Guide Stained Glass Murals;: Voices from an Alternate Universe: Willson’s Journal

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A Hitchcock movie might start off with a panorama of the city, and then the camera closes in on a street, and a house, and then the stairway inside. When Miyazaki makes a film, he is thinking, like with this new one, O. Are they long or short? From Howl's Moving Castle. As with fantasy writers in the British tradition, from C.

Lewis to J. Rowling, Miyazaki makes the details of the worlds he creates concrete and coherent, so that we might better suspend our disbelief for the big leaps of fantasy. Miyazaki can be steely in pursuit of this goal. And then—ow! Have you ever seen a snake fall out of a tree?

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They are taking notes, looking grave: nobody has seen a snake fall out of a tree. Miyazaki goes on to describe how the dragon—a protean creature named Haku, who sometimes takes this form—struggles when he is pinned down. Chihiro on Haku the dragon in Spirited Away.

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Miyazaki groans. With Hello Kitty—the blank, big-headed cartoon cat—they proved that innocence was an aesthetic that could be pushed to extremes. One reason the Japanese are so good at this kind of thing is that many adults in Japan are curiously attuned to cuteness. It is also a culture where anime cartoons and manga comic books are both widely consumed and, in some cases, highly regarded as art and literature. No one knows exactly why comic books are so popular in Japan; one theory is that they grew out of woodblock prints and seemed naturally connected to a broader artistic tradition that produced some of its best work in ephemeral, everyday objects like fans and screens.

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In any case, manga make up nearly half of the book sales in Japan, and you see people of all ages reading them on the subway. Animated programs, of which ninety or so air on Japanese TV every week, have long been shown in prime time, on the assumption that families will watch them together. And while much anime and manga is intended for adults—violent sci-fi and pornography, as well as contemplative family dramas—the market for children remains the largest.

Miyazaki distances himself from all this commercialism. Now people in their forties are the ones who are supporting it. They have their own distortions, but, still, I like them. Hayao Miyazaki was born in Tokyo in His father helped run a family-owned factory that made parts for military airplanes. I spoke with him last summer at the Ghibli Museum, where he is the curator. My grandmother was very intelligent and not particularly interested in going out. She exerted a huge influence on Miyazaki.

When he was young, he had all these questions—big ideas—and it was his mother he could talk to about them. He was on of four boys, and he was the closest to her. His friend Suzuki was more direct. But he loved her the best of all of them. He had a kind of a complex toward his brothers, and that gave him a strong motivation to succeed at animation. His brothers went into business; they were more influenced by their father. At Gakushuin University, in Tokyo, Miyazaki studied economics and political science.

Poster for Legend of White Snakes. In , Miyazaki went to work as a rookie animator at Toei Animation, in Tokyo, which primarily made cartoons for television.

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Japanese studios were not the wealthy behemoths that Disney and Warner Bros. The result was jerkier, with more stilted movements and longer close-ups, in which faces often filled the screens: a kind of cut-rate Expressionism. The big, round eyes that Westerners associate with anime because signatures then—the legacy of Osamu Tezuka, the comic artist who, in the nineteen-fifties and sixties, drew Astro Boy and Kimba the White Lion. One theory is that Tezuka was influenced by Betty Boop, who was very popular in Japan. Miyazaki admired the soulful Tezuka, but his influences were more cosmopolitan: he loved Chagall, Bosch, and the Russian animators Lev Atamanov and Yuri Norstein, who made bewitching animations based on Russian folktales.

In his films, Europe looks like a harmonious amalgam of Scandinavia, Alsace, and the Amalfi coast, with a bit of Dalmatia tossed in. Goro, who was a landscape designer before going to work at the Ghibli Museum, was born in ; Keisuke, an artist who makes intricate wood engravings, was born two years later.

On his first job at Toei, Miyazaki also met Isao Takahata, an animation director with an intellectual bent, who had graduated from the University of Tokyo with a degree in French literature; and Michiyo Yasuda, the gifted color designer, who went on to work on most of his films. What kind of holes does it make in the ground when it moves? In the seventies, Miyazaki and Takahata both took jobs at Nippon Animation. Go Panda! Miyazaki is a workaholic, and that tendency was in full force by then. When I was a child, I studied him. To learn more about him, I watched his movies obsessively. I read everything that was written about him.

I studied his drawings.

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He was closer to his mother, he said, who would take him hiking and mountain climbing, and who taught him the names of trees, flowers, and birds. But Goro did remember that after his father finished a production the family would celebrate with an eel dinner at a restaurant. When he pestered his father for toys, Miyazaki had shown him how to whittle instead—an ability for which he was now grateful. It left him with the feeling that no matter where he was he could make something with his hands.

As driven as Miyazaki was, he did not achieve fame overnight.

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Toshio Suzuki met Miyazaki in , when Suzuki was working as the editor of Animage , an animation magazine. He had been assigned to interview Miyazaki, but Miyazaki refused.

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Go home. The next day, I went back and sat down in that same place. On the third night, he finally spoke to me—to ask for advice. He asked about whether there was a specific term for this kind of car chase he was doing. I told him what the name was; we talked about other things, and after a while he consented to an interview.

But then we tried to take a photo. Only from the back. So I got pissed. Miyazaki threw himself into the project single-mindedly. He changed quite a bit when he turned fifty—he figured maybe he should take off a Sunday now and then. Now he tends to leave at midnight. My idea of a vacation is a nap. At that point, Miyazaki floated the idea of disbanding the studio. He eventually convinced Miyazaki that closing shop would be a mistake. Suzuki is perhaps one of the few people, if not the only person, who can talk Miyazaki into anything. The studio became successful to the point that the staff was working on two projects at once.

The day I spoke with Suzuki, he was wearing black jeans and a T-shirt, and was chain-smoking. Another ten years? Takahata and Miyazaki, who worked together so closely for years, have lately moved in different directions. Takahata is more interested in literary and film theory, more cerebral and less enamored of magic.

Takahata is sixty-nine, but he has a formidable head of dark hair and a handsome, unwrinkled face. The audience is being asked to surrender.