Hayao Miyazaki Quotes
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I’d like to see Manhattan underwater. I’d like to see when the human population plummets and there are no more high rises, because nobody’s buying them. I’m excited about that. Money and desire—all that is going to collapse, and wild green grasses are going to take over.
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In my grandparents' time, it was believed that spirits existed everywhere - in trees, rivers, insects, wells, anything. My generation does not believe this, but I like the idea that we should all treasure everything because spirits might exist there, and we should treasure everything because there is a kind of life to everything.
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I think it's really good for a family or children to have a dog, cat, bird or whatever to grow up with.
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I don't intentionally make deep movies.
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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.
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In fact, I am a pessimist. But when I'm making a film, I don't want to transfer my pessimism onto children. I keep it at bay. I don't believe that adults should impose their vision of the world on children, children are very much capable of forming their own visions. There's no need to force our own visions onto them.
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We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation.
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To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lost the possibility of being countless other potential selves.. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us.
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To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
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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.
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I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
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I believe that fantasy in the meaning of imagination is very important. We shouldn't stick too close to everyday reality but give room to the reality of the heart, of the mind, and of the imagination.
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Maybe that's what these films are doing. They are my way of blessing the child
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Modern life is so thin and shallow and fake. I look forward to when developers go bankrupt, Japan gets poorer and wild grasses take over.
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But remember this, Japanese boy... airplanes are not tools for war. They are not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality.
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Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.
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People in Japan have experienced many tsunamis and various earthquakes throughout the ages.
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The love of weaponry is often a manifestation of infantile traits in an adult.
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When I say I get inspiration from my real life, I think of my real life as extending about 300 meters radius around me. So what I see in that area is what inspires me.
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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.
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Is someone different at age 18 or 60? I believe one stays the same.
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The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
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Plants exist in the weather and light rays that surround them - waving in the wind, shimmering in the sunlight. I am always puzzling over how to draw such things.
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[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.