animage" at the time, originally planned to interview Hoon Takahata, who became famous for the "World Masterpiece Theater" series, but was unexpectedly rejected. Visit the album. So under the leadership of Toshio Suzuki and Yasushi Tokama, Hayao Miyazaki began serializing the manga of Nausicaä on "Animage" in the following year. In the third year, "Nausicaa" was released and was very popular. "Nausicaa" has become a watershed between Miyazaki's joys and sorrows, and just before that, it was the "Three Years of Darkness" between the filming of the "Lupin III" theater and the support of Tokuma Bookstore, which eventually gave birth to "Nausicaa". , Hayao Miyazaki, who wants to make his own movie, promotes his work everywhere, but he repeatedly hits the wall. "With the smell of mud" and "old-fashioned", most of the project cases only get this kind of evaluation. But encountering Tokuma Bookstore is not the end of the biggest blow, it’s just The end of the downhill career. This is the eve of setting foot on the watershed. During the animation production of Nausicaä of the Valley of the Wind, the long-ill mother passed away. This is what makes Miyazaki's life sad. "If you can't entertain people, there will be no meaning." This "person" naturally refers to his mother at the beginning. Oshii Mamoru once mentioned vaguely that Hayao Miyazaki was too deeply fettered by the past, and among other things, it was probably alluding to Hayao Miyazaki's Oedipus complex. This strong woman had a profound influence on Hayao Miyazaki, so that one or two of the female images in his many works were derived from her. It can even be said that one of Miyazaki’s first goals in the animation business was to make She is happy. Turning grief into strength may be the only persistence left in the mind of Hayao Miyazaki, who lost his mother at the time, and to some extent, this has also fulfilled him. Miyazaki's mother would be very pleased if Izumoshita knew it, because after the darkest years, her son's national status in the Japanese animation industry has never been shaken. By 1985, Studio Ghibli also took this opportunity to establish under the investment of Tokuma Bookstore, named after a reconnaissance aircraft in Italy during World War II, meaning "the hot wind of the Sahara Desert." Miyazaki’s father was a plane builder, and Oshii’s father was just a half-toned private investigator who often did not get commissions and therefore often took his son to the theater and an almost full-time unemployed person. This may also belong to Oshii Mamoru. The origin of anxiety, and Miyazaki, who was born rich, will never have such a sense of imbalance. He will not doubt the existence of this life like Oshii, plus the establishment of Ghibli, as far as he is concerned, Since then, he has a home; perhaps Hayao Miyazaki has regarded Ghibli as his own from the beginning. So Miyazaki dreamed of adventures more securely, no longer innovating in creation, but step by step, one by one to realize the dreams that had been planned for a long time. For him, life is like this, such a life is enough; but Oshii Mamoru has many reasons. But he had to continue to live in an indescribable time and space, as if there would never be a chance to condense the entity. In this case, until 1988 when supervising "Mobile Police", he encountered Production I, which was just established by Ishikawa Mitsuhisa and Goto Takayuki. G (under the premise of Headgear), Oshii Mamoru’s creation has officially entered another level. At that time, Toshio Suzuki, the second editor-in-chief of "Animage", later became the president of Ghibli. It was because of this person's introduction after the production of the first theatrical version of "Fuck Boy", Oshii Mamoru and Miyako Hayao Saki’s first interview; in that case, "Fortune Boy 1: Only You" has become the only work by Hayao Miyazaki that Oshii Mamoru has praised, to "Fortune Boy 2: Beautiful" "Dreamer" Hayao Miyazaki's evaluation became: "I don't understand what is good." But whether it is Hayao Miyazaki or Mamoru Oshii, their relationship with "Animage" is very different, so that at the beginning, because of the "friendship" established at the "Animage" interview in 1983, they did "open the end of the era— The dialogue between Miyazaki and Mamoru Oshii about "Mobile Police 2" ("Animage" October 184, 1993) and "Oshii Mamoru talks about Miyazaki Takashi" ("Movie Shonbo" July 16, 1995, issue 1166 ) Interview planning on such an incredible interactive topic-at that time they were finally recognized masters, maybe because "Spirited Away" will be released a few years later, and "Ghost in the Shell" is on the way Maybe Oshii Mamoru secretly holds more confidence and advantages. Although Oshii Mamoru now has more confidence than ten years ago, in the face of the chattering Hayao Miyazaki, Oshii Mamoru is actually still a boring man with relatively few words, but it also seems esoteric-just Miyazaki. Naturally, Qi Hayao would not eat this set at all. So from the two interviews you will see some smell of gunpowder, but it belongs to the damp feeling, quite calm. In short, Mamoru Oshii didn't care about irritating some people, but his initial admiration for Miyazaki made him appear quite cautious, at least in the mid-1990s. Oshii Mamoru doesn’t care about irritating some people. Sometimes he deliberately irritates some people. This is why he was finally kicked out of the production team of the first feature-length animation series "Fuck Boy" in the Japanese animation industry system— -Even his teacher Tokai Yongyue could not protect him, because at the beginning someone sent him letters, threatening letters, or threatening letters with blades every day out of emotions other than admiration, and finally the clown club had to remove him from the "Fu Xing The production team of "Boy" was removed and beheaded. However, the removal and beheading this time compared with the failure of Lupin III's theater plan a year later can be said to be extremely thrilling: Oshii Mamoru retired from the "Fortune Boy" TVA Chapter 106, which was March 1984. On the 26th, starting on October 14, 1981, he tortured the original work of Rumiko Takahashi for two and a half years, and he was fortunate to establish his own image style a month and a half before retiring (February 11). "Fortune Boy 2: Beautiful "Dreamer" was successfully moved to the theater and won the seventh best movie in the audience vote of the "Film Weekly". The number one movie that year was naturally Hayao Miyazaki's "Nausicaa". Professor Gao Zeming of the Faculty of Economics at Osaka Sangyo University in Japan sees Oshii Mamoru this way: "The film critic and former president of the University of Tokyo Hasumi Shigehiko uses philosophical remarks on the dialogue of the same characters in the film, the director Andrei Arsenyevich Tarkovsky (Andrei Arsenyevich Tarkovsky, Oshii Mamoru’s son-in-law is the lover) gave this evaluation: “I don’t love movies, but I am loved by movies.” Borrowing this sentence, Oshii is the same, maybe it belongs to “I don’t love animation, but was The existence that animation loves'." At that time, Oshii Mamoru resolutely left the clown club to become a free man. In some respects, he had to thanks to the new animation sales model he pioneered in the previous year. Smashed the ground. This is the birth of the original video tape OVA (Original Video Animation). The first volume of OVA "Dallos" (Dallos), released in December 1983, was half an hour long, with the participation of Toriumi Nagasaki, the supervision of Oshii Mamoru, and the cover of the video tape drawn by Yoshitaka Amano. Taking this opportunity, starting from the first year of OVA in 1983, more animators have devoted themselves to this more free-spirited creation, producing such as "Megazone 23" (1985/1986/1989), Immortal classics and masterpieces such as "Robot Carnival" (1987), "Armor Hunter Mellowlink" (Armor Hunter Mellowlink, 1988), "Macros Plus" (Macros Plus, 1994); and Oshii himself is also a creative emotion The unprecedented rise, in addition to the cut-up "Labyrinth Object" (TWILIGHT Q, 1987) and the first OVA of "Mobile Police Patlabor" (Mobile Police Patlabor, 1988)-Hayao Miyazaki's theater animation "My Neighbor Totoro" was released during the same period. Including the earlier grievance product "Angel's Egg" (Angel's Egg) produced by "Lupin III" funded by Dejian s Egg, 1986)—In the same year, Hayao Miyazaki’s theater animation "Castle in the Sky" was released, etc.; unlike Mamoru Oshii, Hayao Miyazaki rarely even got involved in TV animation at this time, let alone OVA This kind of new thing, the success of "Nausicaa" made him start a lifelong fascination with theater animation. In the production list of "Angel's Egg", in addition to Sadamoto Yoshiyuki, Nakura Yasushihiro and others, there are also Ghibli's Kosaka Kitaro and Yasuda Michina. In addition, it is said that Anno Hideaki has been two weeks after "ascetic monk". "The same life" escaped the production scene. To put it another way, compared to theater, OVA can be said to be something poor people play. There is no poorest, only poorer. The launch of "Angel's Egg" did not bring market reputation to Oshii Mamoru, because the theme was obscure and made people avoid them. "It made me unable to receive commissions for several years." , Oshii repeatedly mentioned the consequences of this matter in interviews. This makes Toshio Suzuki, who is very optimistic about Oshii Mamoru, unable to do anything, especially when the two or three Ghibli invitations are shattered-the frequency of planning failures made the 1985 "Lupin III" theatrical failure incident. It's not worth mentioning. Around 1987 was the worst period for Oshii Mamoru, which made his frustrated heart even more panicked under the surface of his epiphany. At the same time, Hayao Miyazaki has not only won the market’s affirmation, but also the media’s praise and awards. Miyazaki’s confidence has also become more triumphant, so that there will be such a very famous one. Event-when the US "Newsweek" asked whether his "Spirited Away" was surprised or not when he won the Oscar: "In fact, I was even more surprised and disgusted that your country launched a war against Iraq. So. I’m still a bit hesitant to receive this award.” Mamoru Oshii never seemed to be able to get light from Hayao Miyazaki, whether it was the first two animation projects that cooperated with Italy, "Sherlock Holmes" and "The FULLMOON TRADITION" (THE FULLMOON TRADITION INDRA), or later "Anchor" (Anchor), were eventually aborted due to the persistence of the creative concept of the two parties or the disagreement. "Sherlock Holmes" was later "Detective Sherlock Holmes" co-directed by Hayao Miyazaki and Mikitori Kyosuke, and "Legend of Full Moon" was eventually written by Toriumi Eiyuki in the novel version. After the "Anchor" project was discontinued, Dream pillow tapir wrote the novel version. Later, it also came from the animated version of "Ink Attack" invited by Ghibli (the manga drawn by Kenichi Sakumi Mori Hideki, and the source of the film of the same name starring Andy Lau directed by Zhang Zhiliang), and preparations for OVAization of "Miyazaki Hayao's Miscellaneous" Projects such as "The Appearance of Multi-turrets" (Multi-turret の出番) in "Thinking Notebook" turned out to be jokes amidst disputes. Except for the Oshii version of Lupin III, what has since then been like the Oshii version of "Legend of Galaxy Heroes" (Ishi Kurosheng has been shooting for nearly 12 years), the Oshii version of "Iron Man 28" (adapted into a stage play after the animation failed, Recently, there are plans to adapt the stage play into a live-action movie), "The Last Tate Shishi" (Tachi Shishi's resentment can be said to be as strong as his dog fetishism), the Japanese version of "Long live the ancestors of the Japanese TV version!" "(Not many people have seen the animation) and so on. It would be difficult to be rejected to such a degree, probably without being addicted. Speaking of Oshii Mamoru, it is indeed a bit of a feeling of being born out of this world. Let alone Gong Junjun's complex of "Ji Sheng Yu He Sheng Liang", he was indeed born in a worldview that he did not want by mistake. Perhaps born in Western society, his ideas can be more pronounced. You can clearly see that if he was born in the West, "The Matrix" may only be regarded as an extended version of "Avalon"; and that is because of the 8 billion yen frozen "Grumu War" "(GRM THE RECORD OF GARM WAR), a story that will initially be played by James Cameron as the "production commander", a story that takes place on an overhead planet, and a story that involves various shooting methods and new technologies can even be said to "combine all types of images" "Technology" video project-does not look like another version of "Avatar" (Avatar)! How many ideas from James Cameron’s epoch-making 3D movie "Incarnation" may enter the frozen project of Oshii Mamoru today? But even if "Grumu's War" is now filmed, what will happen? Nor can it change the fate of being a "second king" such as "Avalon". "Animage" sponsored and promoted many young and promising newcomers animation supervisors, Oshii Mamoru and Miyazaki Hayao are one of them, and Ghibli is one of the most important ways to exercise this function. Therefore, in addition to the two founders of Ghibli, Hayao Miyazaki and Takahata, after all, they were still under the name of the owner Tokuma Bookstore when they were founded. Oshii Mamoru, who was first invited to participate in Ghibli, was theoretically a Ghibli. One of the founders of Li, only because of repeated conflicts with Hayao Miyazaki’s creative ideas, both sides refused to give in to each other. In the case of discussions and quarrels like fighting, Oshii Mamoru finally gave up on Ghibli. Since then, Ghibli has become a person's Ghibli-Ghibli is a centralized dictatorship, it is not like the anarchist country of animation free people like STUDIO 4℃, and it is not as inclusive as Sunrise to give birth to Bones. , Production IG gave birth to Xebec and PA Works-Even Toshio Suzuki can't do anything about this. Oshii Mamoru once had such a metaphor: Ghibli is the Kremlin, Miyazaki is the leader of the party, and Suzuki Toshio is the leader of the KGB. Oshii Mamoru uses such a control craving (Control Freak's metaphor accurately vented his grievances: he expressed how he was attracted by the gorgeous Kremlin, how he was found by the KGB boss who was like a scout with a keen sense of smell to find a genius like him, and how he was dictated by the autocratic party leader. Shot with a headshot. After experiencing the failure of the security movement in the 1960s, the reckless career in the late 1970s and the early 1980s, and the setbacks in the mid-1980s, Oshii Mamoru became more determined to find. "Sense of Presence". Opposing themes such as humans and robots, reality and illusion (dreams), war and peace, justice and evil, etc. appear more and more frequently in his works; while Miyazaki still insists on the realization of dreams, environmental protection, and life. And the view of survival seems to have never changed the view. We don’t have to compare how much the themes they express overlap, but people who hold hate to each other are sometimes the most similar. Oshii Mamoru said: “We always pay too much attention to humans, even animation is no exception. In fact, when two people are talking, the birds may be flying over them, the fish are swimming in the pond, and when you lower your head, you will find a dog looking at you. As far as I am concerned, animal eyes are always It lingers in my heart." Hayao Miyazaki said: "When I talk about traditions, I am not referring to those temples-they are also from China anyway. The elements I try to capture in my work are I’m born with a Japanese feeling.” Oshii Mamoru said: “I love to make the world in the movie as detailed as possible. I am keen to find the best point-for example, behind a bottle label, it looks like you Looking out through the glass, I guess, it’s very, very Japanese. I want people to keep going back to the movies to find things they didn’t notice when they first watched it.” Hayao Miyazaki said; “At Before I started filming, I didn’t have a finished story... When I started painting, the story unfolded. We never knew where our story would go. We just made the story while making the movie. This is making animation. The film is a dangerous way, but I like it because it can make the work unique." Mamoru Oshii said: "When I made my first film, I had a fixed idea of what a supervisor must do. , That is, the supervisor must work hard to entertain the audience and make entertaining movies-but even if what you do is really to entertain the audience, you should understand that this is not absolute for making movies." Miyazaki said: "There is one The internal order is the need of the story itself, it can lead me to the end... It’s not that I made the film, it’s the film. I did it myself, I had no choice but to obey. "You can't force the audience to understand, they don't need to understand, because that might irritate them; on the contrary, if you act according to your own ideas, if you can fully express yourself, so that the audience does not understand you They can also get some enjoyment from what they do. You don't need to understand a movie, as long as it makes you feel. "Miyazaki said: "Don't think too deeply and don't think too superficially, all this is just entertainment." Mamoru Oshii said: "Ghibli has cultivated an animator that only Ghibli can cultivate. They The standard of the staff is really high, from animation design to original painting. But if you ask me, is their approach completely correct? I think they should be disbanded immediately. I think it would make more sense if those who grew up in Ghibli could go out and take a look. For a creative work, anarchy is at least much better than freedom under authority. "Miyazaki said: "My film is best not to watch twice in a year, because it is not a good thing for children to spend too much time on film and television, which will make them ignore the real world. "Oshii Mamoru said: "If there are 10,000 people, everyone has watched the movie 10 times. For me, it makes me happier than 1 million people who have only watched it once. I'm not making movies for the general public. My movie faces a core group of fans. I hope that the movie will leave a deep impression on them. If it succeeds, then I will be very happy. "Hayao Miyazaki said: "I hope to live another 30 years. I want to see the ocean flooding Tokyo and NTV's TV tower becoming an isolated island. I want to see Manhattan become an underwater city...I am excited about all this. Money and desire, all of this will collapse, and all of this will be taken over by the green weeds. "Oshii Mamoru said: "Humans don't know how to cherish peace." As long as humans exist, war will never disappear. We cannot maintain a state of peace for a long time. I think it has something to do with human nature. Unfortunately, we cannot eliminate something in nature, nor can we break free from its shackles. "... I can cite more such excerpts from the views expressed by the two of them when they faced different people at different times. It is not necessary. For a glimpse, we can see that even if it is not a word by word, their thoughts They are all inherited and continued, except for the development in certain senses that they tend to identify with the side that will happen, and sometimes their views are even the same. Even the triumphant self-confidence after Oshii became famous. Hayao Miyazaki is coming more and more like-Hayao Miyazaki will say at the film festival: "You can see from the scene that Europeans like my way of telling stories very much. "Oshii Code will say: "Anyway, I am sure that my work will be nominated for Oscars, because Americans have never seen similar works. "I think even if they have things in common and share many common views, they will try their best to deny the existence of a certain sense of intimacy. In the face of a young and frivolous world, it is inevitable to rely on the old and sell the old. They all have an indescribable childishness. This kind of childishness can make Oshii Shou in "Killers" (Killers, 2003) slap Toshio Suzuki with a shot headshot, or arrange for the president of Ghibli in "Standing Food Master". He was smashed to death by a bowl in The Biography" (Legend, 2006). To vent his grievances towards Ghibli, Hayao Miyazaki might simply say: "I don't understand what he is talking about." They are so close. At the same time, he has the background of leftists. I have already mentioned Hayao Miyazaki’s union background, and the Oshii Code stated: “To be honest, I didn’t want to go to university because I didn’t like studying at the time. It was expected that there would be war in the third grade of high school, but the result did not happen. The plan for life was so messy. I have no choice but to enter the university. I want to take the time to think about it. When I end my studies, I can also drop out." Oshii Mamoru’s alma mater is Tokyo Gakugei University. Frustrated in the student movement, Oshii, a young man who entered university aimlessly, encountered a movie. Joined the Film Research Association, watched nearly a thousand movies a year, became enthusiastic and started making movies by myself. The movie dream didn't come true. After changing several jobs, Oshii Mamoru joined the animation production company at the age of 26 (1977). Gao Zaiming concluded at the seminar "On the social, cultural and economic changes in China and Japan": "Miyazaki's thought is a classical left-wing thought, and he believes in the future, fighting for justice is the embodiment of his thought; and In contrast, Oshii’s thinking suffered setbacks in the left-wing movement and did not believe in any beliefs. It followed the line of new left-wing thinking.” That’s why Miyazaki would say: “Good things are good, let him alone What logic!” This is why Mamoru Oshii thinks like this: “Any religion starts with pessimism and ends with optimism. I admit that I am a religious fan, but I don’t believe in any particular religion.” Miyazaki thinks of animation. This method was originally born for children, and will not deviate from this point. Hayao Miyazaki uses the emotional protagonist to move the audience, while Oshii Mamoru’s approach is very different. He is the first in the world. He will objectively examine the characters and create creations, which is rare in Japan or even in the world. . In terms of production, the expressionless performance is completely realized, and the originally moving objects realize the static movement, which can better capture the mentality of young people. This is very different from the animations made for children, and may sometimes not even be liked by adults. Thinking for the idea and realizing oneself is often done by doing a lot of things in the opposite direction. Maybe in order to make others like oneself, one has to do something unpleasant. This is the hypocrisy of human beings. Decided. Therefore, people who have always thought that writing is like a person may be disappointed. People who always think that text is like a person or animation is like a person may not necessarily have a scientific concept, because the creator is always more contradictory and irreconcilable than the work. In the face of the work, the audience seems to have an illusion that they can be organized. Unsteadily organize it into a rough shape, but when faced with the creator, you are actually facing a god behind the scenes. The work is always just an ideal, a summary of creative techniques. It is just a creation. The side that the author persuaded himself and forced himself to admit, or just a compromise with the producer's personnel. The audience will always see only the shape they want to understand. Maybe they only see one side of a cube without seeing the remaining five sides. Therefore, for the audience, what they see will always be limited. Therefore, we probably have this thinking: the audience is the most important, but also the least important. But one thing is that once a work is formed, it has a certain mystery. Therefore, I am not asking everyone to underestimate the works of others, but to pay enough attention, because the works we value are the products of the world valued by the creators. Oshii Mamoru said: "I underestimated the world. I thought it would be fine to do what I like. I thought it would go on smoothly. No matter how unclear the meaning of the work is, it doesn't matter. As a supervisor, I will not neglect my duty. .. Saying'how and where to go' but it becomes a state of'going forward!' This is a big mistake..." Pay attention to the works that are part of the world, otherwise you will make big mistakes. And this indefinite mystery of becoming a part of the world is the greatest pleasure it brings to creators. Although all the pleasures will make them blindly optimistic, even if they hoped so much last year, they only won a small prize in the water city. Oshii Mamoru's "Air Killer" won the "Future Film Festival Award" (Future Film Festival). Digital Award), and Hayao Miyazaki’s "Goldfish on the Cliff" is the "Future Film Festival Digital Award Special Mention" (Future Film Festival Digital Award Special Mention) and the "MR Fund Award" (Mimmo Rotella Foundation) which recognizes the performance of film art. Award)-They will still maintain the status quo of reluctance in their creation for a long time in the future. "Every time I ended, I was really exhausted. At the end of "Ghost in the Shell" I also thought about'no more animation', and after "Ghost in the Shell 2: Innocence" (Innocence) I’ve thought about quitting, and I can’t do things like this anymore. It’s really old. It’s true that the hair is missing and the liver is getting worse, because I can really feel this.'You must work if you are desperate.' This is indeed the case." Although Oshii Mamoru said, he still has 3 theater film projects including 2 realistic films in the next two years, as well as 7 animated short film collections of Microsoft Game Halo "Halo Legend". (Halo Legends) Supervision of one of the short films, etc.; and Hayao Miyazaki, who is unable to bear the loneliness of the "Unloading of the Curtain" every time he is released, plans to consider the next animation after the age of 70. Movie-we can only wait quietly and hope that he can bring a real curtain call climax. Maybe Oshii Mamoru will still struggle a few times to bring fresh audiovisual, but maybe Miyazaki seems to have no hope of recreating the glory of the past, every time he wants to stop, he wants to fight again, but not every time. The best thing to do. On the other hand, Ghibli has also entered an old age. Recently, the official high-profile announcement that the 2010 Ghibli animation film will start to supervise newcomers is because of the aging panic. Hayao Miyazaki candidly said that the story of his recent work "Golden Fish on the Cliff" is a bit similar to Andersen's fairy tales, but he repeatedly stated that he did not like "Daughter of the Sea" and he had his own excuse to create this work: "Already arrived. It’s impossible to create newer pictures and stories.” It was the year that Oshii Code stated in Venice that Hayao Miyazaki and Takeshi Kitano made “old man movies”, but this is not a challenge to authority or provocative, it is close to provocative, maybe It’s another fact that "Spirited Away: The Hidden Spirit" is the beginning of Hayao Miyazaki’s constant degeneration—of course, it’s not a few years since the end. On the other hand, just like Oshii’s Hayao Miyazaki's "Mobile Police It’s said in the dialogue of "Theatre 2": "Many people now say,'Nowadays, there is no point of view to make a good movie.' But I said in the past,'There is no such thing as a good movie. Values too. '" The internal friction formed by the over-selection of personal values has caused this situation. Maybe ten years later, Oshii Mamoru will sigh and say, "Oh, I am finally as famous as Hayao Miyazaki"-or more famous, and then He found that he had become a teacher too and started making old-age movies. From some perspectives, the so-called seniors should not be the role models for young animation supervisors, but this is where their strengths lie. Animation details have been Achieving the paranoia and the impulse to make people behave, this is one of the performances of their serious generation, and most of the current generation are fast food supervisors. "Unlike realistic movies shot on the spot, animation It is born of human delusion, but if the delusion is divorced from reality, it is just a fabricated beautiful fantasy. What kind of room the protagonist lives in, what kind of place he eats, what kind of car he is sitting in, portraying all this well, I think this is the basic of the movie. "The current supervision is very realistic, that is, there is a lack of delusions and the lack of tangible ability to give delusions. In addition to commercial poisoning, the problem with young supervisors today is that Mamoru Oshii may have a close relationship with Hayao Miyazaki's work, but right He himself needs to interpret-the reverse situation may be even worse; but some young supervisors hardly watch other people's animations, or in fact, the current supervisors don't watch other people's works anymore-brought by commercialization On the other hand, they may have put people like Mamoru Oshii, Kasumori Ito, Akemi Takada and others in the hot springs and chatting about their creations (in Mobile Police, Headgear can be said to have been soaked in the hot springs). Carrying forward to the extreme, but still has not made any amazing things. In this world of elites, masters and masters everywhere, criticizing other people's works will cause a lot of disgust. Just as Oshii Mamoru has long realized, but He still couldn't help but say it. This is probably the "brave act" brought about by something like prestige, and every successful person will inevitably have such a complex. For example, the supervisors of Mitsuya Hayao Miyazaki and Tomino Yoshiyuki When talking about Hideaki Anno's "EVA", Mamoru and Oshii reacted like this to Hayao Miyazaki: "I haven't seen it. "Tomino Yoshiyuki: "Please allow me not to comment. "Oshii Mamoru: "I only watched about 2 episodes and there is nothing to say." I'm sorry. "The "brave act" of the masters always seems to always cherish words like gold; and at the same time, "Little Master" Anno Hideaki treats this These masters will not necessarily give birth to many dissident political opinions like the admiration of Oshii Mamoru to Hayao Miyazaki in the past, and they will even show the emotion of disdain to observe each other's works-this can be described as the result of all the progress. Strange phenomenon, "Xinxiang Xi" is undoubtedly not the mainstream orthodox values. In short, in general, the times may have changed; the formidable Anno Hideaki's impression of the predecessor's supervisor Yusanjia is almost the same as the latter's interpretation of the former, and the emotional colors are the same, but the characters in the script have changed. That's it-Anno Hideaki's evaluation of Oshii Mamoru in the interview was not high, and he even claimed that he hadn't watched "Ghost in the Shell". "Mobile Police 2 is still good, but this is because I know Mr. Oshii and think so from a personal point of view." This is the situation. "What Miyazaki does is not animation but bang painting, it is the boring so-called Japanese movie." This is obviously Anno Hideaki's comments on the other party's gesticulation of his paintings at the time, "not very good", "too bad", "three-legged cat" Response. As for Tomino and his Gundam, Anno Hideaki is even more acrimonious-he has done miscellaneous work under Tomino, just like he has done miscellaneous work under Oshii and Miyazaki. He was even in the early GAINAX because of "In the economic crisis, I participated in Takahata’s "Tomb of Fireflies" to supplement the family. Mentioning Tomino and his Gundam, Anno said: "This kind of animation is suitable for those who want to create by themselves but can’t make it. People should be very suitable." You will not read any "what did I learn from it" tone at all. This may be the so-called animation and the childishness of the people who made the animation, so in fact, it is not to say that it is evil. , This is mostly caused by the boring media-the situation of Oshii Mamoru and Miyazaki Hayao is also the same, even, occasionally you don't have the slightest idea: these two old guys are actually flirting? Childish grievances will always exist, not just them. For example, Hiroshi Yamamoto, who was decapitated from "Lucky Star", was removed from "Lucky Star" by Kyoto Animation on the grounds that "Hiroshi Yamamoto was not qualified to be an animation supervisor" did not trust the authority. After the creation, the scene in Chapter 4 of "Kami Naruto": The last three well-known uncles in the line in front of the house store are impressively listed. They are obviously Mamoru Oshii, Hayao Miyazaki, and Hideaki Anno. Of course, this is not even a resentment. Excluding the admiration and tribute, it can only be a complaint at best. The spit between them seems to be extremely bad, especially after being rendered by the media, but it seems to be excellent-because of their respective animations. Naturally, the individuality can be highlighted to the greatest extent, and the overlapping part will be minimized, so that the same battlefield in different aspects can exert its own strength and form their own representative creative characteristics. Being valued by the media is not a bad thing, and it is true. Compared with those well-dressed masters, other masters are also talented and passionate, and they are more attractive to them. They are the kind of people who are famous but very low-key. They are those who are familiar with the rhythm. They are very confident and calm. They are Takahata Ho, they are Takahashi Yoshisuke, and they are 19-year-old boys... 1984 So it is called "the first year of Japanese animation masters", not just because Oshii Mamoru's "Fu Star Kid 2: Beautiful Dreamer" and Miyazaki's "Nausicaa" were released that year. 24 The first supervised works of Xiaogui Xiaogui. That is "Macros: Did You Remember Love" (Macross: Do You Remember Love?)-may not be called a real masterpiece, but it is still the memory of a generation; this kid is Hesen politics (although there is a listing under Ishiguro Noriori). Ten years after that, the 19-year-old boy mentioned at the beginning of the article in 1984-now a young uncle, he and Masaharu Kawamori made a film called "Macros Extraordinary" ( Macross Plus, 1994) OVA animation-at this point, Yan Ran has become the starting point of another generation. Like Mamoru Oshii, he was initially just a movie youth. Compared with animation, movie language is the language of adults after all, and it is more robust. His advantage is that he will not infuse his feelings into his works like Hayao Miyazaki. He is not telling the story of his own person. He will tell the story plainly and without loss of humor. He tells everyone's story with his melody. Relatively speaking, neither Oshii Mamoru and Miyazaki can do this well, they are both too egocentric. This 19-year-old boy in 1984 was the uncle Shinichiro Watanabe with sunglasses who later directed "Bounty Hunter" (Cowboy Bebop, 1998) ). The next era will inevitably belong to these young uncles after 1984: Shinichiro Watanabe, Yasumi Umezu, Masaaki Imazu, Masaaki Yuasa, Kenji Kamiyama, Kazuto Nakazawa, Goro Taniguchi... even if they start one day. We have made the "old man movie", and we still have hope. Because, there will always be such a teenager, or a young girl, who accepts the baptism of other people's works under the huge screen, so that the moment when he steps out of the theater——the air is full of dreamy dust particles brightened by light—— Suddenly picked up a dream under the sun: Join this war and make more powerful animations than them! Published in "Xianshiyan" Issue 2 Random Talk｜Acgtalk http://www.acgtalk.com/node/1112
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