I was so fortunate to meet Miyazaki at the 2002 Toronto film festival. I told him I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or sigh, or gaze at a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
“We have a word for that in Japanese,” he said. “It’s called ‘ma.’ Emptiness. It’s there intentionally.” He clapped his hands three or four times. “The time in between my clapping is ‘ma.’ If you just have non-stop action with no breathing space at all, it’s just busyness.”I think that helps explain why Miyazaki’s films are more absorbing than the frantic action in a lot of American animation. “The people who make the movies are scared of silence” he said, “so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions—that you never let go of those.
“What my friends and I have been trying to do since the 1970’s is to try and quiet things down a little bit; don’t just bombard them with noise and distraction. And to follow the path of children’s emotions and feelings as we make a film. If you stay true to joy and astonishment and empathy you don’t have to have violence and you don’t have to have action. They’ll follow you. This is our principle.”
He said he has been amused to see a lot of animation in live-action superhero movies. “In a way, live action is becoming part of that whole soup called animation. Animation has become a word that encompasses so much, and my animation is just a little tiny dot over in the corner. It’s plenty for me.”
It’s plenty for me, too.
by Roger Ebert, Chicago Sun Times | Read more:
