However, it is said that it is an introduction to Ghibli, but the focus of the film is almost entirely focused on the world of Hayao Miyazaki, from life-like scenes such as walking and climbing trees, to work-like painting and attending meetings, all of which are based on Mr. Miyazaki. to focus. Several other humerus characters of Studio Ghibli, in addition to Toshio Suzuki, who is in charge of supervision, even Mr. Nonaka, the legal representative, has a higher appearance rate than another core creative character, Isao Takahata. In fact, as the actual founder of Bole, Ghibli and Hayao Miyazaki's eternal opponent who discovered and used Hayao Miyazaki, Joe Hisaishi, Toshio Suzuki and other characters, Isao Takahata has been rarely seen in previous documentaries. Taking into account the fact that the average age of the golden trio of Takahata Isao, Miyazaki Hayao and Suzuki Toshio on the film poster is over 70, as a recent Ghibli-related documentary, the director Sunada Asami failed to break through this. Slightly regrettable. Maybe Director Sunada has his own considerations, and maybe Takahata is shy and doesn't like to respond to interviews, but the biggest possibility may be, as the outside world has said, that the world has long been accustomed to focusing on Mr. Miyazaki, who has become famous overseas and has achieved great commercial success. on the body, thus selectively ignoring the predecessor character who exists like a shadow and undergoes ultra-slow production. From this point of view, if you are an anime fan and industry practitioner who wants to get to know Takahata Isao or other people by chance, you don't have to have high expectations for this film. After all, Ghibli is a studio that brings together many manga fans, and it is not just Miyazaki here. However, the film is still full of the old man Gong, and the only supplementary perspective of Director Sha Tian may be a female producer surnamed Sanji. Although there are only a few scenes, it gives people the impression of Ghibli, the "big Austrian" female manager. Made by Sanji. Compared with other staff members, her freshness and professionalism are powerfully conveyed to the audience through the screen. Whether or not Director Sunada did it intentionally, for me, as a woman, it is very comforting to see another woman standing shoulder to shoulder with a man, such as another director, Director Suzuki, at any time. .
Of course, Takahata's lack of pictures also has his own reasons. According to the film, Ghibli was planning and producing two works of Hayao Miyazaki's "The Wind Rises" and Takahata's "The Story of Kaguya Princess" at the same time. But because Takahata's progress was as slow as ever, we, as viewers, only caught a glimpse of a poster for the press conference at the end of the film. Supervisor Suzuki and his rival and close friend Hayao Miyazaki also felt helpless about the unpredictable progress of Isao Takahata. In the director's impromptu interview, Suzuki and others complained about Isao Takahata's lack of progress, while doing their best to support Isao Takahata. Even after the completion of "The Wind Rises", what Miyazaki did immediately was to go to the rooftop of the studio to meet these two old friends. Compared with other details, this closely maintained trust relationship is what The most touching part of the film from beginning to end.
In short, this film is intended to show us the daily life of a prestigious animation studio, and since Director Sunada still chose a record dominated by Hayao Miyazaki, it is inevitable to mention him and his work in Kyrgyzstan. The works created by Buli Utopia.
◆About Hayao Miyazaki◆
Even if it is the same subject matter, each person interprets it differently and draws different conclusions. Sunada Mami's more casual shooting methods, inserting empty mirrors of Ghibli's surrounding scenery between impromptu interviews and questions, and using it for natural scene transitions between events, are all practices that can make the viewer immerse in it. Mr. Miyazaki under the lens of Shatian is very vivid, like a big child, he has a usual desire to control his own works, but he also knows how to listen to the suggestions of the team. The use of the non-professional Anno Hideaki as the voice actor of Jiro Kugoshi, the protagonist of "The Wind Rises", was the result of a flash of inspiration from Hayao Miyazaki's team. Although it was a joke, it was finally passed at the insistence of Mr. Miyazaki. After all, it is very unsafe to let the EVA director, Anno, who is slightly stuttering, interpret a contradictory and complicated protagonist, and it is very unsafe to give up hiring professional voice actors. The studio is unwilling to take such a risk for other people's works. But he is Hayao Miyazaki, and his name is a well-known sign. In the face of strength, cartoonists should have relative freedom to make such choices, and the studio is obviously accustomed to Mr. Miyazaki's occasional stubbornness. This decision is left to others, I am afraid that Suzuki and Miyoshi will be surprised. So many times, it was Hayao Miyazaki's decision that allowed Ghibli to maintain high production all the year round, maintain the original taste of Miyazaki's works, and also accumulated capital for the studio to create unrestricted freedom. Toshio Suzuki directly praised Miyazaki's "5 seconds to decide the layout of the poster" in the film. It is this terrible execution that helped Ghibli become the last Taoyuan town in the animation industry to a certain extent. Also, Miyazaki is notoriously demanding, both on himself and on others. In the eyes of employee aides, he was a troublesome but respected boss. Ghibli's core team members once admitted that "he regards the employees as clogs", hoping that the assistants can immediately understand and output the thoughts in their minds, even if they know that the assistants will feel tired and leave after countless efforts implement idealism.
Of course, apart from his dazzling aura to others, he is also a manga practitioner who is often discouraged, doubts himself and unconsciously procrastinates. When returning home at night, he said, "It should be easy to draw tomorrow"; when communicating with assistants, he suffered from incomprehension; when he felt anxious and powerless about his old body, he forgot the existence of the camera and cursed out Dirty words, such Hayao Miyazaki is a "genius" who works hard to do his job well. When the interest came, I climbed up the tree to observe the small world of Ghibli. I also invited Director Sunada to watch it together. The reason was "don't patronize the filming." He was in an unmanned studio, meticulously correcting the picture, his energy was not like a 72-year-old man. Following the lens of Director Sunada, what I saw was an old man who worked hard with his predecessor, Isao Takahata. He laughed and said that he was "a man of the 20th century living in the 21st century", rejecting nuclear energy and modern convenient computer painting tools, while creating An active top animator who produces masterpieces of his own.
Since "Castle in the Sky", Ghibli has repeatedly spread rumors that Mr. Miyazaki is about to retire, and even Hayao Miyazaki is considered by the media as a business wizard who is good at using retirement statements to hype. At the end of the documentary is the preview of "The Wind Rises" and a clipping of Hayao Miyazaki's retirement statement, with Director Sunada's narration calmly stating the fact, without the usual suspicion or excessive regret , some are just an empty studio under the camera, the lush Ghibli trail and the leisurely figure of Mr. Miyazaki walking slowly towards the picture. So we felt that this time, he really decided to take a break, without the guarantee of a successor, and with that stubbornness that he didn't want to accept the old "I hope to work for another ten years". In short, the Gensokyo that belongs to him has ended, but the creative enthusiasm belonging to all members of Ghibli has not died out, as evidenced by the "Marnie in Memories" that the studio later participated in.
◆About "The Wind Rises"◆
The first time I watched this documentary was after watching Hayao Miyazaki's "The Wind Rises". As the behind-the-scenes surroundings of the work, I hope to see the real thoughts and creative environment of the animators. However, looking back now, after watching the documentary "To the Sky" directed by Zhang Zhaowei, my mood changed slightly, as Hayao Miyazaki said when he was caught in a creative conflict, "all kinds of emotions are mixed in it". Seeing Hayao Miyazaki's frankly fond of the Zero fighter, but not being able to draw it handsomely, the protagonist Jiro Ogoshi, who projected the shadow of Hayao Miyazaki's father, also clearly engraved this contradiction. For war, the public has always been powerless, either being used in ignorance, or being overwhelmed and affected. The creator of the Zero-type machine, Jiro Kegoshi, undoubtedly has a soft side in his heart. He and his sick wife do not want the people to suffer, but among many craftsmanship, he is fascinated by the production of fighter planes. During this period of coincidence, the protagonist also has his own life. Without commenting on whether Jiro Igoshi's actions are just or not, he must be full of Miyazaki's nostalgia for his father. In the film, Hayao Miyazaki said that the Miyazaki Aircraft Factory opened by his father provided parts for the Japanese Zero fighter during World War II. This explains why the story written by Hayao Miyazaki has many planes and wars. Mr. Miyazaki mentioned in the film the scenes of Japan's wartime is also helpless. In addition, the NHK and other national institutions have a negative attitude towards Ghibli's works. With all kinds of restrictions, from the very beginning, it was impossible for this work to face the brutal war from an objective point of view. So what we see more is the process of an elite protagonist who is interested in the dream of building a powerful country by aircraft, in a special era background, with his own beliefs, to serve the motherland and realize the process of personal ideals. Originally, Hayao Miyazaki wrote an ending in which everyone died. Later, the ending was temporarily changed, and the wife of Jiro Kugoshi, Nahoko, told him that he would live. Although Hayao Miyazaki has always emphasized that this work is for adults, the belief in "creating for children" has been deeply rooted in his heart for many years. At the last minute, he made changes to the ending scene, which also brought a relatively bright ending to the film. . For this change, Hayao Miyazaki's explanation is that "even if destiny exists, it is the will to express it." Unlike another director, Isao Takahata, who focuses on reflecting reality, Hayao Miyazaki is always positive, even if he is very clear about this. How illusory and powerless this kind of positivity is.
◆About Ghibli◆
Ghibli is the name of an airplane. In the film, Hayao Miyazaki said that he adopted it when he saw it by chance. The predecessor of Ghibli was a subsidiary invested by Tokuma Bookstore, and it was the ideal country of Hayao Miyazaki's predecessor Takahata. There's a sense of heritage here, and there were two of Ghibli's main teams when Asami Sunada shot this film. One is the Utopia headed by the highly productive Hayao Miyazaki, and the other is ten years of sharpening a sword. The styles of the two are fundamentally different. One is innocence and the other is reality. They are the inside and outside of each other, forming the light and shadow of Ghibli. The two are rivals rumored by the outside world and friends who surpass their colleagues.
In addition, because the main creators are already old, the studio needs to replenish fresh blood, and there is a very interesting scene in the film. The personnel director emphasized to the new recruits that the studio is not a lifetime employment. Japanese clubs are almost unimaginable. What newcomers get is a free working atmosphere and an opportunity to exercise with the masters. For many working people, Ghibli is more like a school. People here are not subordinates who only know how to work hard and obey the orders of their bosses. When they are in harmony, they will give people the illusion of family. Hayao Miyazaki, who will preside over Miyoshi's marriage, really doesn't like to put on airs, and everyone deviates from the topic from time to time during serious meetings. Rather than work, the studio is more concerned with maintaining relationships. Under the lens of Director Sanda, a cat named Niuzi raised by the studio appeared three times. Niuzi is very much like a miniature of Ghibli. At the beginning of the interview, Niuzi subconsciously turned around and left, avoiding the unfamiliar camera, and finally Niuzi fell asleep peacefully during the shooting. When busy, everyone in Ghibli worked in a tense and orderly manner. Even if they answered the director's question, the pen in their hand would not hesitate a little, and even Niuzi stopped at the work area sensible. Hayao Miyazaki said with a smile that his brain is already divided and can operate two things at the same time.
Despite the constant pressure of deadlines, Ghibli is in a much better position than other studios in Japan. Compared with another short film by the studio of Naoki Urasawa, another documentary genius, there is one sentence in common. "Professionalism means there are fixed pressures such as deadlines, etc., but it is also necessary for professionals to actively face these and do their best with a responsible spirit." The ideal country still needs practical diligence to support it. What Ghibli created is dreams and ideals, but they are still part of reality, so there are two scenes in this film that moved me deeply. One is that Miyoshi tries to hide her pregnancy from Hayao Miyazaki in order to ensure that "The Beginning". The wind's progressing as usual. The other is the final interlude. Hayao Miyazaki looks at the town outside the window and says that his inspiration comes from a careful experience of reality, even if it is a very rational state, and finally let them appear one by one in his writing. Along with Mr. Miyazaki's words are the classic works of Ghibli over the decades. Those fanciful fragments flashed back one by one, and finally they were fixed in the peaceful town outside the window, giving people a dizzying impression of intertwined reality and reality.
The lush green Ghibli is like an elder with a childlike innocence. In this world "full of industrial waste", with the simplicity of "go to hell with success", he patiently sculpts each of his own works, precious and precious. Heavy. Where there are so many geniuses, some are just mortals who keep their ideals in loneliness. The last Taoyuan Township belongs to a group of people who are passionate about animation, and Ghibli lives up to this name.
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