1. "I didn't want to shoot, it was Suzuki in There was a lot of chattering next to him, but he had no choice but to shoot"...
This sentence was passed on July 12 at the preview of "Wind Li ちぬ" ("The Wind Rises", also translated as "Wind Snow Dusk"). Toshio Suzuki, the producer of "Li ち ぬ" broke the news. According to the well-known producer who has worked with Hayao Miyazaki for most of his life, the film based on the manga of the same name serialized by Hayao Miyazaki in the Japanese toy model magazine "Model Graphix" was not intended by Hayao Miyazaki at first. , the reason is actually "This comic is only drawn by my own interest, and my interest cannot be put on the big screen. The movie must be for the public."... It seems that in the eyes of Master Hayao Miyazaki, public interest and My own tastes cannot be mixed up. To go deeper, it means that all of Miyazaki’s previous works catered to the public’s tastes, and did not really shoot what I liked. If this is true, then the regret of us fans may not be able to. Described in words...
The kiss scenes in the film almost gathered all the resentment of Hayao Miyazaki... Careful people will find that there are very few kiss scenes in all of Hayao Miyazaki's films so far (and most of them are like "Ghost" The feeding in The Princess, the half-assed kiss scene like the kissing scarecrow in Howl). This is a kind of persistence and a kind of conservative. It seems that the animation in Master Hayao Miyazaki’s heart must be shot for children. The world of children is pure and innocent, and it is a crime to instill in children the concept of adult love. So, in the face of this "straightforward" kissing scene, Hayao Miyazaki kept emphasizing that this was Toshio Suzuki's idea, and that he was forced to do it because of his "prostitute"... In our opinion, there is no any The shocking ordinary kiss scene has been in Miyazaki's heart for a long time. We can't help but admit that this old man over 70 still has a childlike innocence, or at least an extreme yearning for pure childlike innocence...
The tragic conclusion is that Hayao Miyazaki's animations were never made for adults like us... In an age where adults in their 20s and 30s have already become the mainstay of animation audiences, this is a kind of conservative in itself.
2. Hand-painted, hand-painted, must be hand-painted! - Miyazaki's history of CG.
A kiss scene or two is far from representing Miyazaki's conservativeness. If you want to choose one of the factors that best represents Miyazaki's conservative side - it must be in terms of animation production techniques.
Even in Japan, it is no longer the era of celluloid. The hand-painted techniques that once led the times have long been replaced by the ever-changing CG animation techniques. Animation companies such as PRODUCTION IG and GAINAX that are known for their extensive use of CG animation techniques have already It has achieved great success in the animation market, and IG's recent work "Attack on Titan" has set off a giant craze all over the world. The production style of "CG-based gorgeous background, characters are mainly hand-painted, supplemented by CG modification" has penetrated into almost all aspects of Japanese animation, and batches of high-quality works have sprung up like mushrooms after a rain. The picture has increasingly become the first weapon for Japanese animation to attract audiences. The animation forces represented by IG do not often break through the limits of CG technology. At the same time, the creative concept of "combining the east and the west" with the main task of hand-painted production has long been the mainstream of Japanese animation. From this point of view, IG and GAINAX are far better than Ghibli. More representative of today's Japanese animation.
But on the other hand, Hayao Miyazaki and Ghibli, although they also use a certain CG technology to make animation, but hand-painted is still the absolute protagonist. A more accurate statement should be that Hayao Miyazaki used to be the leader of Japan's experimental CG technology, but now he is moving away from CG step by step. Let's start from the relatively distant 1997...
In 1997, Hayao Miyazaki's epic masterpiece "Princess Mononoke", which was conceived for 18 years and completed in 3 years, was released. 2.6 billion yen) won 11.2 billion yen in Japan, becoming the box office champion in Japanese film history at that time. In this masterpiece, which is not enough to describe as "great", Hayao Miyazaki creatively spent a lot of money to complete an 8-minute full CG shot, which was a difficult and rare thing at the time, and the effect of this was Also amazing.
So, starting from "Princess Mononoke", Hayao Miyazaki's short honeymoon period with CG began. In 2000, two important bad events made Hayao Miyazaki have to re-direct the director after the announcement of his retirement from "Princess Mononoke" - one was Ghibli's star of hope Kondo Yoshifumi (representative work "Inside the Ear") was overworked. Death; another incident is that "My Neighbor Yamada-kun" directed by Isao Takahata, who is also a teacher and friend, failed at the box office, lost billions of yen, and directly led to Isao Takahata's retirement to this day. So a "Spirited Away", which will be loved by thousands in the future, began to be created. "Spirited Away" is Miyazaki's real pinnacle work in the world. The domestic box office of 30.4 billion yen is still unbroken. , this series of unrepeatable honors has made an almost unsurpassable myth. And his use of CG has really entered the honeymoon period. The CG operation that can be seen everywhere in "Spirited Away" makes this already gorgeous movie even more exciting. More importantly, "Spirited Away" The "diffuse and translucent" temperament presented by CG's style of painting has brought a revolution to the Japanese animation industry. Since then, more and more CG applications have begun to appear in Japanese animation. It is hard to imagine that there is no such thing as What will the style of mainstream Japanese animation be like in "Spirited Away"?
In 2004, Howl's Moving Castle was released. Unequivocally speaking, this is Miyazaki's most gorgeous animation to date, and the animation with the most extensive use of CG (and of course the most obscure animation, which is a later story). The crawling "Howl's Moving Castle" in the film is made almost entirely in CG, and many static backgrounds are also rendered in CG. The "Moving Castle" in the film is the most CG "character" in Hayao Miyazaki's animation
However, the honeymoon period between Hayao Miyazaki and CG came to an abrupt end to "Howl's Moving Castle". In 2006, Hayao Miyazaki publicly stated that he did not like computer painting, and hand-painting was Hayao Miyazaki's favorite production method. Once again, it has been raised to the height of monopolizing the overall situation. Although there is no animation that is not suitable for CG rendering today, Hayao Miyazaki's "CG resistance" can still be clearly felt in his animation... The "Cliff" released in 2008 The background of "Golden Fish Girl" is not only made with CG, but also painted with crayons. It is said that Hayao Miyazaki, who was originally scheduled to use the same expression technique as before, read Natsume Soseki's "Straw Pillow" before the production, and then went to the Tate Gallery in London, England, to admire the paintings of John Everett Milley. Later, he was deeply moved by Ophelia and re-evaluated the way of painting. After that, Hayao Miyazaki wanted to go back to the animation roots of drawing on paper, "Once again, paddle by yourself, pull up the sail to cross the sea. Only use pencil to draw", so that this work does not use computer (CG) to draw, but all Using hand-painting (but then the color and photography were digitally processed), within a year and a half, about 70 staff produced 170,000 drawings.
When it comes to the latest "Feng Li ち ぬ", the strong "hand-painted" flavor can be seen from the trailer alone. The plane, background, and protagonist use a lot of hand-painted. Over the years, the preference for traditional techniques has formed Miyazaki's solidified golden signboard, so that when people see hand-painted posters in this style, they know that it must be Miyazaki's work.
Why would Hayao Miyazaki reject CG? I can't think of any other reasons other than "hate the house and black", the "flooding of images" brought by CG and the brainless approach of abandoning the story itself and pursuing CG effects that are constantly appearing in the market today seem to be Miyazaki's final abandonment. The reason for using CG. As a cultural tycoon of the times, Hayao Miyazaki believes that he is obliged to tell the young people today that the essence of animation is to amplify the characteristics of the nation, not to pursue the void. In the eyes of Master Gong, everything that makes animation out of its origin is is meaningless.
But unfortunately, regardless of Miyazaki's willingness or not, the times have inevitably moved towards the "superficial road" of pursuing the gorgeous surface of animation. These days, gorgeousness is king, and this is definitely a pathological condition. Therefore, it seems inappropriate to say that Hayao Miyazaki is the representative of Japanese contemporary animation. To be precise, it should be the representative of Japanese traditional animation. It represents my purest Japanese traditional animation and represents the ultimate in "painting for children". Pursuit, and these make Miyazaki doomed to loneliness.
3. Hayao Miyazaki's high box office only belongs to Hayao Miyazaki.
The table below reflects the box-office performance of animation works by director Hayao Miyazaki (which is a director, and works that are not directed by Hayao Miyazaki such as "Grave of the Fireflies" are not counted).
From the 700 million yen of "Nausicaa", which caused a sensation in 1984, to 30.4 billion of "Spirited Away", which even the prime minister had to watch several times in 2001. Such a high box office sends a clear signal - under the golden signboard of the three words "Hao Miyazaki", all problems are not problems. As long as there are five words "Supervisor Miyazaki", the box office of the movie will never fail. This is the great magic of Hayao Miyazaki. But behind the magic, people can't help but think: Is it Miyazaki's signature role or the market's love of conservativeness? At present, I think the role of the former is getting bigger and bigger. Hayao Miyazaki has become the existence of God, and God means that it cannot be copied. Will traditional Japanese animation come to an end when Miyazaki doesn't make movies (which will come soon)? From the current point of view, it is very likely that...
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