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Hayao Miyazaki
Born	Hayao January 5, 1941 (1941-01-05) (age 68) Tokyo, Japan
Occupation	Film director, screenwriter and character designer
Spouse(s)	Akemi Ōta

Hayao Miyazaki (宮崎 駿 ,Miyazaki Hayao^?, born January 5, 1941 in Tokyo, Japan) is a prominent filmmaker of many popular animated feature films. He is also a co-founder of Studio Ghibli, an animation studio and production company.

He remained largely unknown to the West, outside of animation communities, until Miramax released his 1997 Princess Mononoke. By that time, his films had already enjoyed both commercial and critical success in Japan and Central Asia. For instance, Princess Mononoke was the highest-grossing film in Japan until Titanic (1997) came out a few months later, and the first animated film to win Picture of the Year at the Japanese Academy Awards. His later film, Spirited Away, had that distinction as well, and was the first anime film to win an Academy Award. Howl's Moving Castle was also nominated but did not receive the award.

Miyazaki's films often incorporate recurrent themes, such as humanity's relationship to nature and technology, and the difficulty of maintaining a pacifist ethic. Reflecting Miyazaki's feminism, the protagonists of his films are often strong, independent girls or young women; the villains, when present, are often morally ambiguous characters with redeeming qualities.

Miyazaki's films have generally been financially successful, and this success has invited comparisons with American animator Walt Disney. In 2006, Time Magazine voted Miyazaki one of the most influential Asians of the past 60 years.^[1]

Anime directed by Miyazaki that have won the Animage Anime Grand Prix award have been Nausicaä of the Valley of the Wind in 1984, Castle in the Sky in 1986, My Neighbor Totoro in 1988, and Kiki's Delivery Service in 1989.

Contents 1 Biography 2 Films 3 Television 4 Manga 5 Creation process and animation style 6 Themes and devices 6.1 Good and evil 6.2 Environmentalism 6.3 Anti-war 6.4 Flying 6.5 Politics 6.6 Feminism 6.7 Children and childhood 7 Influences 8 Filmography 8.1 Director, screenplay, and storyboards 8.1.1 Shorts 8.2 Other work 9 References 10 Further reading 11 External links

[edit] Biography

Miyazaki, the second of four brothers, was born in the town of Akebono-cho, part of Tokyo's Bunkyō-ku. During World War II, Miyazaki's father Katsuji was director of Miyazaki Airplane, owned by his brother (Hayao Miyazaki's uncle), which made rudders for A6M Zero fighter planes. During this time, Miyazaki drew airplanes and developed a lifelong fascination with aviation, a penchant that later manifested as a recurring theme in his films.^[2] k Miyazaki's mother was a voracious reader who often questioned socially accepted norms. Miyazaki later said that he inherited his questioning and skeptical mind from her.^{[citation needed]} His mother underwent treatment for spinal tuberculosis from 1947 until 1955, and so the family moved frequently.^[2] Miyazaki's film My Neighbor Totoro is set in that time period and features a family whose mother is similarly afflicted.

Miyazaki attended Toyotama High School. In his third year there, he saw the film Hakujaden, which has been described as "the first-ever Japanese feature length color anime."^[3] His interest in animation began in this period; however, in order to become an animator, he had to learn to draw the human figure, since his prior work had been limited to airplanes and battleships.^[3]

After high school, Miyazaki attended Gakushuin University, from which he would graduate in 1963 with degrees in political science and economics. He was a member of the "Children's Literature research club," the "closest thing to a comics club in those days."^[3]

In April 1963, Miyazaki got a job at Toei Animation, working as an in-between artist on the anime Watchdog Bow Wow (Wanwan Chushingura). He was a leader in a labor dispute soon after his arrival, becoming chief secretary of Toei's labor union in 1964.^[2]

In October 1965, he married fellow animator Akemi Ota, who later left work to raise their two sons, Gorō and Keisuke. Gorō is now an animator and filmmaker, and has directed Tales from Earthsea at Studio Ghibli. Keisuke is a wood artist who has created pieces for the Ghibli Museum and who made the wood engraving shown in the Studio Ghibli film Whisper of the Heart.

Hayao Miyazaki's dedication to his work has often been reported to have impacted negatively his relationship with his son Gorō.^[4]

[edit] Films

Miyazaki first gained recognition while working as an in-between artist on the Toei production Gulliver's Travels Beyond the Moon (Garibā no Uchuu Ryokō, 1965). He found the original ending to the script unsatisfactory and pitched his own idea, which became the ending used in the final film.

He later played an important role as chief animator, concept artist, and scene designer on Hols: Prince of the Sun in 1968, a landmark animated film directed by Isao Takahata, with whom he continued to collaborate for the next three decades. In Kimio Yabuki's Puss in Boots (1969), Miyazaki again provided key animation as well as designs, storyboards, and story ideas for key scenes in the film, including the climactic chase scene. Shortly thereafter, Miyazaki proposed scenes in the screenplay for Flying Phantom Ship, in which military tanks would roll into downtown Tokyo and cause mass hysteria, and was hired to storyboard and animate those scenes. In 1971, Miyazaki played a decisive role in developing structure, characters, and designs for Animal Treasure Island and Ali Baba and the 40 Thieves, as well as storyboarding and key animating of pivotal scenes in both.

Miyazaki left Toei in 1971 for A Pro, where he co-directed six episodes of the first Lupin III series with Isao Takahata. He and Takahata then began pre-production on a Pippi Longstocking series and drew extensive story boards for it. However, after traveling to Sweden to conduct research for the film and meet the original author, Astrid Lindgren, they were denied permission to complete the project, and it was canceled.^[2]

Instead of Pippi Longstocking, Miyazaki conceived, wrote, designed, and animated two Panda! Go, Panda! shorts which were directed by Takahata. Miyazaki then left Nippon Animation in 1979 in the middle of the production of Anne of Green Gables to direct his first feature anime The Castle of Cagliostro (1979), a Lupin III adventure film.

Miyazaki's next film, Nausicaä of the Valley of the Wind (Kaze no Tani no Naushika, 1984), was an adventure film that introduced many of the themes which recur in later films: a concern with ecology and the human impact on the environment; a fascination with aircraft and flight; pacifism, including an anti-military streak; feminism; and morally ambiguous characterizations, especially among villains. This was the first film both written and directed by Miyazaki. He adapted it from his manga series of the same title, which he began writing and illustrating two years earlier, but which remained incomplete until after the film's release.

Following the success of Nausicaä of the Valley of the Wind, Miyazaki co-founded the animation production company Studio Ghibli with Takahata in 1985, and has produced nearly all of his subsequent work through it.

Miyazaki continued to gain recognition with his next three films. Laputa: Castle in the Sky (1986) recounts the adventure of two orphans seeking a magical castle-island that floats in the sky; My Neighbor Totoro (Tonari no Totoro, 1988) tells of the adventure of two girls and their interaction with forest spirits; and Kiki's Delivery Service (1989), adapted from a novel by Eiko Kadono, tells the story of a small-town girl who leaves home to begin life as a witch in a big city. Miyazaki's fascination with flight is evident throughout these films, ranging from the ornithopters flown by pirates in Castle in the Sky, to the Totoro and the Cat Bus soaring through the air, and Kiki flying her broom.

Porco Rosso (1992) was a notable departure for Miyazaki, in that the main character was an adult male, an anti-fascist aviator transformed into an anthropomorphic pig. The film is set in 1920s Italy and the title character is a bounty hunter who fights air pirates and an American soldier of fortune. The film explores the tension between selfishness and duty. The film can also be viewed as an abstract self-portrait of the director; its subtext can be read as a fictionalized autobiography.^{[citation needed]} Like many of his movies, it is richly allusive and generates a lot of its humour and charm out of its references to American film of the 1930s and 1940s. Porco Rosso, for instance, owes much to the various screen personae of Humphrey Bogart.

1997's Princess Mononoke (Mononoke-Hime) returns to the ecological and political themes of Nausicaä of the Valley of the Wind. The plot centers on the struggle between the animal spirits who inhabit the forest and the humans who exploit the forest for industry. Both movies implicitly critize the adverse impact of humans on nature, and portray the military in a negative light. Princess Mononoke is also noted as one of his most violent pictures. The film was a huge commercial success in Japan, where it became the highest grossing film of all time, until the later success of Titanic, and it ultimately won Best Picture at the Japanese Academy Awards. Miyazaki went into what would prove to be temporary retirement after directing Princess Mononoke.

During this period of semi-retirement, Miyazaki spent time with the daughters of a friend, one of whom became his inspiration for Spirited Away (Sen to Chihiro no Kamikakushi, 2001). Spirited Away is the story of a girl, forced to survive in a bizarre spirit world, who works in a bathhouse for spirits after her parents are turned into pigs by the sorceress who owns it. Released in Japan in July 2001, the film broke attendance and box office records with ¥30.4 billion (approximately $300 million) in total gross earnings from more than 23 million viewings. It has received many awards, including Best Picture at the 2001 Japanese Academy Awards, Golden Bear (First Prize) at the 2002 Berlin Film Festival, and the 2002 Academy Award for Best Animated Feature.

In July 2004, Miyazaki completed production on Howl's Moving Castle, a film adaptation of Diana Wynne Jones' fantasy novel. Miyazaki came out of retirement following the sudden departure of original director Mamoru Hosoda^[5]. The film premiered at the 2004 Venice International Film Festival and won the Golden Osella award for animation technology. On November 20, 2004, Howl's Moving Castle opened to general audiences in Japan where it earned ¥1.4 billion in its first two days. The English language version was later released in the US by Walt Disney.

In 2005, Miyazaki received a lifetime achievement award at the Venice Film Festival. Later that year, Chinese media reported that Miyazaki's final film project would be I Lost My Little Boy, based on a Chinese children's book.^[6] This later proved to be faked news.^[7]

In 2006, Miyazaki's son Gorō Miyazaki completed his first film, Tales from Earthsea, based on several stories by Ursula K. Le Guin. Hayao Miyazaki had long aspired to make an anime of this work and had repeatedly asked for permission from the author, Ursula K. Le Guin. However, he had been refused every time. Instead, Miyazaki produced Nausicaa of the Valley of Wind and Shuna no tabi, (The Journey of Shuna) as substitutes (some of the ideas from Shuna no tabi were diverted to this movie). When Le Guin finally requested that Miyazaki produce an anime adaptation of her work, he refused, because he had lost the desire to do so.

Throughout the film's production, Goro and his father were not speaking to each other, due to a dispute over whether or not Gorō was ready to direct.^[8] This movie was originally to be produced by Miyazaki, but he declined as he was already in the middle of producing Howl's Moving Castle. Ghibli decided to make Goro, who had yet to head any animated films, the producer instead.

In 2006, Nausicaa.net reported Hayao Miyazaki's plans to direct another film, rumored to be set in Kobe. Among areas Miyazaki's team visited during pre-production were an old café run by an elderly couple, and the view of a city from high in the mountains. The exact location of these places was censored from Studio Ghibli's production diaries. The studio also announced that Miyazaki had begun creating storyboards for the film and that they were being produced in watercolor because the film would have an "unusual visual style." Studio Ghibli said the production time would be about 20 months, with release slated for Summer 2008.

In 2007, the film's title was publicly announced as Gake no ue no Ponyo, literally "Ponyo on a Cliff."^[9] The story revolves around a five-year old boy, Sosuke, and the Princess goldfish, Ponyo, who wants to become human. Studio Ghibli President Toshio Suzuki noted that "70 to 80% of the film takes place at sea. It will be a director’s challenge on how they will express the sea and its waves with freehand drawing." The film does not contain any computer generated imagery, or CGI, in contrast to Miyazaki's other recent work.

[edit] Television

Miyazaki's work in television is less known than his films. In the 1970s he worked as an animator on the World Masterpiece Theater television animation series under Isao Takahata. His first directorial credit is for the television version of Lupin III in 1971; he was co-director (with Takahata) of the second half of the first television series, and director of two episodes of the second series.

Miyazaki's most famous television work was his direction of Future Boy Conan (1978), an adaptation of the children's novel The Incredible Tide by Alexander Key. The main antagonist is the leader of the city-state of Industria who attempts to revive lost technology. The series also elaborates on the characters and events in the book, and is an early example of characterizations which recur throughout Miyazaki's later work: a girl who is in touch with nature, a warrior woman who appears menacing but is not an antagonist, and a boy who seems destined for the girl. The series also featured imaginative aircraft designs.

Miyazaki also directed six episodes of Sherlock Hound, an Italian-Japanese co-production which retold Sherlock Holmes tales using anthropomorphic animals. These episodes were first broadcast in 1984-85.

[edit] Manga

Miyazaki has illustrated several manga, beginning in 1969 with Puss in Boots (Nagakutsu wo Haita Neko). His major work in this format is the seven-volume manga version of his tale Nausicaä of the Valley of the Wind, which he created from 1982 to 1994 and which has sold millions of copies worldwide. Other works include Sabaku no Tami (砂漠の民 ,People of the Desert^?), Shuna no Tabi (シュナの旅 ,The Journey of Shuna^?), The Notebook of Various Images (雑想ノート ,Zassō Nōto^?), which was the basis of his film Porco Rosso).

In October 2006, A Trip to Tynemouth was published in Japan. Miyazaki based it on the young adult short stories of Robert Westall, who grew up in World War II England. The most famous story, first published in a collection called Break of Dark, is titled Blackham's Wimpy. The rival Royal Air Force crews in the story fly Vickers Wellington Bombers, whose nickname comes from the character J. Wellington Wimpy from the Popeye comics and cartoons.

In early 2009, Miyazaki returned with a new manga called Kaze Tachinu (風立ちぬ ,The Wind Rises^?), telling the story of Mitsubishi A6M Zero fighter designer Jiro Horikoshi. The manga was published in two issues of the Model Graphix magazine, out on February 25 and March 25, 2009.^[10]

[edit] Creation process and animation style

Miyazaki takes a leading role when creating his films, frequently serving as both writer and director. He personally reviewed every frame used in his early films, though due to health concerns over the high workload he now delegates some of the workload to other Ghibli members.^[11] In a 1999 interview, Miyazaki said, "at this age, I cannot do the work I used to. If my staff can relieve me and I can concentrate on directing, there are still a number of movies I'd like to make."^[12]

In contrast to American animation, the script and storyboards are created together, and animation begins before the story is finished and storyboards are developing.^[13][14] Nausicaa is based on his 7 volume manga by the same name.

Miyazaki has used traditional animation throughout the animation process, though computer-generated imagery was employed starting with Princess Mononoke to give "a little boost of elegance".^[11] In an interview with the Financial Times, Miyazaki said "it's very important for me to retain the right ratio between working by hand and computer. I have learnt that balance now, how to use both and still be able to call my films 2D."^[15] Digital paint was also used for the first time in parts of Princess Mononoke in order to meet release deadlines. It was used as standard for subsequent films. However, in his 2008 film Ponyo on the Cliff by the Sea, Miyazaki went back to traditional hand-drawn animation for everything, saying "hand drawing on paper is the fundamental of animation."^[16]

[edit] Themes and devices

[edit] Good and evil

Most of Miyazaki's characters are dynamic, capable of change, and not easily caricatured into traditional good-evil dichotomies. Many menacing characters have redeeming features, and are not firmly defined as antagonists. In Princess Mononoke, Lady Eboshi destroys the forest for industrial raw materials without the concerns for animals' life; however lepers and former prostitutes that she shelters have great respect for her. The film culminates in reconciliation, rather than the vanquishing of some irredeemable evil. Miyazaki stated in Spirited Away, "the heroine [is] thrown into a place where the good and bad dwell together ... She manages not because she has destroyed the “evil,” but because she has acquired the ability to survive." ^[17]

Miyazaki has explained that the lack of clearly defined good and evil is because of his views of the 21st century as a complex time, where old norms no longer are true and need to be re-examined. Simple stereotypes cannot be used, even in children's films. However, even though Miyazaki sometimes feels pessimistic about the world, he prefers to show children a positive world view instead.^[18]

Some of Miyazaki's early films featured distinctly evil villains, as in Castle of Cagliostro or Castle in the Sky; other films are remarkable for having no villains at all, as in Kiki's Delivery Service and My Neighbor Totoro. Some of these have a strong flavor of traditional Japanese culture and ancient animistic spiritual beliefs.

[edit] Environmentalism

Miyazaki's films often emphasize environmentalism and the Earth's fragility. In My Neighbor Totoro, the great tree tops a hillside on which magical creatures reside, and the family worships this tree. This ecological consciousness is echoed in Princess Mononoke with the giant primordial forest, trees, flowers and wolves. In Spirited Away, Miyazaki's environmental concerns surface in the "stink spirit", a river spirit who has been polluted and who must be cleansed by the heroine. This theme is repeated in the story of the river spirit Haku, whose river had been destroyed tragically by a building project.

In Princess Mononoke, Laputa: Castle in the Sky and Nausicaä of the Valley of the Wind, the ecological paradise is threatened by military men and violent state-controlled armies. In each film, the conflict between the natural way of life and the military destruction of culture, land and resources is central to the plight of the protagonists. When battle scenes are shown in each, the militaristic music and ecological destruction is paramount to the endangerment of the inhabitants of the villages.

In an interview with The New Yorker, Miyazaki claimed that much of modern culture is "thin and shallow and fake", and "not entirely jokingly" looked forward to an apocalyptic age in which "wild green grasses" take over.^[19] Growing up in the Shōwa period was an unhappy time for him because "nature — the mountains and rivers — was being destroyed in the name of economic progress."^[20] Nonetheless, he suggests that adults should not "impose their vision of the world on children."^[13]

[edit] Anti-war

Both Nausicaä and Princess Mononoke feature strong anti-war themes. Ending the humans' hateful war with themselves and nature becomes the driving force of Ashitaka in Princess Mononoke. In the manga version of Nausicaä, Miyazaki spends much time depicting the brutality and suffering of war in graphic detail through most of the story. The post-apocalyptic world is filled with remains of the old civilizations that ended with wars and the destruction of the environment. In Laputa: Castle in the Sky, the military is portrayed as mindlessly and needlessly violent, greedy, and heavyhanded. In Howl's Moving Castle, Howl's negative view of the war is clear and he refuses to join the fight in any official capacity. Despite this, he frequently participates on the magical plane of the war as a demon bird battling "hack" wizards, in hopes he might have a positive impact.

[edit] Flying

Flight, especially human flight, is a recurring theme in Miyazaki's films. He thinks of flight as a form of liberation from gravity and how it keeps you stuck to one place.^[21] The Studio Ghibli 2002 short film Imaginary Flying Machines is completely devoted to the wonders of flight and is voiced by Miyazaki himself.

In addition to the many aerial devices and drawings of Laputa: Castle in the Sky, which is a flying city, this theme is found in Nausicaä piloting her Mehve and the airborne armies in Nausicaä of the Valley of the Wind, Kiki riding her broomstick and watching dirigibles fly over her city in Kiki’s Delivery Service, the large Totoro carrying Satsuki and Mei across the night sky in My Neighbor Totoro, Chihiro being borne by Haku in his dragon form in Spirited Away and Howl and Sophie soaring above their town in Howl's Moving Castle. The protagonist in Porco Rosso is a pilot and the film is focused on flying, airplanes and aerial combat.

Interestingly, one of Miyazaki's most successful films, Princess Mononoke, does not contain a flying sequence, or any flying characters.

[edit] Politics

The influence of Miyazaki's early interest in Marxism is apparent in some of his films, such as Porco Rosso. In Castle in the Sky, the working class is portrayed in idealized terms. Miyazaki claims to have abandoned Marxism while creating his manga Nausicaa of the Valley of Wind. He states he "stopped seeing things by class, as it's a lie that one is right just because he/she is a laborer".^[22][23][24]

[edit] Feminism

Miyazaki has been called a feminist by Studio Ghibli President Toshio Suzuki, in reference to his attitude to female workers.^[24] These views are apparent in Miyazaki's films as well, with many memorable, strong female protagonists that go against gender roles common in Japanese animation and fiction.^[25]

[edit] Children and childhood

...children's souls are the inheritors of historical memory from previous generations. —Hayao Miyazaki

Many of Miyzaki's works deal with childhood. For example, My Neighbor Totoro has two young girls who, unlike adults, can see the spirit world, and in Ponyo on the Cliff by the Sea a boy befriends a magic creature from the sea. Both Kiki's Delivery Service and Spirited Away deal with growing up.

Miyazaki has expressed strong feelings about childhood, saying that it's a paradisical time when "you're protected by your parents and unaware of the problems around you". His views of children in the modern world are a bit worried, though, as he wonders about their dependence on the "virtual world" and the lack of contact with the natural world. Because of this, he creates his films inspired by children near himself, with an aim to "understand their world".^[20]

[edit] Influences

A number of Western authors have influenced Miyazaki's work, including Ursula K. Le Guin, Lewis Carroll, and Diana Wynne Jones. Miyazaki confided to Le Guin that Earthsea had been a great influence on all his works, and that he kept her books at his bedside.^[26]

Miyazaki and French writer and illustrator Jean Giraud (aka Moebius) have influenced each other and have become friends as a result of their mutual admiration. Monnaie de Paris held an exhibition of their work titled Miyazaki et Moebius: Deux Artistes Dont Les Dessins Prennent Vie (Two Artists’s Drawings Taking on a Life of Their Own) from December 2004 to April 2005. Both artists attended the opening of the exhibition.^[27][18] Also Moebius named his daughter Nausicaa after Miyazaki's heroine.^[28]

Miyazaki has been deeply influenced by another French writer, Antoine de Saint-Exupéry. He illustrated the Japanese covers of Saint-Exupéry's Night Flight (Vol de nuit) and Wind, Sand and Stars (Terre des Hommes), and wrote an afterword for Wind, Sand and Stars.

In an interview broadcast on BBC Choice on 2002-06-10, Miyazaki cited the British authors Eleanor Farjeon, Rosemary Sutcliff, and Philippa Pearce as influences. The filmmaker has also publicly expressed fondness for Roald Dahl's stories about pilots and airplanes; the image in Porco Rosso of a cloud of dead pilots was inspired by Dahl's They Shall Not Grow Old.

As in Miyazaki's films, these authors create self-contained worlds in which allegory is often used, and characters have complex, and often ambiguous, motivations. Other Miyazaki works, such as My Neighbor Totoro, Princess Mononoke, and Spirited Away, incorporate elements of Japanese history and mythology.

Miyazaki has said he was inspired to become an animator by The Tale of the White Serpent, considered the first modern anime, in 1958. He has also said that The Snow Queen, a Soviet animated film, was one of his earliest inspirations, and that it motivated him to stay in animation production.^[29]

Yuriy Norshteyn, a Russian animator, is Miyazaki's friend and praised by him as "a great artist."^[21] Norshteyn's Hedgehog in the Fog is cited as one of Miyazaki's favourite animated films.^[29]

Miyazaki has long been a fan of the Aardman Studios animation. In May 2006, David Sproxton and Peter Lord, founders of Aardman Studios, visited the Ghibli Museum exhibit dedicated to their works, where they also met Miyazaki.^[30]

[edit] Filmography

[edit] Director, screenplay, and storyboards

• Yuki's Sun 1972 (Pilot film for a never-realized anime series)
• Future Boy Conan, 1978 anime series
• The Castle of Cagliostro, 1979 film
• Sherlock Hound, 1982 anime series
• Nausicaä of the Valley of the Wind, 1984 film
• Laputa: Castle in the Sky, 1986 film
• My Neighbor Totoro, 1988 film
• Kiki's Delivery Service, 1989 film
• Porco Rosso, 1992 film
• Princess Mononoke, 1997 film
• Spirited Away, 2001 film (winner, Academy Award for Best Animated Feature, 2002)
• Howl's Moving Castle, 2004 (nominee, Academy Award for Best Animated Feature, 2005)
• Ponyo on the Cliff by the Sea, 2008 film

[edit] Shorts

• On Your Mark, 1995 music video for Chage and Aska
• The Whale Hunt, 2001 (Short film exclusive to the Ghibli Museum)
• Koro's Big Day Out, 2001 (Short film exclusive to the Ghibli Museum)
• Mei and the Kittenbus, 2002 (Short film exclusive to the Ghibli Museum)
• Imaginary Flying Machines, 2002 (Short film exclusive to the Ghibli Museum as a part of the exhibited material)
• Ornithopter Story: Fly! Hiyodori Tengu Go!, 2002 (Short film exclusive to the Ghibli Museum as a part of the exhibited material)
• Monmon the Water Spider, 2006 (Short film exclusive to the Ghibli Museum)
• House-hunting, 2006 (Short film exclusive to the Ghibli Museum)
• The Day I Harvested A Star, 2006 (Short film exclusive to the Ghibli Museum)
• Film Guruguru, ? (Short film exclusive to the Ghibli Museum as a part of the exhibited material)^[31]

[edit] Other work

• Hols: Prince of the Sun, 1968 film: Key animation, storyboards, scene design
• Puss 'n Boots, 1969 film: Key animation, storyboards, design
• Flying Phantom Ship, 1969 film: Key animation, storyboards, design
• Animal Treasure Island (どうぶつ宝島 ,Dōbutsu Takarajima^?), 1971: Story consultant, key animation, storyboards, scene design
• Ali Baba and the Forty Thieves (アリババと４０匹の盗賊 ,Aribaba to Yonjūbiki no Tozuku^?), 1971 film: Organizer, key animation, storyboards
• Panda! Go, Panda!, 1972 short film: Concept, screenplay, storyboards, scene design, key animation
• Panda! Go Panda! and the Rainy-Day Circus (パンダコパンダ 雨降りサーカスの巻 ,Panda Kopanda: Amefuri Sākasu no Maki^?), 1973 short film: Screenplay, storyboards, scene design, art design, key animation
• Heidi, Girl of the Alps, 1974 anime series: Scene design, layout
• 3000 Leagues in Search of Mother, 1976 anime series: Scene design, layout
• Anne of Green Gables, Episodes 1-15, 1979 anime series: Scene design, layout
• Whisper of the Heart, 1995 film: Screenwriter, storyboards, executive producer, sequence director
• Pom Poko

[edit] References

[edit] Further reading

• Cavallaro, Dani (2006), The Anime Art of Hayao Miyazaki, Mcfarland. (ISBN 0-7864-2369-2)
• McCarthy, Helen (1999), Hayao Miyazaki: Master of Japanese Animation: Films, Themes, Artistry, Stone Bridge. (ISBN 1-880656-41-8)

[edit] External links

Wikiquote has a collection of quotations related to: Hayao Miyazaki

• The Official Studio Ghibli Site (Japanese)
• Miyazaki Information at Nausicaa.net
• Profile at Japan Zone
• Discussion about Miyazaki in The New Yorker
• Interview in The Guardian
• Anime News Network
• Hayao Miyazaki at the Internet Movie Database
• An article on Miyazaki in Turkish Daily News

v • d • e The works of Hayao Miyazaki Films Director, screenplay and storyboard: The Castle of Cagliostro • Nausicaä of the Valley of the Wind • Castle in the Sky • My Neighbor Totoro • Kiki's Delivery Service • Porco Rosso • Princess Mononoke • Spirited Away • Howl's Moving Castle • Ponyo on the Cliff by the Sea Screenplay and storyboard: Panda! Go, Panda! • Whisper of the Heart Chief animator and concept artist: Gulliver's Travels Beyond the Moon • Hols: Prince of the Sun • Puss in Boots • Flying Phantom Ship • Animal Treasure Island • Ali Baba and the Forty Thieves TV series Director, screenplay and storyboard: Lupin III • Future Boy Conan • Sherlock Hound Scene design and layout: Heidi, Girl of the Alps • 3000 Leagues in Search of Mother • Anne of Green Gables OVA Director, screenplay and storyboard: Lupin III's Greatest Capers Manga Story and art: Nausicaä of the Valley of the Wind • The Journey of Shuna • Hayao Miyazaki's Daydream Data Notes Miscellaneous Director, screenplay and storyboard: On Your Mark • Mei and the Kittenbus • Mizugumo Monmon

v • d • e World Masterpiece Theater by Nippon Animation Calpis Comic Theater Dororo · Moomin · Andersen Stories · New Moomin · Fables of the Green Forest · Heidi, Girl of the Alps Calpis Children's Theater A Dog of Flanders · 3000 Leagues in Search of Mother · Rascal the Raccoon Calpis Family Theater The Story of Perrine World Masterpiece Theater Anne of Green Gables · The Adventures of Tom Sawyer · The Swiss Family Robinson: Flone of the Mysterious Island · Lucy of the Southern Rainbow · Alps Story: My Annette · Katri, Girl of the Meadows House Foods World Masterpiece Theater Princess Sarah · Pollyanna · Little Women · Little Prince Cedie · Adventures of Peter Pan · My Daddy Long Legs · Trapp Family Story · The Bush Baby · Jo's Boys World Masterpiece Theater Tico of the Seven Seas · Romeo's Blue Skies · Famous Dog Lassie · Remi, Nobody's Girl House Foods World Masterpiece Theater Les Misérables: Shōjo Cosette · The Long Journey of Porphy · Kon'nichiwa Anne: Before Green Gables Related articles Hayao Miyazaki · Nippon Animation · Isao Takahata

v • d • e Studio Ghibli people Katsuya Kondō • Yoshifumi Kondō • Kitarō Kōsaka • Gorō Miyazaki • Hayao Miyazaki • Kazuo Oga • Yasuo Ōtsuka • Toshio Suzuki • Isao Takahata

Persondata
NAME	Miyazaki, Hayao
ALTERNATIVE NAMES
SHORT DESCRIPTION	Japanese film director
DATE OF BIRTH	January 5, 1941
PLACE OF BIRTH	Tokyo, Japan
DATE OF DEATH
PLACE OF DEATH