Taking Woodstock For example

Taking Woodstock

For example, I always used the same place twice, never once. The first shot from here and the second shot from the opposite side. A kind of brain teaser. It was interesting, but I thought it would be decadence to try such a way once again. So I quit that approach and took another methodology. Robert Whiting: What methodology? Miyazaki Hayao: A methodology of I dont know where the destination is. The only thing I can do is just to start. It s too thrilling and bitter though. It takes a certain amount of time to see beyond the full view of it all. I need to write a certain amount of e-konte till I can understand where the story goes. Robert Whiting: Do you often lose the story development? Miyazaki Hayao: Always. Then I rewrite all of the memos and consider again where I came from and where I should go to. If I find the way 1 meter ahead, I tentatively crawl there. Robert Whiting: What do you do if you cant find any ideas? Drink? Miyazaki Hayao: Only worrying. Worry, worry and worry in front of a piece of paper. At the end of a long, long worrying, the lid opens in the deep. Anyway, the Taking Woodstock storyline surely breaks. I always tell it to my staff as a joke the real movie producing Taking Woodstock from the point where we lose the way to go to. 16th of August, INSIDE NHK PROFESSIONAL ALL OF MIYAZAKI HAYAO PART I: Early this month NHK s Professional featured the 2nd part of their special on Miyazaki Hayao a follow-up to that from March 27 200 Japans public broadcaster aired an exclusive documentary titled Professional Shigoto no Ryugi Special All about Miyazaki Hayao and the Birth of Ponyo in 300 Days and, for those who were unable to see it, will be zooming in on its content, with this being part Two years ago Miyazaki started conceptualizing Ponyo. With water colors he began painting the image boards, painting only the images he wants to paint. Whenever and whatever Im painting, the drawer of my brain begins to open little by little. Rather than that, Im wishing it. Miyazaki has a motto, within a 3 meter radius, usually getting ideas from the things close to him. The model of Ponyo is Kondos one and a half year old daughter Fuki. While listening to the stories Kondo told about his daughter, the character of Ponyo began to change. Its character grew to abandon and started getting selfish. A character we have never before seen in Miyazaki movies. After he painted many image boards, he began making his e-konte storyboard. Whenever Miyazaki finishes some pages of e-konte he stops, ending by writing tsuzuku, to be continued at the lower end of e-konte page. Next to it he writes Everyone, wait for the next page! and then he takes a break for a A few days or few weeks considering the next developments. Suzuki says, Despite of having already started production, we staff members cannot guess where the story goes. Miyazaki himself doesnt know it either. He and us both must experience the thrill, thinking it might brings the movie a good result. The finished part of e-konte is handed to the animators. Miyazaki checks the all genga and Taking Woodstock re-draws them by himself. When Im checking and drawing the lines, little by little I get to understand what the characters are thinking or how they behave! He checks the scene of genga in which Ponyo returns to Sosuke and hug each other. He redraws the genga drawn by the staff to make the action of Ponyo more vivid and dramatic. The true line truly exists somewhere. We must find it.

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