Hayao Miyazaki

Birthday: 5 January 1941, Tokyo, Japan

Height: 164 cm

Hayao Miyazaki is one of Japan's greatest animation directors. The entertaining plots, compelling characters, and breathtaking animation in his films have earned him international renown from critics as well as public recognition within Japan. The Walt Disney Company's commitment to introduce the films to the rest of the world will let more people appreciate the high-quality works he has given the movie-going public.Hayao Miyazaki was born in Tôkyô on January 5, 1941. He started his career in 1963 as an animator at the studio Toei Douga studio, and was subsequently involved in many early classics of Japanese animation. From the beginning, he commanded attention with his incredible drawing ability and the seemingly endless stream of movie ideas he proposed.In 1971, he moved to the A Pro studio with Isao Takahata, then to Nippon Animation in 1973, where he was heavily involved in the World Masterpiece Theater TV animation series for the next five years. In 1978, he directed his first TV series, Mirai shônen Konan (1978) (Conan, The Boy in Future), then moved to Tôkyô Movie Shinsha in 1979 to direct his first movie, the classic Rupan sansei: Kariosutoro no shiro (1979). In 1984, he released Kaze no tani no Naushika (1984), based on the manga (comic) of the same title he had started two years before. The success of the film led to the establishment of a new animation studio, Studio Ghibli (Sutajio Jiburi), at which Miyazaki has since directed, written, and produced many other films with Takahata and, more recently, Toshio Suzuki. All of these films enjoyed critical and box office successes. In particular, Miyazaki's Mononoke-hime (1997) received the Japanese equivalent of the Academy Award for Best Film and was the highest-grossing (about USD$150 million) domestic film in Japan's history at the time of its release.In addition to animation, Miyazaki also draws manga. His major work was the Nausicaä manga, an epic tale he worked on intermittently from 1982 to 1984 while he was busy making animated films. Another manga, Hikoutei Jidai, was later evolved into his 1992 film Kurenai no buta (1992).Miyazaki's latest film is Hauru no ugoku shiro (2004), based on the novel by Diana Wynne Jones. Even though he has said this would be at last film, a statement he has said before after the completion of some of his earlier films, one hopes that additions to his extraordinary body of work will continue to be produced as long as he remains alive. Hide

[response to the otaku view of cute female lead characters as a form of wish fulfillment] It's diffi Show more [response to the otaku view of cute female lead characters as a form of wish fulfillment] It's difficult. They immediately become the subjects of rorikon gokko [play toy for Lolita Complex guys]. In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict such heroines as if they just want such girls as pets, and things are escalating more and more. Hide

[When asked if Studio Ghibli and Pixar have a rivalry] The illustrators at Pixar are all people I ho Show more [When asked if Studio Ghibli and Pixar have a rivalry] The illustrators at Pixar are all people I hold dear, we are not in competition. Our relationship is one that is based on friendship. Hide

When you watch the subtitled version you are probably missing just as many things. There is a layer Show more When you watch the subtitled version you are probably missing just as many things. There is a layer and a nuance you're not going to get. Film crosses so many borders these days. Of course it is going to be distorted. Hide

Do everything by hand, even when using the computer. Do everything by hand, even when using the computer.

I'm not going to make movies that tell children, "You should despair and run away". I'm not going to make movies that tell children, "You should despair and run away".

I have learned to accept the fact that I can be useful only in an area in my immediate proximity--sa Show more I have learned to accept the fact that I can be useful only in an area in my immediate proximity--say within a 30-meter radius, or 100 meters at most, in a manner of speaking. I've got to accept my own limitations. In the past, I used to feel obliged to do something for the world or humanity. But I have changed a lot over the years. There was a time when I dabbled in the socialist movement, but I must say I was quite naive. When I saw Mao Tse-tung's picture for the first time, I found his face revolting. But everyone told me that he was a "great, warmhearted man," so I tried to think it was just a bad picture. I should have trusted my own gut feeling. That certainly wasn't the only time when I made a bad decision. I still am a man of many mistakes. Hide

Well, yes. I believe that children's souls are the inheritors of historical memory from previous gen Show more Well, yes. I believe that children's souls are the inheritors of historical memory from previous generations. It's just that as they grow older and experience the everyday world that memory sinks lower and lower. I feel I need to make a film that reaches down to that level. If I could do that I would die happy. Hide

Actually I think CGI has the potential to equal or even surpass what the human hand can do. But it i Show more Actually I think CGI has the potential to equal or even surpass what the human hand can do. But it is far too late for me to try it. Hide

I can't believe companies distribute my movies in America. They're baffling in Japan! I'm well aware Show more I can't believe companies distribute my movies in America. They're baffling in Japan! I'm well aware there are spots . . . where I'm going to lose the audience . . . Well, it's magic. I don't provide unnecessary explanations. If you want that, you're not going to like my movie. That's just the way it is. Hide

[discussing CGI animation] I've told the people on my CGI staff not to be accurate, not to be true. Show more [discussing CGI animation] I've told the people on my CGI staff not to be accurate, not to be true. We're making a mystery here, so make it mysterious. Hide

Last year and this year, several friends and colleagues of mine died in their 40s and 50s. Death com Show more Last year and this year, several friends and colleagues of mine died in their 40s and 50s. Death comes to the young and old alike in no set order. It compels you to imagine that the Grim Reaper is ever lurking behind you. I myself become terrified of death when I am in a negative state of mind. But the thought of death ceases to bother me once I become productive. Hide

You see, what drives animation is the will of the characters. You see, what drives animation is the will of the characters.

Personally I am very pessimistic. But when, for instance, one of my staff has a baby you can't help Show more Personally I am very pessimistic. But when, for instance, one of my staff has a baby you can't help but bless them for a good future. Because I can't tell that child, "Oh, you shouldn't have come into this life." And yet I know the world is heading in a bad direction. So with those conflicting thoughts in mind, I think about what kind of films I should be making. Hide

[pitching the proposal for Mononoke-hime (1997)] There cannot be a happy ending to the fight between Show more [pitching the proposal for Mononoke-hime (1997)] There cannot be a happy ending to the fight between the raging gods and humans. However, even in the middle of hatred and killings, there are things worth living for. A wonderful meeting, or a beautiful thing can exist. We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation. What we should depict is, how the boy understands the girl, and the process in which the girl opens her heart to the boy. At the end, the girl will say to the boy, "I love you, Ashitaka. But I cannot forgive humans." Smiling, the boy should say, "That is fine. Live with me." Hide

[asked about his work's role in modern pop-culture] The truth is I have watched almost none of it. T Show more [asked about his work's role in modern pop-culture] The truth is I have watched almost none of it. The only images I watch regularly come from the weather report. Hide

The concept of portraying evil and then destroying it - I know this is considered mainstream, but I Show more The concept of portraying evil and then destroying it - I know this is considered mainstream, but I think it is rotten. This idea that whenever something evil happens someone particular can be blamed and punished for it, in life and in politics is hopeless. Hide

If [hand-drawn animation] is a dying craft, we can't do anything about it. Civilization moves on. Wh Show more If [hand-drawn animation] is a dying craft, we can't do anything about it. Civilization moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era. Hide

When I talk about traditions, I'm not talking about temples, which we got from China anyway. There i Show more When I talk about traditions, I'm not talking about temples, which we got from China anyway. There is an indigenous Japan, and elements of that are what I'm trying to capture in my work. Hide

The world isn't simple enough to explain in words. The world isn't simple enough to explain in words.

[on the future of hand-drawn animation] I'm actually not that worried. I wouldn't give up on it comp Show more [on the future of hand-drawn animation] I'm actually not that worried. I wouldn't give up on it completely. Once in a while there are strange, rich people who like to invest in odd things. You're going to have people in the corners of garages making cartoons to please themselves. And I'm more interested in those people than I am in big business. Hide

When I think about the way the computer has taken over and eliminated a certain experience of life, Show more When I think about the way the computer has taken over and eliminated a certain experience of life, that makes me sad. When we were animating fire some staff said they had never seen wood burning. I said, "Go watch!" It has disappeared from their daily lives. Japanese baths used to be made by burning firewood. Now you press a button. I don't think you can become an animator if you don't have any experience. Hide

I think 2-D animation disappeared from Disney because they made so many uninteresting films. They be Show more I think 2-D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2-D and 3-D could coexist happily. Hide

My process is thinking... thinking... and thinking. If you have a better way, please let me know. My process is thinking... thinking... and thinking. If you have a better way, please let me know.

To choose one thing means to give up on another. That's inevitable. To choose one thing means to give up on another. That's inevitable.

[When commenting on an animators work in Princess Mononoke] I think those who are into hobbies besid Show more [When commenting on an animators work in Princess Mononoke] I think those who are into hobbies besides animation are no good after all. It's OK to have some preferences or favorite things of course, but basically only those who could be totally in absorption of what animation demands are qualified as animators. It's good to have extra knowledge about what seems interesting but if it gets as big as to forget about the job, it'd show on the paper I recognize. The animators are to dissolve frustrations only by animating the characters, or so I believe. Hide

Hayao Miyazaki's FILMOGRAPHY

All as Actor (1) as Director (14) as Creator (18)

From Up on Poppy Hill

Pom Poko

Lupin III: The Castle of Cagliostro (Rupan sansei: Kariosutoro no shiro) [Audio: Japanese]

Howls Moving Castle [Audio: Eng]

Spirited Away

Ponyo

Kiki's Delivery Service

My Neighbor Totoro (1988)

Princess Mononoke (Mononoke Hime) [Audio: Eng]

Spirited Away (Sen to Chihiro no kamikakushi) [Audio: Japanese]

Majo no takkyûbin (1989)

The Wind Rises (Kaze Tachinu) [Audio: Eng]

Nausicaä of the Valley of the Wind

Castle In The Sky

Howls Moving Castle [Sub: Eng]

The Secret World Of Arrietty

Whisper of the Heart