Before going to the Ghibli Museum in Mitaka City, I felt that I needed to do some homework, so I watched "The Kingdom of Dreams and Rhapsody". In the nearly 2-hour documentary, in addition to showing the large greenery and cicadas that correspond to Ghibli's works, I didn't see the madness of the dream country. Instead, several animation seniors were replaced before the professional curtain was drawn. of sincerity.
In the dead of night, Mr. Hayao Miyazaki said solemnly: No matter how good their original intentions are for those who design airplanes and machines, the wind of the times will turn him into a tool of mechanical civilization, and it will never be harmless. All cursed dreams. From ancient times to the present, all human dreams have been cursed dreams. The same is true for animation, isn't the movie just a big hobby? Once upon a time we could make valuable animations, but now? Our world is full of garbage.
If I could have heard Mr. Gong's words before watching "The Wind Rises", I would probably understand this movie. Mr. Toshio Suzuki, Ghibli's chief butler, said in a meeting: Don't put everything on the director, "The Wind Rises" and "The Story of Kaguya Princess" are both interesting cases. In fact, Miyazaki and Takahata are two. No big director wants to do it, but why did the plan come into being? In the end, it was all driven by me.
Behind the finished animation, which is scrutinized by the audience with a magnifying glass, speculates on the contradiction of the director's values, and judges the level of judgment, the director himself cannot represent the whole of this work. While being helped by others to realize your dreams, you are also faced with the moment of being made a decision. If "The Wind Rises" really failed in a sense, it might also be a curse on the animation industry. Before Miyazaki was about to unload his burden, fate coincidentally made the figure of himself, who made animation, and Jiro Horikoshi, who designed the plane, overlapped together.
Although Hayao Miyazaki, Isao Takahata, and Toshio Suzuki are the main characters on the poster, except for Isao Takahata, who is unwilling to show his face and deliberately keeps a low profile, and Suzuki, who chats about business trivia and old fetters, the camera closely follows It is still the old palace. Gong Lao sat at the table in the bib of the three bears and drew the original painting, just like a young man in his teenage years, and the camera did not forget to turn to Mr. Suzuki, who was dealing with complicated things. Discussing with the cadres big and small about how Ghibli derivatives are selling: Oh, this month's calendar sales are still the first in Totoro, if it is replaced by Miyazaki's calendar, it will probably not work (laughs). Although the overseas sales of art museums have increased, it is still difficult to return to before the financial tsunami. These conversations about real survival pull people out of the light and cloud. It turned out that I was buying their tickets, lest they won't get a good time, they were also worried about the door.
Hayao Miyazaki's three words are not enough to represent Ghibli, even he himself is a person who dreams behind the sign all the year round. The consideration of the commercial performance of derivatives, the rush of publicity and planning, and the research on sustainable development still plague Toshio Suzuki, who is the master of the house. During the creation process, every little original artist can also give opinions on the size of the aircraft, and the producer Sanji needs to remind Gong Lao of the next work arrangement from time to time. Animation is of great interest to Hayao Miyazaki, he is the spirit of Ghibli, and the people behind him are the blood and bones of success. My favorite scene in the documentary is the life of the craftsmen who cut away the director’s narration, painted silently in the studio with the schedule full of walls, and enjoyed the finishing banquet; and Sanji, who is interspersed outside the topic of animation production. The wedding scene of the young lady; there is also a classic animation series at the end of the film, where the old man looks down on the creeper house and gives an anime fantasy speech: Princess Mononoke galloping on the roof, Ponyo stepping on the waves, Chihiro riding a white dragon, on the wire The running cat bus, Howl fell from the sky. There are so many things to see from a top-down point of view, and life is precisely because of this, the otherwise boring city can become an unparalleled movie stage.
More than 30 years ago, just because I had one more dream than ordinary people, this dream had to continue. The cost of maintaining this dream is very high, including the constant human affection, the helplessness of having to move forward, and even forget why we want to move forward (just because we love). There will be willfulness to want to run back, just like Miyagi jokingly commenting on Isao Takahata: "The Story of Kaguya Princess" may not be finished in summer, although he is working on it, he is also trying don't finish it. This kind of contradictory mentality is probably only a master like Takahata Isao who is in the cold but fears failure.
During the 2012-2013 period when the documentary was filmed, Nishimura Yoshiaki, the producer of "The Tale of Kaguya Hime," said that this would be Takahata's final masterpiece. This kind of evaluation can only be confirmed in the long-term future. This elegant line drawing cartoon still needs to be slowly understood by more people in time.
In this year, the young man became the new head of Ghibli, and Ghibli continues. The wind is blowing, and the only thing I can do is try to survive.
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