Maggie Boccella is a certified Babe With the Power, news editor at Collider, and a Rotten Tomatoes-approved film and television critic.
For all that Hayao Miyazaki has tried and failed to retire as a director over the last handful of years, there’s no denying that his films are some of the most iconic stories ever told in animation. His work defined a generation for many people — including those who worked with him, like animator Akihito Yamashita, who’s served in various roles over twenty-odd years with Studio Ghibli.
“What I still remember is the amount of work that had to be done was just incredibly large, and we had to do so much…we really had a lot of work that we had to do, and I'm amazed that I was able to do it at that time . Of course, I would've liked to struggle a little bit more on the creative aspects, but there was really no time to work on that. It was just drawing, just getting the animation done, that was so much hard work.
He’s not wrong, either. A film about a woman cursed into old age, surrounded by an animated scarecrow, a fire demon, and a witch of waste doesn’t exactly seem like it fits the usual “cute” Ghibli mold, which has produced characters like Jiji and Totoro, who’re both ideal mascots to plaster over everything.
That criticism is vital to his process as an animator, just one part of a large team, and it’s obvious that Miyazaki’s animators trust him implicitly. For Yamashita — like most people — Miyazaki remains a juggernaut in the world of storytelling, someone whose films are both universal and relevant to the times they’re made at once.
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