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Hayao Miyazaki
(宮崎 駿, Miyazaki Hayao, born January 5, 1941) is a Japanese film
director, animator, manga artist, producer, and screenwriter. Through a ...*****
http://www.cw.com.tw/article/article.action?id=5001921
宣佈引退 宮崎駿：創作，必須誠實面對自己
日本吉卜力工作室於九月一日在威尼斯電影節會場宣布，動畫大師宮崎駿將引退，新作《風起》成為他的息影作品。長達四十年的職業生涯，帶給觀眾《風之谷》、《龍貓》、《天空之城》等經典作品。
在混亂不安的世代裡，這位動畫大師如何讓故事跨越國際、傳遞希望？專訪中，宮崎駿提出了最簡單、卻也最珍貴的解答。
問：如何把一個創意適當地表現出來？
答： 這用「拼圖」來形容可能比較容易懂。我常有很多點子，以《崖上的波妞》為例，我構思的元素是：崖上坐著一位少年，他看到海面上有一艘船，這船非常詭異，跟 普通的船不一樣；少年在崖邊遇到一個小女孩，這女孩是青蛙（或金魚）變的，少年承諾要好好照顧女孩。這是一個關於遵守約定的故事。
像這樣，把許多不同的點子加以拼貼，覺得行不通的就拿掉，嘗試不同的可能性，最後組成一個完整的故事。我的創作方法可能比較不一樣，並不是把一個原本的想法再加上其他的元素，使這個想法變得豐富而多樣化，而是把許多零星的東西加以組合，從中慢慢形塑故事的核心。
問：你的作品不只是在日本，即使在歐美也很受歡迎，如何讓故事感動不同文化背景的觀眾？
答：沒有那麼受歡迎吧？呵呵。我每次創作動畫時，都會設定要給誰看、想清楚我的觀眾是誰。例如，《崖上的波妞》就是畫給五歲小朋友看的，但有時我也會製作一些給大人看的作品。
我的作品在外國受歡迎，我想是因為大家在作品裡面看到是人的共通點而不是差異點。我不提倡「國際化」這個觀念，我也不希望在自己的作品裡談國際化。我就是要做只有日本人看得懂的東西，這樣反而比較好。
問：你的作品讓人覺得對這個世界充滿熱情與希望，尤其是對反戰與環保的關注。你對這個世界有怎樣的期許？希望透過作品來傳達什麼訊息？
答： 我最不想做的兩個職業，一個是日本首相，一個是美國總統。因為，現在這個時代所面臨的問題，有許多是難以解決的，並不是傾聽他人的意見就有解決之道，而是 必須以嚴厲的態度、腳踏實地去執行，才有改變的可能。日本政治家沒有這個能力與魄力，所以首相才會當沒多久就一換再換。
問：如何把一個創意適當地表現出來？
答： 這用「拼圖」來形容可能比較容易懂。我常有很多點子，以《崖上的波妞》為例，我構思的元素是：崖上坐著一位少年，他看到海面上有一艘船，這船非常詭異，跟 普通的船不一樣；少年在崖邊遇到一個小女孩，這女孩是青蛙（或金魚）變的，少年承諾要好好照顧女孩。這是一個關於遵守約定的故事。
像這樣，把許多不同的點子加以拼貼，覺得行不通的就拿掉，嘗試不同的可能性，最後組成一個完整的故事。我的創作方法可能比較不一樣，並不是把一個原本的想法再加上其他的元素，使這個想法變得豐富而多樣化，而是把許多零星的東西加以組合，從中慢慢形塑故事的核心。
問：你的作品不只是在日本，即使在歐美也很受歡迎，如何讓故事感動不同文化背景的觀眾？
答：沒有那麼受歡迎吧？呵呵。我每次創作動畫時，都會設定要給誰看、想清楚我的觀眾是誰。例如，《崖上的波妞》就是畫給五歲小朋友看的，但有時我也會製作一些給大人看的作品。
我的作品在外國受歡迎，我想是因為大家在作品裡面看到是人的共通點而不是差異點。我不提倡「國際化」這個觀念，我也不希望在自己的作品裡談國際化。我就是要做只有日本人看得懂的東西，這樣反而比較好。
問：你的作品讓人覺得對這個世界充滿熱情與希望，尤其是對反戰與環保的關注。你對這個世界有怎樣的期許？希望透過作品來傳達什麼訊息？
答： 我最不想做的兩個職業，一個是日本首相，一個是美國總統。因為，現在這個時代所面臨的問題，有許多是難以解決的，並不是傾聽他人的意見就有解決之道，而是 必須以嚴厲的態度、腳踏實地去執行，才有改變的可能。日本政治家沒有這個能力與魄力，所以首相才會當沒多久就一換再換。
以現在的金融危機來說，我不覺得這是危機，而是消費至上的資本主義一個反省的時機。所謂跌倒，就要真的跌倒，深深感覺到痛，而不是只在嘴上說「我們應該要以怎樣的態度面對問題」、「這非常棘手」之類的空話。現在有許多問題無法立即獲得解決，必須要大家一起忍耐。
問：世界局勢似乎愈變愈糟，但你為何不感到消沉與氣餒，而持續以創作來鼓勵人心？
答：因為我們要賺錢維持生計，哈哈，開玩笑啦！
以我隔壁的幼稚園為例，我覺得這些小朋友其實是給大人們一些希望。大人只要做出一些改變、投注一些力量，就會帶給小孩很大的改變。我其實也想透過這個幼稚園，來獲得一些希望。
小朋友啊，尤其是那麼小的幼齡兒童，我覺得他們不是普通的人，而是具有一種靈性或神性。我不會對小朋友有任何期待，因為我不覺得小孩必須順著大人的期待而成長。我每天都會花十五分鐘去偷看隔壁幼稚園的小孩，在這個過程裡，看到小朋友每天都在成長，我覺得這反而是小朋友在給我勇氣與動力。
問：你一路創作至今，對人生有何新的體悟？
答：我的每一部作品，都有我自己生活上或情感上的一些反映或投射，我並不是那種擅長捏造自己沒有經歷過的事來說故事的人。
在構思劇情時，我會去思考，遇到那樣的情境，自己會怎麼想、會有怎樣的感覺。這不是從一開始就做好設定，而是順著人性去發展故事。創作，是一件必須誠實面對自己的工作。
（張漢宜整理）
問：世界局勢似乎愈變愈糟，但你為何不感到消沉與氣餒，而持續以創作來鼓勵人心？
答：因為我們要賺錢維持生計，哈哈，開玩笑啦！
以我隔壁的幼稚園為例，我覺得這些小朋友其實是給大人們一些希望。大人只要做出一些改變、投注一些力量，就會帶給小孩很大的改變。我其實也想透過這個幼稚園，來獲得一些希望。
小朋友啊，尤其是那麼小的幼齡兒童，我覺得他們不是普通的人，而是具有一種靈性或神性。我不會對小朋友有任何期待，因為我不覺得小孩必須順著大人的期待而成長。我每天都會花十五分鐘去偷看隔壁幼稚園的小孩，在這個過程裡，看到小朋友每天都在成長，我覺得這反而是小朋友在給我勇氣與動力。
問：你一路創作至今，對人生有何新的體悟？
答：我的每一部作品，都有我自己生活上或情感上的一些反映或投射，我並不是那種擅長捏造自己沒有經歷過的事來說故事的人。
在構思劇情時，我會去思考，遇到那樣的情境，自己會怎麼想、會有怎樣的感覺。這不是從一開始就做好設定，而是順著人性去發展故事。創作，是一件必須誠實面對自己的工作。
（張漢宜整理）
*****
宮崎駿新作 引發叛國爭論
2013-08-02
Web only
作者：經濟學人
圖片來源：劉國泰
宮崎駿的新電影《風起》探索了愛、責任與死亡，有人認為這是宮崎駿第一部給成年人看的動畫。劇情改編自二戰飛機製造者的真實故事，電影名稱則是出自瓦勒里（Paul Valéry）的詩作。而在電影中，風是災難的前兆，災難則是電影的核心之一。L'Insinuant by Paul Valéry 梵樂希, Paul Valéry, Andr...
雖然場景設定在真實世界，但電影依舊充滿了宮崎駿式的幻想。電影主角崛越二郎，是以真實世界中的零式戰機設計師崛起二郎為角色原形。
在二次世界大戰之時，零式曾是全世界性能最優越的戰鬥機，在太平洋戰場人人聞風喪膽；但到了1945年，零式失去了技術優勢，接著，青少年便以零式戰機進行自殺式攻擊。
宮崎駿出生於珍珠港事件那一年，而這一代的日本人，也大多懷抱著和平主義的理想。在他的電影中，第一個對於貪婪和軍國主義提出警告的，通常都是小孩，成人往往是置若罔聞。
在 這部電影中，天真的堀越二郎為了追求兒時建造飛機的夢想，完全不在乎日本即將面臨的災難。曾有影迷提問，為什麼一個懷抱和平主義理想的電影製作人，會製作 一部與武器製造者有關的電影；宮崎駿表示，這位天才工程師的故事深深吸引著他，工程師是中立的，發動戰爭一開始就是錯誤，但是把過錯怪罪到崛越二郎身上， 是沒有意義的。
不過這部電影會在日本引發激辯，一點都不令人意外。上個月，宮崎駿發表了一篇文章，批評日本政府預計要升級陸海軍的計劃。保守派則回應說，宮崎駿根本不該涉入政治，線上討論區充滿語氣憤怒的評論言詞，將宮崎駿貼上了反日叛國者的標籤。
不過，就藝術和政治角度來看，《風起》都可算是宮崎駿的最後詩篇，比起那些批評，更經得起時間的考驗。至今為止，這部電影的票房現也相當不錯：自7月上映以來，已站上了日本電影票房的第一名。（黃維德譯）
©The Economist Newspaper Limited 2013
經濟學人英文原文
宮崎駿出生於珍珠港事件那一年，而這一代的日本人，也大多懷抱著和平主義的理想。在他的電影中，第一個對於貪婪和軍國主義提出警告的，通常都是小孩，成人往往是置若罔聞。
在 這部電影中，天真的堀越二郎為了追求兒時建造飛機的夢想，完全不在乎日本即將面臨的災難。曾有影迷提問，為什麼一個懷抱和平主義理想的電影製作人，會製作 一部與武器製造者有關的電影；宮崎駿表示，這位天才工程師的故事深深吸引著他，工程師是中立的，發動戰爭一開始就是錯誤，但是把過錯怪罪到崛越二郎身上， 是沒有意義的。
不過這部電影會在日本引發激辯，一點都不令人意外。上個月，宮崎駿發表了一篇文章，批評日本政府預計要升級陸海軍的計劃。保守派則回應說，宮崎駿根本不該涉入政治，線上討論區充滿語氣憤怒的評論言詞，將宮崎駿貼上了反日叛國者的標籤。
不過，就藝術和政治角度來看，《風起》都可算是宮崎駿的最後詩篇，比起那些批評，更經得起時間的考驗。至今為止，這部電影的票房現也相當不錯：自7月上映以來，已站上了日本電影票房的第一名。（黃維德譯）
©The Economist Newspaper Limited 2013
經濟學人英文原文
A new film by Hayao Miyazaki
Past master
By The Economist
From The Economist
Published: August 02, 2013
From The Economist
Published: August 02, 2013
Jul 31st 2013, 15:33 by D.M. | TOKYO
A SOMBRE exploration of love, responsibility and death, "Kaze Tachinu" ("The Wind Has Risen") is being described as Hayao Miyazaki's first film for grown-ups. Having spent half a lifetime making exquisite fantasies for children, Mr Miyazaki, now 72 and regarded as the reigning genius of Japanese cinema, has returned to tackle the true story of an aeroplane-maker who worked through the second world war.
The title is a reference to a line from a Paul Valéry poem, "Le Cimetière marin" ("The Graveyard by the Sea" 海濱墓園): "The wind is rising!...We must try to live." The wind is a portent for the disasters that anchor the movie: the 1923 Kanto earthquake, which levelled much of Tokyo and Yokohama and killed more than 100,000 people; and Japan's disastrous imperial war, over a decade later.
Despite its real-world setting, the film is saturated with the fantastical flourishes characteristic of Mr Miyazaki's earlier work. It is bookended with dreams. At the start, a ten-year-old boy named Jiro Horikoshi imagines flying above his provincial home, only to be awakened by bombs that fall from a hulking aerial warship. By the film's denouement, he is walking though the ruined landscape of wartime Japan, a nightmare wrought in part by his own boyhood dreams of flight.
He grows up to become a brilliant but naive engineer. The character of Jiro is based on the real Japanese designer of the Mitsubishi A6M Zero. In its time considered to be the world's best aerial fighter plane, the Zero enjoyed a terrifying reputation across the war's Pacific theatre. The Zero was on hand to open the war against America, by leading the attack on Pearl Harbour in 1941. By 1945 however, it had lost its technical edge. Then teenage kamikaze pilots were using Zeros as suicide bombs, ramming them into the approaching American fleets.
Born in the year of the Pearl Harbour attack, Mr Miyazaki is imprinted with the pacifism that is typical of Japanese from his generation. His movies are paeans to the natural world and warnings about its perilous state. In many, children are the first to warn of the dangers of greed and militarism, which inevitably fall on adults' deaf ears.
The childlike Jiro sustains his boyhood fantasies by building his plane, oblivious to Japan's looming catastrophe. His love of flying is depicted as a pure and uncomplicated thing. There is a sensual, erotic quality to the aerial scenes; his budding love for his fiancée, Naoko, is symbolised by the soaring flight of paper aeroplanes. Regret comes only in the final scenes.
Fans have asked why the great pacifist film-maker has made a movie about a weapons-maker. Mr Miyazaki says he was drawn to the story of one of Japan's great eccentric geniuses. Engineers are neutral, he explained in June 2013. "It was wrong from the beginning to go to war," he said. "But…it's useless to blame Jiro for it."
Not surprisingly, in a country where politicians regularly stir up ghosts from the past, his film has triggered caustic debate. This month, Mr Miyazaki published an article in which he said he was "disgusted" by government's plans to upgrade Japan's army and navy and taken aback by how ignorant the politicians are of Japan's wartime history. Though he didn't mention him by name, it is clear that Mr Miyazaki's broadside was aimed at the prime minister, Shinzo Abe.
Conservatives have responded by telling Mr Miyazaki to stay out of politics. A popular online bulletin board, 2channel, is filled with furious comments that brand him as an anti-Japanese traitor. Worse, some have judged the new movie's sensual, slow-moving style and lack of digital fireworks to be "boring".
Mr Miyazaki's film feels very personal. His own father was the director of a company that made rudders for the Zero. Like Jiro, the young director grew up obsessed with aeroplanes. A swan-song, artistically and politically, "Kaze Tachinu" looks likely to outlive its critics and it's not doing badly at the moment either: It debuted this month at the top of Japan's box office.
©The Economist Newspaper Limited 2013
A SOMBRE exploration of love, responsibility and death, "Kaze Tachinu" ("The Wind Has Risen") is being described as Hayao Miyazaki's first film for grown-ups. Having spent half a lifetime making exquisite fantasies for children, Mr Miyazaki, now 72 and regarded as the reigning genius of Japanese cinema, has returned to tackle the true story of an aeroplane-maker who worked through the second world war.
The title is a reference to a line from a Paul Valéry poem, "Le Cimetière marin" ("The Graveyard by the Sea" 海濱墓園): "The wind is rising!...We must try to live." The wind is a portent for the disasters that anchor the movie: the 1923 Kanto earthquake, which levelled much of Tokyo and Yokohama and killed more than 100,000 people; and Japan's disastrous imperial war, over a decade later.
Despite its real-world setting, the film is saturated with the fantastical flourishes characteristic of Mr Miyazaki's earlier work. It is bookended with dreams. At the start, a ten-year-old boy named Jiro Horikoshi imagines flying above his provincial home, only to be awakened by bombs that fall from a hulking aerial warship. By the film's denouement, he is walking though the ruined landscape of wartime Japan, a nightmare wrought in part by his own boyhood dreams of flight.
He grows up to become a brilliant but naive engineer. The character of Jiro is based on the real Japanese designer of the Mitsubishi A6M Zero. In its time considered to be the world's best aerial fighter plane, the Zero enjoyed a terrifying reputation across the war's Pacific theatre. The Zero was on hand to open the war against America, by leading the attack on Pearl Harbour in 1941. By 1945 however, it had lost its technical edge. Then teenage kamikaze pilots were using Zeros as suicide bombs, ramming them into the approaching American fleets.
Born in the year of the Pearl Harbour attack, Mr Miyazaki is imprinted with the pacifism that is typical of Japanese from his generation. His movies are paeans to the natural world and warnings about its perilous state. In many, children are the first to warn of the dangers of greed and militarism, which inevitably fall on adults' deaf ears.
The childlike Jiro sustains his boyhood fantasies by building his plane, oblivious to Japan's looming catastrophe. His love of flying is depicted as a pure and uncomplicated thing. There is a sensual, erotic quality to the aerial scenes; his budding love for his fiancée, Naoko, is symbolised by the soaring flight of paper aeroplanes. Regret comes only in the final scenes.
Fans have asked why the great pacifist film-maker has made a movie about a weapons-maker. Mr Miyazaki says he was drawn to the story of one of Japan's great eccentric geniuses. Engineers are neutral, he explained in June 2013. "It was wrong from the beginning to go to war," he said. "But…it's useless to blame Jiro for it."
Not surprisingly, in a country where politicians regularly stir up ghosts from the past, his film has triggered caustic debate. This month, Mr Miyazaki published an article in which he said he was "disgusted" by government's plans to upgrade Japan's army and navy and taken aback by how ignorant the politicians are of Japan's wartime history. Though he didn't mention him by name, it is clear that Mr Miyazaki's broadside was aimed at the prime minister, Shinzo Abe.
Conservatives have responded by telling Mr Miyazaki to stay out of politics. A popular online bulletin board, 2channel, is filled with furious comments that brand him as an anti-Japanese traitor. Worse, some have judged the new movie's sensual, slow-moving style and lack of digital fireworks to be "boring".
Mr Miyazaki's film feels very personal. His own father was the director of a company that made rudders for the Zero. Like Jiro, the young director grew up obsessed with aeroplanes. A swan-song, artistically and politically, "Kaze Tachinu" looks likely to outlive its critics and it's not doing badly at the moment either: It debuted this month at the top of Japan's box office.
©The Economist Newspaper Limited 2013
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