DREAM BOARD

저의 드림보드 입니다!!

첫 번째로 이루고 싶은 꿈은 학교 트랜스퍼!!

이번 9월이면 확실히 되겠죠?

두 번째는 프랑스 어학연수입니다.

그곳에서 많은 건축물들과 미술관들을 둘러보면서 프랑스의 문화도 배우고 하면 좋을거 같아서 꼭 가고 싶어요!!!!! (6개월에서 1년 정도 생각)

세 번째는 10년 다이어리..

이건 성실해 하지 않으면 이루어지시 쉽진 않겠지만.. 하루에 한 줄 정도라도 다리어리를 써서 저의 10년 동안 기록을 한 번 읽어보고 싶어요!!

네 번째는 내가 평생 읽었던 책을 담을 수 있는 서재!

 

다섯 번째는 부모님께 용돈 드리기 (SP가 되면 그 수입을 딱 한 번은 부모님께 다 드리고 싶어요!!)

여섯 번째는 peter island로의 여행!! 신혼여행으로 가고 싶은 곳!

결혼하기 전에 꼭 다이아몬드 성취하기!!!!!!!!!

 

Kokuriko-zaka kara

Kokuriko-zaka kara

 

This is the most recent work presented by Ghibli studio.

It is first movie that directed by Goro Miyazaki, who is Hayao Miyazaki’s son, scriptwriting helped by father. I really love this poster. The cool blue tone makes me calm and express main place of this movie very well. It also inculdes love story, I’ve never seen love story from Ghibli studio, so I really expect to see this movie!

This is Miyazaki Goro

 

 

16 years old girl Wumi, which means ocean in Japanese word, runs boarding house in Kokuriko-zaka. She can see beautiful harbor in her house. Her father was passed away during sailing, so she always lifts the flag to wish safe sailing for people. Shun, always watch that flag on his sailing.

On the other hand, the society pursue new thing rather than old, so there is a conflict over demolishing old building of Wumi’s school. She wants to keep old building which has history and memory, therefore, she and her friends start to do conservation movement; and taking this opportunity, Shun and Wumi becomes have a close relationship feeling attractive each other.

I couldn’t find English trailer, this is Japanese version.

The Secret World of Arrietty

The Secret World of Arrietty

It came out in Japan last year and will be in US theaters in February 2012.

I want to give brief story and trailer.

10cm girl Arrietty, runs into human world!!

She and her family live under the floor of old mansion borrowing human being’s materials. They have to leave when human found out about their identity. Arrietty turns 14 years old, she tries to independent girl who doesn’t ask her parents help. The first mission is borrowing sugar, in spite of interruption from mice and cockroaches, she finally successes to accomplish her work. During doing her second mission, she is caught by boy named Shou! She thinks human is dangerous, but Showu’s kindness makes her be his friend. She breaks family rule, and tries to have close relationship with Showu, but the unexpected danger is coming to her family!!!

The English trailer is available in here!!

Jay’s comment!

Jay Jeong is my best friend. I interview him because he is Miyazaki Hayao’s huge fan.

We went to cafe ‘Royale cupcake’ and had great conversation sharing experience with Miyazaki Hayao’s movie.

What do you think about him?

I think he is a genius. I cannot imagine where he finds his script from. I believe he still has very pure mild like child, and it brings his magical imagination. I actually admired him as director.

How did you know about his movie?

I saw Totoro, when I was in high school. I had to see Totoro because of editing work for our school festival. It captured me instantly, so I watched several other movies and I fell in love to Miyazaki’s master pieces.

What is your favorite Miyazaki’s movie?

I love his entire movies, but Howl’s moving castle is the best. Its firm story line, and great delineation of each character makes me existed. In addition, the music is beautiful! I’d love to watch this movie again! I actually saw them several times, but I want to see again and again.

I heard that there is Ghibli museum in Seattle did you know about that?

No, I didn’t. I thought it was only located in Japan. I’d love to visit there. Do you have any information?

Here is address and information of Ghibli Museum in Seattle.

You can get more info in this site below.

http://www.ghibli-museum.jp/en/welcome/

Seattle Office

Address

600 University St., Suite   415, Seattle, WA 98101, U.S.A.

Phone & Facs

Tel:866-467-8877 /   Facs:206-343-4727

E-mail

sea@jtbusa.com

Business hours

9:00-17:00

Closed

Saturday, Sunday and local   holidays

Interview of MIYAZAKI HAYAO

MIYAZAKI HAYAO- Interviewed by Tom Mes

Is it true that your films are all made without a script?That’s true. I don’t have the story finished and ready when we start work on a film. I usually don’t have the time. So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. We never know where the story will go but we just keeping working on the film as it develops. It’s a dangerous way to make an animation film and I would like it to be different, but unfortunately, that’s the way I work and everyone else is kind of forced to subject themselves to it.

But for that to work I can imagine it would be essential to have a lot of empathy with your characters.

What matters most is not my empathy with the characters, but the intended length of the film. How long should we make the film? Should it be three hours long or four? That’s the big problem. I often argue about this with my producer and he usually asks me if I would like to extend the production schedule by an extra year. In fact, he has no intention of giving me an extra year, but he just says it to scare me and make me return to my work. I really don’t want to be a slave to my work by working a year longer than it already takes, so after he says this I usually return to work with more concentration and at a much faster pace. Another principal I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don’t quite fit with my backgrounds, I never waste it and try to find the best use for it.

So once a character has been created, it’s never dropped from the story and always ends up in the final film?

The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character myself and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.

With that very personal connection you have with your characters, how do you explain that the main characters in most of your films are young girls?

That would be far too complicated and lengthy an answer to state here, so I’ll just suffice by saying that it’s because I love women very much (laughs).

Spirited Away’s lead character Chihiro seems to be a different type of heroine than the female leads in your previous films. She is less obviously heroic, and we don’t get to know much about her motivation or background.

I haven’t chosen to just make the character of Chihiro likes this, it’s because there are many young girls in Japan right now who are like that. They are more and more insensitive to the efforts that their parents are making to keep them happy. There’s a scene in which Chihiro doesn’t react when her father calls her name. It’s only after the second time he calls that she replies. Many of my staff told me to make it three times instead of two, because that’s what many girls are like these days. They don’t immediately react to the call of the parents. What made me decide to make this film was the realisation that there are no films made for that age group of ten-year old girls. It was through observing the daughter of a friend that I realised there were no films out there for her, no films that directly spoke to her. Certainly, girls like her see films that contain characters their age, but they can’t identify with them, because they are imaginary characters that don’t resemble them at all.

With Spirited Away I wanted to say to them “don’t worry, it will be alright in the end, there will be something for you”, not just in cinema, but also in everyday life. For that it was necessary to have a heroine who was an ordinary girl, not someone who could fly or do something impossible. Just a girl you can encounter everywhere in Japan. Every time I wrote or drew something concerning the character of Chihiro and her actions, I asked myself the question whether my friend’s daughter or her friends would be capable of doing it. That was my criteria for every scene in which I gave Chihiro another task or challenge. Because it’s through surmounting these challenges that this little Japanese girl becomes a capable person. It took me three years to make this film, so now my friend’s daughter is thirteen years old rather than ten, but she still loved the film and that made me very happy.

Since you say you don’t know what the ending of a story will be when you start drawing storyboards, is there a certain method or order you adhere to in order to arrive at the story’s conclusion?

Yes, there is an internal order, the demands of the story itself, which lead me to the conclusion. There are 1415 different shots in Spirited Away. When starting the project, I had envisioned about 1200, but the film told me no, it had to be more than 1200. It’s not me who makes the film. The film makes itself and I have no choice but to follow.

We can see several recurring themes in your work that are again present in Spirited Away, specifically the theme of nostalgia. How do you see this film in relation to your previous work?

That’s a difficult question. I believe nostalgia has many appearances and that it’s not just the privilege of adults. An adult can feel nostalgia for a specific time in their lives, but I think children too can have nostalgia. It’s one of mankind’s most shared emotions. It’s one of the things that makes us human and because if that it’s difficult to define. It was when I saw the film Nostalghia by Tarkovsky that I realised that nostalgia is universal. Even though we use it in Japan, the word ‘nostalgia’ is not a Japanese word. The fact that I can understand that film even though I don’t speak a foreign language means that nostalgia is something we all share. When you live, you lose things. It’s a fact of life. So it’s natural for everyone to have nostalgia.

What strikes me about Spirited Away compared to your previous films is a real freedom of the author. A feeling that you can take the film and the story anywhere you wish, independent of logic, even.

Logic is using the front part of the brain, that’s all. But you can’t make a film with logic. Or if you look at it differently, everybody can make a film with logic. But my way is to not use logic. I try to dig deep into the well of my subconscious. At a certain moment in that process, the lid is opened and very different ideas and visions are liberated. With those I can start making a film. But maybe it’s better that you don’t open that lid completely, because if you release your subconscious it becomes really hard to live a social or family life.

I believe the human brain knows and perceives more than we ourselves realise. The front of my brain doesn’t send me any signals that I should handle a scene in a certain way for the sake of the audience. For instance, what for me constitutes the end of the film, is the scene in which Chihiro takes the train all by herself. That’s where the film ends for me. I remember the first time I took the train alone and what my feelings were at the time. To bring those feelings across in the scene, it was important to not have a view through the window of the train, like mountains or a forest. Most people who can remember the first time they took the train all by themselves, remember absolutely nothing of the landscapes outside the train because they are so focused on the ride itself. So to express that, there had to be no view from the train. But I had created the conditions for it in the previous scenes, when it rains and the landscape is covered by water as a result. But I did that without knowing the reason for it until I arrived at the scene with the train, at which moment I said to myself “How lucky that I made this an ocean” (laughs). It’s while working on that scene that I realised that I work in a non-conscious way. There are more profound things than simply logic that guide the creation of the story.

You have made many films that are set in Western or European landscapes, for instance Laputa and Porco Rosso. Others are set in very Japanese landscapes. On which basis do you decide what the setting should be for any given film?

I have an extensive stock of images and paintings of landscapes that I made for use in my films. Which one I choose completely depends on the moment we start working on the film. Usually I make the choice in conjunction with my producer and it really depends on that moment. Because even from the moment I want to make a film, I continue to gather documentation. I travel with a lot of baggage around me, I have many images of the daily life in the world I want to depict. To make a film set in a bathhouse, like Spirited Away, is something I have been thinking about since childhood, when I visited public bathhouses myself. I had been thinking about the forest settings of Totoro for 13 years before starting the film. Likewise with Laputa, it was years before I made the film that I first thought about using that location. So I always carry these ideas and images with me and I make a selection at the moment I start making the film.

Other than some Japanese animation we get to see on this side of the world, your films always express a sense of positivity, hope and a belief in the goodness of man. Is this something you consciously add to your films?

In fact, I am a pessimist. But when I’m making a film, I don’t want to transfer my pessimism onto children. I keep it at bay. I don’t believe that adults should impose their vision of the world on children, children are very much capable of forming their own visions. There’s no need to force our own visions onto them.

So you feel that the films you make are all aimed at children?

I never said that Porco Rosso is a film for children, I don’t think it is. But apart from Porco Rosso, all my films have been made primarily for children. There are many other people who are capable of making films for adults, so I’ll leave that up to them and concentrate on the children.

But still there are millions of adults that watch your films and who get a lot of enjoyment out of your work.

That gives me a lot of pleasure, of course. Simply put, I think that a film which is made specifically for children and made with a lot of devotion, can also please adults. The opposite is not always true. The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.

Do you feel that telling stories in the particular way you do is necessary for us as humans?

I’m not a storyteller, I’m a man who draws pictures (laughs). However, I do believe in the power of story. I believe that stories have an important role to play in the formation of human beings, that they can stimulate, amaze and inspire their listeners.

Do you believe in the necessity of fantasy in telling children’s stories?

I believe that fantasy in the meaning of imagination is very important. We shouldn’t stick too close to everyday reality but give room to the reality of the heart, of the mind and of the imagination. Those things can help us in life. But we have to be cautious in using this word fantasy. In Japan, the word fantasy these days is applied to everything from TV shows to video games, like virtual reality. But virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people. It’s a dilemma I struggle with in my work, that balance between imaginary worlds and virtual worlds.

In both Spirited Away and Porco Rosso there are people who are transformed into pigs. Where does this fascination with pigs come from?

That’s because they’re much easier to draw than camels or giraffes (laughs). I think they fit very well with what I wanted to say. The behaviour of pigs is very similar to human behaviour. I really like pigs at heart, for their strengths as well as their weaknesses. We look like pigs, with our round bellies. They’re close to us.

What about the scene with the putrid river god? Does it have a base in Japanese mythology?

No, it doesn’t come from mythology, but from my own experience. There is a river close to where I live in the countryside. When they cleaned the river we got to see what was at the bottom of it, which was truly putrid. In the river there was a bicycle, with its wheel sticking out above the surface of the water. So they thought it would be easy to pull out, but it was terribly difficult because it had become so heavy from all the dirt it had collected over the years. Now they’ve managed to clean up the river, the fish are slowly returning to it, so all is not lost. But the smell of what they dug up was really awful. Everyone had just been throwing stuff into that river over the years, so it was an absolute mess.

Do your films have one pivotal scene that is representative for the entire film?

Because I’m a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene. In the scene in which the parents are transformed into pigs, that’s the pivotal scene of that moment in the film. But after that it’s the next scene which is most important and so on. In the scene where Chihiro cries, I wanted the tears to be very big, like geysers. But I didn’t succeed in visualising the scene exactly as I had imagined it. So there are no central scenes, because the creation of each scene brings its own problems which have their effect on the scenes that follow.

But there are two scenes in Spirited Away that could be considered symbolic for the film. One is the first scene in the back of the car, where she is really a vulnerable little girl, and the other is the final scene, where she’s full of life and has faced the whole world. Those are two portraits of Chihiro which show the development of her character.

Where do your influences lie as far as other films and directors go?

We were formed by the films and filmmakers of the 1950s. At that time I started watching a lot of films. One filmmaker who really influenced me was the French animator Paul Grimault. But I watched a lot of films from many countries all over the world, but I usually can’t remember the names of the directors. So I apologise for not being able to mention any other names. Another film which had a decisive influence on me was a Russian film, The Snow Queen. Contemporary animation directors I respect a lot are Yuri Nordstein from Russia and Frederick Bach from Canada. Nordstein in particular is someone who truly deserves the title of artist.

What will be your next project? Are you working on anything at the moment?

We recently opened the Studio Ghibli museum. Maybe museum is a big word, because it’s more like a small shack where we exhibit some of the work of the studio. Inside we have a small theatre where we will show short films that have been made exclusively for the Ghibli museum. I am responsible for this, so I’m currently working on a short film for it.

I’m also supervising a new film directed by a young director named Hiroyuki Morita. The film should open in cinemas in Japan next summer. It’s very difficult to supervise another director, because he wants to do things differently from how I would do them. It’s a true test of patience.

Does the incredible impact that Spirited Away has had in Japan change anything about your method of working?

No. You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well (laughs).

http://www.midnighteye.com/interviews/hayao_miyazaki.shtml

The Cat Returns

I like cats! That’s why I chose to watch this movie. The director of this movie is Morita Hiroyuki from Ghibli studio. Today, I’m going to introduce the plot, not from the Wikipedia!

17 years old Haru who is main character of this movie feel boring of her ordinary life.

She is always oversleep and misses her mother’s breakfast.

After school, she accidently rescues the cat that brings present. Everything was fine at that time.

However,…..

That night, cats are coming from country. The cat she rescued was prince of cat country. They want to give her a reward as marring to prince cat.

After asking all around, she finds Muta who helps her to bring troubleshooter, Baron.

He is Baron! Very gentle man^0^

Unfortunately, cats who got King’s order find Haru, and brings her to their country.

She was invited to cat’s party; therefore, she changed her dress, but when she saw the mirror, she found out that she turned into cat! What a depressed fact!

The party is delightless, and she is desperate worrying her life living as cat.

At that time, Muta and Baron came to cat’s country to rescue Haru.

The pretty cat helps her to find a place where she can go back to her ordinary life.

She figures out that the pretty cat that helped her was the cat she rescued before.

Anyway, thanks to Muta and Baron, she can come back her house safely.

It was very attractive movie I definitely recommend this one!!!

Ponyo!

Ponyo.

 

I remember “ponyo ponyo~~”. It has very addictive OST, and energetic Ponyo run to Sosuke to hug him. She always wants to be human being and admire human world. Her father protects her from danger, but she doesn’t listen to him. Sosuke helps her to be human being. He is very brave and kind, and takes care of his mother very well. His mother is also very nice person who takes care of old ladies who live in retirement house. This movie makes my mind very warm. It is very cute and warm movie.

 

This is the plot of Ponyo.

 

Brunhilde (later “Ponyo”) is a fish-girl who lives in an aquarium in her father Fujimoto’s underwater castle with numerous smaller sisters. One day, when her father takes her and her siblings on an outing in his four-flippered submarine, Brunhilde is driven by a desire to see even more of the world and floats away on the back of a jellyfish. She ends up stranded on the shore of a small fishing town and is rescued by a boy named Sōsuke, who cuts his finger in the process. She licks his wound when he picks her up, and the wound heals almost instantly. After taking a great liking to her, Sōsuke names her Ponyo and promises to protect her forever. Meanwhile, Fujimoto is looking for his daughter. Upset that she ran away, he believes the humans have now kidnapped her, and he calls his wave spirits to return Ponyo to him. After the wave spirits take Ponyo away, Sōsuke is heartbroken and goes home with his mother, Lisa, who tries to cheer him up to no avail.

 

Ponyo and Fujimoto have a confrontation, during which Ponyo refuses to let her father call her by her birthname, “Brunhilde.” She declares her name to be Ponyo and voices her desire to become human, because she has started to fall in love with Sōsuke. Suddenly she starts to grow legs and turn into a human, a consequence of the human blood she swallowed when she licked Sōsuke’s finger. Her father turns her back with difficulty and goes to summon Ponyo’s mother, Granmamare. Meanwhile, Ponyo, with the help of her sisters, breaks away from her father and releases his magic to make herself human. The huge amount of magic released into the ocean causes an imbalance in the world, resulting in a huge tsunami. Riding on the waves of the storm, Ponyo goes back to visit Sōsuke. Lisa, Sōsuke, and Ponyo wait out the storm at Sōsuke’s house, and the next morning Lisa leaves to check up on the residents of the nursing home where she works.

 

Granmamare arrives at Fujimoto’s submarine. On her way there, Sōsuke’s father has seen and recognized her as the Goddess of Mercy. Fujimoto notices the moon has come out of its orbit and satellites are falling like shooting stars. Granmamare declares that if Sōsuke can pass a test, Ponyo can live as a human and the world order will be restored. If he fails, Ponyo will turn into sea foam. Sōsuke and Ponyo wake up to find that most of the land around the house has been covered by the ocean. Lisa has not come home yet, so with the help of Ponyo’s magic, they make Sōsuke’s toy boat life-size and set out to find Lisa.

 

While traveling they see prehistoric fish swimming beneath them. After landing and finding Lisa’s empty car, Ponyo and Sōsuke go through a tunnel. There Ponyo loses her human form and reverts into a fish. Sōsuke and Ponyo are taken by Fujimoto into the ocean and down to the protected nursing home where they are reunited with Lisa and meet Granmamare, both of whom have just had a long private conversation. Granmamare asks Sōsuke if he can love Ponyo whether she is a fish or human. Sōsuke replies that he “loves all the Ponyos.” Granmamare then allows Ponyo to become human once Sōsuke kisses her on the surface. The film ends with Ponyo jumping up and kissing Sosuke, transforming into a little girl in mid-air.

From Wikipedia.

 

It was very impressive to see lifelikeness ocean and Ponyo who runs cheerfully on the ocean.

 

This is Ponyo’s mother; she controls the ocean. When she appears, the ocean turns to golden color and shiny. She is the Goddess of the ocean.

 

 

Ponyo is really cute when she said “ I like Sosuke,” and hug him. Sosuke suki!!!

When Tsunami cover the village, Sosuke and Ponyo leaves their house to save Sosuke’s mother. The toy becomes real rescue ship.

 

This is the OST of Ponyo. It is very cute!!