Which movie did Hayao Miyazaki and Mamoru Oshii become enemies over?

“Actually, Mamoru Oshii and Hayao Miyazaki, a high school student, have many similarities. Their encounter became a great opportunity and changed their battlefields. From then on, they fought against each other on the same battlefield. Fighting, therefore, can exert its own strength in different aspects, forming its own creative characteristics during this period." (Suzuki Toshio)

Whether the pair of central characters we are describing really has a personality. A bit of an ugly duckling-like inferiority complex or a bit of a arrogant image. Judging from their names, one of them does seem to have bottomless depths, while the other seems to be trapped in a trap, but they have the same point, neither of them can escape. He has never truly escaped his own destiny. Before talking about the two masters, we will first mention a 19-year-old boy - he was a 19-year-old boy in 1984. That year he watched "Beautiful Dreamer" and "The Wind" in the theater. Valley", and everything changed, whether it was his own world or the future pattern of the Japanese animation industry.

"Beautiful Dreamer" and "Nausicaa of the Valley of the Wind" were the starting points of Mamoru Oshii and Hayao Miyazaki, even though they were not their debuts; and 1984 was known as the "Master of Japanese Animation" "First Year" can be said to be worthy of its name.

The two supervisors met for the first time a year before the first year of the master's year, but since then, their different stubborn personalities have gradually caused them to work separately, and their characteristics have also become increasingly different. become distinct. In 1985, the so-called "history of hostility" between Mamoru Oshii and Hayao Miyazaki began.

“My first impression of him was that he was a very relaxed and pleasant person, but when the discussion gradually became heated, he left no room for you at all. He was incredibly energetic. He is also very active and loves to talk, as if whoever speaks more is more powerful. Every time we speak, we always want to convince the other party, so it is really tiring. "Oshii Mamoru is certainly not a taciturn person, but. This time I did meet my opponent. This first meeting left Miyazaki with the impression that "he is really a jerk" in Oshii's mind.

The word "enmity" comes from "Zuo Zhuan·Yin Gong Three Years", which means "the relationship between the two parties broke down and they hated each other." Therefore, the key point we can summarize is that the two parties must have been Cherishing each other.

Six years after collaborating with Yasuo Otsuka on "Lupine the Third: The Castle of Cagliostro", Hayao Miyazaki once again received an invitation to produce the theatrical version of "Lupine the Third". It was his theatrical debut in 1979 that won the Oto Noburo Award, but the old man had no plans to do it again. Maybe he has already realized that no matter what kind of animation he makes in the future, he will become a frequent winner of this award. On the other hand, it was because of the short-term and high-intensity work of commercial animation that he was frightened. The second theater of "Lupine the Third" only took half a year from the start of construction to the release of the film. According to Mr. Miyazaki himself, "From this work, I learned the limits of my physical strength for the first time." This kind of life-threatening effort This can be especially scary for those who are physically active.

In this case, it would certainly be wise to decline the invitation. Hayao Miyazaki then recommended Mamoru Oshii to the producer. That was about two years after they met.

Because Otsuka Yasuo was the painting supervisor and tone setter of "Lupine the Third", and at the same time he had a comradeship with Hayao Miyazaki in the labor union during the Toei period - in 1964, Hayao Miyazaki He became the secretary-general of the Toei Animation Labor Association. At that time, Isao Takahata was the vice-chairman of the association, and Yasuo Otsuka was the chairman-so Miyazaki's recommendation quickly came true. Although the project failed to materialize, Otsuka and Otsui still formed a strong friendship, so much so that when filming the realistic film "Red Glasses" (1987), Otsuka Yasuo not only made a cameo in the film, but even provided his own equipment for the film. A jeep was used for filming - if it were Hayao Miyazaki, he would never do this.

In 1985, Mamoru Oshii enthusiastically handed over his plan for "Lupine the Third: The Final Chapter" to the producer - the original Crusher was not in vain, at least it scared the producer, so Hayao Miyazaki turned down the producers, who turned down Mamoru Oshii. The shadow of this incident made Oshii brood for ten years, and he was not relieved until the release of "Ghost in the Shell" in 1995: "In Ghost in the Shell, I can finally get rid of Lupine!"

In 1968, "Prince of the Sun", which had been produced for three years, was released. This animation, co-produced by Otsuka Yasuo (animation supervisor), Takahata Isao (supervisor) and Miyazaki Hayao (scene design), is regarded as the first major breakthrough in the original animation style, and it is also the "original" for later Japanese animation. and laid the foundation for the “progressive animation” movement. Hayao Miyazaki and Mamoru Oshii were also the flag-bearers who participated in the later Japanese animation "originalization" and "progressive animation" movements. Although they are both paranoid, their ideas are really very different; compare Compared with Hayao Miyazaki, Mamoru Oshii and Isao Takahata may have more in common.

When talking about Takahata, Mamoru Oshii said: "On the surface, Mr. Takahata also likes to argue with people and desperately wants to convince others, but inside he is a very different person. Miyazaki Mr. Takahata has a very cute character, and his philosophy always ends with: 'Good things are good, no matter what the logic is!' But Mr. Takahata is a completely consistent person. I once heard Otsuka Yasuo. The teacher described Mr. Takahata and me this way: Mr. Takahata is like a 'logic walking', and I am like a 'logic riding a bicycle.'"

As Mr. Otsuka said, they have something. There are similarities in the sense of logic, a pursuit of continuous creation and innovation, but the degree of urgency is different. This is why Takahata Isao can abandon Ghibli's usual transparent animation and try to use digital technology to use pencil line forms and watercolor tones to create a sketch-like work "My Neighbor Yamada-kun"; and Oshii Mamoru can also invent A "live-mation" method allowed disciple Kenji Kamiyama to shoot "Mobile Police Mini", and Nishikubo Mizuho, ??one of the "Four Heavenly Kings of Dragon Son", to shoot "Miyamoto Musashi: Two Swords". "Dream", or letting himself shoot something like "The Story of a Standing Chef" - as if there is some kind of obsessive-compulsive disorder that must happen; at the same time, Hayao Miyazaki will not even touch a computer, and there are no other painting methods other than artificial ones. It will inevitably make him feel contempt.

Isao Takahata, who is only 6 years older than Hayao Miyazaki, is like Hayao Miyazaki's elder brother - a 19-year-old and a 13-year-old brother, while Miyazaki is 10 years older than Oshii Mamoru. Saki Hayao, on the other hand, does not look like he has given up his childishness and has become more arrogant with the stubborn old man's temper that seeped into him as he got older. It is a miracle that the pairing of Isao Takahata and Hayao Miyazaki has survived; on the other hand, Isao Takahata's cold temperament, as if he would never really get hurt or simply admit defeat, really attracted Mamoru Oshii.

In short, their personalities determine that Oshii Mamoru and Miyazaki Hayao cannot really get together, which also affects Oshii Mamoru and Ghibli in the end; and the "Lupine the Third" theatrical version The rejection became the trigger for this divergent journey.

In 1978, the second year after Oshii Mamoru entered the industry, the monthly animation magazine "Animage" under Tokuma Shoten was founded. This is an extremely important event, at least for newcomers like Miyazaki Hayao and Oshii Mamoru. It is like the "Vanity Fair" of the animation industry, and Tokuma Yasukai (as a legal representative) is like Their Bole.

In 1981, the Clown Club, which separated from Tatsunoko, was short of manpower, so it was possible for Oshii Mamoru, who was thirty years old, to work on the animated adaptation of "Fukusei Yatsura". He also took this opportunity to let Oshii Mamoru. Being able to run wild on the path of the original crusher.

That year was also a turning point in Miyazaki's life. Toshio Suzuki, who was the editor-in-chief of "Animage" at the time, originally planned to interview Isao Takahata, who was famous for the "World Masterpiece Theater" series, but was unexpectedly rejected, so he turned to Hayao Miyazaki, who was relatively junior and not well-known. Visit the album.

So under the leadership of Toshio Suzuki and Yasukai Tokuma, Hayao Miyazaki began to serialize the manga of "Nausicaa of the Valley of the Wind" on "Animage" the following year. One year after the serialization, the theatrical animation of "Nausicaa of the Valley of the Wind" began to be produced. The third year Nausicaa of the Valley of the Wind was released and became a huge hit.

"Nausicaa of the Valley of the Wind" became a watershed for Hayao Miyazaki, and just before that, after filming "Lupine the Third", he got the support of Tokuma Shoten and finally gave birth to "Nausicaa of the Valley of the Wind" During the "Three Dark Years", Hayao Miyazaki, who wanted to make his own movie, promoted his work everywhere, but he repeatedly ran into obstacles. "Smells like mud" and "stale" are the only comments that most projects receive. But meeting Tokuma Bookstore was not the end of the biggest blow. It was just the end of a career decline.

This was the eve of a watershed moment. During the animation production of "Nausicaa of the Valley of the Wind", his mother, who had been ill for a long time, passed away. This was something that would make Miyazaki Hayao regretful for the rest of his life. "If you can't entertain people, there is no meaning of existence." This "person" naturally refers to his mother at first. Mamoru Oshii once vaguely mentioned that Hayao Miyazaki was too deeply bound by the past. Among other things, this was probably an allusion to Hayao Miyazaki's Oedipus complex. This strong woman had a profound influence on Hayao Miyazaki, so much so that one or two of the female images in many of his works were derived from her. It can even be said that one of the purposes of Hayao Miyazaki's initial involvement in animation was to make people She is happy. Turning grief into strength may be the only persistence left in Hayao Miyazaki's mind after losing his mother, and to a certain extent, this has fulfilled him. Hayao Miyazaki's mother would have been deeply pleased if Izumi knew this, because after the darkest years, her son's national status in the Japanese animation industry has never been shaken.

In 1985, Studio Ghibli also took this opportunity to establish it with the investment of Tokuma Bookstore. It was named after an Italian reconnaissance aircraft during World War II, meaning "Sahara". The hot wind of the desert.” Hayao Miyazaki's father is an airplane manufacturer, while Mamoru Oshii's father is just a half-hearted private detective and almost full-time unemployed who often doesn't get commissions so he often has extra time to take his son to the theater. This may also be what Mamoru Oshii has. The origin of uneasiness, and Hayao Miyazaki, who was born into wealth, will never have such worries about imbalance. He will not doubt the existence of this life as much as Oshii does. Coupled with the establishment of Ghibli, as far as he is concerned, From then on, he had a family; perhaps Hayao Miyazaki regarded Ghibli as his own from the beginning. So Miyazaki Hayao dreamed and took risks more steadily. He no longer innovated in creation, but just followed the steps step by step, realizing the dreams that had been planned one by one. For him, life is like this, and this kind of life is enough; but Mamoru Oshii, for many reasons But he had to continue to live in an indescribable time and space, as if there would never be a chance to condense the entity.

In this case, it was not until 1988 when he was supervising "Mobile Police" that he met Production I.G (under the premise of Headgear) that had just been established by Ishikawa Mitsuhisa and Goto Takayuki, that Oshii Mamoru's creation was considered official. Another step has been taken.

Toshio Suzuki, who was the second editor-in-chief of "Animage" at that time, later became the president of Ghibli, and it was precisely because of this person's introduction after the production of the first theatrical version of "Kids Fukusei" , became the first interview between Mamoru Oshii and Hayao Miyazaki; in that case, "Only You" became the only Mamoru Oshii work that Hayao Miyazaki praised. "When Hayao Miyazaki's evaluation became: "I don't understand what's good about it."

But whether it is Hayao Miyazaki or Mamoru Oshii, their relationship with "Animage" is extraordinary, so much so that they initially made the film because of the "friendship" established at the "Animage" interview meeting in 1983. Through "Opening the End of an Era - A Conversation between Hayao Miyazaki and Mamoru Oshii about "Patlabor 2"" ("Animage", October 1993, Issue 184) and "Oshii Mamoru Talks about Miyazaki Jun" ("Movie News", 1995 (Issue 1166, July 16, 2016) An interview project on such an incredible interactive topic - at that time, they were finally recognized as masters, maybe because "Spirited Away" will not be released for a few years, and it is on the way. "Ghost in the Shell" may have given Oshii Mamoru secretly more confidence and advantages. Although Mamoru Oshii is more confident at this time than he was ten years ago, in the face of the chattering Hayao Miyazaki, Mamoru Oshii is actually still a sultry man. He talks relatively less, but he also seems to be profound - just Miyazaki. Of course, Qi Hayao would not accept this at all. So from the two interviews you will see some smell of gunpowder, but it is a damp feeling, quite calm.

In short, Mamoru Oshii doesn't care about angering some people, but his initial admiration for Hayao Miyazaki made him appear quite cautious, at least in the mid-1990s. Mamoru Oshii doesn't care about irritating some people. Sometimes he just deliberately angers some people. This is the reason why he was finally kicked out of the production team of "Fukusei Yatsura", the first feature-length animated series in the Japanese animation industry system - - Even his teacher Toriumi Nagayuki couldn't save him, because someone started sending him letters, threatening letters, or threatening letters containing blades every day out of feelings other than admiration. In the end, the Clown Club had to remove him from "Fukusei" The production team of "The Kid" was dismissed and beheaded. However, compared with the blow of the failure of the Lupine the Third theater project a year later, this dismissal and beheading can be said to be extremely pleasant: Mamoru Oshii retired in the 106th episode of "Fukusei Yatsura" TVA, which was in March 1984. On the 26th, starting from October 14, 1981, he tortured the original work of Rumiko Takahashi for two and a half years, and was fortunate enough to lay down his foundation one and a half months before retiring (February 11) The video-style "Beautiful Dreamer" was successfully put into theaters and was voted the seventh best movie by the audience of the "Film Weekly" that year. The first place that year was naturally Hayao Miyazaki's "Wind". Valley".

Takamasuaki, a professor at the Department of Economics at Osaka Sangyo University in Japan, said this about Oshii Mamoru:

“Film critic and former Tokyo University President Shigehiko Hasumi used the dialogue of characters who also appear in the film. The philosophical director Andrei Arsenyevich Tarkovsky (Oshii Mamoru's son-in-law Otoichi is a fan of this) gave this evaluation: "There is an existence that does not love movies, but is loved by movies." To borrow this sentence. , Oshii is the same, maybe he belongs to the category of 'being who doesn't love animation, but is loved by animation'"

When Mamoru Oshii resolutely left the clown club and became a free man, in some ways, he had to worship him before. Thanks to the new animation sales model created in a year, otherwise even if it were to burn the boat, it would only be a complete failure. This is the birth of the new gadget OVA (Original Video Animation).

The first volume of the OVA "Space War" (Dallos) was released in December 1983. It is half an hour long. It was participated by Nagai Toriumi, supervised by Mamoru Oshii, and the video cover was drawn by Yoshitaka Amano.

Taking this opportunity, starting from the first year of OVA in 1983, more animators devoted themselves to this more free-spirited creation, producing such as "Megazone 23" (1985/1986/1989), "Robot Carnival" (Robot Carnival, 1987), "Armor Hunter Mellowlink" (1988), "Macross Plus, 1994" and other immortal classics and masterpieces; and Oshii himself is also a creative emotion At an all-time high, in addition to the halved "TWILIGHT Q" (1987) and the first OVA of "Mobile Police Patlabor" (1988) - Hayao Miyazaki's theatrical animation "My Neighbor Totoro" was released at the same time, there are also Including the earlier "Angel's Egg" (1986), a product of "Lupine the Third" resentment produced with the funding of Tokuma Shoten - in the same year Miyazaki Hayao's theatrical animation "Castle in the Sky" was released, etc. Unlike Mamoru Oshii, Hayao Miyazaki rarely even dabbled in TV animation at this time, let alone new things like OVA. The success of "Nausicaa of the Valley of the Wind" started his lifelong obsession with theater animation. .

In the production list of "Angel Egg" that year, in addition to Yoshiyuki Sadamoto, Yasuhiro Nagura and others, there were also Ghibli's Kitaro Kosaka and Michina Yasuda; in addition, it is said that Anno Hideaki fled the production site after living "ascetic life" for two weeks. To put it another way, compared to theaters, OVA can be said to be something for the poor. There is no poorest, only poorer. The launch of "Angel's Egg" did not bring market reputation to Oshii Mamoru. Because of the obscure theme, people avoided it. "It prevented me from receiving commissions for several years." , Oshii mentioned the consequences of this matter many times in interviews. This left Toshio Suzuki, who was very optimistic about Mamoru Oshii, helpless, especially when the invitations to Ghibli one after another fell through - the failure of planning was so frequent that the 1985 "Lupine the Third" theatrical version failed. It's simply not worth mentioning.

Around 1987 can be said to be Oshii Mamoru's worst period, which made his frustrated heart even more panicked under the surface of his seemingly enlightened appearance. At the same time, Hayao Miyazaki not only won recognition from the market, praise from the media, and won awards of all sizes; Hayao Miyazaki's confidence also became more dominating, so much so that he later became such a very famous actor. Incident - When the US "Newsweek" asked him whether he was surprised to win the Oscar for "Spirited Away", his answer: "In fact, I was more surprised and disgusted that your country launched a war against Iraq. So. I'm still a little hesitant about accepting this award."

Oshii Mamoru seems to have never been able to successfully get credit from Hayao Miyazaki, no matter in the first two animation projects "Sherlock··" that he collaborated with Italy on. "Sherlock Holmes" and "THE FULLMOON TRADITION INDRA", as well as the later "Anchor", were ultimately aborted due to the persistence of the creative concepts or disagreements between the two parties. "Sherlock Holmes" was later "Detective Sherlock Holmes" co-directed by Miyazaki Hayao and Miku Kyosuke, and "The Legend of the Full Moon" was ultimately just a novel version written by Nagayuki Toumi, and the "Anchor" project was cancelled. Later, a novel version was written by Meng Zhentapir.

Later, it also came from the planning of the animated version of "Ink Attack" invited by Ghibli (the manga originally written by Kenichi Sakemi and illustrated by Hideki Mori, which was also the source of the film of the same name later directed by Zhang Zhiliang and starring Andy Lau), and the preparation of OVA Plans such as the adaptation of "Miyazaki Hayao's Notebook" and other projects ended up becoming a joke amid the controversy.

In addition to Oshii's version of Lupine the Third, there will be other Oshii versions of "Legend of the Galaxy Heroes" (it took nearly 12 years to film after Ishiguro was promoted to general), Oshii's version of "Tetsujin 28" (after the animation failed) It was adapted into a stage play, and recently there are plans to adapt the stage play into a live-action movie), as well as "The Last Stand Eater" (the resentment of the Stand Eat Chef can be said to be as strong as his dog fetish), the Japanese drama version "Japanese Drama Version" Long live our ancestors! 》 (few people have watched the animation) and so on, it almost didn’t end well. Being rejected to such an extent, it’s probably hard not to become addicted.

Speaking of it, Oshii Mamoru does feel a little bit unborn. Not to mention the "how can we be together now" complex with Gong Junjun? He is indeed born in a place that he does not want. worldview. Perhaps being born in a Western society, his ideas can be more publicized. You can clearly see that if he was born in the West, "The Matrix" may only be regarded as an expanded version of "Avalon"; and that is because of the 8 billion yen frozen "Golumu War" "G.R.M. THE RECORD OF GARM WAR" (G.R.M. THE RECORD OF GARM WAR), a story that will initially have James Cameron as the "general director of production", a story that takes place on an imaginary planet, a story involving various shooting methods and new technologies that can even be said to be "a combination of "All Types of Imaging Technology" video project - Doesn't it look like another version of "Avatar"! How many of the concepts from James Cameron's groundbreaking 3D movie "Avatar" could have found their way into Mamoru Oshii's frozen project? But what if "Gorumu Wars" is filmed now? It can't change the fate of becoming a "second generation" like "Avalon".