Animator Hayao Miyazaki has tried to retire a total of four times to date, and it seems that his most recent attempt may be as successful as those that came before it. While promoting Miyazaki’s newest movie “The Boy and the Heron” at the Toronto International Film Festival, Studio Ghibli’s Junichi Nishioka told reporters, “Other people say that this might be his last film, but he doesn’t feel that way at all.”
Nishioka added, “He is currently working on ideas for a new film. He comes into his office every day and does that. This time, he’s not going to announce his retirement at all. He’s continuing working just as he has always done.”
Miyazaki first announced his intention to retire back in 1997 following the release of “Princess Mononoke.” Those plans fell through, and the animator didn’t bring up the possibility again until 2001, after “Spirited Away” came out.
Nishioka added, “He is currently working on ideas for a new film. He comes into his office every day and does that. This time, he’s not going to announce his retirement at all. He’s continuing working just as he has always done.”
Miyazaki first announced his intention to retire back in 1997 following the release of “Princess Mononoke.” Those plans fell through, and the animator didn’t bring up the possibility again until 2001, after “Spirited Away” came out.
- 9/10/2023
- by Stephanie Kaloi
- The Wrap
by Cláudio Alves
Miyazaki's "The Boy and the Heron"
Hayao Miyazaki's last last picture before his latest last picture – already being discredited as such by Studio Ghibli VP Junichi Nishioka – saw him take on the model of a relatively conventional biopic. Despite its wavering between reality and dream, the now and the before, The Wind Rises represented one of the director's most straightforward efforts, doing away with the fantasy elements that defined most of his career. Had it stayed his swan song, it would have made for a career's closing chapter shaped like an intersection of culminating obsessions and stylistic disruption. The Boy and the Heron, previously known as How Do You Live?, posits a inversion of those paradigms. Oft-repeated ideas are invoked only to be collapsed, while tone and style return to the land of fantasy and dream logic.
Before reading ahead, A Warning. This film will probably...
Miyazaki's "The Boy and the Heron"
Hayao Miyazaki's last last picture before his latest last picture – already being discredited as such by Studio Ghibli VP Junichi Nishioka – saw him take on the model of a relatively conventional biopic. Despite its wavering between reality and dream, the now and the before, The Wind Rises represented one of the director's most straightforward efforts, doing away with the fantasy elements that defined most of his career. Had it stayed his swan song, it would have made for a career's closing chapter shaped like an intersection of culminating obsessions and stylistic disruption. The Boy and the Heron, previously known as How Do You Live?, posits a inversion of those paradigms. Oft-repeated ideas are invoked only to be collapsed, while tone and style return to the land of fantasy and dream logic.
Before reading ahead, A Warning. This film will probably...
- 9/9/2023
- by Cláudio Alves
- FilmExperience
Hayao Miyazaki’s ‘The Boy and the Heron’ Is Studio Ghibli and Gkids’ Biggest Marketing Challenge Yet
It’s been 10 years since animation master Hayao Miyazaki made a film and 12 years since Gkids took over North American distribution for the studio he co-founded and helped make iconic. But though “The Boy and the Heron” — which opened to raves out of TIFF on Thursday — is likely the last Miyazaki film Gkids will have the privilege of releasing, it’s also the distributor’s first.
“The Wind Rises” in 2013 was still released domestically by Disney and Touchstone (it made $5.2 million). And though the distributor’s annual Ghibli Fest has grown year over year in “spreading the gospel” of Ghibli and Miyazaki, as the distributor’s president Dave Jesteadt puts it, having a new film from the man himself is a different challenge entirely.
“I’d be lying if I said I didn’t feel tremendous pressure. That’s also joined by a feeling of tremendous honor,” Jesteadt told IndieWire.
“The Wind Rises” in 2013 was still released domestically by Disney and Touchstone (it made $5.2 million). And though the distributor’s annual Ghibli Fest has grown year over year in “spreading the gospel” of Ghibli and Miyazaki, as the distributor’s president Dave Jesteadt puts it, having a new film from the man himself is a different challenge entirely.
“I’d be lying if I said I didn’t feel tremendous pressure. That’s also joined by a feeling of tremendous honor,” Jesteadt told IndieWire.
- 9/8/2023
- by Brian Welk
- Indiewire
Hmm, where have heard this before? In what's become kind of a running joke at this point, fans of Hayao Miyazaki know full well that the legendary director has gone out of his way to announce that he would absolutely, definitely, unquestionably, 100% be retiring on multiple occasions in the past -- the last of which happened in 2013. And, each time, he's "unretired" with a flourish by debuting yet another Studio Ghibli hit that has proven beyond a doubt that he made the right decision to keep on creating some of the most sweeping and affecting art we've ever seen. Well, for those looking for a little nostalgia in their lives, here we go again.
Only moments after Miyazaki's latest and (presumably) last film "The Boy and the Heron" held its international premiere to widespread acclaim at the Toronto Film Festival, which is currently ongoing throughout this week, word began to...
Only moments after Miyazaki's latest and (presumably) last film "The Boy and the Heron" held its international premiere to widespread acclaim at the Toronto Film Festival, which is currently ongoing throughout this week, word began to...
- 9/8/2023
- by Jeremy Mathai
- Slash Film
It is no secret that film festivals have had to rely on directors to provide the star power fueling their big premieres during the strikes, but opening night of the Toronto International Film Festival mostly failed to deliver even that.
The first audience for Hayao Miyazaki’s “The Boy and the Heron,” the festival’s official opening title, only got an introduction from Studio Ghibli VP Junichi Nishioka. Meanwhile the audience at the later screening got an extra speech from surprise guest Guillermo del Toro.
The big special presentation of the night, actress Kristin Scott Thomas’ directorial debut “North Star,” is an acquisition title, so one would think the cast would be in the clear to promote the film starring Scarlett Johanssen, Sienna Miller, Emily Beecham, and Thomas herself, but instead producer Finola Dwyer flew solo to introduce the movie, saying “Kristin, Scarlett, Sienna, and Emily would have loved to...
The first audience for Hayao Miyazaki’s “The Boy and the Heron,” the festival’s official opening title, only got an introduction from Studio Ghibli VP Junichi Nishioka. Meanwhile the audience at the later screening got an extra speech from surprise guest Guillermo del Toro.
The big special presentation of the night, actress Kristin Scott Thomas’ directorial debut “North Star,” is an acquisition title, so one would think the cast would be in the clear to promote the film starring Scarlett Johanssen, Sienna Miller, Emily Beecham, and Thomas herself, but instead producer Finola Dwyer flew solo to introduce the movie, saying “Kristin, Scarlett, Sienna, and Emily would have loved to...
- 9/8/2023
- by Marcus Jones
- Indiewire
Hayao Miyazaki’s animated The Boy and the Heron earned brief and polite applause after it opened the Toronto Film Festival with visual beauty and deep philosophical messages on screen, but without the draw of red carpet glitz from Hollywood A-listers.
The Japanese anime legend was a no-show in Toronto for the international premiere, with Studio Ghibli instead represented by executive Junichi Nishioka. And Oscar-winner Guillermo del Toro helped introduce Miyazaki’s latest animation film as he made a surprise appearance on stage in front of the first-night audience at Roy Thomson Hall.
“He may be the greatest director of animation ever,” the Pinocchio director said as he compared Miyazaki to Van Gogh and Mozart as an artistic genius. “You are lucky to be able to see (The Boy and the Heron) for the first time outside its country of origin,” del Toro added.
And in a year where Toronto...
The Japanese anime legend was a no-show in Toronto for the international premiere, with Studio Ghibli instead represented by executive Junichi Nishioka. And Oscar-winner Guillermo del Toro helped introduce Miyazaki’s latest animation film as he made a surprise appearance on stage in front of the first-night audience at Roy Thomson Hall.
“He may be the greatest director of animation ever,” the Pinocchio director said as he compared Miyazaki to Van Gogh and Mozart as an artistic genius. “You are lucky to be able to see (The Boy and the Heron) for the first time outside its country of origin,” del Toro added.
And in a year where Toronto...
- 9/8/2023
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The Toronto International Film Festival kicked off its 48th edition with the North American premiere of “The Boy and the Heron,” the first feature from animation icon Hayao Miyazaki in a decade and the picture that is likely to serve as his cinematic swan song.
The 82-year-old filmmaker isn’t doing any promotion for the film, so he wasn’t on hand at the Princess of Wales Theater on Thursday to look out at the adoring crowd of film lovers, who cheered every time his name or that of Studio Ghibli, his creative home, was invoked. And while the applause that greeted the film was more appreciative than rapturous, the movie and its fantastical story of grief and growing up was warmly received.
“For me no film shows the power of cinema as an art form that’s both personal and global more than the one you’re about to see,...
The 82-year-old filmmaker isn’t doing any promotion for the film, so he wasn’t on hand at the Princess of Wales Theater on Thursday to look out at the adoring crowd of film lovers, who cheered every time his name or that of Studio Ghibli, his creative home, was invoked. And while the applause that greeted the film was more appreciative than rapturous, the movie and its fantastical story of grief and growing up was warmly received.
“For me no film shows the power of cinema as an art form that’s both personal and global more than the one you’re about to see,...
- 9/8/2023
- by Brent Lang
- Variety Film + TV
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