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[宫崎骏访谈及其相关] [原创][翻译]“我已经64岁,但内心还是一个小男孩。”--arts.telegraph走入吉卜力

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发表于 2005-10-4 19:52:49 |显示全部楼层

我已经64岁,但内心还是一个小男孩

'I am 64, but inside I'm still a little boy'

2005.8.20

翻译:icytear

所有翻译均为动画爱好者交流所用,版权归原作者及所属媒体所有

翻译部分未经允许,请勿转载.

.

.

魔幻的影像从东京一条平凡的后巷中脱颖而出,向我们传达了一个动画的世界。请看――Sheila Johnston走入吉卜力幕后。

穿越那条雨水浸润的东京后巷,你可以轻松的径直走过那蔓藤缠绕的挨挨挤挤的低层建筑楼群。这里没有显耀的门楣,没有看守的门房,也没有安检的屏障。但正是在这个宁静的居民郊区,长着胡须的龙,轻盈灵活的灰尘精灵,可怕的无脸男,还有那十条腿、用眼睛作车灯的巨型飞行猫巴士诞生了。这些怪诞而神奇的生灵就这样在动画家宫崎骏的脑海中萌生,在吉卜力工作室中孕育。

你从不可能把宫崎骏的作品和别人的弄混。背景也许是在战争中亚得里亚海边那个playboy横行的社会,也许是在古老的日本,但作品中总是有那绝美的如画江山,勇敢的少女,或智慧或邪恶的老婆婆,还有一个生动鲜活而熟悉可亲的故事。

片中还会有乘着扫帚、30年代的水上飞机或者未来飞行器(宫崎骏的父亲从事军用飞机部件的加工工作)的空中旅行。在这些欢快的视觉盛宴下包裹的是他那宏大而艰涩的主体:战争的愚蠢,人类对自然的惨烈无情,以及遍存的迷失,疾病和死亡的不河蟹。

在吉卜力工作室里――这是宫崎骏亲自设计的,放佛是那舷窗和塔楼支撑其起的船只――动画师们正手绘着令吉卜力享有声誉的豪华背景幕,还有一些桌子上放着装有鱼鳖虾蟹的玻璃容器(吉卜力正新计划一部短片,讲的就是水中的故事)。

墙上挂着的是巴厘岛的皮影木偶、一个巨大的长着隆起大鼻子的红色东方人面具,还有《海底总动员》、《疯狂约会美丽都》和《超级无敌掌门狗》中的工艺品。宫崎骏也许是个寂寞的隐士,但也是个完美的国际主义者。

“文化在传播的过程中总是会回溯,”之后他这样指出,“瓷器从中国传到日本又从日本传到德国,而现在日本也有了德产瓷器收藏家。”

二战之后随着美军的到来,漫画也随后在日本着陆。如今,吉卜力鉴赏家遍布世界各地,宫崎骏的上一部影片《千与千寻》也在2003年获得了奥斯卡最佳动画大奖。

宫崎骏本人放佛是单色的剪影,和他作品中丰富的色彩完全不搭调:一身灰色调的穿着,银白色的胡须,松散的银发,黑色毛虫般的眉毛,一幅黑框眼镜,眼光中闪着淘气的神色。我真忍不住要问:如果这个创造了如此多奇异生灵的人本身就是动物,那他会是什么动物呢?

宫崎骏的回答让翻译绞尽脑汁。幸好宫崎骏抢过了她笔记本,自己在上面画出了“动物状的”自我。那是一只土鳖。“在你的后花园就能找到”,他解释到,“它一点也不激进,纯洁的无欲无求,”这谦卑的动物一旦受到威胁,还会把自己进进蜷缩在一个保护壳里。

宫崎骏厌恶采访,或者出于羞怯,或者出于对媒体油腔滑调的嫌恶,更可能是两方面原因都有。但他一点也不孤僻。为了我们的会面他早早的就到了附近的小木屋――那是他工作的地方,他把那里叫他的“猪窝”。屋子很通风,还带有木炭火炉,钢琴和走廊将两间工作室联系在一起。采访过后,宫崎骏就和其他工作人员待在一起享受他的午餐便当。


他的新片《哈尔的移动城堡》取材于英国作家黛安娜.温妮.琼斯的作品,讲述了18岁少女苏菲被变成90岁老妪的故事。出乎意料的是,诅咒变成了祝福,苏菲重新拾回了她青春的信仰,而年龄则给了她分量和能力。

影片关于咒语最终是否解开交待的很暧昧。“否则对所有的老人家也太无礼了”,宫崎骏说,“这引起了很多人的困惑,但我仍觉得自己没做错。我已经64岁了,但内心还是一个小男孩。也许正因为如此,我选择了这个故事。”

1998年以来,吉卜力的一批电影就开始被国宝级的“天赐良音” 迈克尔·基顿(《蝙蝠侠》) 和劳伦·巴尔考(《愈爱愈美丽》)等人配成英文。如果把两个版本相比较,观众可能会为它们的差别大吃一惊,比如《魔女宅急便》中的吉吉在日文版中声音尖锐,而在英文版中则是个沙哑的略微男性化的角色。我问宫崎骏他是否也参与了这项工作――因为他本人总是亲自检察作品的每一个画面。他回答说他并没有参与,大概是因为没有选择的余地。“我把所有事项都委托给一位真正值得信任的朋友了”,他这样说。

这个朋友就是因导演《玩具总动员》而广受好评的约翰·雷斯特(John Lasseter),他的作品也经常被拿来和宫崎骏的作比较。两位先生在自己的国家都受到了广泛推崇,也取得了巨大的商业效益。但宫崎骏的作品要难懂的多――他的作品总是含糊的结局,拒绝给世界一个善恶的定论。正如他笔下的主角随着外形的变化,内心也在不断的蜕变和成长。那些双重人格的坏人很可能也是相当好的人。

宫崎骏用他典型的朴素言语描述到:“雷斯特想要引导孩子,而我和孩子们一同迷失。”

“让我们一起迷失吧”这是吉卜力三鹰美术馆的格言――美术馆也是宫崎骏这个出了名的工作狂在空余时间设计的,2001年10月首次开放。面对着这栋错综复杂的大楼,你会感到道路放佛完全容入了周围的绿地。参观者进入高层玻璃圆顶的中庭就会看到螺旋楼梯、架桥走道陈列室和老式铁盒状电梯――铁盒子里满是琥珀玻璃镶嵌的闪亮金块,斑驳的吉卜力人物之窗在抛光的木制地板上散落彩灯般的光点。

这个迷人的世界充满了奇幻的触发点和对宫崎骏片中细节难以置信的关注,因此“MUSEUM”实在是个太含糊的词。在那里,你可以找到吉卜力精彩剧照,摆弄编辑器或者在那神话般的儿童游乐室里探险。

“只要还有值得我们着手的故事,我们就会一直坚持下去。”

在电影院里,借着光亮的放映机被罩在透明的棚子之中,这样孩子们就可以看到它是怎样工作的。那个巨大的猫巴士承受了内部乘客如此热切的撞击,以致每几个月就要重换一次。如果说飞架天空是东京迪斯尼的精神,那三鹰美术馆对这种精神的延续真的让人难以想像。

20年前,宫崎骏、他的制片人铃木敏夫和伙伴高田在德间书店的支持下创立了吉卜力工作室。宫崎骏亲自提的“吉卜力”这个名字意为撒哈拉的热风,宣告着动画界的一场大变革。“我们有一个目标,就是创办一个宫崎骏可以按自己心意创作的工作室”,铃木敏夫说到,他正盘腿赤脚的坐在椅子上抽着烟。“只要还有值得我们着手的故事,我们就会一直坚持下去。但我们没有扩张公司的兴趣。”

铃木承认,虽然吉卜力的影片获得了世界范围的成功,但公司正面对财政困扰。由于创案速度极慢,一部新片甚至在12月份也无法公之于众。与此同时,宫崎骏正为美术馆专门制作三部短片,同时设计新展品。“宫崎骏总是慢工出细活”,铃木的言语中带着引退的意味,“作为吉卜力的经理,我步履维艰。”

暂时来说,吉卜力的主要收入来自美术馆。但收入的获得简直和当年吉卜力的建立一样艰难。美术馆每天发行2400张门票,其中只有200张是海外发行;这些票要提前三个月预订。由于入场券价格低的可笑(六岁以下儿童100日元);美术馆本身又是如此妥善的维护着,所以几乎不能创造显著的收入。副产品广告推销也被严格限制了。在麦当劳快乐餐你根本找不到塑料哈尔模型。“宫崎骏痛恨对他作品的丢弃。”铃木说到。

吉卜力的未来也被公开关注了。虽然宫崎骏已经推迟了他的引退,开始计划三部新片,但他的团队中并没有杰出的新人。但宫崎骏还是拒绝把自己当作吉卜力的核心人物。“我只是一个职工,一个工匠而已。”他坚持这样认为。

把我送出门口时宫崎骏抬头看了看暗淡的天空,祝愿我能在预警台风前顺利到家。我乘公车回到了那个充满噪声和废气的东京――它是如此的平凡;而在那野草地之间,森林精灵身畔,高大的红松树下,宫崎骏还在他的小木屋-他的“猪窝”里继续他的梦想。

英文原文:

The world of animation has been transformed by the magical images emerging from a modest back street in Tokyo. Sheila Johnston goes behind the scenes at Studio Ghibli

You could easily walk straight past the cluster of low-rise, vine-covered buildings facing each other across a rain-swept Tokyo back alley. There is no self-important signage, no porter's lodge, no barrage of security checks.

But here, in this quiet residential suburb, be dragons - dragons with whiskers, scurrying black dust-bugs, eerie faceless spirits and huge flying bus-shaped cats with 10 legs and headlamp eyes. These weird and wonderful creatures are born in the brain of animator Hayao Miyazaki and incubated here in the Ghibli studio.

You could never mistake a Miyazaki film for a work by anyone else. It could be set in the playboy society of the Adriatic between the wars, or in medieval Japan, but it is bound to feature marvellous landscapes, courageous young girls, wise or malevolent old women and a story both thrillingly fresh and satisfyingly familiar.

There will be a trip through the skies, on a broomstick or in a '30s seaplane or a futuristic flying machine (Miyazaki's father worked in a factory making parts for military aeroplanes). And wrapped in all this joyful exuberance are big, tough themes: the folly of war, man's dreadful disrespect for nature, and the implacable omnipresence of loss, illness and death.

Inside the studio - designed by Miyazaki and intended to evoke a ship with its porthole windows and turrets - animators are hand-painting the sumptuous backdrops for which Ghibli films are renowned. Some have glass tanks of terrapins or prawns on their desks (the new project, a short film, has an underwater theme).

On the walls are Balinese shadow puppets, a huge red oriental mask with a phallic nose and artwork from Finding Nemo, Belleville Rendez-Vous and Wallace and Gromit: Miyazaki might be a recluse, but he is also a consummate internationalist.

"When culture spreads, it bounces back," he remarks later. "Porcelain travelled from China to Japan and from there to Dresden. Now there are Meissen collectors in Japan."

Animation took off late in Japan, with the arrival of the American occupying forces after the Second World War. Now there are Ghibli connoisseurs all over the world, and Miyazaki's last film, Spirited Away, was awarded the Best Animated Film Oscar in 2003.

Unlike his richly-coloured images, the director cuts a monochrome figure, dressed all in grey, with a silver beard, floppy silver hair, startlingly black caterpillar eyebrows and, behind black-framed glasses, mischievous eyes. There is a question I can't resist asking: if this man who has imagined so many wondrous creatures were himself an animal, what would he be?

The reply has the translator diving for her dictionary. Helpfully, Miyazaki grabs her notepad and sketches his animalistic self. It is a woodlouse. "You can find it in your back garden," he explains. "It's not aggressive; it's totally unselfish and pure." The humble woodlouse also, one remembers, curls into a tight protective ball when under threat.

Miyazaki hates interviews, either out of shyness or a distaste for glib publicity; most likely both. But he is by no means aloof. He arrives early for our meeting in the nearby wooden cabin where he works and which he calls his "pighouse". Afterwards, in the airy room with its wood-fired stove, piano and high walkway connecting two inner sancta, he stays to eat his bento-box lunch with the other staff.

in his new film, Howl's Moving Castle, based on a book by British writer Diana Wynne Jones, an 18-year-old girl, Sophie, is transformed into a 90-year-old crone. Unexpectedly, the curse becomes a blessing: Sophie retains her youthful idealism but her age gives her status and empowerment.

The film is ambiguous about whether the spell is eventually reversed. "That would have been so rude to old people everywhere," Miyazaki says. "It has caused a lot of confusion, but I think I did the right thing. I am 64 years old but inside I'm still a little boy. Maybe that's why I chose this story."

Since 1998, a number of Ghibli films have been dubbed in English by celebrity "voice talent" such as Michael Keaton and Lauren Bacall. The viewer comparing these with the originals will be struck by how unlike they are - a tiny cat in Kiki's Delivery Service, for instance, which had a piping voice in Japanese, becomes a gruff, slightly camp male character. I ask Miyazaki, who personally checks every frame of his films, if he is involved in these versions. He answers that he is not, presumably because he has no choice. "I confided the process to a friend that I really trust," he says.

This friend is John Lasseter, acclaimed director of Toy Story, whose work is frequently compared to that of Miyazaki. Both men are deeply respected and commercially successful in their own countries. But Miyazaki's films are by far the more elusive; they often end equivocally and resist a Manichaean view of the world. Just as his characters are constantly shape-shifting, so their inner essence changes and grows - double-dyed villains may turn out to be rather good eggs.

Miyazaki puts it with typical simplicity: "Lasseter wants to guide children. I'm lost along with the children," he says.

"Let's Lose Our Way, Together" is the motto of the Ghibli Museum which Miyazaki - a famous workaholic - also designed in his spare moments and which first opened in October 2001. Arriving at this sinuous building, whose lines seem to melt into the surrounding parkland, the visitor enters a high glass-domed atrium cross-hatched with a maze of spiral staircases, bridged walkways, galleries and a lift in an old-fashioned iron cage. Embedded in the ironwork are richly glowing nuggets of amber glass; stained windows of Ghibli characters spill speckles of coloured light on the polished wooden floor.

"Museum" is much too dusty a name for this enchanting world full of whimsical touches and the same incredible attention to detail that Miyazaki applies to his movies. You can peruse Ghibli storyboards, play with an editing machine or explore the most fabulous child's playroom ever.

In the cinema, with its bright frescoes, the projector is housed in a transparent booth so that young audiences can watch how it works. The big furry cat-bus gets such an enthusiastic pounding from its passengers that it has to be replaced every couple of months. It would be hard to imagine something further in spirit from Disneyland, Tokyo's version of which sits just a few miles up the road.

Studio Ghibli was founded 20 years ago by Miyazaki, his producer Toshio Suzuki and his fellow animator Isao Takahata, backed by the Tokuma Shoten publishing house. The name, chosen by Miyazaki, refers to a hot Sahara wind and announced a wind of change in the animation world. "We had one goal: to create a studio where Miyazaki could make the films he wanted," says Suzuki, sitting cross-legged and barefoot on his chair, smoking a cigarette. "We will continue for as long as there are stories we would like to do. But we have no interest in expanding the company."

Despite the worldwide success of Ghibli's films, Suzuki admits that the company faces ongoing financial worries. A new feature, gestating at a snail's pace, will not even be announced until December. Meanwhile, Miyazaki is making three shorts, exclusively for the museum, and designing new displays for it. "Miyazaki-san is a slow worker," Suzuki says with an air of resignation. "As the manager of the studio, I'm in a difficult position right now."

For the time being, Ghibli's main income comes from the museum. But this is almost as hard to get to as its founder. It releases 2,400 tickets a day, only 200 of them outside Japan; and these must be booked three months in advance. Since the admission price is ridiculously low (children under six pay 100 yen, or around 50p) and the museum is lovingly maintained, it can hardly generate any significant revenue. Merchandising spin-offs are also strictly limited. You will not find a plastic Howl in your McDonald's Happy Meal. "Miyazaki hates the idea of his products being thrown away," Suzuki says.

There is open concern about the future. Though the director has postponed his retirement and is planning three more features, there is so far no new talent remotely in his league. But Miyazaki refuses to regard himself as Ghibli's presiding genius. "I'm just a workshop guy, a craftsman," he insists.

As he shows me out, Miyazaki raises his eyes to the darkening sky and expresses the hope that I get home safely before the predicted typhoon arrives. I board the bus back to the commonplace noise and neon of downtown Tokyo, leaving Miyazaki to dream on in his wooden pighouse, among the wild grasses, forest spirits and tall red pines.

[此贴子已经被LapuTa于2006-5-10 21:22:35编辑过]

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画馆音乐天才奖

发表于 2005-10-4 21:50:35 |显示全部楼层

也许这就是宫崎骏的坚持,吉卜力工作室的坚持,唯有这种坚持才能够做出我们大家都喜欢的电影

我们只有默默的祝福吉卜力工作室能够继续坚持下去,度过一切难关,因为我们都是如此的热爱着它

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发表于 2005-10-7 10:18:44 |显示全部楼层

固守一份信念,为自己的理想而努力着的人,已经越来越少了。

多数人会被现实的残酷和金钱的诱惑,或者周围的声音弄得失去自我吧~

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画馆优秀版主奖

发表于 2005-10-7 16:38:03 |显示全部楼层
以下是引用桃夭在2005-10-4 21:50:35的发言:

也许这就是宫崎骏的坚持,吉卜力工作室的坚持,唯有这种坚持才能够做出我们大家都喜欢的电影

我们只有默默的祝福吉卜力工作室能够继续坚持下去,度过一切难关,因为我们都是如此的热爱着它


亲爱的桃老师说话啊~~小赞一个,该说的都被你说了,我就支持一下好了。
在开始的早晨静寂的窗/一切归零之后渐渐充实/不再去追寻海的彼岸/ 耀眼的宝物一直就在这里/在我身上就可以发现
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发表于 2005-10-16 03:46:12 |显示全部楼层
提示: 作者被禁止或删除 内容自动屏蔽
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发表于 2006-4-8 11:05:33 |显示全部楼层

每看一次,感动一次……

“宫崎骏厌恶采访,或者出于羞怯,或者出于对媒体油腔滑调的嫌恶,更可能是两方面原因都有。”-----他的低调真的让人好敬佩

不是用理智代替情感,而是用理智引导情感……
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发表于 2006-7-11 20:44:11 |显示全部楼层
[em09][em09][em09]
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发表于 2006-7-30 20:38:37 |显示全部楼层

“只要还有值得我们着手的故事,我们就会一直坚持下去。” ---- 简单一句,谁又知其路漫漫而修远,坚持终是不易

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发表于 2006-7-30 20:51:09 |显示全部楼层

64 岁的小男孩,64年青春悸动,难怪那清新之风,深沉之情,本人一向潜水,但看到此也不制想说两句,宫崎骏似乎有一种魔力,让思考甚少的人恍然大悟,肚子空无一物也身觉责任重大 。

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发表于 2006-7-31 10:57:31 |显示全部楼层
坚持总会有收获
姓名:***;年龄:66 ;熟悉绘图软件:CorelDRAW(接触过Photoshop,AI,3Dmax,MAYA);工作:深圳,计算机IT行业.........
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发表于 2006-8-4 16:55:36 |显示全部楼层

呵,我收下了!!

我渴望真实的回归...
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发表于 2008-1-4 20:35:01 |显示全部楼层
宫老是个奇特的日本人︿没有武士的身影,提倡苟活着……
哈哈哈哈……
其实这正让人看出他对世界思考的艰辛……
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发表于 2008-1-31 16:16:14 |显示全部楼层
“我只是一个职工,一个工匠而已。”他坚持这样认为。

宫老的纯真让人非常非常感动 是干净世界的守护者
坐在飞机尾翼上吹海风``
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发表于 2008-2-4 18:10:12 |显示全部楼层
动画是一种特别的艺术,它会让我们忘记烦恼与忧愁,包括制作动画的!
光线在宇宙中穿梭 灵感在脑海中跳跃
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发表于 2012-1-2 16:05:31 |显示全部楼层
让我们一起迷失吧这是吉卜力三鹰美术馆的格言
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发表于 2013-7-11 12:30:03 |显示全部楼层
已经72岁了。1941——2013。
试图寻找*::自:*:由::*、纯真与简朴的智慧。当秋风扫清虚假和浮躁时。
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