clutter.

(Source: all-studioghibli, via saisai-chan)

“Fujimoto wasn’t a villian per se. The harder a father tries, the more he drives a daughter away. I think that’s how today’s Japanese fathers are; most fathers suppress their emotions… beneath social responsibilities. It’s almost pathetic to Ponyo. Not even his noble ideals can reach his daughter. That’s the life we fathers must lead, you know?”

- Hayao Miyazaki

(via eatyourbreakfastgood)

Howl’s Moving Castle - Behind the Microphone (English Dubbed Cast)

(Source: mochichou, via saisai-chan)

smalllindsay:

swegener:

joshtierney:

One of my favourite pieces by Roger Ebert is his “Great Movies” appreciation of Spirited Away (read it in full here). At the end of the piece he details an encounter he had with Hayao Miyazaki himself, where Miyazaki defines one of the key differences between the work of Studio Ghibli and mainstream American animation. I can see his words relating to comics as well, and these words are well-worth reading for any creative and parent.

Here is the excerpt from Ebert’s piece:

I was so fortunate to meet Miyazaki at the 2002 Toronto film festival. I told him I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or sigh, or gaze at a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ‘ma.’ Emptiness. It’s there intentionally.” He clapped his hands three or four times. “The time in between my clapping is ‘ma.’ If you just have non-stop action with no breathing space at all, it’s just busyness.”

I think that helps explain why Miyazaki’s films are more absorbing than the frantic action in a lot of American animation. “The people who make the movies are scared of silence” he said, “so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions—that you never let go of those.

“What my friends and I have been trying to do since the 1970’s is to try and quiet things down a little bit; don’t just bombard them with noise and distraction. And to follow the path of children’s emotions and feelings as we make a film. If you stay true to joy and astonishment and empathy you don’t have to have violence and you don’t have to have action. They’ll follow you. This is our principle.”

He said he has been amused to see a lot of animation in live-action superhero movies. “In a way, live action is becoming part of that whole soup called animation. Animation has become a word that encompasses so much, and my animation is just a little tiny dot over in the corner. It’s plenty for me.”

It’s plenty for me, too.

Yes

Yes.

(via saisai-chan)

I’ve been wondering all along if you would turn out to be that lovely girl I met on May Day. Why were you scared then?

(Source: deletetheuniverse, via kari-kurofai)

thealcolyte:

Western version of the Princess Mononoke characters.

San, Lady Eboshi, Ashitaka, Yakul, and the Forest Spirit.

Here are all of the character designs done for class! The assignment was to take a story and redesign the characters, changing the time period and style. I still have some edits to make and more to do with the project even though class is over. Stay tuned :)

(via eustass-ya)

bujnik:

jurassicaaaa:

sweetappletea:

Foods that appeared in Ghibli movies, recreated in real life.

Shut up.

(via shusihi)