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《时代》杂志评论宫崎骏

已有 1002 次阅读2008-5-23 09:16 |个人分类:雾霭川

宫崎骏

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----在一个高科技的时代,这位动画电影导演用老方法创造出不可思议的作品

20多年来,日本动画大师宫崎骏所创作的动画,其美妙的画面与令人惊喜的想像力往往比电影中其它任何事物都要多-----例如众多的幽灵,会走动的城堡,飞行物体,猫巴士,龙猫(只有小孩才能见到哦)。他是一个“可怕”的手工艺术家,从写剧本到画草图到纠正最后的故事结构,宫崎骏都参与了!而且全是用人手去完成。他简直是沃尔特迪斯尼、史蒂芬-斯皮尔伯格和奥森威尔斯的合体,而他作品中美轮美奂的山水风景又有一点克洛德·莫奈的味道,其调皮的程度与对孩子的无比了解又要比罗尔德·达尔本强一些。

宫崎骏并不是日本动画之父,日本动画第一人是手冢治虫,他是标志性角色如铁臂阿童木的创造者,同时也是倡导日本动漫走向“大眼”风格的先驱者。他灵感丰富,想像每个拥有大钉似的发型的英雄举起手臂去与巨大的机械人战斗。但是,相比于其它大部份动画家,宫崎骏的名字以及他的工作室吉力卜,更能成为日本动画的代名词。“他是一个很出色的故事创作人,他很自然地便能把心中的故事告诉了大家,而这种才华使他成为一个让人难以忘怀的导演。”《动漫百科全书》的合著者乔纳森·克莱门茨这样说,“参与他的作品创作的小人物全都因作品而取得一鸣惊人的成功。”《幽灵公主》,一个以远古日本为背景讲述生态环境的动画作品,在1997年电影《铁达尼号》上映前,一直占据着日本电影史票房的第一宝座。2001年,宫崎骏创作出与幽灵公主主题相似的作品——《千与千寻》,这部作品获得了奥斯卡奖,讲述一个十岁的女孩寻找方法去破解令她父母变成猪的诅咒的故事。跟宫崎骏许多作品一样,《千与千寻》深深地强调自力更生、无私奉献以及向成长中的困难挑战的重要性。这个主题的丰富性就是重点,吉力卜的制作人铃木敏夫说:“要为孩子们创作怎么样的动画?我们的作品就是对这个问题认真思考过后的成果。”

什么令宫崎骏的动画如此受人注目?是因为在这个兴起用电脑作画的年代,如PIXAR跟迪斯尼公司的的《汽车总动员》、《玩具总动员》、《海底总动员》等等,宫崎骏依然一心一意地用人手去创造一个宁静的美丽的禅之世界,犹如清水滴在长满青苔的岩石上,犹如一列火车在黎明时分驶过大海。这生动的亮点,不是靠大量的音乐或高科技去传递,而是靠简单的出色的手艺,这些就足以令你想得很远很远。

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英文原文:

Hayao Miyazaki
In an era of high-tech wizardry, the animé auteur makes magic the old way

For more than 20 years, the Japanese animation director Hayao Miyazaki has been crafting films more lusciously illustrated and rapturously imaginative than almost anything else on the silver screen—full of spirits, walking castles, flying machines, cat buses and owl-raccoons called totoros (which only children can see). A fearsomely hands-on artist who does everything from scriptwriting to storyboard sketching to correcting many of the final frames of his movies by hand, Miyazaki is Walt Disney, Steven Spielberg and Orson Welles combined, with a dash of Claude Monet in his sumptuous landscapes and more than a smidgen of Roald Dahl in his sly, sophisticated understanding of children.

Miyazaki was not the founding father of Japanese animation. Its first master was Osamu Tezuka, creator of iconic characters like Astro Boy; it was Tezuka who pioneered the "big eyes" style of Japanese illustration and inspired every spiky-haired hero who ever took up arms against a giant robot. But more than that of any other director, Miyazaki's name and that of his animation house Studio Ghibli have become synonymous with Japanese animation. "He's a wonderfully creative storyteller who has somehow found a way to tell the stories that he wants, and that puts him in an incredibly small bracket of writer-directors worldwide," says Jonathan Clements, co-author of The Anime Encyclopedia. "All the smaller in that his works are also blockbuster successes." Princess Mononoke, an ecological fable set in Japan's distant past, was the country's top-grossing movie until Titanic eclipsed it in 1997; Miyazaki reclaimed the title in 2001 with the Oscar-winning Spirited Away—the tale of a 10-year-old's quest to deliver her parents from a spell that has turned them into pigs. Like many of Miyazaki's films it's a rumination on the importance of self-reliance, selflessness and the challenge of growing up. This thematic richness is key, says Studio Ghibli producer Toshio Suzuki: "Our films are the result of serious and earnest consideration of what kind of films should be made for children."
What makes Miyazaki's movies all the more remarkable is that in an era when each computer-animated feature from the likes of Pixar and Disney is more kinetic than the last—Cars! Toys! Fish!—he continues to handcraft a world of Zen-like stillness and beauty: water dripping on mossy rocks, or a train gliding over the sea in twilight. The dramatic punch is delivered not with a showstopping musical number or high-tech wizardry but with simple, stunning imagery that still takes your breath away.

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