Creative Process Paper — Draft 1
Partner: Jelani White
// introduction
Miyazaki didn’t begin in animation as many might assume; his beginnings start with manga. The two are often connected as there are a multitude of mangas that have been animated into a series based off the manga plot. Osamu Tezuka was his initial inspiration; Miyazaki’s early manga pieces were highly reflective of Tezuka’s style as it was what he grew up reading. Two of his most famous works that were likely to have been read by Miyazaki are: Astro Boy and Dororo. The story of Dororo goes through the complex relationship that is built between the daily interactions of two strangers who become something more than family to each other; this motif can be recognized in Miyazaki’s films too — the slow but dynamic build up of emotions. However, Tezuka was not only admired by him. Tezuka was also despised. As an animator, he was viewed as low-tier and even considered as someone ruining Japanese animation in Miyazaki’s eyes. Meanwhile, Toei Doga, Lev Atamanov, Paul Grimault, and Frederic Back all fueled Miyazaki’s yearning to create even more magnificent animations — the subtle movements and respectable characters touched his heart.
// connect
The main focus for most of his films is children: Miyazaki says he “look[s] at [children] and tr[ies] to see things as they do. If [he] can do that, [he] can create universal appeal. We get strength and encouragement from watching children. [He] consider[s] it a blessing to be able to do that, and to make movies in this chaotic, testing world” (Mufson). Miyazaki struggles to create ideal universes for both adults and children to live in, take shelter in, and believe in. He finds the world to be so full of chaos and badness that a persistent need to create better always resides in him. Miyazaki believes that reverting to the eyes of children is the key to help cleanse the minds of those struggling; however, he himself is consistently struggling. Struggling to express what he wants, to improve his ideas, to better his films, to insist on the goodness of life and living.
The idea process is one of the hardest parts; his films are so unique and special that he has to dig down deep inside him to bring out his visions. Our minds and emotions are some of the most complex areas to exist — with everything twisting, sometimes even disappearing. And Miyazaki has revealed that his ideas come from the “feelings deeply etched in the folds of [his] consciousness” (Miyazaki). Miyazaki believes that your creations take life from the emotions and memories the person has created from the moment they entered this world; stories are derived from the deep feelings we sometimes can even forget about as they are too stored away from our daily minds. He explains that the animated worlds that people create must be worlds that the creator themselves want to experience and enjoy; if you create films for others only, there will be essential pieces missing from the totality of the piece.
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Ebert explores Miyazaki’s world of quietness and stillness. He strays away from using the computer in any circumstances; from a “suspicious[ness] of computers,” all his films begin from hand. The scenes are all hand-drawn without any references to the digital. Even the colors for all of his movies are dictated and chosen through hand methods. While refusing to enter a busy and technological era, Miyazaki includes the natural breaks of life. Continuous action with no stops brings a sense of commotion and craziness that his films steer away from. True life emotions emerge from the pauses we experience and stick with us for the long run.
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