One of the ideas that came out from that was, why not spend more time and spend more money ? So, that’s one of the new approaches.”Īs we await the hopeful 2023 release of Miyazaki’s next film, Suzuki also confirmed the other project they are working on is Goro Miyazaki’s first film since 2011’s From Up on Poppy Hill, a CG project based on a story from England “about a very wise girl.” Unfortunately, there are no additional details about that film, but one can bask in the greatness of the studio’s back catalog much more easily very soon as the Studio Ghibli library will land on HBO Max when it launches later this month. You can’t come back and do something that you’ve already done in the past, you have to do something different. When Miyazaki came back and said that I want to make a film again, I actually said that’s not a great idea because he’s achieved so much already. “Many directors make films on and on and on throughout their careers as they grow older. Suzuki also revealed it will be Ghibli’s biggest production yet in terms of budget as he reflected on the approach. We’re hoping it will finish in the next three years.” Actually, we’ve been working on this film for three years, so that means we have 36 minutes completed so far. Whatever Goro Miyazaki hoped to prove with or pull off by adding 3D to Ghibli’s repertoire, the experiment didn’t pan out: This is a deeply depressing movie to behold, not simply because 3D is. That means 12 months a year, you get 12 minutes worth of movie. the current film that Hayao Miyazaki is working on, we have 60 animators, but we are only able to come up with one minute of animation in a month. Back when we were making My Neighbor Totoro, we only had eight animators. “So, there are more drawings to draw than before. “We are still hand-drawing everything, but it takes us more time to complete a film because we’re drawing more frames,” producer Toshio Suzuki tells EW regarding the “big, fantastical” film. Originally eying a 2020 release, the morsels of information we’ve received thus far indicate the studio is taking their precious time in hand-crafting the film. The project, titled Kimi-tachi wa Dō Ikiru ka (which translates to How Do You Live?), follows a 15-year-old boy named Koperu and his uncle, who move to a new neighborhood, as the kid deals with bullying, poverty, education, work, courage, and progress. Hayao Miyazaki "has got into the habit of retiring only to change his mind a fair number of times in the past," Goro says.Recently turning 79, Hayao Miyazaki came out of “retirement” yet again to work on another Studio Ghibli animation. Goro marvels at his father's "still intact capacity for imagination" and predicts he could still be at work for another decade.Įight years after his last work "The Wind Rises", the older Miyazaki is still working on "pretty touching project", Goro says, without elaborating. Some talented creators have died, while others have founded their own studios. The question of succeeding the master who founded Studio Ghibli in 1985 and won the 2003 Oscar for best animated film with "Spirited Away" has not been settled. Through his creativity, technical wizardry and talent for storytelling, Hayao Miyazaki has left an indelible mark on Japanese animation and world cinema. While computer graphics offer "a new possibility for the future", traditionalists can rest assured that "drawing on paper, the traditional animation like my father's, will continue at the studio," says the creator of "Tales from Earthsea" (2006) and "From up on Poppy Hill" (2011). "I don't think we can plan on a generational change as people expect." "You could liken big American productions to Tesla electric cars, while what we are trying to do is create an electrically assisted bike for getting around town," he says, noting: "There are landscapes that you can see only thanks to this slower pace of a bicycle."ĭespite Studio Ghibli's international fame, "we are neither a big studio nor a big company, more like a neighbourhood workshop, a little creative place," he says. The move into 3D is by no means "entering into some kind of competition" with the American animated film giants with their vast technical and financial resources, Goro says. "He stopped by regularly to check on it (but) given the technological differences with traditional animation, he had no frame of reference. "He hardly commented at all during the production," Goro told AFP in an interview.
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