From left to right: Hayao Miyazaki, Toshio Suzuki, Isao Takahataimage: that
Miyazaki seems devastated by the loss of his friends. For example, at Takahata’s memorial service, he told an anecdote about the two spending time together at a bus stop in the rain. However, producer Suzuki admitted that he doubted the moment ever happened, suggesting that Miyazaki was confusing reality with images from his own films, in this case a famous moment my neighbor chinchilla .
The documentary emphasizes the blend of fact and fiction, frequently splicing footage from Studio Ghibli’s iconic oeuvre. For example, when Miyazaki tells the story of Isao Takahata, the film suddenly jumps to tension . It’s an editing technique that works very well, how it removes the viewer from reality, just as Miyazaki – and to some extent all artists – are constantly traveling between the real and imaginary worlds in their minds Go the same way.
The director dealt with grief the only way he knew how – by writing. He further skirts the line between reality and depicts those around him, living and dead, as characters in the film. boy and heron . Miyazaki describes producer Suzuki as a con man but a cunning heron, and the documentary cuts between shots of the two cackling slyly. The late Isao Takahata is the mysterious old uncle, and Hayao Miyazaki himself is the real protagonist of the film. More footage of live-action crossovers paired with the animated characters Miyazaki created in his head gives a glimpse into the madness of this approach.
Isao Takahata wasn’t the first or last death we saw during Miyazaki’s production boy and heron . Unfortunately, the production is filled with the deaths of people close to Miyazaki, each death hitting the director hard and adding a new dimension to the film. boy and heron Themes of own grief and acceptance. With every loss Miyazaki and Studio Ghibli have to endure, he, like the real thing, becomes increasingly filled with anger at the way the world treats those around him. But it was Takahata’s death that troubled Miyazaki the most. He credits the late director with being the only person who “made” him a creator, and now that he’s gone, he sees him in everything from lost erasers to lightning storms. The documentary keeps cutting to the late director riding his bike down a road and around corners, just out of his reach. As you watch it, you come to understand how Miyazaki sees the world and how he sees it. boy and heron -Thanks for this incredible documentary.
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But Miyazaki’s narrative isn’t the only one that exists. Hayao Miyazaki and the Heron has its own perspective, highlighting how the filmmakers seem to care more about life than death throughout the film. exist The kingdom of dreams and madness In “The Early Ghibli Documentary Filmed Before Takahata’s Death”, Miyazaki is even more indifferent to the prospect of death and Ghibli’s fate after his death. When asked about the future of the studio, Miyazaki once smiled and replied: , the future is clear. “It’s going to fall apart. I can see it already. During production boy and heron However, despite the cloud of death hanging over him, the director reiterated his desire to continue living and creating. He’s all about Ghibli’s legacy. Fragments from past films are as often in his mind as they are in this one, as they represent not only his life’s work, but also the work of Isao Takahata and countless others. He hopes the next generation will pick up a pencil.
Enter Takeshi Honda, best known as a character designer and animation director Reconstruction of Neon Genesis Evangelion Movie. bring action boy and heron As an animation supervisor, Honda is the younger generation, as Miyazaki likes to say, he is 56 years old and Miyazaki is 83 years old (in 2024). Although the newcomer’s skills are evident, his new way of doing things immediately bores the director. However, during production, Miyazaki found new friendly competition in the form of Honda. This collaborative, and sometimes combative, relationship hints at the dynamic between Miyazaki and Takahata. Maybe there are other creators who understand Miyazaki, and maybe Honda is one of them. But the old man was dubious.
Hayao Miyazaki has always been a perfectionist. In the past we’ve seen him spend days working on animations to get them as good as he can, such as when he made The wind blows . So much was taken inside Hayao Miyazaki and the Heron Showing the director discarding the efforts of others and sometimes even his own lesser attempts. But when faced with a particularly difficult shot, towards the end of the film, when the real person wanders down a passage, Miyazaki and Honda come face to face again. We see the director pick up Honda’s version, as we have many times, and get ready to replace it with his own version. But Miyazaki looked at Honda’s work, in which young animators faded in and out of real people through the lens itself, and he couldn’t help but see the incredible talent on display. Miyazaki threw his own version in the trash. Honda’s take on this scene remains one of the most subtle, stunning moments in the final version. boy and heron .
Animation supervised by Hayao Miyazaki (left) and Samurai Honda (right) boy and heron image: maximum
Miyazaki may have seen himself as a real person, but at this point, as with so many others, the documentary suggests he may be more like his uncle in the animated film. Desperately looking for a sign that the next generation could create something for the future, something new that not only imitated his own work but surpassed it. This creative drive will truly realize his, Takahata, and Ghibli’s legacy. He seems to have found a glimmer of light in his relationship with Honda.
the truth behind boy and heron Somewhere between the perspective of Hayao Miyazaki and that of documentary. He wasn’t just a real person and an uncle; He is both at the same time. In fact, he is everyone boy and heron in some way. The trickster Heron who convinced real people to go on this journey was also the one Miyazaki convinced himself to make another movie. Every character in every Ghibli film by Hayao Miyazaki carries some fragment of him with him. The director himself said that in order to create these works of art, he had to open his mind to the world. boy and heron This is Hayao Miyazaki’s masterpiece in which he reveals himself to the world like never before. No wonder the documentary begins with footage of the director soaking naked in a hot spring.
Despite being obsessed with the deaths happening around him and joking about his own inevitable death, Miyazaki is still alive. at the end The wind blows This was once the director’s last film, ending with a simple imperative to survive. boy and heron Japanese title of How are you doing? Respond to this command with a question. Hayao Miyazaki and the Heron answered the question. “If we don’t create, there’s nothing,” the director said. That’s how Miyazaki created it.
boy and heron and Hayao Miyazaki and the Heron Now available to play on Max.
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