— Hayao Miyazaki (via figaromary)
Unlike live-action movies, no noise you hear in a cartoon is actually generated by the action you see on screen. Instead, the filmmakers have to record, generate, or otherwise find sounds to make the physical reality they’re depicting seem real: when characters are walking through a forest, we hear birds chirping, trees rustling, the ground crunching underfoot, and so forth. This is, in other words, not incidental, but always a deliberate choice, and animators can choose to make these sounds more or less realistic. They almost always choose, however, to be realistic, or at least convincing. Since TIE Fighters do not exist, they cannot be said to have a realistic sound, but the sound that accompanies their appearance on-screen sounds convincingly like what we’d think a thing that looks like that would sound like. It does not sound like the combination of “an elephant call with a car driving on wet pavement,” even though that’s what the sound is made from. Even when being unrealistic, sound designers strive for verisimilitude.
In The Wind Rises, however, the sound of mechanical things does not sound at all realistic or convincing. Instead, it is very obviously made by recording human beings making motor sounds with their mouths. The sound designers have put microphones in front of people and had them imitate an engine revving up in the way kids do when playing with their toys, then layered a number of those recordings until they sounded something like engines, but still like people. Though unusual, it makes absolute sense within the context of the movie. While we instinctually see mechanical objects as alien or inhuman, they are always designed and made by specific people for specific needs. All that metal and clanking noise seems like the domain of anti-humanity; men are opposed to machines in the iconography of industrialization, and mechanization is thought to block human effort. But by having the motors make the sound of the human voice, Miyazaki echoes the narrative, which is careful to show us how machines are designed and constructed by human hands. (Guns don’t kill people; guns made by people kill people.) It’s hard to think of a more poetic evocation of the social construction of technology.
(The earthquake early in the movie makes the sound of human voices as well, which confused me until I remembered that the real disaster sprung not from the ground moving but the subsequent fires. The disaster came from cooking fires, building materials, the arrangement of buildings: it was man-made.)
-Giovanni Caproni (Stanley Tucci)
Hightailed it to the movie theater with rgfellows to see Hayao Miyazaki’s last film as a feature director, The Wind Rises.
As always, Miyazaki’s movie with flush with gorgeous backdrops, sweeping views, and arresting color schemes.
In a rather lackluster way, The Wind Rises is about a well-mannered boy genius (Jiro) who escapes the worst of the Great Kanto Earthquake and WWII by cloistering himself away and designing planes while much of the rest of the Japanese population lose their homes, their incomes, and their lives.
But the film isn’t meant to be a chronicle of suffering at the ground level of disaster - there are plenty of films about that. And it’s not a historical biography of Jiro either. It’s about dreams more generally, and planes as the symbol of the human capacity to rise above the devastation of history. Jiro’s only concern is creating beautiful planes, and in the many dream sequences that he is a part of, it is planes that break through the smoke of the fires that cover the land and planes that literally fly, dip, and soar above the worries of the people with a nonchalance that promises freedom and peace.
But just as often as planes are positive markers in Jiro’s imaginary flights of fancy, they are also material manifestations of everything that can and do go wrong. The planes that fly also crash, carry bombs, fire guns, and fall to pieces, an indication of the flimsiness of dreaming in the face of reality, as well as the violence of war that Jiro is inevitably complicit in. As Caproni tells Jiro at the end of the film, planes are “a beautiful dream, a cursed dream just waiting to be swallowed up by the sky.”
…The title of the film comes from a French poem that is quoted multiple times: “The wind is rising, we must try to live.” If planes are indicative of dreams, then the wind, a close partner, is indicative of “life” on a grand scale: the wind rises, signaling impending destruction and disaster, but the wind also rises as a opportunity for the flight of dreams themselves (no matter how imperfect they are).
The masterpieces that are Studio Ghibli
i dont think you understand how excited i am for my birthday tomorrow :DD
The Wind Rises… the last Miyazaki film ever… NOOOOOOOOO it was amazing and really pretty.
— "The wind is rising! … We must try to live!” - Paul Valéry (via fitchinup)
Do you see this?
Peeps Marshmallow Chicks do not accurately represent a real chick in any way.
They are shorter, they are unnaturally yellow, they have little dots for eyes.
If Peeps were actual real chicks, they would have serious health complications because they are made of sugar and gelatin.
Above all that, if a Peep chick wanted to walk, it could not. It would nosedive, because it has no legs or arms or actually any moving ligaments whatsoever.
I hope I inspired chicks everywhere with this message.
Remember, when you look in the mirror, it’s not you who’s ugly.
It’s society that’s ugly.
reasons why i love the internet .