Mamoru Oshii talks Ponyo

Paul

Paul

Ghost of Animes
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As is fairly traditional in Japan in the wake of a movie released by <em><strong>Hayao Miyazaki</strong></em>, anime director <em><strong>Mamoru Oshii</strong></em> (<em>Ghost in the Shell</em>) was asked to share his opinions on <em>Miyazaki</em>'s <strong><em>Ponyo on the Cliff by the Sea</em></strong>. Oshii's opinions are typically quite critical and his take on <em>Ponyo </em>is true to that form...
Oshii: "<em>That movie doesn&rsquo;t have any theme and structure. It is just the result from Miya-san's delusion. There is no inevitability in the story development. [...] Audiences never accept a story that does not show any rationality. Still, every single scene was interesting. The first 10 minutes are amazing. That jellyfish scene is really fantastic. The reason why we can somehow watch the movie till the end is just because of its excellent expressiveness during every single scene.</em>"
<a href="http://www.ghibliworld.com/news.html#1208">The dialogue continues at GhibliWorld.com</a>, including an interesting discussion with <em>Studio Ghibli</em> producer <em>Toshio Suzuki </em>concerning the future of anime and the problems faced by generations of animators having to transition between the traditional hand-drawn style of animation to modern computer methods.
 
:lol:

I love reading Oshii and Miyazaki's critiques of each others work. I like both of their films, but they often raise good points.
 
It's incredibly interesting to read how Miyazaki battled to get where he is today.

The Japanese industry really is cut-throat and isn't trying to develop more talent (without people like Miyazaki battling to do it himself). It's all just money money money. That seems to be the theme of Japanese business, money!! Of course money makes the world go round, but you need to invest in the things that really matter, like seeking out new talent (new life, new civilisations, to boldly go where no one has gone before... duh duh nuh nuh nuh deh deh, duh duh duh neh neh doo doo doo doo...... *facepalm*). Uhm, yeah, Japan really has been digging itself into a hole lately [edit: for the last few decades actually], and if they don't step they're not going to be able to get out.
 
melonpan said:
It's incredibly interesting to read how Miyazaki battled to get where he is today.

The Japanese industry really is cut-throat and isn't trying to develop more talent (without people like Miyazaki battling to do it himself). It's all just money money money. That seems to be the theme of Japanese business, money!! Of course money makes the world go round, but you need to invest in the things that really matter, like seeking out new talent (new life, new civilisations, to boldly go where no one has gone before... duh duh nuh nuh nuh deh deh, duh duh duh neh neh doo doo doo doo...... *facepalm*). Uhm, yeah, Japan really has been digging itself into a hole lately [edit: for the last few decades actually], and if they don't step they're not going to be able to get out.
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I don't really believe the japanese takes art as something you need development. My japanese father HATED my interest in music. He didn't consider something "honest".
From my POV, the japanese just take for granted that talents will pop up without any need for putting money into development of these. If you think for a bit, do you think there is such thing in the west? If so, I'd love to join Pixar...
 
Oshii's critique of Ghibli movies are interesting if nothing else (I'm remembering the infamous incestuous subtext he allegedly detected in Grave of the Fireflies). That said, he is a successful film maker in his own right so should be worth listening to; if he's outspoken too, maybe that's a good thing. The interview is really insightful since the dialogue is between genuine experts - people inside the industry who have been collegues and/or rivals for years. It comes as no surprise to me to learn Oshii originally set out to be a live action film maker though.

As far as I can tell Ponyo is a film aimed at youngsters so more complex themes and structures (which Oshii loves to include in his own works, of course) aren't as crucial as, say, the engaging visuals which he is more positive about.
 
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