Is Hayao Miyazaki and Studio Ghibli’s latest creation their ultimate masterpiece? This time, they seem truly committed.

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When Hayao Miyazaki, the most renowned animator alive, went to his producer Toshio Suzuki in July 2016 and expressed his desire to create another movie, Suzuki was not supportive. “I told him, ‘No way. This is not a good idea,'” Suzuki remembers. He had valid concerns. “I’ve witnessed countless exceptional directors attempt to make one last great film and most of the time, they fail. I didn’t want to see him go down that path.”

Additionally, it was believed that Miyazaki had already created his ultimate movie. Three years ago, after his greatly praised film The Wind Rises was released, Miyazaki announced at a crowded press event in Tokyo that he would no longer be making feature films. At 72 years old, he stated that he was not as energetic as before and did not have the capacity to complete the strenuous task of producing another feature. “I am genuinely serious this time,” Miyazaki emphasized. “My time in the world of animation has come to an end.”

However, it was not the end. This year, at the age of 82, Miyazaki released his 12th animated film, The Boy and the Heron. While the Miyazaki era may still continue, there are questions about the future, especially at Studio Ghibli, the animation company founded by Miyazaki, Suzuki, and Takahata in 1985. Suzuki, who is 75 and seven years younger than Miyazaki, wonders what will happen after they are no longer here. It will be up to others to figure it out.

Miyazaki is often compared to Walt Disney, which can be both beneficial and unbeneficial. Like Disney, he has created a series of beloved and widely-merchandised animated masterpieces, filled with vibrant colors and artistic elements. His films are among the highest-grossing in Japan and his characters have become household names, especially Totoro, the lovable creature at the center of his 1988 classic My Neighbor Totoro. In Japan, Miyazaki is revered as a legendary figure, and with his snow-white hair and beard and charming smile, he even resembles one – although, like Walt Disney, he is an avid smoker.

However, in terms of subject matter, Miyazaki’s films differ greatly from Disney’s. They do not follow the typical storyline of good versus evil, but instead focus on restoring harmony and gaining a deeper understanding. The end goal is not to defeat a monster or save a princess, as seen in his 1997 film Princess Mononoke where the titular princess is portrayed as a wild warrior who drinks the blood of her pet wolf. Miyazaki’s films are known for their intricate and thought-provoking plots, tackling issues such as environmental destruction, technological advancements, gender equality, and socioeconomic inequality in the midst of thrilling fantasy adventures.

Miyazaki’s creations have been well-received not only by families and animation enthusiasts, but also by film lovers globally. Spirited Away, in particular, solidified his reputation as a respected director, earning the prestigious Golden Bear award at the Berlin film festival and the 2003 Academy Award for Best Animated Feature. Esteemed Western figures such as Steven Spielberg, Guillermo del Toro, and James Cameron (who openly acknowledged the influence of Princess Mononoke on his Avatar series), as well as a whole generation of Disney and Pixar animators, count themselves as admirers of Miyazaki’s work.

Suzuki and Miyazaki first crossed paths in the late 1970s. At the time, Suzuki was an anime journalist and attempted to interview Miyazaki, who was working on his debut film, “Lupin III: The Castle of Cagliostro.” However, their initial encounter did not go smoothly as Miyazaki made a hurtful comment, dismissing Suzuki’s request for an interview. Undeterred, Suzuki remained in the room and silently waited until 4am when Miyazaki finally acknowledged him. Despite being ignored the following day, Suzuki persisted and it wasn’t until the third day that Miyazaki began conversing with him. From then on, they have maintained a friendly relationship.

We are currently conversing in the dining area of the esteemed Studio Ghibli building, a three-story structure covered in ivy and featuring a rooftop garden. It is situated in a peaceful Tokyo neighborhood. A large wooden Totoro statue welcomes us in the entrance, accompanied by an old-fashioned telephone booth. On the stairs, there are framed hand-drawn tributes from the staff of other animation studios such as Pixar and Aardman (known for Wallace and Gromit and Chicken Run). The building is spotlessly clean but eerily quiet. According to a staff member, all the animators have either taken a break or found other jobs since completing their work on The Boy and the Heron. Takahata, who also directed several other Ghibli films including the renowned anti-war movie Grave of the Fireflies, passed away in 2018. Miyazaki is said to be in his personal studio nearby, but he is not visible. There are no current plans for new Ghibli projects. Everyone is aware that the studio has nothing to work on unless Miyazaki decides to create another film, but they seem hesitant to acknowledge it.

Miyazaki sets himself apart from other animation directors, such as Takahata and Walt Disney, by actively participating in the animation process. He prefers a traditional approach to animation and is involved in creating the initial concepts and characters. Additionally, he personally draws or inspects the “key frames” created by other animators, making changes if necessary. This is a time-consuming task, as a two-hour movie requires over 170,000 images. Due to this laborious process, Suzuki was initially hesitant about Miyazaki taking on another film, doubting his ability to draw at the same level as when he was younger. As a solution, they brought in a younger lead animator, Takeshi Honda.

According to Miyazaki, Honda was getting ready to begin a new project when he received a call. Miyazaki informed him that he had limited time and that this would be his final film. In this situation, it was difficult for Honda to refuse.

Honda had the opportunity to witness a master in action. This individual has a set routine, starting with waking up at six in the morning and completing tasks like collecting trash and chopping firewood in their neighborhood. They then arrive at the studio at 10 and while working, they mumble and talk frequently, which was unexpected for Honda. The master also engaged in conversation with Honda often and always seemed to be enjoying themselves.

Similar to many of Miyazaki’s tales, The Boy and the Heron follows the journey of Mahito, a troubled young boy who is transported into a world of fantasy after his mother’s passing (inspired by Miyazaki’s own experience with his mother’s battle with tuberculosis when he was six years old). This realm is filled with peculiar creatures and stunning landscapes, ranging from adorable creatures to aggressive, human-sized parakeets. The most notable figure is a weary, white-haired wizard who holds a key role in the existence of this fantasy world. “I have aged and now seek a successor,” he reveals to Mahito. “Will you continue my work? My successor must be of my bloodline.”

Several individuals have succeeded the Ghibli kingdom throughout the years, but none have been able to maintain their position. One notable director was Yoshifumi Kondō, who directed the successful film Whisper of the Heart in 1995. Despite being predicted for a bright future, he unfortunately passed away from an aneurysm at the young age of 47 in 1998. Another potential successor was Mamoru Hosoda, who was initially set to direct Howl’s Moving Castle but ultimately left due to creative differences. Hosoda went on to create his own successful movies, including the Oscar-nominated Mirai and last year’s metaverse fantasy Belle. Hiromasa Yonebayashi also directed films for Ghibli, such as The Secret World of Arrietty and When Marnie Was There. However, after Miyazaki’s “retirement” in 2013 and no new projects in sight, Yonebayashi and several animators departed to establish their own Studio Ponoc, which produced the Ghibli-inspired film Mary and the Witch’s Flower in 2017. Despite speculation, Honda himself has ruled out being a potential successor, stating that it would require someone with equal power, energy, and passion as Miyazaki to fill his shoes.

Lastly, there is Goro Miyazaki, who is 56 years old and the son of Miyazaki. Initially, he chose not to follow in his father’s footsteps and pursued a career as a landscape architect. However, in the late 90s, the studio asked him to help design a new Ghibli museum in Tokyo. Eventually, in the early 2000s, Suzuki convinced Goro to direct his own animated feature, Tales from Earthsea, which was based on a fantasy novel by Ursula K Le Guin. Miyazaki senior was not pleased with this decision and felt that his son was not ready. This caused tension between father and son. In a blog post in 2006, Goro stated that his father was rarely present during his childhood and gave him a low score as a father but a high score as a director. During a preview screening of Tales from Earthsea, Miyazaki senior left after an hour to smoke a cigarette, stating that he felt like he had been there for three hours.

During our meeting at Studio Ghibli, Goro expresses that he has no interest in taking over his father’s role as successor. However, with the recent acquisition of a majority stake in the studio by Nippon TV, it may be too late for him to find his own path. Goro attributes this to his father’s interference, stating that whenever someone else attempts to direct a film at Studio Ghibli, his father steps in and offers his own suggestions. Goro believes that this can be detrimental to a director’s vision and advises others not to listen to Hayao Miyazaki in order to maintain their own artistic vision.

Goro does not interpret The Boy and the Heron as a portrayal of himself and his father. He proposes that the quest of the old wizard for a successor symbolizes the passing of Takahata, who passed away in 2018. According to Goro, the death had a profound effect on Hayao Miyazaki. The character of the boy, Mahito, is a representation of Miyazaki himself. Goro believes that if Miyazaki were to stop creating films, it would essentially mark the end of the studio.

Meanwhile, Goro has discovered a way to stay connected with Ghibli while also pursuing his passion. He is the brains behind Ghibli Park, located just outside of Nagoya and about three hours from Tokyo. The park is situated in a lush, spacious public area that was previously the site of the 2005 World Expo. While it may not be as grand as Disneyland and has fewer visitors, Ghibli Park has its own unique charm and is sure to delight visitors. The main attraction is a large indoor Ghibli experience, which is located in a former indoor swimming pool. Here, guests can explore exhibitions, models, play areas, a cinema, and shops. They can also step into sets that recreate iconic scenes from Ghibli movies and even take a selfie with No-Face on the train from Spirited Away.

The park also includes several areas inspired by Ghibli films. One notable feature is an exact replica of the house from My Neighbour Totoro, complete with a traditional bath and clothes belonging to the little girls in the wardrobes. There is also a recreation of the house from Whisper of the Heart, and a new village based on Princess Mononoke, which opened in November. In this village, visitors can visit a grass-roofed village hall and try their hand at making gohei-mochi rice cakes, a local delicacy. According to Goro, “We wanted to honor the legacy of the studio in some way, which is why we decided to open this park. Without the museum or the park, it would have been much easier for the studio to disband.”

Perhaps this is all that lies ahead for Studio Ghibli: a journey down memory lane to a time long gone. The Boy and the Heron, highly anticipated in Japan, was promoted solely through a single poster with no additional advertising, trailers, or interviews. Despite being Ghibli’s most successful opening, the market is now saturated with competitors catering to a more teenage audience, including anime directors Hosoda and Makoto Shinkai, and popular manga-based franchises like One Piece, Slam Dunk, and Detective Conan. Surprisingly, the highest-grossing film in Japan this year is Super Mario Brothers, an American production. It seems that Miyazaki’s era of animation may have already come to an end.

In 2013, during his previous retirement, Miyazaki expressed a pessimistic view on Studio Ghibli’s future. In an interview, he stated, “The future is certain – it will crumble. I can already see it.” He appeared disheartened about his entire career, questioning the significance of movies and viewing them as merely a hobby. He also noted that in today’s world, most films are insignificant.

After creating The Boy and the Heron, Miyazaki has not yet announced his retirement as he usually does. It is possible that he is aware no one would believe him, or maybe he is content to continue pursuing his “grand hobby” for a bit longer. Even if he no longer holds the belief that making movies can have a significant impact on the world, they can still provide a means of escape from it.

According to Suzuki, “Working brings him great joy and it’s difficult to stop him.” This could mean that the offices of Studio Ghibli might soon be bustling with activity once again. Suzuki shares that he spoke with him this morning before coming here and he asked, “What do you think The Boy and the Heron is about? I completely forgot what I was doing in this film.” Then, he went on to discuss a new idea. He always looks ahead and is enthusiastic about creating another film.” However, Suzuki also points out that “his determination to continue working means that I won’t be retiring anytime soon either.”

Can Suzuki approve it? He grins. “I won’t prevent him this time.”

The release date for The Boy and the Heron is December 26th.

Source: theguardian.com