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Hayao Miyazaki: Toei Animation
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The Japanese eco-fantasist Hayao Miyazaki is an animation magician, a crowd-pleasing storyteller who is ... a builder of worlds. He designs meticulously engineered imaginary aircraft, sets their perfect gears spinning, and propels them over moss-green rolling landscapes, zipping between the sprung columns of ruined castles. He uses animation in a refreshingly direct and intuitive way, reveling in its capacity to lift things off the ground.
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Future Boy Conan was the TV animation series that Hayao Miyazaki had directed for the first time completely. This work was a big bet for Hayao Miyazaki who was worried whether to keep drawing a layout under Takahata untouched or to stop the work of anime. And, he won the bet and worked as a director after that. In making this work, Miyazaki invited Yasuo Otsuka[7] who was a superior in the Toei Animation age and an elder friend as a partner on the drawing side. In those days, Miyazaki who had been drawing a layout and a storyboard, a picture, etc. in Takahata's work ("Heidi, Girl of the Alps", "3000 Leagues in Search of Mother") was the frustrations.
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The first full-length feature that Hayao Miyazaki both wrote and directed, NAUSICAÄ OF THE VALLEY OF THE WIND is an exquisitely crafted masterpiece of action, adventure, suspense and stunning animation. It is based on Miyazaki’s popular comic book series, known as Manga in Japan.
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In 1971, Miyazaki left Toei Animation for A Pro. At A Pro, Miyzaki worked with Isao Takahata in developing several episodes of Lupin III, Pippi Longstockings (which was never finished,) Panda! Go, Panda!, and The Castle of Cagliostro, which was a full length movie of Lupin III.
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Hayao Miyazaki’s group ... influenced the Japanese anime by making traditional the “minimal movement” in animation. The typical anime was done with the use of movement, which actually is the biggest and most important feature of animation, as little and minimal as possible. This rather unique and unconventional style of animation was accepted even by international viewers because of the penetration and acceptance by the society of manga.
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Miyazaki's films have generally been financial successes. His success has invited comparisons with American animator Walt Disney. However, Miyazaki does not see himself as a person building an animation empire, but as an animator lucky enough to have been allowed to make films with his own personal touch. With that statement, one might compare him to Yuriy Norshteyn, Frédéric Back, or Chuck Jones as an animator's animator. A few individuals may ... consider him the Don Bluth of Japan.
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