I went to the Coredo Muromachi movie theater in Nihonbashi to watch “The Boy and the Heron" for the second time. I've been listening to Joe Hisaishi's music CDs for a long time, so I've been looking at them with a different sensibility than before, and I'm glad to hear that they're better received abroad than in Japan. I feel that Japanese people are currently lacking in imagination, maturity, thinking ability, and conscience. the clean, safe, and kind Japanese people who have a good reputation among foreigners are a disconnect between the inside and the outside, I think that eventually they will no longer be able to tolerate that gap and will self-destruct.
After seeing the movie, the pamphlet was sold out, so I bought a guidebook and read it carefully at home. I was surprised. Director Miyazaki exposed his inner self and created it from there. For me, as someone who has read Beyond the Wall, Deep Darkness, and Solitude, and Haruki Murakami, I felt that Mr. Miyazaki was also looking up from the same place, that he was creating his own way. So, he is trying to rise to the surface, using his own means to use loneliness and darkness as fuel to burn himself out. Miyazaki, the 82-year-old director of the Ghibli films that everyone outside Japan knows, has reversed his retirement declaration, and says he will be making new films.
"The world is expanding. When will a huge, unpredictable rupture occur? It's as if the entire society we live in is holding its breath and waiting for that moment."
" How do you live? "It's up to you. It's about how you live, and what he brings to the audience. At a time of crisis in your life, you have to look at what you don't want to see or reveal and take the leap.
We are not looking for a warm feel. The courage to endure a world full of evil feelings, nightmares, and blood is what must be depicted. He is finally at the starting point of a place far further than any of our previous works. Director Miyazaki, who has made so many wonderful, animated films, is now finally standing on his starting point. This moment is a chosen and important time, a time to create world history. He has created animations while hiding the most important parts of his life, so he created a film that deals with things that he has lived with inside of him, things that have been nesting inside his heart since he was born. If he doesn't make it, he shouldn't let it end without saying something important.
The world of this film is mostly created from director Miyazaki's memories, and our challenge is how to convincingly portray our protagonist as breaking out of this trap and believing that this world is worth living in. He wants to stuff all the dark things inside him. Mr. Miyazaki himself, an overwhelming stranger, exists in the film. He is trying to make the work he wants to make. He distanced himself from empathy and a certain kind of universality, and created a film that reflects on his own life throughout. He did not paint with the intention of creating a mirror for the audience.
As makers of things, there is a world out there that we have yet to see. Imagining and constructing a fantasy world is a very lonely task. If you can't love being alone, you can't create a fantasy world.
At the end of the proposal, he writes: ``We are finally at the starting point, far further than any previous work.''
For me, my children, and the many guests who have come to visit me, this is just the beginning. Under the strong energy of the Year of the Dragon, the weather and animals seem to be driven by something.
What breaks down and what perishes falls away. A merciless world has begun.