Miyazaki shocks fans: "Retirement? Not a chance!"

10.12.2024 11:22 Uhr – 15 Minuten Lesezeit
Von Stefan Dreher

The man behind "Spirited Away" is making headlines again. Hayao Miyazaki, the tireless creator of magical worlds, is breaking his silence about his numerous "false" retirements. It turns out he never really settled down.

Why the Master Can't Let Go

The Shocking Truth Behind Miyazaki's Repeated Comeback Attempts

It sounds like an addiction – and maybe it is. In an exclusive interview, Miyazaki confesses that filmmaking is like a drug to him. "I can only return," he reveals with an openness that is a surprise even to die-hard fans. His words speak of an almost painful dependence on creative work.

Perfectionism drives him to his limits. Every brushstroke, every movement must be perfect. Studio staff report on his legendary outbursts when something doesn't meet his expectations. "He can sometimes seem like he's possessed," reveals an insider who wishes to remain anonymous.

Contrary to his image as an aloof artist, Miyazaki surprises with sharp observations of the animation industry. He compares Disney films to classical ballet, and the works of Dreamworks to modern pop music. His admiration is primarily for Asian studios: "The animators from China, Japan, and Korea could shock the world – if they only showed a fraction of their tradition."

The Dark Secret of Studio Ghibli

Between Tyranny and Genius: The Real Miyazaki

Behind the scenes of the famous animation studio, it's not always sunshine and roses. Miyazaki's iron grip on creative control has driven many a successor to despair. "In order to preserve the original spirit of the work, I have to go back," he justifies his interference.

The atmosphere in the studio sometimes resembles a maximum-security facility. Every drawing must be personally approved by him. "His demands are inhumanly high," whispers a long-time employee. "But that's what makes our films so special."

Surprisingly, he rejects the reputation of being a great moralist. "I don't consciously try to convey messages," he explains modestly. "What I like is simplicity." His films arise from the desire to give people hope in difficult times.

The Immortal Vision

The Real Reason Why Miyazaki Will Never Give Up

At 82 years old, Miyazaki should have been enjoying his well-deserved retirement long ago. Instead, he still sits at his drawing table day after day. He describes "How Do You Live?", his latest project, as a "gift to his grandson" – but insiders suspect other motives.

The truth is unsettling: Miyazaki can't stop because he doesn't know who he would be without his art. His repeated retirements and comebacks resemble a desperate dance with his own identity. "If I'm not drawing, I feel empty," he confesses in a rare moment of vulnerability.

His family has learned to live with this obsession. His son Goro describes the complicated relationship: "He lives in his own world. A world full of colors, stories, and endless possibilities."

The rumor mill is churning. Secretly, he is said to be planning his next major project. "He has sketches in the drawer that no one is allowed to see," it is whispered in the studio. Even his closest employees don't know what the master is planning next.

The Last Magic

What Remains When the Magic Fades

His stories have captivated generations. From "Nausicaä" to "The Wind Rises," each film is a masterpiece. But what comes next? The question of a worthy successor remains unanswered.

The studio is quietly preparing for the time after Miyazaki. But the master himself seems unimpressed by such considerations. "Animation is my way of breathing," he says with a mischievous smile. "How could I stop?"

The truth is: Hayao Miyazaki will never really retire. His art is his life, his studio his home. "I can only return," he says – and in these words lies the whole tragedy and greatness of a man who has made himself a legend.

via nausicaa.net, ScreenRant

This article was originally published in German. It was translated with technical assistance and editorially reviewed before publication. View original article (German)