Makoto Shinkai's background (still refined), Miyazaki's foreground (Little Ghibli). (I thought the white dragon was coming as soon as I came out, haha, all kinds of little Ghibli monsters are running around in the whole film.)
Makoto Shinkai's characteristic collapsed face, Miyazaki's characteristic is smooth and delicate action.
Makoto Shinkai's small details, Miyazaki's big frame.
The radio waves of Makoto Shinkai, the history of Hayao Miyazaki. (The connection between the two is really blunt.)
Makoto Shinkai's sense of otaku, Hayao Miyazaki's innocence.
Makoto Shinkai's back-and-forth bullshit sells off his sons in order to write new words to force his sorrows, while Miyazaki's is clear and straightforward.
Even Tianmen spans across two houses. When it is small and fresh, it has a faint taste of Makoto Shinkai, and when it is a big scene, it is replaced by a magnificent Miyazaki taste. However, when the ending song hello goodbye & hello sounded, the taste of Oshii Mamoru clearly appeared~ On
the whole, it was ok, and the story was interesting.
I have never paid special attention to the individual, but to the whole. Even if the styles are mixed, as long as the overall effect is good, it is good.
The character of the teacher is used as a plot line, which is a bit far-fetched, and the character setting is not clear enough. There are several sudden changes. But because it is Papa Inoue's voice, I really enjoy XD
Xin Haicheng, and the concept of him is the same as that of Qiong Yao, that is, only one work is always recognized. The life-like sincerity that was wagered in the debut novel never appeared again in the following years. In the 25-minute "Voice of the Stars", Makoto Shinkai has exhausted all his expressions, and the later works always feel that the sugar cane is chewed and chewed.
Also, why is the child named Chasing the Stars? Where are you chasing the stars?
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