Miyazaki Hayao (Japanese: 宮 崎 駿; transcription: Cung Khi Tuan) born January 5, 1941 in Tokyo, Japan) is an animator, manga artist, screenwriter and co-founder. Animation Studio Ghibli. He has received international acclaim as one of the greatest filmmakers.
Miyazaki is the author of many famous Japanese animated films (anime) and manga (manga), in which the film Sen and Chihiro in the mystical world – the most popular movie in Japanese history and won the 75th Academy Award for Best Animation.
Miyazaki was born in the town of Akebono-cho in Tokyo, the second of four sons of the family. His father, Katsuji Miyazaki, was the director of the Miyazaki Airplane factory, specializing in making rudders for the A6M Zero fighter jets during World War II . Because of this, his family station was very well-off during his childhood. Since childhood, Miyazaki developed a lifelong passion for the aviation industry, a theme that appears frequently in the following works. this of him.
As a child, Miyazaki often had to move, partly because his mother had to cure bone tuberculosis from 1947 until 1955. Miyazaki’s mother was very strict and intelligent. She passed away in 1983 at the age of 71. Later in the movie My Neighbor Totoro had a character whose mother had a similar illness.
After finishing high school, Miyazaki entered Gakushuin University, where he graduated in 1963 with a degree in political science and economics. In April 1963, Miyazaki joined Toei Animation Studio. In October 1965, he married a fellow painter, Akemi Ota, who later had two sons, Gorō and Keisuke. Currently, Goro has also become an animation director with the film Legend of Land and Ocean of Ghibli label. Miyazaki particularly loves and idolizes manga artists including Tetsuji Fukushima, Soji Yamakawa and Osamu Tezuka.
Hayao Miyazaki is emotional and passionate, has a fiercely undulating human nature, is strongly self-assertive and tends to prompt action, has a bountiful expressiveness and curiosity, and possesses an imagination so vivid it verge on hallucinatory vision. And it goes without saying that all these characteristics are in constant conflict with the self of idealism and justice, the fastidiousness, the self-denial, the sel-fcontrol and the self-abnegation that have him since his youth.
One might even say that this conflict is what creates his own complicated yet appealing character. In fact, one way people who know Miyazaki forgive some of his statements is by saying, “Well, he is, after all, a bundle of contradictions.” One hiree at Studio Ghibli once said that the secret to getting along with Miya-san was as follows: “You’d better not swallow everything he tells you today as is. Tomorrow he might well tell you the opposite.
Working as an Animator
He entered Gakushuin University and joined the Children’s Literature Circle (Children’s Culture Study Group). While helping plan several puppet shows, he continued drawing manga with the goal of becoming a professional manga artist, but decided to move into the world of animation. After graduating from Gakushuin University, he joined Toei Animation as an animator. He struggled with the workmanlike atmosphere of Toei Animation, and never stopped his dream of being a cartoonist. He was greatly enamored by the Soviet-producing feature-length animated film Snow Queen (1957). That film, along with several others pushed Miyazaki to stick with working in animation. Gulliver’s Travels Beyond the Moon (1965) also served as a strong inspiration for the budding young animator. He was promoted to general secretary for the Toei Animation Labor Union, and strove to improve the treatment of animators. In the fall of 1965, he married fellow Toei animator Akemi Ota at the age of 24, and later had two boys, Goro Miyazaki and Keisuke Miyazaki. He later teamed up with Isao Takahata, Yasuo Ōtsuka and Kouji Mori to work on The Great Adventure of Horus, Prince of the Sun. This early masterpiece took three years (1965-1968) to complete.
In 1971, he left Toei Animation with Isao Takahata and Yoichi Kotabe and transferred to A Production to produce, Pippi Longstocking, but that project was abandoned after failing to obtain permission from the original author. Following that setback, Miyazaki and Takahata were invited by Yasuo Ōtsuka to adapt and direct Monkey Punch’s Lupine the Third Part I (1971). Unfortuntely, the series suffered from a low audience viewership. Despite the broadcast ending after half a year, it served as the blueprint for subsequent spinoffs. Utilizing their experience from the failed Pippi project, Miyazaki, Takahata, Ōtsuka and Kotabe produced Panda! Go Panda and its sequel (1972, 1973). Miyazaki was in charge of screenplay, scene setting, art, original drawing, etc.
Miyazaki then transferred to Zuiyo Eizo (later Nippon Animation) with Takahata and Kotabe, where they produced Heidi, Girl of the Alps in 1974. He was in charge of scene setting and scene composition (layout) for several of the series’ episodes. The series was a big hit and achieved an average audience rating of 26.9%. This was Miyazaki’s first mainstream success.
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