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Nausicaa/Miyazaki interview: Difference between revisions
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;In 13 years, there must have been several turning points, or times when your thinking towards Nausicaa must have changed. I'd like you to discuss these in the sequence in which they occurred. For instance, I've heard that you felt regrets, for the first time, while writing the second story. | ;In 13 years, there must have been several turning points, or times when your thinking towards Nausicaa must have changed. I'd like you to discuss these in the sequence in which they occurred. For instance, I've heard that you felt regrets, for the first time, while writing the second story. | ||
:No, that's not something I do. If someone else wanted to study Nausicaa, as I have done for Chizu Takahashi's [[Miyazaki | :No, that's not something I do. If someone else wanted to study Nausicaa, as I have done for Chizu Takahashi's [[Talk:Nausicaa/Miyazaki interview#From Kokuriko Hill|''From Kokuriko Hill'']]}, then I wouldn't mind. It's not that I changed Nausicaa purposely. I, myself, changed, so the story gradually changed. The story didn't change to fit alterations in the world-it seemed as if some parts had to change whether I wanted them to or not, and some parts changed on their own. | ||
:The treatment of the story gradually changed. I don't know if it expanded or contracted, just that it changed. I don't mean that the depiction of Nausicaa changed. Yes, that's it...There are people who take how they relate to the world and create their own model of it, then inlay that into an SF world and write a story, aren't there? If you do that, then you can't leave that world. If you create a world in a blind alley and develop a story in that world, you can't leave that framework. You're sealed in. There are a lot of works like that. "The People Left Behind", which was the original from which "Conan-Boy of the Future" was developed, is one of those works. The world is pictured in a certain way, and it's not really life-it's static. Since the story was created from your conceptions from the start, you can never rise above them. I don't think that writing a story based on a model is a good idea. No matter how much you think about it, you're limited by your own creativity and knowledge. You can only create a limited world where characters cannot live freely or grow and change. Really, that's why I came to dislike science fiction. | :The treatment of the story gradually changed. I don't know if it expanded or contracted, just that it changed. I don't mean that the depiction of Nausicaa changed. Yes, that's it...There are people who take how they relate to the world and create their own model of it, then inlay that into an SF world and write a story, aren't there? If you do that, then you can't leave that world. If you create a world in a blind alley and develop a story in that world, you can't leave that framework. You're sealed in. There are a lot of works like that. "The People Left Behind", which was the original from which "Conan-Boy of the Future" was developed, is one of those works. The world is pictured in a certain way, and it's not really life-it's static. Since the story was created from your conceptions from the start, you can never rise above them. I don't think that writing a story based on a model is a good idea. No matter how much you think about it, you're limited by your own creativity and knowledge. You can only create a limited world where characters cannot live freely or grow and change. Really, that's why I came to dislike science fiction. | ||
:The world revolves endlessly, and eventually winds up where it started, but at the same time it is boundless. The people in it are constantly on the move. I don't think that one human can know everything about such a world, do you? With these thoughts in mind, I wrote Nausicaa. So, in the beginning, I created a world, and HERE was a country called Dorok, and THERE was another country, but rather unfortunately, I didn't draw a map of this world until well after I had started writing. [WAHAHA laughter] | :The world revolves endlessly, and eventually winds up where it started, but at the same time it is boundless. The people in it are constantly on the move. I don't think that one human can know everything about such a world, do you? With these thoughts in mind, I wrote Nausicaa. So, in the beginning, I created a world, and HERE was a country called Dorok, and THERE was another country, but rather unfortunately, I didn't draw a map of this world until well after I had started writing. [WAHAHA laughter] | ||
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==The view of civilization that penetrates to the heart of ''Nausicaa''== | ==The view of civilization that penetrates to the heart of ''Nausicaa''== | ||
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:That, I don't know. I haven't read all the manga done in the past. But this is a period in which everyone wants to read about 'heroes' who are consummately normal people. If they're not, the readers don't believe in them. I don't like this. That's how things are these days, but frankly speaking, I dislike it. Making heroes who are just like you or everyone else around you. I wanted to create a character who was not like that. | :That, I don't know. I haven't read all the manga done in the past. But this is a period in which everyone wants to read about 'heroes' who are consummately normal people. If they're not, the readers don't believe in them. I don't like this. That's how things are these days, but frankly speaking, I dislike it. Making heroes who are just like you or everyone else around you. I wanted to create a character who was not like that. | ||
:I'm not saying that I completely ignore ordinary things. I had no problem making ''Kiki's Delivery Service'', or the upcoming [[Miyazaki | :I'm not saying that I completely ignore ordinary things. I had no problem making ''Kiki's Delivery Service'', or the upcoming [[Talk:Nausicaa/Miyazaki interview#If You Listen Hard|''Mimi o Sumaseba'' (''If You Listen Hard'')]]. I'm not totally against it -- after all, everyone likes to think that they're the hero of their own story. | ||
;In the 70's and 80's, there were no such strong heroes or heroines. | ;In the 70's and 80's, there were no such strong heroes or heroines. | ||
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==The deep wounds that Kushana bears== | ==The deep wounds that Kushana bears== | ||
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:People who suffered illnesses from radiation poisoning, and people suffering from other cruel afflictions embraced their suffering and carried on with life. But those people wanted to believe that the things that happened to them were solely the result of things created wrongly by other humans-polluted food and environment, atomic bombs, etcetera. I think that problems of medical treatment and life stem from this. | :People who suffered illnesses from radiation poisoning, and people suffering from other cruel afflictions embraced their suffering and carried on with life. But those people wanted to believe that the things that happened to them were solely the result of things created wrongly by other humans-polluted food and environment, atomic bombs, etcetera. I think that problems of medical treatment and life stem from this. | ||
:But it's wrong. The prevalent idea throughout the world is that pain and human existence are irretrievably linked. After the war, Japan built an artificial and unnatural 'better' world, thinking that 'post-war democracy' could alleviate pain. We thought that we could clear up most problems by reaching a certain level of national wealth. So instead of guns, we built a high-growth economy. A lot of misery was eliminated by eradicating poverty. "Ku-pora no aru Machi" (A Town with a Cupola) could not be made in these times of plenty. But in Korea, China, Taiwan and other Asian countries, there are disparities aplenty, and dramatic, aggressive movies are being made all the time. It's only natural. But in Japan, where these contradictions no longer exist, we're only making movies about girls in love, strolling down the street. It's difficult to live in a society seething with contradictions, but it's also difficult to live in a society like that of current Japan. These problems have existed since the time of Buddha and before, but we didn't recognize them until very recently. Now we see them, but we still haven't faced them squarely, and we, and the government, continue in our mistaken belief that there must be a paradise somewhere quite near by. I don't think that it will be an easy time, when we finally do face up to these problems. | :But it's wrong. The prevalent idea throughout the world is that pain and human existence are irretrievably linked. After the war, Japan built an artificial and unnatural 'better' world, thinking that 'post-war democracy' could alleviate pain. We thought that we could clear up most problems by reaching a certain level of national wealth. So instead of guns, we built a high-growth economy. A lot of misery was eliminated by eradicating poverty. "Ku-pora no aru Machi" (A Town with a Cupola) could not be made in these times of plenty. But in Korea, China, Taiwan and other Asian countries, there are disparities aplenty, and dramatic, aggressive movies are being made all the time. It's only natural. But in Japan, where these contradictions no longer exist, we're only making movies about girls in love, strolling down the street. It's difficult to live in a society seething with contradictions, but it's also difficult to live in a society like that of current Japan. These problems have existed since the time of Buddha and before, but we didn't recognize them until very recently. Now we see them, but we still haven't faced them squarely, and we, and the government, continue in our mistaken belief that there must be a paradise somewhere quite near by. I don't think that it will be an easy time, when we finally do face up to these problems. | ||
[[Category:Oni 2 influences]] | |||