Hayao Miyazaki was born on the 5th of January 1941, in the town of Akebono-cho in Hongō, Tokyo City, Empire of Japan, the second of four sons. His early life was marked by the shadow of war and a family business that manufactured rudders for fighter planes during World War II. His father, Katsuji Miyazaki, was a director of Miyazaki Airplane, and the family remained affluent during Miyazaki's early years. However, the war left a lasting impression on the young boy, who was just three years old when his family evacuated to Utsunomiya. The city was bombed in July 1945, and they had to evacuate again to Kanuma. These bombed-out cities left a deep scar on Miyazaki, who was only four years old at the time. He suffered from digestive problems as a child and was told he would not live beyond 20, making him feel like an outcast. He considered himself clumsy and weak, protected at school by his older brother. His mother, Yoshiko, suffered from spinal tuberculosis from 1947 to 1955, spending the first few years in the hospital before being nursed from home. This forced Miyazaki and his siblings to take over domestic duties. Yoshiko was frugal and described as a strict, intellectual woman who regularly questioned socially accepted norms. She was closest with Miyazaki and had a strong influence on him and his later work, inspiring several of his characters. Yoshiko Miyazaki died in July 1983 at the age of 72. Miyazaki began school as an evacuee in 1947, at an elementary school in Utsunomiya, completing the first through third grades. After his family moved back to Suginami-ku in 1950, Miyazaki completed the fourth grade at ōmiya Elementary School, and fifth grade at Eifuku Elementary School, which was newly established after splitting off from ōmiya Elementary. After graduating from Eifuku as part of the first graduating class, he attended ōmiya Junior High School. He aspired to become a manga artist, but discovered he could not draw people; instead, he drew planes, tanks, and battleships for several years. Miyazaki was influenced by several manga artists, such as Tetsuji Fukushima, Soji Yamakawa and Osamu Tezuka. Miyazaki destroyed much of his early work, believing it was bad form to copy Tezuka's style as it was hindering his own development as an artist. He preferred to see artists like Tezuka as fellow artists rather than idols to worship. Around this time, Miyazaki often saw movies with his father, who was an avid moviegoer; memorable films for Miyazaki include Meshi (1951) and Tasogare Sakaba (1955). After graduating from ōmiya Junior High, Miyazaki attended Toyotama High School. During his third and final year, Miyazaki's interest in animation was sparked by The White Snake Enchantress (1958), Japan's first feature-length animated film in color; he had sneaked out to watch the film instead of studying for his entrance exams. Miyazaki later recounted that, falling in love with its heroine, the film moved him to tears and left a profound impression, prompting him to create work true to his own feelings instead of imitating popular trends; he wrote the film's pure, earnest world promoted a side of him that yearned desperately to affirm the world rather than negate it. After graduating from Toyotama, Miyazaki attended Gakushuin University in the department of political economy, majoring in Japanese Industrial Theory; he considered himself a poor student as he instead focused on art. He joined the Children's Literature Research Club, the closest thing back then to a comics club; he was sometimes the sole member of the club. In his free time, Miyazaki would visit his art teacher from middle school and sketch in his studio, where the two would drink and talk about politics, life, all sorts of things. Around this time, he also drew manga; he never completed any stories, but accumulated thousands of pages of the beginnings of stories. He also frequently approached manga publishers to license their stories. In 1960, Miyazaki was a bystander during the Anpo protests, having developed an interest after seeing photographs in Asahi Graph; by that point, he was too late to participate in the demonstrations. Miyazaki graduated from Gakushuin in 1963 with degrees in political science and economics.
In 1963, Miyazaki was employed at Toei Doga; this was the last year the company hired regularly. He began renting a four-and-a-half tatami apartment in Nerima, Tokyo, near Toei's studio; the rent was 15,000 yen, while his salary at Toei was 18,000 yen. Miyazaki worked as an inbetween artist on the theatrical feature films Doggie March (1963) and Gulliver's Travels Beyond the Moon (1965) and the television anime Wolf Boy Ken (1963). His proposed changes to the ending of Gulliver's Travels Beyond the Moon were accepted by its director; he was uncredited but his work was praised. Miyazaki found inbetween art unsatisfying and wanted to work on more expressive designs. He was a leader in a labor dispute soon after his arrival at Toei, and became chief secretary of its labor union in 1964; its vice-chairman was Isao Takahata, with whom Miyazaki would form a lifelong collaboration and friendship. Around this time, Miyazaki questioned his career choice and considered leaving the industry; a screening of The Snow Queen in 1964 moved him, prompting him to continue working with renewed determination. During production of the anime series Shōnen Ninja Kaze no Fujimaru (1964, 1965), Miyazaki moved from inbetween art to key animation, and worked in the latter role on two episodes of Sally the Witch (1966, 1968) and several of Hustle Punch (1965, 1966) and Rainbow Sentai Robin (1966, 1967). Concerned that opportunities for creative projects and feature films would become scarce following an increase in animated television, Miyazaki volunteered in 1964 to work on the film The Great Adventure of Horus, Prince of the Sun (1968); he was chief animator, concept artist, and scene designer, credited as the latter. On the film, he worked closely with his mentor, Yasuo ōtsuka, whose approach to animation profoundly influenced Miyazaki's work. Directed by Takahata, the film was highly praised and deemed a pivotal work in the evolution of animation, though its limited release and minimal promotion led to disappointing box office results, among Toei Animation's worst, which threatened the studio financially. Miyazaki moved to a residence in Higashimurayama after his wedding in October 1965, to ōizumigakuenchō after the birth of his second son in April 1969, and to Tokorozawa in 1970. Miyazaki provided key animation for The Wonderful World of Puss 'n Boots (1969), directed by Kimio Yabuki. He created a 12-chapter manga series as a promotional tie-in for the film; the series ran in the Sunday edition of Tokyo Shimbun from January to March 1969. Miyazaki later proposed scenes in the screenplay for Flying Phantom Ship (1969) in which military tanks would cause mass hysteria in downtown Tokyo, and was hired to storyboard and animate the scenes. Beginning a shift towards slow-paced productions featuring mostly female protagonists, he provided key animation for Moomin (1969), two episodes of Himitsu no Akko-chan (1969, 1970), and one episode of Sarutobi Ecchan (1971), and was organizer and key animator for Ali Baba and the Forty Thieves (1971). Under the pseudonym, Miyazaki wrote and illustrated the manga People of the Desert, published in 26 installments between September 1969 and March 1970 in . He was influenced by illustrated stories such as Fukushima's . In 1971, Miyazaki developed structure, characters, and designs for Hiroshi Ikeda's adaptation of Animal Treasure Island, providing key animation and script development. He created the 13-part manga adaptation, printed in Tokyo Shimbun from January to March 1971. A-Pro and Nippon Animation Miyazaki left Toei Animation in August 1971, having become dissatisfied by the lack of creative prospects and autonomy, and by confrontations with management regarding The Great Adventure of Horus. He followed Takahata and Yōichi Kotabe to A-Pro, where he directed, or co-directed with Takahata, 17 of the 23 episodes of Lupin the Third Part I, originally intended as a movie project. This was Miyazaki's directorial debut. He and Takahata were engaged to emphasize the series' humor over its violence. The two also began pre-production on a series based on Astrid Lindgren's Pippi Longstocking books, designing extensive storyboards; Miyazaki and Tokyo Movie Shinsha president Yutaka Fujioka traveled to Sweden to secure the rights, Miyazaki's first trip outside Japan and possibly the first overseas trip for any Japanese animator for a production, but the series was canceled after they were unable to meet Lindgren, and permission was refused to complete the project. Foreign travel left an impression on Miyazaki; using concepts, scripts, design, and animation from the project, he wrote, designed and animated two Panda! Go, Panda! shorts in 1972 and 1973, with Takahata as director and ōtsuka as animation director. Their choice of pandas was inspired by the panda craze in Japan at the time. Miyazaki drew storyboards for the first episode of The Gutsy Frog in 1971 (though they went unused), provided key animation and storyboards for two episodes of Akado Suzunosuke in 1972, and delivered key animation for one episode each of Kōya no Shōnen Isamu (directed by Takahata) and Samurai Giants in 1973. In 1972, he directed a five-minute pilot film for the television series Yuki's Sun; the series was never produced, and the pilot fell into obscurity before resurfacing as part of a Blu-ray release of Miyazaki's works in 2014. In June 1973, Miyazaki and Takahata moved from A-Pro to Zuiyō Eizō, where they worked on World Masterpiece Theater, which featured their animation series Heidi, Girl of the Alps, an adaptation of Johanna Spyri's Heidi. The production team wanted the series to set new heights for television animation, and Miyazaki traveled to Switzerland to research and sketch in preparation. Zuiyō Eizō split into two companies in July 1975; Miyazaki and Takahata's branch became Nippon Animation. They briefly worked on Dog of Flanders in 1975 before moving on to the larger-scale 3000 Leagues in Search of Mother (1976), directed by Takahata, for which Miyazaki traveled to Argentina and Italy as research. Directorial debut In 1977, Miyazaki was chosen to direct his first animated television series, Future Boy Conan; he directed 24 of the 26 episodes, which were broadcast in 1978. Only eight episodes were completed when the series began airing; each episode was completed within ten to fourteen days. An adaptation of Alexander Key's The Incredible Tide, the series features several elements that later reappeared in Miyazaki's work, such as warplanes, airplanes, and environmentalism. Also working on the series was Takahata, ōtsuka, and Yoshifumi Kondō, whom Miyazaki and Takahata had met at A-Pro. Visually, Miyazaki was inspired by Paul Grimault's The Adventures of Mr. Wonderbird. Miyazaki did key animation for thirty episodes of the World Masterpiece Theater series Rascal the Raccoon (1977) and provided scene design and organization on the first fifteen episodes of Takahata's Anne of Green Gables before leaving Nippon Animation in 1979. Miyazaki moved to Tokyo Movie Shinsha to direct his first feature anime film, The Castle of Cagliostro (1979), an installment of the Lupin III franchise. ōtsuka had approached him to direct the film following the release of Lupin the 3rd: The Mystery of Mamo (1978), and Miyazaki wrote the story with Haruya Yamazaki. Wishing to insert his own creativity into the franchise, Miyazaki inserted several elements and references, inspired by several of Maurice Leblanc's Arsène Lupin novels, on which Lupin III is based, as well as The Adventures of Mr. Wonderbird. Visually, he was inspired by Kagoshima Publishing's Italian Mountain Cities and the Tiber Estuary, reflecting his love for Europe. Production ran for four months and the film was released on the 15th of December 1979; Miyazaki wished he could have had another month of production. It was well received; Animage readers voted it the best animation of all time, it remained in the top ten for more than fifteen years, and Clarisse the best heroine. In 2005, former princess Sayako Kuroda's wedding dress was reportedly inspired by Clarisse's, having been a fan of Miyazaki and his work. Several Japanese and American filmmakers were inspired by the film, prompting homages in other works. Miyazaki became a chief animation instructor for new employees at Telecom Animation Film, a subsidiary of Tokyo Movie Shinsha. and subsequently directed two episodes of Lupin the Third Part II under the pseudonym, which can read as employee of Telecom. In his role at Telecom, Miyazaki helped train the second wave of employees. Miyazaki provided key animation for one episode of The New Adventures of Gigantor (1980, 1981), and directed six episodes of Sherlock Hound in 1981, until legal issues with Arthur Conan Doyle's estate led to a suspension in production; Miyazaki was busy with other projects by the time the issues were resolved, and the remaining episodes were directed by Kyôsuke Mikuriya and broadcast from November 1984 to May 1985. It was Miyazaki's final television work. In 1982, Miyazaki, Takahata, and Kondō started work on a film adaptation of Little Nemo, but Miyazaki and Takahata left after a few months due to creative clashes with Fujioka (Kondō remained until 1985); the film was completed six years later as Little Nemo: Adventures in Slumberland (1989). Miyazaki spent some time in the United States during the film's production.
The Manga That Built A Studio
After the release of The Castle of Cagliostro, Miyazaki began working on his ideas for an animated film adaptation of Richard Corben's comic book Rowlf and pitched the idea to Yutaka Fujioka at Tokyo Movie Shinsha. In November 1980, a proposal was drawn up to acquire the film rights. Around that time, Miyazaki was also approached for a series of magazine articles by Animages editorial staff. Editors Toshio Suzuki and Osamu Kameyama took some of his ideas to Animages parent company, Tokuma Shoten, which had been considering funding animated films. Two projects were proposed, to be set in the Sengoku period; and the adaptation of Corben's Rowlf. Both were rejected, as the company was unwilling to fund anime not based on existing manga and the rights for Rowlf could not be secured. Elements of Miyazaki's proposal for Rowlf were recycled in his later works. With no films in production, Miyazaki agreed to develop a manga for the magazine, titled Nausicaä of the Valley of the Wind. Miyazaki had intended to stop making the manga when he received animation work; while he took some breaks in releases, the manga ultimately ran from February 1982 to March 1994. Miyazaki's busy schedule and perfectionist mindset led to several delays in publications, and on one occasion he withdrew some chapters before publication; he considered its continued publication a burden on his other work. The story, as re-printed in the volumes, spans seven volumes for a combined total of 1,060 pages. It sold more than ten million copies in its first two years. Miyazaki drew the episodes primarily in pencil, and it was printed monochrome in sepia-toned ink. The main character, Nausicaä, was partly inspired by the character from Homer's Odyssey (whom Miyazaki had discovered while reading Bernard Evslin's Dictionary of Grecian Myths) and the Japanese folk tale The Lady who Loved Insects, while the world and ecosystem was based on Miyazaki's readings of scientific, historical, and political writings, such as Sasuke Nakao's Origins of Plant Cultivation and Agriculture, Eiichi Fujimori's The World of Jomon, Paul Carell's Hitler Moves East. He was also inspired by the comic series Arzach by Jean Giraud, whom he met while working on the manga. In 1982, Miyazaki assisted with key animation for an unreleased Zorro series, and for the feature film Space Adventure Cobra: The Movie. He resigned from Telecom Animation Film in November. Around this time, he wrote the graphic novel The Journey of Shuna, inspired by the Tibetan folk tale Prince who became a dog. The novel was published by Tokuma Shoten in June 1983, dramatized for radio broadcast in 1987, and published in English as Shuna's Journey in 2022. Hayao Miyazaki's Daydream Data Notes was also irregularly published from November 1984 to October 1994 in Model Graphix; selections of the stories received radio broadcast in 1995. Following the completion of Nausicaä of the Valley of the Wind first two volumes, Animage editors suggested a 15-minute short film adaptation. Miyazaki, initially reluctant, countered that an hour-long animation would be more suitable, and Tokuma Shoten agreed on a feature-length film. Production began on the 31st of May 1983, with animation beginning in August; funding was provided through a joint venture between Tokuma Shoten and the advertising agency Hakuhodo, for whom Miyazaki's youngest brother worked. Animation studio Topcraft was chosen as the production house. Miyazaki found some of Topcraft's staff unreliable, and brought on several of his previous collaborators, including Takahata, who served as producer, though he was reluctant to do so. Pre-production began on the 31st of May 1983; Miyazaki encountered difficulties in creating the screenplay, with only sixteen chapters of the manga to work with. Takahata enlisted experimental and minimalist musician Joe Hisaishi to compose the film's score; he subsequently worked on all of Miyazaki's feature films. For the film, Miyazaki's imagination was sparked by the mercury poisoning of Minamata Bay and how nature responded and thrived in a poisoned environment, using it to create the film's polluted world. For the lead role of Nausicaä, Miyazaki cast Sumi Shimamoto, who had impressed him as Clarisse in The Castle of Cagliostro and Maki in Lupin the Third Part II. Nausicaä of the Valley of the Wind was created in ten months, and released on the 11th of March 1984. It grossed ¥1.48 billion at the box office, and made an additional ¥742 million in distribution income. It is often seen as Miyazaki's pivotal work, cementing his reputation as an animator. It was lauded for its positive portrayal of women, particularly Nausicaä. Several critics have labeled Nausicaä of the Valley of the Wind as possessing anti-war and feminist themes; Miyazaki argues otherwise, stating he only wishes to entertain. He felt Nausicaä's ability to understand her opponent rather than simply defeat them meant she had to be female. The successful cooperation on the creation of the manga and the film laid the foundation for other collaborative projects. In April 1984, Miyazaki and Takahata created a studio to handle copyright of their work, naming it Nibariki (meaning Two-Horse Power, the nickname for the Citroën 2CV, which Miyazaki drove), for which an office was secured in Suginami Ward, with Miyazaki serving as the senior partner. Studio Ghibli Foundation and Laputa (1985, 1987) Following the success of Nausicaä of the Valley of the Wind, Miyazaki and Takahata founded the animation production company Studio Ghibli on the 15th of June 1985, as a subsidiary of Tokuma Shoten, with offices in Kichijōji designed by Miyazaki. The studio's name had been registered a year earlier; Miyazaki named it after the nickname of the Caproni Ca.309 aircraft, meaning a hot wind that blows in the desert in Italian. Suzuki worked for Studio Ghibli as producer, joining full-time in 1989, while Topcraft's Tōru Hara became production manager; Suzuki's role in the creation of the studio and its films has led him to being occasionally named a co-founder, and Hara is often viewed as influential to the company's success. Yasuyoshi Tokuma, the founder of Tokuma Shoten, was also closely related to the company's creation, having provided financial backing. Topcraft had been considered as a partner to produce Miyazaki's next film, but the company went bankrupt in 1985. Several staff members subsequently hired at Studio Ghibli, up to 70 full-time and 200 part-time employees in 1985, had previously worked with Miyazaki at different studios, such as Telecom, Topcraft, and Toei Doga, and others like Madhouse, Inc. and Oh! Production. In 1984, Miyazaki traveled to Wales, drawing the mining villages and communities of Rhondda; he witnessed the miners' strike and admired the miners' dedication to their work and community. He was angered by the military superpowers of the Roman Empire who conquered the Celts and felt this anguish, alongside the miners' strike, was perceptible in Welsh communities. He returned in May 1985 to research his next film, Laputa: Castle in the Sky, the first by Studio Ghibli. Its tight production schedule forced Miyazaki to work all day, including before and after normal working hours, and he wrote lyrics for its end theme. Miyazaki used the floating island of Laputa from Gulliver's Travels in the film. Laputa was released on the 2nd of August 1986, by the Toei Company. It sold around 775,000 tickets, making a modest financial return, though Miyazaki and Suzuki expressed their disappointment with its box office figures of approximately ¥1.2 billion. After the success of Nausicaä, Miyazaki visited Yanagawa and considered imitating it in an animated film, fascinated by its canal system; instead, Takahata directed a live-action documentary about the region, The Story of Yanagawa's Canals (1987). Miyazaki produced and financed the film, and provided several animated sequences. Its creation spanned four years, and Miyazaki considered it his social responsibility, to both Japanese society and filmmaking, in seeing it produced. Laputa was created partly to fund production of the documentary, for which Takahata had depleted his funds. In June 1985, Nausicaä of the Valley of the Wind was released in the United States as Warriors of the Wind, with significant cuts; almost 30 minutes of dialogue and character development were removed, erasing parts of its plot and themes. Miyazaki and Takahata subsequently refused to consider Western releases of their films for the following decade.
Totoro And The Girl Who Flew
Miyazaki's next film, My Neighbor Totoro, originated in ideas he had as a child; he felt Totoro is where my consciousness began. An attempt to pitch My Neighbor Totoro to Tokuma Shoten in the early 1980s had been unsuccessful, and Miyazaki faced difficulty in attempting to pitch it again in 1987. Suzuki proposed that Totoro be released as a double bill alongside Takahata's Grave of the Fireflies; as the latter, based on the 1967 short story by Akiyuki Nosaka, had historical value, Suzuki predicted school students would be taken to watch both. Totoro features the theme of the relationship between the environment and humanity, showing that harmony is the result of respecting the environment. The film also references Miyazaki's mother; the child protagonists' mother is bedridden. As with Laputa, Miyazaki wrote lyrics for Totoros end theme. Miyazaki struggled with the film's script until he read a Mainichi Graph story about Japan forty years prior, opting to set the film in the country before Tokyo's expansion and the advent of television. Miyazaki has subsequently donated money and artwork to fund preservation of the forested land in Saitama Prefecture, in which the film is set. Production of My Neighbor Totoro began in April 1987 and took exactly a year; it was released on the 16th of April 1988. While the film received critical acclaim, it was only moderately successful at the box office. Studio Ghibli approved merchandising rights in 1990, which led to major commercial success; merchandise profits alone were able to sustain the studio for years. The film was labeled a cult classic, eventually gaining success in the United States after its release in 1993, where its home video release sold almost 500,000 copies. Akira Kurosawa said the film moved him, naming it among his hundred favorite films, one of few Japanese films to be named. An asteroid discovered by Takao Kobayashi in December 1994 was named after the film: 10160 Totoro. In 1987, Studio Ghibli acquired the rights to create a film adaptation of Eiko Kadono's novel Kiki's Delivery Service. Miyazaki's work on My Neighbor Totoro prevented him from directing the adaptation; he acted as producer, while Sunao Katabuchi was chosen as director and Nobuyuki Isshiki as script writer. Miyazaki's dissatisfaction of Isshiki's first draft led him to make changes to the project, ultimately taking the role of director. Kadono expressed her dissatisfaction with the differences between the book and screenplay, but Miyazaki and Takahata convinced her to let production continue. The film was originally intended to be a 60-minute special, but expanded into a feature film after Miyazaki completed the storyboards and screenplay. Miyazaki felt the struggles of the protagonist, Kiki, reflected the feelings of young girls in Japan yearning to live independently in cities, while her talents reflected those of real girls, despite her magical powers. In preparation for production, Miyazaki and other senior staff members traveled to Sweden, where they captured eighty rolls of film in Stockholm and Visby, the former being the primary inspiration behind the film's city. Kiki's Delivery Service premiered on the 29th of July 1989; it was critically successful, winning the Anime Grand Prix. With more than 2.6 million tickets sold, it earned ¥2.15 billion at the box office and was the highest-grossing film in Japan in 1989. Miyazaki and Studio Ghibli personally approved the subsequent English translations. Porco Rosso and co-productions (1989, 1995) From March to May 1989, Miyazaki's manga was published in the magazine Model Graphix, based on an earlier film idea he had assigned to a younger director in 1988 that fell through due to creative differences. Miyazaki began production on a 45-minute in-flight film for Japan Airlines based on the manga; Suzuki extended it into a feature-length film, titled Porco Rosso, as expectations and budget grew. Miyazaki began work on the film with little assistance, as its production overlapped with Takahata's Only Yesterday (1991), which Miyazaki co-produced. The outbreak of the Yugoslav Wars in 1991 affected Miyazaki, prompting a more sombre tone for Porco Rosso; the Croatian War of Independence moved the film's setting from Dubrovnik to the Adriatic Sea. Miyazaki later referred to the film as foolish, as its mature tones were unsuitable for children, noting he had made it for his own pleasure due to his love of planes. Except for the Curtiss R3C-2, all planes in Porco Rosso are original creations from Miyazaki's imagination, based on his childhood memories. The film also pays homage to the work of Fleischer Studios and Winsor McCay, which were influential to Japanese animation in the 1940s. The film featured anti-war themes, which Miyazaki would later revisit. The protagonist's name, Marco Pagot, is the same as an Italian animator with whom Miyazaki had worked on Sherlock Hound. Some female staff at Studio Ghibli considered the film's Piccolo factory, led by a man and staffed by women, an intentional mirroring of Studio Ghibli's staff, of whom many are women; some viewed it as Miyazaki's respect for their work ethic, though others felt it implied women were easier to exploit. Japan Airlines remained a major investor in the film, resulting in its initial premiere as an in-flight film, prior to its theatrical release on the 18th of July 1992. It was Miyazaki's first film not to top Animages yearly reader poll, which has been attributed to its mature focus. The film was commercially successful, becoming the highest-grossing film of the year in Japan; it remained one of the highest-grossing films for several years. During production of Porco Rosso, Miyazaki spearheaded work on Studio Ghibli's new studio in Koganei, Tokyo, designing the blueprints, selecting materials, and working with builders. The studio opened in August 1992, and the staff moved in shortly after Porco Rossos release. Around this time, Miyazaki started work on the final volumes of the manga Nausicaä of the Valley of the Wind, which he created in-house at Studio Ghibli. In November, two television spots directed by Miyazaki were broadcast by Nippon Television Network (NTV):, a 90-second spot adapted from the illustrated story by Rieko Nakagawa and Yuriko Omura; and, a series of four five-second advertisements featuring an undefinable creature. Miyazaki assisted with the concept of Takahata's Pom Poko (1994), and designed the storyboards and wrote the screenplay for Kondō's Whisper of the Heart (1995), being particularly involved in the latter's fantasy sequences. Critics and fans began to see Kondō as the heir-apparent to Studio Ghibli.
Mononoke And The Spirit World
Studio Ghibli announced the production of Howl's Moving Castle in September 2001, based on the novel by Diana Wynne Jones, which Miyazaki had read in 1999. Toei Animation's Mamoru Hosoda was originally selected to direct the film, but disagreements between Hosoda and Studio Ghibli executives led to the project's abandonment in 2002. After six months, Studio Ghibli resurrected the project. Miyazaki was inspired to direct the film, struck by the image of a castle moving around the countryside, and he took creative liberties in its depiction. Some computer animation was used to animate the castle's movements, though Miyazaki dictated it consist of no more than 10 percent of the film. Miyazaki traveled to Colmar and Riquewihr in Alsace, France, to study the architecture and the surroundings for the film's setting, while additional inspiration came from the concepts of future technology in Albert Robida's work. The war featured in the film was thematically influenced by the 2003 invasion and subsequent war in Iraq, the events of which enraged Miyazaki. Howl's Moving Castle was released on the 20th of November 2004, and received widespread critical acclaim. The film received the Golden Osella for Technical Excellence at the 61st Venice International Film Festival, and was nominated for the Academy Award for Best Animated Feature. In Japan, the film sold more than 1.1 million tickets within two days and grossed a record in its first week. It became Japan's third-highest-grossing film, and remains among the top rankings with a worldwide gross of over ¥19.3 billion. Miyazaki received the honorary Golden Lion for Lifetime Achievement award at the 62nd Venice International Film Festival in 2005. He visited the United States in June 2005 to promote the film. In March 2005, Studio Ghibli split from Tokuma Shoten, and Miyazaki became corporate director. After Howl's Moving Castle, Miyazaki created some short films for the Ghibli Museum, for which he returned solely to traditional animation techniques; all three began screening in January 2006. Studio Ghibli obtained the rights to produce an adaptation of Ursula K. Le Guin's Earthsea novels in 2003; Miyazaki had contacted her in the 1980s expressing interest but she declined, unaware of his work. Upon watching My Neighbor Totoro several years later, she expressed approval to the concept and met with Suzuki in August 2005, who wanted Miyazaki's son Goro to direct the film, as Miyazaki had wished to retire. Disappointed that Miyazaki was not directing but under the impression he would supervise his son's work, Le Guin approved of the film's production. Miyazaki later publicly opposed and criticized Goro's appointment as director. The film's designs were partly inspired by Miyazaki's manga The Journey of Shuna. During a screening of the film, Miyazaki commented, You shouldn't make a picture based on your emotions. He later wrote a message for his son: It was made honestly, so it was good. In February 2006, Miyazaki traveled to the United Kingdom to research A Trip to Tynemouth (based on Robert Westall's Blackham's Wimpy), for which he designed the cover, created a short manga, and worked as editor; it was released in October. Miyazaki's next film, Ponyo, began production in May 2006. It was initially inspired by The Little Mermaid by Hans Christian Andersen, though began to take its own form as production continued. Miyazaki aimed for the film to celebrate the innocence and cheerfulness of a child's universe. He was intimately involved with the artwork, preferring to draw the sea and waves himself, as he enjoyed experimenting. Two short films, Looking for a Home and Water Spider Monmon, were made for the Ghibli Museum shortly before Ponyo entered production as animation experiments for sea life. Ponyo features 170,000 frames, a record for Miyazaki. Its seaside village was inspired by Tomonoura, a town in Setonaikai National Park, where Miyazaki stayed in 2004. The main character, Sōsuke, is based on Gorō. Following its release on the 19th of July 2008, Ponyo was critically acclaimed, receiving Animation of the Year at the 32nd Japan Academy Film Prize. The film was also a commercial success, earning ¥10 billion (approximately $90 million) in its first month and ¥15.5 billion by the end of 2008, placing it among the highest-grossing films in Japan; its box office earnings outpaced its ¥3.4 billion budget fivefold. In April 2008, Miyazaki founded Home of the Three Bears, a preschool for the children of Studio Ghibli employees for which he had worked on early architectural plans.
In early 2009, Miyazaki began writing a manga called, telling the story of Mitsubishi A6M Zero fighter designer Jiro Horikoshi. The manga was first published in two issues of the Model Graphix magazine, published on February 25 and the 25th of March 2009. For the Ghibli Museum, Miyazaki wrote the short film A Sumo Wrestler's Tail, directed by Akihiko Yamashita, and wrote and directed Mr. Dough and the Egg Princess; both started screening in 2010. From July 2008, Miyazaki planned and produced the film Arrietty (2010), for which he co-wrote the screenplay with Keiko Niwa, based on the 1952 novel The Borrowers; it was the directorial debut of Hiromasa Yonebayashi, who had started as an inbetween artist on Princess Mononoke. Miyazaki and Niwa wrote the screenplay for From Up on Poppy Hill (2011), based the 1979, 1980 manga Coquelicot-zaka kara; the film, directed by Goro Miyazaki, was the highest-grossing Japanese film in the country in 2011 and won Animation of the Year at the Japan Academy Awards. Miyazaki wanted his next film to be a sequel to Ponyo, but Suzuki convinced him to instead adapt to film. In November 2012, Studio Ghibli announced the production of The Wind Rises, based on, to be released as a double bill alongside Takahata's The Tale of the Princess Kaguya; the latter was ultimately delayed. Miyazaki was inspired to create The Wind Rises after reading a quote from Horikoshi: All I wanted to do was to make something beautiful. Several scenes in The Wind Rises were inspired by Tatsuo Hori's novel, in which Hori wrote about his life experiences with his fiancée before she died from tuberculosis. The female lead character's name, Naoko Satomi, was borrowed from Hori's novel, while the name of a German man, Hans Castorp, taken from Thomas Mann's The Magic Mountain. Naoko's struggles with tuberculosis echo the illness of Miyazaki's mother, and Horikoshi's story of growing from a young boy dreaming of airplanes to an inspirational artist is reflective of Miyazaki's own life. The Wind Rises reflects Miyazaki's pacifist stance, continuing the themes of his earlier works, despite stating that condemning war was not the intention of the film; he felt that, despite his occupation, Horikoshi was not militant. Miyazaki was moved by the film, the first of his own works to make him cry. As Horikoshi, he cast Hideaki Anno, who had worked on Nausicaä of the Valley of the Wind and is known for creating Neon Genesis Evangelion. The film premiered on the 20th of July 2013, It received critical acclaim for its animation, narrative, and characters, though some viewers were critical of the film's focus on Horikoshi due to the impacts of his inventions and others were disappointed by its lack of fantastical elements. It was named Animation of the Year at the 37th Japan Academy Film Prize and was nominated for Best Animated Feature at the 86th Academy Awards. It was commercially successful, grossing ¥11.6 billion (approximately $100 million) at the Japanese box office, becoming the highest-grossing film in Japan in 2013. The film's production was documented in Mami Sunada's The Kingdom of Dreams and Madness. Retirement and The Boy and the Heron (2013, present) In September 2013, Miyazaki announced he was retiring from the production of feature films due to his age, but wished to continue working on the displays at the Ghibli Museum. Miyazaki was awarded the Academy Honorary Award at the Governors Awards in November 2014. He developed Boro the Caterpillar, an animated short film which was first discussed during pre-production for Princess Mononoke. It was screened exclusively at the Ghibli Museum in July 2017. Around this time, Miyazaki was working on a manga titled Teppo Samurai. In February 2019, a four-part documentary was broadcast on the NHK network titled 10 Years with Hayao Miyazaki, documenting production of his films in his private studio. In 2019, Miyazaki approved a musical adaptation of Nausicaä of the Valley of the Wind, as it was performed by a kabuki troupe. In August 2016, Miyazaki proposed a new feature-length film, Kimi-tachi wa Dō Ikiru ka (titled The Boy and the Heron in English), on which he began animation work without receiving official approval. The
Castles And The Sea
film opened in Japanese theaters on the 14th of July 2023. It was preceded by a minimal marketing campaign, forgoing trailers, commercials, and advertisements, a response from Suzuki to his perceived oversaturation of marketing materials in mainstream films. It was commercially successful, grossing worldwide, making it one of the highest-grossing anime films in several countries and one of the highest-grossing Japanese films ever. The film's production was documented in Kaku Arakawa's Hayao Miyazaki and the Heron. The Boy and the Heron won Miyazaki his second Academy Award for Best Animated Feature at the 96th Academy Awards, becoming the oldest director to do so and the first two-time Japanese winner in the category (and second overall); Miyazaki did not attend the show due to his advanced age. Despite claims that The Boy and the Heron would be Miyazaki's final film, Studio Ghibli vice president Junichi Nishioka said in September 2023 that Miyazaki continued to attend the office daily to plan his next film. Suzuki said he could no longer convince Miyazaki to retire. Studio Ghibli became a subsidiary of Nippon Television Holdings in October 2023, with Miyazaki as its honorary chairman.