Background and career
Hayao Miyazaki (宮崎 駿 or 宮﨑 駿, Miyazaki Hayao; [mijaꜜzaki hajao]; born January 5, 1941) is a Japanese animator, filmmaker, and manga artist. He co-founded Studio Ghibli and serves as its honorary chairman. Throughout his career, Miyazaki has attained international acclaim as a masterful storyteller and creator of Japanese animated feature films, and is widely regarded as one of the greatest and most accomplished filmmakers in the history of animation. Born in Tokyo City, Miyazaki expressed interest in manga and animation from an early age. He joined Toei Animation in 1963, working as an inbetween artist and key animator on films like Gulliver's Travels Beyond the Moon (1965), The Great Adventure of Horus, Prince of the Sun (1968), and Animal Treasure Island (1971), before moving to A-Pro in 1971, where he co-directed Lupin the Third Part I (1971–1972) with Isao Takahata. After moving to Zuiyō Eizō (later Nippon Animation) in 1973, Miyazaki worked as an animator on World Masterpiece Theater and directed the television series Future Boy Conan (1978). He joined Tokyo Movie Shinsha in 1979 to direct his first feature film, The Castle of Cagliostro (1979), and the television series Sherlock Hound (1984–1985). He wrote and illustrated the manga Nausicaä of the Valley of the Wind (1982–1994) and directed the 1984 film adaptation produced by Topcraft. Miyazaki co-founded Studio Ghibli in 1985, writing and directing films such as Laputa: Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki's Delivery Service (1989), and Porco Rosso (1992), which were met with critical and commercial success in Japan. Miyazaki's Princess Mononoke (1997) was the first animated film to win the Japan Academy Film Prize for Picture of the Year and briefly became the highest-grossing film in Japan; its Western distribution increased Ghibli's worldwide popularity and influence. Spirited Away (2001) became Japan's highest-grossing film and won the Academy Award for Best Animated Feature; it is frequently ranked among the greatest films of the 21st century. Miyazaki's later films—Howl's Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013)—also enjoyed critical and commercial success. He retired from feature films in 2013 but later returned to make The Boy and the Heron (2023), which won the Academy Award for Best Animated Feature. Miyazaki's works are frequently subject to scholarly analysis and have been characterized by the recurrence of themes such as humanity's relationship with nature and technology, the importance of art and craftsmanship, and the difficulty of maintaining a pacifist ethic in a violent world. His protagonists are often strong girls or young women, and several of his films present morally ambiguous antagonists with redeeming qualities. Miyazaki's works have been highly praised and awarded; he was named a Person of Cultural Merit for outstanding cultural contributions in 2012, received the Academy Honorary Award for his impact on animation and cinema in 2014, and the Ramon Magsaysay Award in 2024. Miyazaki has frequently been cited as an inspiration for numerous animators, directors, and writers.
Hayao Miyazaki was born on January 5, 1941, in the town Akebono-cho in Hongō, Tokyo City, Empire of Japan, the second of four sons. His father, Katsuji Miyazaki (born 1915), was the director of Miyazaki Airplane, his brother's company, which manufactured rudders for fighter planes during World War II. The business allowed his family to remain affluent during Miyazaki's early life. Miyazaki's father enjoyed purchasing paintings and demonstrating them to guests, but otherwise had little known artistic understanding. He was in the Imperial Japanese Army around 1940, discharged and lectured about disloyalty after declaring to his commanding officer that he wished not to fight because of his wife and young child. According to Miyazaki, his father often told him about his exploits, claiming he continued to attend nightclubs after turning 70. Katsuji Miyazaki died on March 18, 1993. After his death, Miyazaki felt he had often looked at his father negatively and that he had never said anything "lofty or inspiring". He regretted not having a serious discussion with his father, and felt he had inherited his "anarchistic feelings and his lack of concern about embracing contradictions".
Some of Miyazaki's earliest memories are of "bombed-out cities". In 1944, when he was three years old, Miyazaki's family evacuated to Utsunomiya. After the city was bombed in July 1945, they evacuated to Kanuma. The bombing left a lasting impression on Miyazaki, then aged four. As a child, he suffered from digestive problems, and was told he would not live beyond 20, making him feel like an outcast; he considered himself "clumsy and weak", protected at school by his older brother. From 1947 to 1955, Miyazaki's mother Yoshiko suffered from spinal tuberculosis; she spent the first few years in hospital before being nursed from home, forcing Miyazaki and his siblings to take over domestic duties. Yoshiko was frugal, and described as a strict, intellectual woman who regularly questioned "socially accepted norms". She was closest with Miyazaki, and had a strong influence on him and his later work, inspiring several of his characters. Yoshiko Miyazaki died in July 1983 at the age of 72. Miyazaki began school as an evacuee in 1947, at an elementary school in Utsunomiya, completing the first through third grades. After his family moved back to Suginami-ku in 1950, Miyazaki completed the fourth grade at Ōmiya Elementary School, and fifth grade at Eifuku Elementary School, which was newly established after splitting off from Ōmiya Elementary. After graduating from Eifuku as part of the first graduating class, he attended Ōmiya Junior High School. He aspired to become a manga artist, but discovered he could not draw people; instead, he drew planes, tanks, and battleships for several years. Miyazaki was influenced by several manga artists, such as Tetsuji Fukushima, Soji Yamakawa and Osamu Tezuka. Miyazaki destroyed much of his early work, believing it was "bad form" to copy Tezuka's style as it was hindering his own development as an artist. He preferred to see artists like Tezuka as fellow artists rather than idols to worship. Around this time, Miyazaki often saw movies with his father, who was an avid moviegoer; memorable films for Miyazaki include Meshi (1951) and Tasogare Sakaba (1955). After graduating from Ōmiya Junior High, Miyazaki attended Toyotama High School. During his third and final year, Miyazaki's interest in animation was sparked by The White Snake Enchantress (1958), Japan's first feature-length animated film in color; he had sneaked out to watch the film instead of studying for his entrance exams. Miyazaki later recounted that, falling in love with its heroine, the film moved him to tears and left a profound impression, prompting him to create work true to his own feelings instead of imitating popular trends; he wrote the film's "pure, earnest world" promoted a side of him that "yearned desperately to affirm the world rather than negate it". After graduating from Toyotama, Miyazaki attended Gakushuin University in the department of political economy, majoring in Japanese Industrial Theory; he considered himself a poor student as he instead focused on art. He joined the "Children's Literature Research Club", the "closest thing back then to a comics club"; he was sometimes the sole member of the club. In his free time, Miyazaki would visit his art teacher from middle school and sketch in his studio, where the two would drink and "talk about politics, life, all sorts of things". Around this time, he also drew manga; he never completed any stories, but accumulated thousands of pages of the beginnings of stories. He also frequently approached manga publishers to license their stories. In 1960, Miyazaki was a bystander during the Anpo protests, having developed an interest after seeing photographs in Asahi Graph; by that point, he was too late to participate in the demonstrations. Miyazaki graduated from Gakushuin in 1963 with degrees in political science and economics.
In 1963, Miyazaki was employed at Toei Doga; this was the last year the company hired regularly. He began renting a four-and-a-half tatami (7.4 m2; 80 sq ft) apartment in Nerima, Tokyo, near Toei's studio; the rent was ¥6,000, while his salary at Toei was ¥19,500. Miyazaki worked as an inbetween artist on the theatrical feature films Doggie March (1963) and Gulliver's Travels Beyond the Moon (1965) and the television anime Wolf Boy Ken (1963). His proposed changes to the ending of Gulliver's Travels Beyond the Moon were accepted by its director; he was uncredited but his work was praised. Miyazaki found inbetween art unsatisfying and wanted to work on more expressive designs. He was a leader in a labor dispute soon after his arrival at Toei, and became chief secretary of its labor union in 1964; its vice-chairman was Isao Takahata, with whom Miyazaki would form a lifelong collaboration and friendship. Around this time, Miyazaki questioned his career choice and considered leaving the industry; a screening of The Snow Queen in 1964 moved him, prompting him to continue working "with renewed determination". During production of the anime series Shōnen Ninja Kaze no Fujimaru (1964–1965), Miyazaki moved from inbetween art to key animation, and worked in the latter role on two episodes of Sally the Witch (1966–1968) and several of Hustle Punch (1965–1966) and Rainbow Sentai Robin (1966–1967). Concerned that opportunities for creative projects and feature films would become scarce following an increase in animated television, Miyazaki volunteered in 1964 to work on the film The Great Adventure of Horus, Prince of the Sun (1968); he was key animator, concept artist, and scene designer, credited as the latter. On the film, he worked closely with his mentor, Yasuo Ōtsuka, whose approach to animation profoundly influenced Miyazaki's work. Directed by Takahata, the film was highly praised and deemed a pivotal work in the evolution of animation, though its limited release and minimal promotion led to disappointing box office results—among Toei Animation's worst, which threatened the studio financially. Miyazaki moved to a residence in Higashimurayama after his wedding in October 1965, to Ōizumigakuenchō after the birth of his second son in April 1969, and to Tokorozawa in 1970. Miyazaki provided key animation for The Wonderful World of Puss 'n Boots (1969), directed by Kimio Yabuki. He created a 12-chapter manga series as a promotional tie-in for the film; the series ran in the Sunday edition of Tokyo Shimbun from January to March 1969. Miyazaki later proposed scenes in the screenplay for Flying Phantom Ship (1969) in which military tanks would cause mass hysteria in downtown Tokyo, and was hired to storyboard and animate the scenes. Beginning a shift towards slow-paced productions featuring mostly female protagonists, he provided key animation for Moomin (1969), two episodes of Himitsu no Akko-chan (1969–1970), and one episode of Sarutobi Ecchan (1971), and was organizer and key animator for Ali Baba and the Forty Thieves (1971). Under the pseudonym Akitsu Saburō (秋津 三朗), Miyazaki wrote and illustrated the manga People of the Desert, published in 26 installments between September 1969 and March 1970 in Boys and Girls Newspaper (少年少女新聞, Shōnen shōjo shinbun). He was influenced by illustrated stories such as Fukushima's Evil Lord of the Desert (沙漠の魔王, Sabaku no maō). In 1971, Miyazaki developed structure, characters, and designs for Hiroshi Ikeda's adaptation of Animal Treasure Island, providing key animation and script development. He created the 13-part manga adaptation, printed in Tokyo Shimbun from January to March 1971.
Miyazaki left Toei Animation in August 1971, having become dissatisfied by the lack of creative prospects and autonomy, and by confrontations with management regarding The Great Adventure of Horus. He followed Takahata and Yōichi Kotabe to A-Pro, where he directed, or co-directed with Takahata, 17 of the 23 episodes of Lupin the Third Part I, originally intended as a movie project. This was Miyazaki's directorial debut. He and Takahata were engaged to emphasize the series' humor over its violence. The two also began pre-production on a series based on Astrid Lindgren's Pippi Longstocking books, designing extensive storyboards; Miyazaki and Tokyo Movie Shinsha president Yutaka Fujioka traveled to Sweden to secure the rights—Miyazaki's first trip outside Japan and possibly the first overseas trip for any Japanese animator for a production—but the series was canceled after they were unable to meet Lindgren, and permission was refused to complete the project. Foreign travel left an impression on Miyazaki; using concepts, scripts, design, and animation from the project, he wrote, designed and animated two Panda! Go, Panda! shorts in 1972 and 1973, with Takahata as director and Ōtsuka as animation director. Their choice of pandas was inspired by the panda craze in Japan at the time. Miyazaki drew storyboards for the first episode of The Gutsy Frog in 1971 (though they went unused), provided key animation and storyboards for two episodes of Akado Suzunosuke in 1972, and delivered key animation for one episode each of Kōya no Shōnen Isamu (directed by Takahata) and Samurai Giants in 1973. In 1972, he directed a five-minute pilot film for the television series Yuki's Sun; the series was never produced, and the pilot fell into obscurity before resurfacing as part of a Blu-ray release of Miyazaki's works in 2014. In June 1973, Miyazaki and Takahata moved from A-Pro to Zuiyō Eizō, where they worked on World Masterpiece Theater, which featured their animation series Heidi, Girl of the Alps, an adaptation of Johanna Spyri's Heidi. The production team wanted the series to set new heights for television animation, and Miyazaki traveled to Switzerland to research and sketch in preparation. Zuiyō Eizō split into two companies in July 1975; Miyazaki and Takahata's branch became Nippon Animation. They briefly worked on Dog of Flanders in 1975 before moving on to the larger-scale 3000 Leagues in Search of Mother (1976), directed by Takahata, for which Miyazaki traveled to Argentina and Italy as research.
In 1977, Miyazaki was chosen to direct his first animated television series, Future Boy Conan; he directed 24 of the 26 episodes, which were broadcast in 1978. Only eight episodes were completed when the series began airing; each episode was completed within ten to fourteen days. An adaptation of Alexander Key's The Incredible Tide, the series features several elements that later reappeared in Miyazaki's work, such as warplanes, airplanes, and environmentalism. Also working on the series was Takahata, Ōtsuka, and Yoshifumi Kondō, whom Miyazaki and Takahata had met at A-Pro. Visually, Miyazaki was inspired by Paul Grimault's The Adventures of Mr. Wonderbird. Miyazaki did key animation for thirty episodes of the World Masterpiece Theater series Rascal the Raccoon (1977) and provided scene design and organization on the first fifteen episodes of Takahata's Anne of Green Gables before leaving Nippon Animation in 1979. Miyazaki moved to Tokyo Movie Shinsha to direct his first feature anime film, The Castle of Cagliostro (1979), an installment of the Lupin III franchise. Ōtsuka had approached him to direct the film following the release of Lupin the 3rd: The Mystery of Mamo (1978), and Miyazaki wrote the story with Haruya Yamazaki. Wishing to insert his own creativity into the franchise, Miyazaki inserted several elements and references, inspired by several of Maurice Leblanc's Arsène Lupin novels, on which Lupin III is based, as well as The Adventures of Mr. Wonderbird. Visually, he was inspired by Kagoshima Publishing's Italian Mountain Cities and the Tiber Estuary, reflecting his love for Europe. Production ran for four months and the film was released on December 15, 1979; Miyazaki wished he could have had another month of production. It was well received; Animage readers voted it the best animation of all time—it remained in the top ten for more than fifteen years—and Clarisse the best heroine. In 2005, former princess Sayako Kuroda's wedding dress was reportedly inspired by Clarisse's, having been a fan of Miyazaki and his work. Several Japanese and American filmmakers were inspired by the film, prompting homages in other works. Miyazaki became a chief animation instructor for new employees at Telecom Animation Film, a subsidiary of Tokyo Movie Shinsha, and subsequently directed two episodes of Lupin the Third Part II under the pseudonym Teruki Tsutomu (照樹 務), which can read as "employee of Telecom". In his role at Telecom, Miyazaki helped train the second wave of employees. Miyazaki provided key animation for one episode of The New Adventures of Gigantor (1980–1981), and directed six episodes of Sherlock Hound in 1981, until legal issues with Arthur Conan Doyle's estate led to a suspension in production; Miyazaki was busy with other projects by the time the issues were resolved, and the remaining episodes were directed by Kyôsuke Mikuriya and broadcast from November 1984 to May 1985. It was Miyazaki's final television work. In 1982, Miyazaki, Takahata, and Kondō started work on a film adaptation of Little Nemo, but Miyazaki and Takahata left after a few months due to creative clashes with Fujioka (Kondō remained until 1985); the film was completed six years later as Little Nemo: Adventures in Slumberland (1989). Miyazaki spent some time in the United States during the film's production.
