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Hayao Miyazaki's Memoir
Starting Point 1979-1996
R to L (Japanese Style). A hefty compilation of essays (both pictorial and prose), notes, concept sketches and interviews by (and with) Hayao Miyazaki. Arguably the most respected animation director in the world, Miyazaki is the genius behind "Howl's Moving Castle," Princess Mononoke" and the Academy Award-winning film, "Spirited Away."
461 pages, Hardcover
First published August 1, 1996
735 people are currently reading
6556 people want to read
About the author
Hayao Miyazaki
367 books3,526 followersHayao Miyazaki (Japanese: 宮崎 駿) is a celebrated Japanese animator, filmmaker, screenwriter, and manga artist, widely regarded as one of the most influential figures in the history of animation. He is the co-founder of Studio Ghibli, the animation studio responsible for producing many of Japan’s most beloved and internationally acclaimed animated films. Over the course of a career spanning decades, Miyazaki has developed a reputation for creating visually rich, emotionally resonant stories that often explore themes such as nature, pacifism, flight, childhood, and the human condition.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
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Displaying 1 - 30 of 194 reviews
July 24, 2012
When I saw Starting Point: 19791996 in store at the Australian Centre for the Moving Image (ACMI) in Melbourne, I was still overwhelmed by joy: Hayao Miyazaki is for a long time now one of my favorite artists. This volume covers almost twenty of his productive years, with interviews, edited pieces, and even journal pages. The reader finds out not only about work-related topics, but also about Miyazaki's opinions about war, culture, animation, society, nature, well, pretty much about anything (hint: Miyazaki appears to be a very stubborn and opinionated person). A second volume, Turning Point: 1997-2008 (Orikaeshi Ten 1997~2008), is currently under publication. Oh, and this first volume is excessively long and repetitive.
Miyazaki-san is perhaps best-known in the West for his children feature-film animations My Neighbor Totoro (1988), Spirited Away (2001), and Ponyo Off the Cliff (2008). He is the co-founder of Studio Ghibli, with titles such as Laputa: Castle in the Sky (1986), Grave of the Fireflies (1988), Porco Rosso (1992), and Princess Mononoke (1997). Miyazaki was the lead man in the production of Nausicaä of the Valley of the Wind (1984), a cult-film about a polluted world and the relationship humanity-nature. This volume covers all of his work until 1996, which includes being director, (lead) animator, screeplay writer, and Jack-of-all-trades. Judging by his short writing, Miyazaki's statement that his scripts required much re-writing is true.
Here are a few things that I learned:
* What it takes to produce a good work of art is talent, passion, and a good dose of hard, long, detailed work. Miyazaki loves handcrafted objects, regardless of their type; for example, he appreciates greatly a house in the Open (Traditional House) Museum of Tokyo, because it is made using much handicraft.
* Miyazaki is opinionated, and critical and even hostile against other artists, esp. against Disney and manga creators. About Disney, he states "I hate Disney's work [...] they show nothing but contempt for the audience"---this statement should be taken with a grain of salt, as elsewhere Miyazaki mentions three of Disney's creations (Snow White, Peter Pan, and The Old Mill part of Silly Symphonies) as some of the most accomplished animations in history.
* Miyazaki likes Japanese nationalism, and is attracted by the mid-1980s notion of "broadleaf evergreen forest culture", which seems to state among others that a unique Japanese treat is the integration with nature.
* Miyazaki's directorial approach is loose and focuses on animation. As a main consequence, the films he directs start from concept sketches and only have a script much later in productions; sometimes, the script is produced after (!) the animation is completed, only for copyright purposes.
* The technique of animation has greatly evolved over time. Some of the advances are featured in Studio Ghibli's movies and have been requested by Miyazaki. For example, the rubber multi-plane technique used in Nausicaä of the Valley of the Wind (1984) and several other computer graphics (CG) effects were greatly enhanced for Howl's Moving Castle (2004), see also The Art of Howl's Moving Castle, p.77 amd 187--189. Sometimes, the advances are numeric: Howl's Moving Castle (2004) featured twice the number of CG effects present in Spirited Away (2001).
On the negative side, the book is full of contradictions. For example, Miyazaki is a self-confessed lazy person but also self-described hard-working, at times Miyazaki describes his relationship with nature as profound but dismisses it in the interview with academics (p.414 onwards), Miyazaki is strictly anti-war, which he deems stupid, but is fascinated with and likes to depict war machinery, Miyazaki is oftentimes praising the qualities of his animations but takes a modest stance during the interview with academics, etc.
Overall, a must-read for anyone interested in the creation of art using the animated feature-film medium.
Miyazaki-san is perhaps best-known in the West for his children feature-film animations My Neighbor Totoro (1988), Spirited Away (2001), and Ponyo Off the Cliff (2008). He is the co-founder of Studio Ghibli, with titles such as Laputa: Castle in the Sky (1986), Grave of the Fireflies (1988), Porco Rosso (1992), and Princess Mononoke (1997). Miyazaki was the lead man in the production of Nausicaä of the Valley of the Wind (1984), a cult-film about a polluted world and the relationship humanity-nature. This volume covers all of his work until 1996, which includes being director, (lead) animator, screeplay writer, and Jack-of-all-trades. Judging by his short writing, Miyazaki's statement that his scripts required much re-writing is true.
Here are a few things that I learned:
* What it takes to produce a good work of art is talent, passion, and a good dose of hard, long, detailed work. Miyazaki loves handcrafted objects, regardless of their type; for example, he appreciates greatly a house in the Open (Traditional House) Museum of Tokyo, because it is made using much handicraft.
* Miyazaki is opinionated, and critical and even hostile against other artists, esp. against Disney and manga creators. About Disney, he states "I hate Disney's work [...] they show nothing but contempt for the audience"---this statement should be taken with a grain of salt, as elsewhere Miyazaki mentions three of Disney's creations (Snow White, Peter Pan, and The Old Mill part of Silly Symphonies) as some of the most accomplished animations in history.
* Miyazaki likes Japanese nationalism, and is attracted by the mid-1980s notion of "broadleaf evergreen forest culture", which seems to state among others that a unique Japanese treat is the integration with nature.
* Miyazaki's directorial approach is loose and focuses on animation. As a main consequence, the films he directs start from concept sketches and only have a script much later in productions; sometimes, the script is produced after (!) the animation is completed, only for copyright purposes.
* The technique of animation has greatly evolved over time. Some of the advances are featured in Studio Ghibli's movies and have been requested by Miyazaki. For example, the rubber multi-plane technique used in Nausicaä of the Valley of the Wind (1984) and several other computer graphics (CG) effects were greatly enhanced for Howl's Moving Castle (2004), see also The Art of Howl's Moving Castle, p.77 amd 187--189. Sometimes, the advances are numeric: Howl's Moving Castle (2004) featured twice the number of CG effects present in Spirited Away (2001).
On the negative side, the book is full of contradictions. For example, Miyazaki is a self-confessed lazy person but also self-described hard-working, at times Miyazaki describes his relationship with nature as profound but dismisses it in the interview with academics (p.414 onwards), Miyazaki is strictly anti-war, which he deems stupid, but is fascinated with and likes to depict war machinery, Miyazaki is oftentimes praising the qualities of his animations but takes a modest stance during the interview with academics, etc.
Overall, a must-read for anyone interested in the creation of art using the animated feature-film medium.
June 8, 2010
This book is mostly boring and occasionally brilliant. The two great things expressed here are Miyazaki's overall positive attitude about making films, which is really foreign to me and was refreshing to be exposed to, and his definition of realism.
Realism for Miyazaki is a kind of depth of detail. His primary example is the depth of detail in a tree: bark, leaves, insects, etc. Real things are fortified by these rich, interlocking levels of detail. This is a big difference from the kind of surface realism attempted by most films.
"The best scenario might be one that includes the mass of leaves and even the insects that crawl among those leaves."
Other quotes:
"I want to send a message of cheer to all those wandering aimlessly through life."
Entertainment is not about escapism. It can be about lighting up the imagination, showing audiences something new or reminding them of some feeling or idea that they were distracted away from.
A film should have "few barriers for entry" but "the barriers to exit must be high and purifying."
"Films must not be produced out of idle nervousness or boredom."
Realism for Miyazaki is a kind of depth of detail. His primary example is the depth of detail in a tree: bark, leaves, insects, etc. Real things are fortified by these rich, interlocking levels of detail. This is a big difference from the kind of surface realism attempted by most films.
"The best scenario might be one that includes the mass of leaves and even the insects that crawl among those leaves."
Other quotes:
"I want to send a message of cheer to all those wandering aimlessly through life."
Entertainment is not about escapism. It can be about lighting up the imagination, showing audiences something new or reminding them of some feeling or idea that they were distracted away from.
A film should have "few barriers for entry" but "the barriers to exit must be high and purifying."
"Films must not be produced out of idle nervousness or boredom."
December 3, 2022
“To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lost the possibility of being countless other potential selves.. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us.”
I didn't grow up watching Studio Ghibli films, and although I had long been drawn to images from them, I didn't actually see one until a few years ago. They were even more than I had expected them to be, and I did wish that I could have seen My Neighbor Totoro as a small child, as I am sure it would have enthralled me even more than it did as an adult.
This book of essays and interviews was fascinating, offering an insight into a man brimming with creativity, brilliance and wild contradictions!
Even when discussing projects I haven't seen or read, I was constantly interested in his views and the way he expressed them.
One detail that I found touching was in the 'biographical chronology' section at the back of the book, it says, 'Upon entering university, discovered there was no manga study club, so joined the children's literature study club, the closest thing. At times Hayao Miyazaki was its sole member.'
I found the image of the young man carrying on even when no-one else was there endearing, and it also seems like an early indication of stubbornness that has served him well in his career.
December 3, 2022
It's a mix of articles, reviews, speeches, hot takes, and reflections here. As usual, in something this mixed, some pieces were more interesting to me than others. But wow, some of them were just wonderful. There are some delightful explanations of movement and using movement to show weight. My favorite section was Characters, little written sketches of real people in his life. Also the part about his awful car. Also the parts about how to foreground theme above all things, to keep theme always in mind as a guiding principle so that the whole work can transcend to a new level.
Read
June 5, 2021this book has:
- a lot of interviews with/speeches by Hayao Miyazaki that reveal his viewpoints and beliefs
- a nice interlude with some scrapbook pages by Miyazaki
- film proposals and original ideas behind a lot of Miyazaki films
- Miyazaki talking about how much he likes planes and is fascinated by war (but is decidedly not pro-war)
- where Miyazaki started (at Toei Animation as an in-between artist), what it was like working on various projects, and his very admirable work ethic.
At the end of the book, Isao Takahata states that Miyazaki is a man full of contradictions. This is true; often he will express a very nihilistic view, but in the next sentence will emphasize the importance of making your best effort no matter what and that in our finite lives, we have the capacity to experience beauty and be emotionally moved. I admire that he has such a strong sense of "why" behind the work he does—he really cares about bringing joyful, nuanced, and beautiful works into this world!
Note: I find the English translation of this book to be a bit...unnatural? The language doesn't always flow well.
- a lot of interviews with/speeches by Hayao Miyazaki that reveal his viewpoints and beliefs
- a nice interlude with some scrapbook pages by Miyazaki
- film proposals and original ideas behind a lot of Miyazaki films
- Miyazaki talking about how much he likes planes and is fascinated by war (but is decidedly not pro-war)
- where Miyazaki started (at Toei Animation as an in-between artist), what it was like working on various projects, and his very admirable work ethic.
At the end of the book, Isao Takahata states that Miyazaki is a man full of contradictions. This is true; often he will express a very nihilistic view, but in the next sentence will emphasize the importance of making your best effort no matter what and that in our finite lives, we have the capacity to experience beauty and be emotionally moved. I admire that he has such a strong sense of "why" behind the work he does—he really cares about bringing joyful, nuanced, and beautiful works into this world!
Note: I find the English translation of this book to be a bit...unnatural? The language doesn't always flow well.
June 20, 2017
"Creating animation means creating a fictional world. That world soothes the spirit of those who are disheartened and exhausted from dealing with the sharp edges of reality, or suffering from a nearsighted distortion of their emotions."
It's a book about the great Japan Director Animation film, Hayao Miyazaki on his early days as an animator. Starting Point makes me believe that he is one of the genius people out there. He creates his works with such wide range, accessible to younger and older audience. It so amusing how it downward with the trend nowadays for most animation films being planned today is targeting the older audience.
Inside the book, we also see his artworks on eight pages contain a series of scrapbook pages in black-white series and it's so fascinating. Once I see this, I miss his works because it's so charming seeing him as a workaholic animator create such a wonderful scrapbook into pages. There are also plenty of interesting Studio Ghibli essay and animation. It's surely such a delight to read.
It's a book about the great Japan Director Animation film, Hayao Miyazaki on his early days as an animator. Starting Point makes me believe that he is one of the genius people out there. He creates his works with such wide range, accessible to younger and older audience. It so amusing how it downward with the trend nowadays for most animation films being planned today is targeting the older audience.
Inside the book, we also see his artworks on eight pages contain a series of scrapbook pages in black-white series and it's so fascinating. Once I see this, I miss his works because it's so charming seeing him as a workaholic animator create such a wonderful scrapbook into pages. There are also plenty of interesting Studio Ghibli essay and animation. It's surely such a delight to read.
July 25, 2011
I would find it hard to believe that any true fan of Miyazaki-san would find this book boring or off-putting. Yes, it's a collection of essays, but they offer insight into the brilliance behind his award-winning works; I find it fascinating to know where he finds his inspiration. He also offers his own opinion on topics that might seem completely unrelated to animation--politics, the environment, the economy--but that ultimately affect the industry and his art nevertheless. Truly a great book for anyone who has grown up alongside Studio Ghibli's movies.
September 5, 2023
I wasn't really planning on reading this, I was gonna return it to the library and grab some fresh books - then hit the dog park to sit and read while my dog runs around. But it was a holiday! So I grabbed this and flipped through it for an hour or so.
I was interesting in seeing what Miyazaki cites as an influence, or what he recommends. Also to find some of his lesser-known works to check out. Obviously all of his films are must-sees but I haven't watched any of his TV work.
Now I want to check out Future Boy Conan and the short-film Panda Go Panda. He also praised, and put down, the early animated film (translated as) The White Snake Enchantress (1958) so I may watch that too.
Overall some pretty interesting interviews, but I would have preferred a boiled-down volume. This has Miyazaki covering the same ground over and over again.
I was interesting in seeing what Miyazaki cites as an influence, or what he recommends. Also to find some of his lesser-known works to check out. Obviously all of his films are must-sees but I haven't watched any of his TV work.
Now I want to check out Future Boy Conan and the short-film Panda Go Panda. He also praised, and put down, the early animated film (translated as) The White Snake Enchantress (1958) so I may watch that too.
Overall some pretty interesting interviews, but I would have preferred a boiled-down volume. This has Miyazaki covering the same ground over and over again.
February 25, 2018
What you can take out of this book really depends on what you're looking for. I read a few of the negative reviews (I only read the negatives :') ) and it's interesting to contrast what the general reader wanted (a biography, which it isn't and hence the negatives) versus what I and possibly other artists could benefit from- mind + methodology.
For the casual purveyor, Starting Point is a sneak peek into Miyazaki's personal lifestyle and thought process. Interrupted with numerous tangents involving the role of nature + technology in society, personal relationships and criticisms of colleagues, and his rage against the anime industry; it reveals a surprisingly pessimistic world view and creed on attempting to create an oasis of quality animation amongst an already oversaturated industry. Overall, it provides a far less humorous insight of the director than can be garnered from standalone hero-worship snippets and The Kingdom of Dreams and Madness.
As a whole, there are some parts that may be entirely too dry and nuanced. However, Miyazaki's short form essays reveal an in depth understanding of emotions and transitioning from childhood to maturity, which make his characters far more believable than comparable films. For the serious film buff who enjoys analyzing films, which I am admittedly not, it may be far more enjoyable chew through- it's fascinating to realize how purposeful his choices are for the way characters act despite the inexplicably natural way those actions are upon viewing. Simultaneously, there are also some completely arbitrary decisions, made purely as a result of personal experience. Versus the guesswork interpretations of paintings by old masters, it's actually possible to contrast the multitudes of fan theories with the director's intention in design elements and directorial choices.
Some included are:
- why Satsuki is hesitant in embracing her mother at the end (My Neighbor Totoro)
- the catalyst for Kiki's depression + loss of powers (Kiki's Delivery Service)
- why there are so many massive camphor trees in his movies
- the design of the floating castle in Castle in the Sky
- etc
As for myself, as an artist who does not necessarily want to be one and yet is involuntarily compelled to continue drawing, the first 1/3 of the book was personally relevant and prompted an intense urge to cry.
For the casual purveyor, Starting Point is a sneak peek into Miyazaki's personal lifestyle and thought process. Interrupted with numerous tangents involving the role of nature + technology in society, personal relationships and criticisms of colleagues, and his rage against the anime industry; it reveals a surprisingly pessimistic world view and creed on attempting to create an oasis of quality animation amongst an already oversaturated industry. Overall, it provides a far less humorous insight of the director than can be garnered from standalone hero-worship snippets and The Kingdom of Dreams and Madness.
As a whole, there are some parts that may be entirely too dry and nuanced. However, Miyazaki's short form essays reveal an in depth understanding of emotions and transitioning from childhood to maturity, which make his characters far more believable than comparable films. For the serious film buff who enjoys analyzing films, which I am admittedly not, it may be far more enjoyable chew through- it's fascinating to realize how purposeful his choices are for the way characters act despite the inexplicably natural way those actions are upon viewing. Simultaneously, there are also some completely arbitrary decisions, made purely as a result of personal experience. Versus the guesswork interpretations of paintings by old masters, it's actually possible to contrast the multitudes of fan theories with the director's intention in design elements and directorial choices.
Some included are:
- why Satsuki is hesitant in embracing her mother at the end (My Neighbor Totoro)
- the catalyst for Kiki's depression + loss of powers (Kiki's Delivery Service)
- why there are so many massive camphor trees in his movies
- the design of the floating castle in Castle in the Sky
- etc
As for myself, as an artist who does not necessarily want to be one and yet is involuntarily compelled to continue drawing, the first 1/3 of the book was personally relevant and prompted an intense urge to cry.
January 15, 2023
Miyazaki te quiero mucho por favor no te mueras nunca
December 4, 2018
This book was excellent. I am familiar with Miyazaki's work in animation (Spirited Away may be my favorite movie of all time, and I am fascinated by his films in general), but the book gave me a lot of new and surprising information. Some of it could be repetitive, and incongruous at times, but it was definitely worth the read. When at its best, the book was phenomenal.
Miyazaki shares views on Japanese history, society and environment, his various studies and fascinations with planes: so many subjects, stories, and points of view I had never considered at length before. He stresses observation and the importance of one's own experiences, in order to create, as he puts it, a "lie" so rich that it can be a believable world, captured in a film for children to enjoy, and adults to relive their childhood. He also details his experiences in past projects, from his successful hits to much lesser-known projects, without glorifying the process of becoming an animator, or throwing on pretense.
Some aspects of this book proved more entertaining than others, and I'm sure someone well-versed in Japanese history and culture would get a lot more out of it than I did (though there are footnotes defining certain terms and events). Even so, I think this is a good thing because it encouraged me to learn. I would recommend reading this book slowly, in small doses, to absorb each interview and story as its own piece. Each time I read a new part or chapter, I found myself itching to draw something, so I'd definitely recommend it to aspiring artists and animators.
Miyazaki shares views on Japanese history, society and environment, his various studies and fascinations with planes: so many subjects, stories, and points of view I had never considered at length before. He stresses observation and the importance of one's own experiences, in order to create, as he puts it, a "lie" so rich that it can be a believable world, captured in a film for children to enjoy, and adults to relive their childhood. He also details his experiences in past projects, from his successful hits to much lesser-known projects, without glorifying the process of becoming an animator, or throwing on pretense.
Some aspects of this book proved more entertaining than others, and I'm sure someone well-versed in Japanese history and culture would get a lot more out of it than I did (though there are footnotes defining certain terms and events). Even so, I think this is a good thing because it encouraged me to learn. I would recommend reading this book slowly, in small doses, to absorb each interview and story as its own piece. Each time I read a new part or chapter, I found myself itching to draw something, so I'd definitely recommend it to aspiring artists and animators.
June 14, 2020
For about the third time master director and artist Hayao Miyazaki has retired. There is every reason to believe that this one will take. His Starting Point, 1979-1896 reads like the results of going through old files and publishing some rather than trashing them all. I had hoped to gather some combination of who was the young Miyazaki, how he matured as an artist and some information on terms like Manga and any of the several forms and styles that in fact are mentioned in this collection. Instead this is a collection of lectures, interviews and promotional discussions. Being sections of the same things for different occasions it follows that it is repetitious, less than instructional and ultimately disappointing.
But for the lovely section of his drawings and the scattering of insights this would be a 2-star book. Towards the end there are flashes of brilliance, but they are lost in the flow of in-house interviews meant to sell movie tickets.. Even these are not dependable. The discussion of a light hearted movie can devolve into something more about personal politics or staff struggles.
As implied by the title there is a second book, Turning Point 1997-2008 which means there may be a third. Any interest I, as a fan still have is dampened. I will need some time to get over this let down and not make a point of buying a new copy.
But for the lovely section of his drawings and the scattering of insights this would be a 2-star book. Towards the end there are flashes of brilliance, but they are lost in the flow of in-house interviews meant to sell movie tickets.. Even these are not dependable. The discussion of a light hearted movie can devolve into something more about personal politics or staff struggles.
As implied by the title there is a second book, Turning Point 1997-2008 which means there may be a third. Any interest I, as a fan still have is dampened. I will need some time to get over this let down and not make a point of buying a new copy.
May 31, 2016
Considering the nature of the book, a collection of articles and interviews, it is fragmented and redundant. But definitely recommended for Miyazaki-san's fans. Provides an insight into his mind and his work and creative process.
April 14, 2025
Miyazaki is a legend of animation, so everything he's ever written must be worth reading, right? That seems to be the premise of the people who put this collection of articles and interviews and transcriptions of lectures and things together. It is wrong, in fact, though even if it weren't this would be an impressively cruel way of showcasing his brilliance—anyone is going to appear shallow and vapid when you read them answering the same handful of questions for the same sort of audience half a dozen times in a row.
It's not that Miyazaki is a particularly objectionable person—he's venal on occasion, sure, and nationalist, and unpleasant to and about people he works with, but not really in an exceptional way. He just doesn't have anything particularly insightful to say on really any subject, including animation—not even his own works.
(I know 1979 is when he directed Castle of Cagliostro, his first feature film, but that doesn't make titling this Starting Point any less silly. In 1979 Miyazaki was 38 years old and had already been working in animation for sixteen.
There's another one of these called Turning Point.)
It's not that Miyazaki is a particularly objectionable person—he's venal on occasion, sure, and nationalist, and unpleasant to and about people he works with, but not really in an exceptional way. He just doesn't have anything particularly insightful to say on really any subject, including animation—not even his own works.
(I know 1979 is when he directed Castle of Cagliostro, his first feature film, but that doesn't make titling this Starting Point any less silly. In 1979 Miyazaki was 38 years old and had already been working in animation for sixteen.
There's another one of these called Turning Point.)
June 22, 2023
Pretty great most of the time!
May 22, 2025
4.5*
took me so many years to read through this brick. but totally worth it.
Full of insight into the animation world, Hayao Miyazaki's inner life, and the production of his earlier movies.
Does it drag at times in the earlier parts of the book if one isn't a complete animation geek? Ye. But it's still fascinating, and there are so many lines I highlighted, so many passages I tabbed. I feel like I learned a lot throughout this read, not the least that the setting of Kiki's delivery service is actually inspired by one of my favourite Swedish cities, Visby.
took me so many years to read through this brick. but totally worth it.
Full of insight into the animation world, Hayao Miyazaki's inner life, and the production of his earlier movies.
Does it drag at times in the earlier parts of the book if one isn't a complete animation geek? Ye. But it's still fascinating, and there are so many lines I highlighted, so many passages I tabbed. I feel like I learned a lot throughout this read, not the least that the setting of Kiki's delivery service is actually inspired by one of my favourite Swedish cities, Visby.
September 13, 2018
There is certain kind of books where you can finish them in two or three days, and they are others that you can't help but live with them, either because you got attached & grew to love deeply, so you want to extend your experience with them as much as possible. Or because, harshly, they are too hard to read.
This book was both
I struggled reading it. I had to reread paragraphs many times. But, I enjoyed it, thoroughly, and loved it.
Because Hayao Miyazaki has so many opinions about so many subjects you feel overwhelmed by them. It was really hard for me to get what he meant. And I couldn’t usually skip what I read and spent days just thinking about one idea he had or a remark about the environment. For me, it was that dense. And, It was a pleasure seeing how much he jumped between topics and talked about the weather, architects, his kids, plants, sociology, his friend’s kids, script writing, world building and so on.
And honestly, I can’t fully say I grasped everything in the book. I filled it with notes nonetheless.
Hayao Miyazaki is a unique person and as enjoyable as his movies. and I think I may like him a bit more than his works now.
Also, I must note how much I admired the translator. I rarely find works that are faithful to this extent but done very well, you could feel the spirit of the book.
This book was both
I struggled reading it. I had to reread paragraphs many times. But, I enjoyed it, thoroughly, and loved it.
Because Hayao Miyazaki has so many opinions about so many subjects you feel overwhelmed by them. It was really hard for me to get what he meant. And I couldn’t usually skip what I read and spent days just thinking about one idea he had or a remark about the environment. For me, it was that dense. And, It was a pleasure seeing how much he jumped between topics and talked about the weather, architects, his kids, plants, sociology, his friend’s kids, script writing, world building and so on.
And honestly, I can’t fully say I grasped everything in the book. I filled it with notes nonetheless.
Hayao Miyazaki is a unique person and as enjoyable as his movies. and I think I may like him a bit more than his works now.
Also, I must note how much I admired the translator. I rarely find works that are faithful to this extent but done very well, you could feel the spirit of the book.
August 4, 2024
'Starting Point' is a collection of articles, interviews, presentations and proposals by Hayao Miyazaki. The book thus certainly is no autobiography, but a mix of more and less interesting insights in the old master's ideas and viewpoints. With such an approach repetition is a serious risk, and it remains difficult to get a grasp of the director's character. In fact, Isao Takahata's portrait of Miyazaki at the very end of the book is more informative in this respect than all Miyazaki's musings of the main volume. The best parts are when Miyazaki discusses his own works in detail. Especially 'Future Boy Conan' gets a lenghty discussion. Very insightful, too, are the original proposals and planning notes for some of his films. Also included is a handy chronology, which goes all the way to 2009 even though the book stops at 1996 (which means we miss info about Princess Mononoke, Spirited Away and The Wind Rises). As a bonus two of his comic strips are included, of which one in color. Both are, what else?, about aviation. The result naturally is a mixed bag, and certainly the earlier chapters can be missed. But for lovers of Miyazaki's works there are some real treasures to be found. Nevertheless, for fanatics only.
January 4, 2021
As a rookie employee of my company, this book though me a lot about the importance of giving your effort and understanding the things you do. Personally, I kind of feel sometimes stressed during the lockdown and quarantine. So I made a routine about reading this book at least 1 hour per day in the morning before I start the day. What I wrote here has no context about the book or a spoiler. It is only the knowledge I received from this book. Of course, I do love Ghibli films, and I have watched most of them. But what I truly learned from this book was more than the films of this studio.
The main thing is about famous studio ghibli and how the legendary director Miyazaki does his work but, I found that whatever you started to do or still doing must have some certain value in it. And it must have motivated you in a certain way. But it also demands self-sacrifice from you or someone close to you. Overcoming and giving up is your option, of course, but one thing that Miyazaki did was he waited and worked almost 20 years to find the studio ghibli. Do not fill yourself with a temporary suffering feeling and patiently do what you love to do and drive through the ups and downs to reach your dream.
The main thing is about famous studio ghibli and how the legendary director Miyazaki does his work but, I found that whatever you started to do or still doing must have some certain value in it. And it must have motivated you in a certain way. But it also demands self-sacrifice from you or someone close to you. Overcoming and giving up is your option, of course, but one thing that Miyazaki did was he waited and worked almost 20 years to find the studio ghibli. Do not fill yourself with a temporary suffering feeling and patiently do what you love to do and drive through the ups and downs to reach your dream.
September 21, 2016
Absolutely brilliant book, a must for any filmmaker, specially animators. Miyazaki writes a series of essays about how he creates, and most importantly why he creates. How does he see the world, and how does he represent that on screen? How do you make audiences care about what they're seeing? What makes Ghibli films so superior to those of just about every other animation studio in the world?
It's not about the drawings or the 3D models. It's not even about the movement. Miyazaki talks about what his characters feel, and how he wants his audiences to feel. He talks about empathy, and about thinking beyond the purely visual.
He also talks about the process of creating animation, the people he's worked with or met, and the films that have influenced him. It's an incredible insight into one of the most creative minds of the last 50 years.
(Personally, I didn't care for the interviews towards the end of the book, but no matter. The essays made it worth while.)
It's not about the drawings or the 3D models. It's not even about the movement. Miyazaki talks about what his characters feel, and how he wants his audiences to feel. He talks about empathy, and about thinking beyond the purely visual.
He also talks about the process of creating animation, the people he's worked with or met, and the films that have influenced him. It's an incredible insight into one of the most creative minds of the last 50 years.
(Personally, I didn't care for the interviews towards the end of the book, but no matter. The essays made it worth while.)
February 8, 2017
More 3,5 stars... It was great to get to look into the mind of this great animator, to know how much he cares about nature, what he thinks of childhood, about animation, etcetera...
It was boring at times though, probably in part because of the writing, but honestly animation isn't the only subject in this book. I don't really know what I expected from this, but I definitely hoped it would be better (aka; I wanted it to blow my mind and maybe get more info on how to get better at this difficult craft)...
I'm still so glad I got to read this book, Miyazaki is a master of animation and to learn more from and about him is a great gift!
It was boring at times though, probably in part because of the writing, but honestly animation isn't the only subject in this book. I don't really know what I expected from this, but I definitely hoped it would be better (aka; I wanted it to blow my mind and maybe get more info on how to get better at this difficult craft)...
I'm still so glad I got to read this book, Miyazaki is a master of animation and to learn more from and about him is a great gift!
July 2, 2010
Definitely enjoyed it. Why? Because it provided an insight into Miyazaki himself. It gave background to his thoughts on certain films, on the process of making them. It revealed to me how his Japanese culture, which I am not familiar, affected him. There is one chapter dedicated completely to Future Boy Conan. I had not seen it and so I put the book down and watched the whole thing before I came back to the book again. Maybe it's because I'm a fanboy, but it was very fascinating and to me, worth the read.
September 21, 2013
It builts an interesting picture of one of my favorite animation authors. It sheds light in the way he perceives the world around him and what his work means to him which is always valuable information to have when one attemps to watch a story in full light.
Read
June 25, 2010Holy cow all Miyazaki talks about is overpopulation and how there are too many cartoons on TV.
October 5, 2022
It's very easy to believe that Miyazaki is simply a grumpy old man who despises the entire medium that he works in, or someone who's genius is so untouchable that it makes sense for him to be as caustic and cold as he is. Years of "anime was a mistake" memes and pitting his work against every animated movie to come out of Japan have created a situation where Miyazaki has been put on the highest pedestal and no one feels the need to bring him down from that pedestal to really examine who he is, what he stands for, and what goes into making his work. Reading this giant book of essays, writings, interviews, and talks that Miyazaki gave over 1979-1996, a period that represents his start as a film director, demystifies this man and reveals him to be, more than anything, incredibly human. He contradicts himself constantly, one year being passionate about a specific cause and the next believing it to be frivolous and unimportant to some other, greater cause. He constantly talks about how much he hates humanity and it's inherent cruelty, but also believes strongly in an optimistic future and a world where everyone is capable of being a good person. In between moments of describing how the entire Japanese animation industry has failed him, he always mentions the people who made it worth suffering through, and the ways in which he strives to make it better. Miyazaki is someone who can't help but believe in the beauty of the world and the people who reflect that beauty.
Skip the foreword by known sex pervert John Lasseter, and don't miss the incredibly touching afterword from Isao Takahata, someone who is able to convey all of Miyazaki's quirks and peculiarities better than the man himself is able to throughout the book.
Skip the foreword by known sex pervert John Lasseter, and don't miss the incredibly touching afterword from Isao Takahata, someone who is able to convey all of Miyazaki's quirks and peculiarities better than the man himself is able to throughout the book.
August 8, 2023
I got lucky with the most perfect timing for this reading as I am in a break between jobs and on the verge to dive into my own projects! Miyazaki is one of my absolute favourite directors so I already knew I needed to read this book, but it surpassed my expectations. I really recommend it to anybody who works in the creative industry, specially audiovisual such as animation ofc or live action. There is something very powerful and on point when a filmmaker starts to talk about their creative process! And this book is really generous on this. It's also a very pleasant paperback edition to handle, the texture of the paper and cover are so satisfying! Despite being a considerable thick book it's light and malleable.
I am also excited for the following one: Turning Point 1997-2008 but I might wait a bit to jump to it as I feel I still have a lot to digest from Starting Point.
I am also excited for the following one: Turning Point 1997-2008 but I might wait a bit to jump to it as I feel I still have a lot to digest from Starting Point.
September 29, 2025
I finally got around to reading this and I absolutely loved it. I loved how it was a balance of anecdotal stories from Miyazaki, snippets of interviews, his influences and I especially loved seeing the project and directorial plans for some of his most famous projects. To see the background and intentions of some of my favourite films was really special and I loved digging a bit deeper into the mind and history of someone I admire so much.
July 3, 2024
getting to see the way he thinks and how his creative process is, over the years, was truly intriguing. i am glad to have read it since miyazaki has always been one of my greatest inspirations. for that very reason, this has been a very inspiring read.
January 11, 2025
It was so nice seeing a rich portrait of Miyazakis philosophies and work ethic. He is such a complicated and creative man.
Many of the interviews and essays in this collection were repetitive, but other than that it was wonderful.
Many of the interviews and essays in this collection were repetitive, but other than that it was wonderful.
April 24, 2024
It is very informative but hard to read and understand.
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