Philip Brophy talks to Hayao Miyazaki
HM In Japan, whenever you talk about animation, you always have to consider manga. They influence each other in many complex ways. Some animations could be considered the `young brother' of manga - animation is heavily influenced by manga. But at the same time there are animations which are very independent of the manga media. Animation can never really be mentioned by itself because of these tensions.
PB Normally the West uses boys as central protagonists in films. Why do you concentrate on using girls?
HM My first reaction is to ask `why boys?' The reason I present the hero as a girl is probably because society traditionally accords control to man, in Japan and in the rest of the world. We've reached a time when this male-oriented way of thinking is reaching a limit. The girl or woman has more flexibility. That is why a female point-of-view fits the current times.
PB That is what makes your work `progressive' to the West.
HM I'm my opinion, there should not be any difference between man and woman. I see them as equal I'm many ways. There is always the mans-role; but there's always the woman-role. There is an old saying Japan about how men are stupid. Men take act ion straight away, women think things through. Each part supports the other.
PB What is the perception of your work in Japan? Is your work viewed as `family-oriented', for kids, or general audience?
HM When an idea for a project is formed, there are always market considerations - this work might appeal to a certain age group, and so on. But its never the way you would expect it. Sometime in the beginning a predictable age group will come, but the end result might be another: middle-aged men, young women, whatever. You can never be sure.
PB Unusually for Western audiences, those who like hard action/adventure Japanese Anime also tend to support your work. They would never watch contemporary Disney films. Your work has allowed many Westerners to accept and appreciate emotionally-e engaging material which they would otherwise shun.
HM Disney is not really an influence for most contemporary Japanese artists. Tezuka was very influenced by Disney, but since then many artists have been against aspects of Disney's work. Lately people in the animation and manga industries have started to look at Disney more seriously - especially works like Aladdin and Beauty and The Beast. So the attitude towards Disney works seems to be changing.
PB The use of other worlds, other times and other countries recurs throughout your work. This is distinct from Isao Takahata's works, like Tombstone For Fireflies and Only Yesterday, which concentrates on the present and its everyday-life. What l Ed you to create these symbolic versions of our world?
HM Our work may seem contrary to each other, but as you know, have worked together closely for a long time. the more Takahata deals with contemporary issues the more I seem to go the other way. But the bottom line is that we always share similar v iews and motives. For example, French films inspired Takahata to become an animator. In any case, it was The White Queen and the Russian film The Snow Queen. In these films the common element is that they reflected soci-economic issues of their times. T his influenced us both.
PB This is interesting, because there has been a general assumption that your work is primarily Disney-esque in tone.
HM Of course in terms of technique Disney movies are very good, but when it comes to portraying a human being and his or her emotions, it becomes very fake.
PB Much of Japanese animation is centered on issues of technology. Whereas Tezuka dealt with the science of robotics, you have dealt with the science of ecology. What are your views on technology?
HM It is not simply a matter of whether technology is good or bad. It is more complicated. In my view, technology is the fate of people in a modern society. I'm my studio, the younger staff are interested in incorporating computer graphics into their work. However, I have tried to prevent computers entering the studio. It's not that I'm against computers. It's wrong to think that if you use something new like computers they I will give you new ideas quickly and easily. That is what I'm against . We have hands and pencils, why not use them?
PB Computer technology - especially in `creative' applications - has mainly been employed by the unskilled to produce something that looks like `skill' was involved.
HM Once again, I'm not against technology. But you must know how to use it. If I knew how to use it, then I would say `why not?' But for me it doesn't seem so easy to manipulate and operate it.
PB Here in Australia, the only film of yours that has been released is Nausicaa: Of the Valley of the Wind, under the title Warriors Of The Wind. Have there been difficulties in getting your material widely released in the west?
HM Nausicaa isn't the only film released in the West. For example Porco Rosso, My Neighbour Totoro and Kiki's Delivery Service have also been exported. Nausicaa was my first film sold outside Japan, and I regret the fact the marketing strategy wa sn't right. When it comes to selling your work, you have to be careful about which right your selling. The owners to the rights of Nausicaa, sold all the film's rights to America, which wasn't right. I'm now very cautious about what rights get sold to which country. It's said that Nausicaa might not be taken seriously by western audiences. But that's OK. It's my first work.
PB Has there been said anything about your work in the West which you disagree with?
HM I wouldn't say anything about each audience members interpretation. That is their view. They may have a different interpretation from mine, but that's OK. I probably have the wrong idea of other peoples' work.