Podcast appearances and mentions of Hayao Miyazaki

Finally, an animated film about how the gig economy is BAD but dirigibles are COOL! This week we hang out with the snarkiest cat around, Jiji, and his very cool familiar, a little witch who dreams of something better than eating pancakes for every meal. Even if you're not a freelancer, this film speaks volumes, because work/life balance is impossible and Kiki's about to find out why! Next week, it's another Takahata gem, ONLY YESTERDAY (1991). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Creating Kiki's Delivery Service Scoring Miyazaki Kiki & Jiji Art of Kiki's Delivery Service Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Starting Point by Hayao Miyazaki Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Miyazakiworld by Susan Napier Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

As Zach's month of movies comes to an end, we are joined by actor Zac Rose to finally review a Studio Ghibli film. Written and directed by Hayao Miyazaki, Porco Rosso is a classic Japanese anime adventure about an Italian World War I fighter pilot who now looks like a pig. He fights some sky pirates, starts a rivalry with a younger American pilot, and meets a young girl who helps fix up his plane.Join our Patreon for our bonus episodes! https://www.patreon.com/oldiebutagoodiepodFollow Zac Rose!Instagram: https://www.instagram.com/zany_zac/Letterboxd: https://letterboxd.com/loftyzman/William Shakespeare's Reservoir Dogs: https://www.theatreworks.org.au/2026/william-shakespeares-reservoir-dogsThe Glam Gizmo: https://www.theglamgizmo.com.au/Follow the show!Instagram: https://www.instagram.com/oldiebutagoodiepod/Facebook: https://fb.me/oldiebutagoodiepodPodcast Platforms: https://linktr.ee/oldiebutagoodiepodGot feedback? Send us an email at oldiebutagoodiepod@gmail.comFollow the hosts!Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/- Twitter: https://twitter.com/sandrofalce- Letterboxd: https://letterboxd.com/SandroFalce/- Twitch: https://www.twitch.tv/SandroFeltChair- TikTok: https://www.tiktok.com/@sandrofalceZach Adams - Instagram: https://www.instagram.com/zach4dams/- Twitter: https://twitter.com/ZackoCaveWizard- Letterboxd: https://letterboxd.com/zach4dams- Twitch: https://www.twitch.tv/zackocavewizardWatch our editor, Starkie, on Twitch! https://www.twitch.tv/sstarkieeOldie But A Goodie's theme tune is written and produced by Josh Cake. Check out his work here: https://www.joshcake.com/Check out other shows from our network 'That's Not Canon'! https://thatsnotcanon.com/ Hosted on Acast. See acast.com/privacy for more information.

En este episodio hablo sobre la arquitectura en el cine de Studio Ghibli.   Puedes leer las notas de este podcast en el siguiente enlace: https://studioghibliweblog.es/2026/06/10/j111/Música:Pamgaea by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4193-pamgaeaLicense: https://creativecommons.org/licenses/by/4.0/.Contacto | Twitter | Spreaker

D'où vient la haine ? Des ivresses artistiques de Nietzsche aux profondeurs psychiques de Carl Jung, en passant par une métaphysique de la bombe atomique, jusqu'au film prophétique d'Hayao Miyazaki : nous partons dans cette conférence sur les traces du plus vieux sentiment du monde, pour essayer de comprendre son origine et ses effets dévastateurs sur nos corps. Dans cet essai, entre mythe et psychologie, je vous propose de me suivre jusqu'aux racines de la civilisation occidentale, jusqu'aux parts les plus enfouies et inavouables de nous-mêmes - avec lesquelles il nous est aujourd'hui demandé d'apprendre à nous entretenir. Car qui veut résoudre doit d'abord comprendre et dissiper les horreurs qu'il entretient lui-même.Bon voyage. ⚫ Pour rejoindre le Cercle du Dolmen, une troupe d'aventuriers, d'écrivains et d'artistes en tout genre, rejoignez le Cercle Dolmen sur mon Patreon. Vous y aurez accès à l'ensemble de mon contenu exclusif : conférences, soirées réflexives, podcasts - et vous pourrez participer aux discussions communautaires sur Discord avec nous : ici ⚫ Candidater à ma retraite fin juillet (le questionnaire ferme d'ici 24 heures) ici

The catbus is here and we're off to explore the (friendly) haunted forest! This week we're worshipping the ancient woodland spirit and face of Studio Ghibli — our good, personal friend, Totoro! But heads up, Adam and Dom have completely different takes on this one, so if you're looking for a real Siskel & Ebert type disagreement, this is the episode for you. Next week, we take to the skies with KIKI'S DELIVERY SERVICE (1989). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Behind the Microphone Creating My Neighbor Totoro Creating the Characters The “Totoro” Experience Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Starting Point by Hayao Miyazaki Grave of the Fireflies (BFI Film Classics) by Alex Dudok de Wit The Art of My Neighbor Totoro: A Film by Hayao Miyazaki Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Miyazakiworld by Susan Napier Totoro's Limited Animation Team Guillermo Del Toro - 2013 Studio Ghibli Masterclass - TIFF Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we pay tribute to one of the most devastating (and life-affirming) movies ever made. It's our very first Takahata film, and… it's a doozy. We simply couldn't do a Studio Ghibli series without honoring this masterpiece. **Please be aware that this episode includes some distressing themes around children and violence. We tried our best to celebrate the brilliance of the film but inevitably the conversation turned dark at times. Next week, we get a (much-needed) big, fuzzy hug from MY NEIGHBOR TOTORO (1988). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Grave of the Fireflies (BFI Film Classics) by Alex Dudok de Wit Studio Ghibli: An Industrial History by Reyna Denison Animerica Isao Takahata & Akiyuki Nosaka Interview Studio Ghibli Movies Isao Takahata Interview Anime New Network Hirokatsu Kihara Interview Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In the latest episode of Heroic Purgatory: An Asian Cinema Podcast, John and Jason move to the countryside for a friendly chat with magical owls and bus-sized orange cats. That's right, we are covering My Neighbor Totoro, the 1988 Hayao Miyazaki film who's titular character became the logo for the newly minted Studio Ghibli. Though often viewed as a "children" film, Totoro is not all about laughs and cuddles. We discuss the more tragical underpinnings of the story and how it reflects the ambivalent Japanese society of Miyazaki's youth. Enjoy! Website: https://www.heroic-purgatory.com/2026/06/s6e6-my-neighbor-totoro-1988.html Follow the show on BlueSky: https://bsky.app/profile/heroicpurgatory.bsky.social Follow Jason: https://bsky.app/profile/filmnohito.bsky.socia Follow John: https://bsky.app/profile/jmhimara.bsky.social

British singer and songwriter Paris Paloma, a very sharp and thoughtful young artist who considers grief, politics, creativity, love, art, Greek mythology, and power structures in her music and in interviews, has opened for Florence & the Machine, played Glastonbury, and lent her voice to the Tolkien universe. She has built a community – her fairies –over the past few years, from her first EP, 2021's cemeteries and socials (you want dark? Folk-horror-pop? She's got you) to what will be her latest album, The Fatal Flaw, due out in September 2026. [View the artwork for the single “Good Boy”] Paris Paloma offers the anti-AI song  “Miyazaki”, about the unstoppable human need to create – and yes, named after the legendary Studio Ghibli director Hayao Miyazaki. Plus, she plays an intimate version of her feminist anthem, “Labour”, (which she played with the Resistance Revival Chorus on the Late Show with Stephen Colbert in 2025), in-studio.  Set list: 1. Labour 2. Miyazaki 3. Stem the Flow Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

¿Alguna vez has escuchado hablar del Estudio Ghibli? Esta es la historia de su fundador, Hayao Miyazaki, el ilustrador, animador y director japonés con una gran pasión. Hosted on Acast. See acast.com/privacy for more information.

Get in, losers, we're going to Laputa! This week we take flight with Pazu, Sheeta, and a gang of pirates with some seriously questionable motives to find the mythical land in the clouds where cool robots take care of birds (and shoot lasers). It's the first true Ghibli film, and, man, does it set the bar pretty high. Also... what the hell is going on with the English dub of this film? Next week, it's our very first Takahata film, GRAVE OF THE FIREFLIES. Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Creating Castle in the Sky Scoring Miyazaki Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Starting Point by Hayao Miyazaki Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Miyazakiworld by Susan Napier Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In a post-apocalyptic wasteland, the pacifist princess with mystical powers fends off an evil empire in while trying to discover the way to return health to the land. We bring on Scott Johnson to talk about one of his favorite films, as well as the deep well of influences on Miyazaki's ecological fantasy. Starring (in the 2005 Disney re-dubbing) Alison Lohman, Patrick Stewart, Shia LaBeouf, Uma Thurman, Chris Sarandon, and Edward James Olmos. Written and directed by Hayao Miyazaki, adapted from his manga of the same name. Check out Scott's anime/manga and gaming convention, https://zenkaikon.com

Calling all Tolmekians: it's a series premiere!!!! Today we take flight with the Princess of the Valley of the Wind for our new Studio Ghibli series. What a dream (of madness)! For the next few months we'll be fully devoted to the works of Miyazaki, Takahata, and the entire Ghibli collective. We hope you'll join us in the Sea of Decay! The water is fine (it's only mildly acidic and poisonous). Next week, it's the first true Studio Ghibli film, CASTLE IN THE SKY (1986). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Nausicaä Continues On Behind the Microphone The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Starting Point by Hayao Miyazaki Sharing a House with the Never-Ending Man by Steve Alpert Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Hideaki Anno Wants to Remake Nausicaä of the Valley of the Wind The Sydney Morning Herald Mai Fujisawa Interview A Real Glider A Real Glider Part 2 Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Con la edición más española y prometedora de Cannes ya en marcha, ponemos el foco en el desembarco estadounidense de alto voltaje que acaba de llegar a las salas, con la acción y el humor comercial repartiéndose los títulos más llamativos. Desde la adrenalina de "Jugada Maestra" con Glenn Powell hasta la simpática propuesta de "Movida Celestial", protagonizada por un Keanu Reeves que sorprende en la piel de un ángel caído. El programa disecciona las claves de los estrenos más esperados. No falta el espacio para las sensaciones fuertes con el terror perturbador de "Hokum", una cinta irlandesa dispuesta a sacudir los cimientos del género y a no dejar indiferente a ningún espectador que se atreva a cruzar el umbral de las salas este fin de semana. El broche de oro llega a través de la excelencia musical y emocional del Estudio Ghibli, gran protagonista tras el anuncio de los Premios Princesa de Asturias. Ángel Luque nos guía por el universo creativo de Hayao Miyazaki y el compositor Joe Hisaishi, un binomio que ha elevado la animación a la categoría de arte universal. A través de melodías que evocan castillos ambulantes y espíritus del bosque, el podcast rinde homenaje a una trayectoria que conecta valores humanos y fantasía desbordante, reafirmando que el cine, más allá de las pantallas, es una experiencia sonora y cultural que sigue emocionando a generaciones enteras.

It's the phenomenal 2004 Studio Ghibli, Hayao Miyazaki directed based on the book of the same name flick Howl's Moving Castle.How could Joe & Adam forget this? Doesn't matter; they're glad they did so they got to rewatch it and talk about: the choice between watching subtitled Ghiblis vs English dub versions, the joyful little side characters that invariably pop up in a Miyazaki flick and bindels, plus a sort of connected but not really side chat about The Last Samurai.Got a film you forgot you forgot? Join our growing Discord community and tell us all about it: https://discord.gg/b3CUUdPRf7Or send us an email at moviesyouforgotyouforgot@gmail.com with your thoughts, episode suggestions, or just some light praise.You can also follow Adam @errorofways on Letterboxd; he rates and reviews the films he watches. Also, be a pal: tell your chums, rate us, review us, shout our name into the void - whatever helps spread the word.

Le mudac présente une rétrospective consacrée au scénariste et réalisateur japonais Isao Takahata, cofondateur du mythique studio d'animation Ghibli avec Hayao Miyazaki. L'exposition est à découvrir au mudac jusqu'au 27 septembre 2026. En parallèle la Ciné­ma­thèque suisse, en colla­bo­ra­tion avec le mudac, lui consacre un cycle excep­tion­nel Inti­tu­lée "Rétros­pec­tive Isao Taka­hata : Lʹes­prit de Ghibli". Pour en parler, Anne Laure Gannac reçoit Marco Costantini, directeur du mudac.

El padre (severo) y el hijo (díscolo) hicieron un trato: si estudias puedes apuntarte, por fin, a clases de pintura. No sospechaban todavía ninguno de los dos que la medicina y el arte iban a quedar, desde entonces, íntimamente ligados en sus vidas, y sobre todo que iban a inspirar los descubrimientos mundialmente revolucionarios del padre de la neurociencia, Santiago Ramón y Cajal. Abundamos en la historia del científico aragonés y de su relación decisiva con el dibujo o la fotografía a partir del documental 'Ramón y Cajal: Dibujos en la retina', que han visto Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, celebramos el Premio Princesa de Asturias 2026 de Comunicación y Humanidades para el famoso Estudio Ghibli del japonés Hayao Miyazaki y felicitamos, en su 100º cumpleaños, al naturalista británico David Attenborough. Y recomendamos la película en cartelera 'La isla de Amrum' y la versión de la ópera 'Salomé' en cartel, actualmente, en el Teatro de Les Arts de Valencia.

El padre (severo) y el hijo (díscolo) hicieron un trato: si estudias puedes apuntarte, por fin, a clases de pintura. No sospechaban todavía ninguno de los dos que la medicina y el arte iban a quedar, desde entonces, íntimamente ligados en sus vidas, y sobre todo que iban a inspirar los descubrimientos mundialmente revolucionarios del padre de la neurociencia, Santiago Ramón y Cajal. Abundamos en la historia del científico aragonés y de su relación decisiva con el dibujo o la fotografía a partir del documental 'Ramón y Cajal: Dibujos en la retina', que han visto Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, celebramos el Premio Princesa de Asturias 2026 de Comunicación y Humanidades para el famoso Estudio Ghibli del japonés Hayao Miyazaki y felicitamos, en su 100º cumpleaños, al naturalista británico David Attenborough. Y recomendamos la película en cartelera 'La isla de Amrum' y la versión de la ópera 'Salomé' en cartel, actualmente, en el Teatro de Les Arts de Valencia.

El padre (severo) y el hijo (díscolo) hicieron un trato: si estudias puedes apuntarte, por fin, a clases de pintura. No sospechaban todavía ninguno de los dos que la medicina y el arte iban a quedar, desde entonces, íntimamente ligados en sus vidas, y sobre todo que iban a inspirar los descubrimientos mundialmente revolucionarios del padre de la neurociencia, Santiago Ramón y Cajal. Abundamos en la historia del científico aragonés y de su relación decisiva con el dibujo o la fotografía a partir del documental 'Ramón y Cajal: Dibujos en la retina', que han visto Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, celebramos el Premio Princesa de Asturias 2026 de Comunicación y Humanidades para el famoso Estudio Ghibli del japonés Hayao Miyazaki y felicitamos, en su 100º cumpleaños, al naturalista británico David Attenborough. Y recomendamos la película en cartelera 'La isla de Amrum' y la versión de la ópera 'Salomé' en cartel, actualmente, en el Teatro de Les Arts de Valencia.Conviértete en un supporter de este podcast: https://www.spreaker.com/podcast/mas-noticias--4412383/support.ESCUCHAR RADIO 

Send us a Question!MOVIE DISCUSSION: Legacy XP CoachingParyss Bryanne: Instagram // Tiktok // YouTube // SnapchatPixel Paryss: Instagram // Tiktok // YouTube // TwitchParyss Bryanne joins Melvin to talk My Neighbor Totoro! The two kick-off Ani-May with a much-beloved Studio Ghibli classic! Nostalgia, curiosity, and a whole lotta whimsy fill this episode from start to finish! Tune in now! Topics:Editor's Note: No Patreon Exclusive discussion! But, I do intend to trim this episode down from its original 1:35:43 length, so if you want to hear the UNCUT version, tune in on Patreon here!Paryss shares about her love of Undertale, her desire to see people grow through Legacy XP Coaching, and how she's wrestling with horror media.Paryss, "[My Nieghbor Totoro] does such a good job of taking you back into the shoes of a child."Where do Paryss and Mel rank My Neighbor Totoro against other Miyazaki/Ghibli movies?On big emotions, and how emotions become more complicated as an adult.Enduring against melancholic nostalgia.Melvin, "Did you kinda just feel like [My Neighbor Totoro] was, like, really heavenly?"Talking Totoro, and wondering if he actually exists.Getting into the ending.Recommendations:The Village (2004) (Movie)Lucid Blocks (2026) (Video Game) Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review One-time reward of two Cinematic Doctrine Stickers & PinsSocial Links: ThreadsWebsiteInstagramLetterboxdFacebook Group 

Stop explaining and start exploring: critic & reviewer Molly Templeton walks us through this gem of 1980s mass market fantasy, with many asides and theories on shifting patterns of publishing and reading patterns. Plus, we spill the beans on the most fun book club, also known as the most fun cult. Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books. Please consider supporting ARB’s Patreon! Guest: Molly Templeton Title: Moongather by Jo Clayton Host: Jake Casella Brookins Music by Giselle Gabrielle Garcia Artwork by Rob Patterson Opening poem by Bhartṛhari, translated by John Brough References: ARB’s Fundraiser! Donations & shares greatly appreciated! Kurt Vonnegut's asterisk John Darnielle's This Year "Cold Milk Bottle" "First Few Desperate Hours" Claire North's Slow Gods Hebe Stanton’s review at ARB Molly’s discussion of Slow Gods and being stuck on a book Gary Wolfe & Jonathan Strahan's Coode Street Podcast Arkady Martine & Ann Leckie The Legend of Zelda: Tears of the Kingdom Violet Allen's Prism, Plastic, Void Little Puss Press Casey Plett Amal El-Mohtar & Max Gladstone’s This Is How You Lose The Time War Vajra Chandrasekera’s Rakesfall A.V. Marraccini’s We The Parasites Clayton’s Diadem from the Stars Brandon Sanderson Le Guin’s A Wizard of Earthsea Forgotten Realms J.R.R. Tolkien's “On Fairy Stories” & Lord of the Rings Ged & the otak from Earthsea "Fridging" & "Bury Your Gays" The Arrowverse TV shows Ron Howard’s Solo: A Star Wars Film "Explaining vs Exploring" Bora Chung's Midnight Timetable The Toyota Tercel The soot-sprites from Hayao Miyazaki’s Spirited Away C.J. Cherryh's Foreigner Bethany Jacobs’ This Brutal Moon, conclusion to The Kindom Trilogy Jacobs’ website Philip Pullman's The Rose Field The Expanse series by James S.A. Corey David Eddings’ The Belgariad Parallel Worlds Bookshop Cherryh's Rusalka & The Paladin The Ursula K. Le Guin Foundation & Prize Molly's writing at Reactor & Bluesky & Website

We continue our series on Studio Ghibli & Hayao Miyazaki with an introduction to and examination of the first few minutes of Nausicaa of the Valley of the Wind; a true masterpiece.

En este episodio hablo sobre la trayectoria de Studio Ghibli desde 2017 a la actualidad.Puedes leer las notas de este podcast en el siguiente enlace: Música: Pamgaea by Kevin MacLeodContacto | Twitter | Spreaker

Comics creator Tim Probert is welcomed to the show for the first time to discuss his award-winning all ages fantasy graphic novel series Lightfall and its latest installment, A Place Between, book four of the series. "I loved books growing up that didn't talk down to me as a kid and just talked to me as a person and that weren't afraid of being scary." Tim's website Conversation highlights * Beginning the series as an animated pitch for Nickelodeon called The Ballad of Bea and Cad. * Visual influences on the Lightfall world including Dinotopia and the Hudson Valley School of painters * Narrative influences including Brian Jacques' Redwall series, The Lord of the Rings, and Hayao Miyazaki's Nausicaä of the Valley of the Wind * Visualizing Bea's anxiety in comic book form * Character maturation across the series and adapting to your audience * Delving into workflow and advice for younger artists From the publisher In the fourth installment of the award-winning, critically acclaimed Lightfall series, Bea, Cad, and their friends continue their quest to restore light on their dark world. Perfect for fans of Amulet and Avatar, this next book dives deeper into the magical world of Irpa, where ancient secrets and adventures abound. After surviving a shipwreck on the Fuerre Sea, Cad washes ashore on the shores of Pellidyr. There, he searches for Lorgon, the Water Spirit, but instead finds the other spirits of Irpa who question if their planet can be saved. One of them offers to help Cad and transports him to A Place Between, a strange liminal realm between the living and the dead, where Cad works to uncover the reason Lorgon summoned them to Pellidyr in the first place.  Meanwhile, Bea awakens within the walls of the capital city. While Pellidyr's leader has heard the tales of Bea's derring-do and believes her to be a hero with all the answers, she's never felt more uncertain about the future. What she does know is that she can't accomplish anything without her crew. When Bea's escape plan also brings her to A Place Between, she makes a shocking discovery that changes her understanding of everything that came before her…and what could soon follow. Follow Comic Book Yeti

The Boy and the Heron - Ep. 393 This week, Normies Like Us spreads its wings for The Boy and the Heron, Hayao Miyazaki's stunning return and conclusion to filmmaking. Join your hosts as they discuss grief, fantasy, war, talking birds, mysterious towers, and whether the master still has movie magic left in the tank. Is this a fitting swan song, a new classic, or one beautiful fever dream? Find out on this heartfelt, head-scratching, bird-brained episode of Normies Like Us! Insta @Normies_Like_Us https://www.instagram.com/normies_like_us/ @jacob https://www.instagram.com/_j__a___c___o__b_/ @Mike_Has_Insta https://www.instagram.com/mike_has_insta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

How'd a 1971 country-pop anthem about West Virginia... inspire a 1995 anime classic about teens in Tokyo? We kick off a season about great movie needle-drops with the tale of WHISPER OF THE HEART — the anime that helped drive John Denver's "Take Me Home Country Roads" into Japanese culture. Guests include the song's co-writer Bill Danoff, plus rare interviews with Studio Ghibli cofounder Toshio Suzuki and his daughter Mamiko — the movie's lyricist. The audio documentary podcast MUBI Podcast returns with a sequel to our super-popular season diving deep into the grooves of classic movie "needle drops."  Titled NEEDLE ON THE RECORD - SIDE TWO, in each episode host Rico Gagliano  tells the story of a film that fused music and image to make magic — and sometimes, change popular culture. Guests include director Gurinder Chadha and musician Bally Sagoo on BEND IT LIKE BECKHAM's bhangra bangers, and movie star Jack O'Connell on THIS IS ENGLAND, the ska-fueled drama that introduced him to audiences.YUKI'S SUN is now streaming almost globally as a part of the Drawn to Life: Animated Films collection on MUBI. FLOW is now streaming on MUBI in the UK and Ireland. To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.WHISPER OF THE HEART will return to cinemas with an exclusive IMAX re-release across the US and Canada from April 21, newly remastered in 4K. Tickets are available here.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

A cursed pig, a golden age of flight, and a man still at war with himself. Victor Lams, Jeff Haecker, and Patrick Mason unpack Hayao Miyazaki's *Porco Rosso* — survivor's guilt, Ghibli planes, and what honor costs. The post The Secrets of Porco Rosso appeared first on StarQuest Media.

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

We are discussing Hayao Miyazaki's 1992 anti-war love letter to aviation and flying pigs: Porco Rosso! Including; gender roles, the effects of war, curses, rising fascism, romance, cute kids, ambiguous endings, and much more. Remember, it's better to be a pig than a fascist. This episode was originally released on May 1, 2023 I Love This You Should Too is hosted by Samantha and Indy Randhawa Porco Rosso (Japanese: 紅の豚, Hepburn: Kurenai no Buta, lit. 'Crimson Pig') is a 1992 Japanese animated adventure-fantasy film[1] written and directed by Hayao Miyazaki. It is based on Hikōtei Jidai ("The Age of the Flying Boat"), a three-part 1989 watercolor manga by Miyazaki.[2] It stars the voices of Shūichirō Moriyama, Tokiko Kato, Akemi Okamura and Akio Ōtsuka. Animated by Studio Ghibli for Tokuma Shoten, Japan Airlines and the Nippon Television Network, it was produced by Toshio Suzuki and distributed by Toho. Its score is by Japanese composer Joe Hisaishi. The plot revolves around an Italian World War I ex-fighter ace, now living as a freelance bounty hunter chasing "air pirates" in the Adriatic Sea. However, an unusual curse has transformed him into an anthropomorphic pig. Once called Marco Pagot (Marco Rossolini in the American version), he is now known to the world as "Porco Rosso", Italian for "Red Pig".

The Wind Rises 389: Airplanes are beautiful dreams. Cursed dreams… waiting for the sky to swallow them up. And we're waiting for you, dear listeners, to swallow this podcast up! We've had so much fun talking about Hayao Miyazaki this past year that it's a shame to see it coming to an end. Lucky for us, Miyazaki-san felt the same way and continued making films after this one! We discuss what it means to make a film you think will be your last as we head to the sky to discuss The Wind Rises, only on Normies Like Us. @Normies_Like_Us https://www.instagram.com/normies_like_us/ @jacob https://www.instagram.com/_j__a___c___o__b_/ @JoeHasInsta https://www.instagram.com/joehasinsta/ @Mike_Has_Insta https://www.instagram.com/mike_has_insta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

This month, Evan and Brian talk about the first season of the Disney+ series Andor, and Liam talks about the anime movie Princess Mononoke by Hayao Miyazaki. Liam was at college when we recorded this episode, so the sound quality was not the best. Hopefully we'll fix that in the future.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Nadira and Felix take a trip to a bathhouse for spirits in 2001's Spirited Away.Directed by Hayao Miyazaki, the film follows a girl named Chihiro, who becomes trapped in the spirit world and must save her parents, encountering soot sprites, river spirits, a giant baby, and many more wonderful and terrifying beings along the way.The film is a masterpiece of storytelling and technical animation, but as Felix explains, it also works as a highly developed metaphor for capital and the Japanese economy at the close of the millennium: the bathhouse stands in for a stable but exploitative economic system, beset by outside capital forces, with workers stripped of their names and identities.This is the final episode of the Money On Film miniseries. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Nadira and Felix take a trip to a bathhouse for spirits in 2001's Spirited Away.Directed by Hayao Miyazaki, the film follows a girl named Chihiro, who becomes trapped in the spirit world and must save her parents, encountering soot sprites, river spirits, a giant baby, and many more wonderful and terrifying beings along the way.The film is a masterpiece of storytelling and technical animation, but as Felix explains, it also works as a highly developed metaphor for capital and the Japanese economy at the close of the millennium: the bathhouse stands in for a stable but exploitative economic system, beset by outside capital forces, with workers stripped of their names and identities.This is the final episode of the Money On Film miniseries. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Nadira and Felix take a trip to a bathhouse for spirits in 2001's Spirited Away.Directed by Hayao Miyazaki, the film follows a girl named Chihiro, who becomes trapped in the spirit world and must save her parents, encountering soot sprites, river spirits, a giant baby, and many more wonderful and terrifying beings along the way.The film is a masterpiece of storytelling and technical animation, but as Felix explains, it also works as a highly developed metaphor for capital and the Japanese economy at the close of the millennium: the bathhouse stands in for a stable but exploitative economic system, beset by outside capital forces, with workers stripped of their names and identities.This is the final episode of the Money On Film miniseries. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Nadira and Felix take a trip to a bathhouse for spirits in 2001's Spirited Away.Directed by Hayao Miyazaki, the film follows a girl named Chihiro, who becomes trapped in the spirit world and must save her parents, encountering soot sprites, river spirits, a giant baby, and many more wonderful and terrifying beings along the way.The film is a masterpiece of storytelling and technical animation, but as Felix explains, it also works as a highly developed metaphor for capital and the Japanese economy at the close of the millennium: the bathhouse stands in for a stable but exploitative economic system, beset by outside capital forces, with workers stripped of their names and identities.This is the final episode of the Money On Film miniseries. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Nadira and Felix take a trip to a bathhouse for spirits in 2001's Spirited Away.Directed by Hayao Miyazaki, the film follows a girl named Chihiro, who becomes trapped in the spirit world and must save her parents, encountering soot sprites, river spirits, a giant baby, and many more wonderful and terrifying beings along the way.The film is a masterpiece of storytelling and technical animation, but as Felix explains, it also works as a highly developed metaphor for capital and the Japanese economy at the close of the millennium: the bathhouse stands in for a stable but exploitative economic system, beset by outside capital forces, with workers stripped of their names and identities.This is the final episode of the Money On Film miniseries. Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Hello, and welcome to another month of Apocalypse Video's look at the wondrous world of Nature. For the month of March, we leave behind the ocean waters and take to the skies to observe the many species that inhabit the world above our heads. This…is March of the Penguins (...And Other Bird Related Films).In this third installment we enter a mysterious and bizarre world inhabited by both the living and the dead; a world locked in a power struggle between its creator and an angry Parakeet King; a world much like ours, and like our world, it too is fragile and all too close to calamity. This…is The Boy and the Heron.I'm your host, Dave, and joining me as we try our best not to be overrun by swarming toads are fellow cinephiles and Studio Ghibli fanboys Mike and Ryan.Topics of discussion in this episode include a film that you understand less with each rewatch; The Heron gives Michael Myers a run for his money in the creepy, stalking department; and finally, we wonder if The Boy and the Heron is the last film of its kind and whether or not Miyazaki will return to show everyone how it's done one more time.Be sure to rate, review and subscribe wherever you get your podcasts. You can also Like Us on Facebook, Follow Us on Instagram, or shoot us an email at apocalypsevideopod@gmail.comAnd thus concludes our look into the strange and wonderful imagination of Hayao Miyazaki. When we return, we'll be yucking it up with the Marx Brothers as they lay down some comedy foundations in Duck Soup.

This week, we turn once more to the wonderful world of media as we consider ten films for Changeling: the Lost inspiration. We did this previously with Changeling: the Dreaming (check out episode 50!), so it seemed like the right time to pull a similar for the other fae game. There are a couple crossover titles whose themes and plots and aesthetics work equally well in both, in our opinion... but otherwise, this list has a slightly eerier, horror-inflected vibe overall, we suppose? We've tried to keep the discussion as spoiler-light as possible, but for your edification, here are the deets and some trailers for the films we discuss in this order: Alice (Něco z Alenky) (dir. Jan Švankmejer, 1988): https://www.youtube.com/watch?v=Nxugr1jEYj8 Black Swan (dir. Darren Aronofsky, 2010): https://www.youtube.com/watch?v=5jaI1XOB-bs Annihilation (dir. Alex Garland, 2018): https://www.youtube.com/watch?v=89OP78l9oF0 The Blair Witch Project (dir. Daniel Myrick and Eduardo Sánchez, 1999): https://www.youtube.com/watch?v=MBZ-POVsrlI The Cell (dir. Tarsem Singh, 2000): https://www.youtube.com/watch?v=eIpy4p_yMV0 Labyrinth (dir. Jim Henson, 1986): https://www.youtube.com/watch?v=O2yd4em1I6M The Green Knight (dir. David Lowery, 2021): https://www.youtube.com/watch?v=sS6ksY8xWCY Rocky Horror Picture Show (dir. Jim Sharman, 1975): https://www.youtube.com/watch?v=ldo_spDyLKc Spirited Away (dir. Hayao Miyazaki, 2001): https://www.youtube.com/watch?v=ByXuk9QqQkk Smile (dir. Parker Finn, 2022): https://www.youtube.com/watch?v=BcDK7lkzzsU Obviously, there were lots of other options that we could have discussed, but for the sake of keeping things trim, these ten will have to suffice. (For now...!) And for other shortlist goodness, further vectors of media include the various avenues to get our attention: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Pooka G (any pronoun/they) is four degrees from Kevin Bacon, depending how broadly you want to count. Amelia Fetch (she/her) has secured three of five clauses in the Contracts of Blooper Reel. Mothers of America / let your kids go to the movies! —Frank O'Hara, "Ave Maria"

Jackie and Greg board the Catbus for Hayao Miyazaki's MY NEIGHBOR TOTORO from 1988. Topics of discussion include Miyazaki's storybook aesthetic, its deliberate pace, how it handles its fantastical elements, and why it's quite literally, a film for all ages.#72 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.com

On this week's quest of Re:Sekai, AD, Jerri and Pat are joined by Nick to celebrate the 8th Anniversary of The Lookout and review Hayao Miyazaki and Studio Ghibli's Spirited Away.Discussion begins at 7:15.Re:Sekai is a part of The Lookout Network - https://linktr.ee/lookoutonrncFollow us on X:AD - @1ADZLJerri - @A_Bag_of_MonePatrick - @reaperlomeinNick - @ImgInception

What does Spirited Away actually mean? And who—or what—is No-Face really supposed to be? In this episode of For the Love of History, we dive deep into the Japanese folklore, Shinto mythology, and yokai legends that inspired one of the most beloved animated films ever made: Spirited Away. Directed by Hayao Miyazaki and produced by Studio Ghibli, the film is packed with references to kami, yokai, purification rituals, and ancient spiritual beliefs that many viewers outside Japan may not recognize. You'll learn ✨ The meaning of kamikakushi — the folklore concept of being “spirited away” by the gods ✨ Why the spirit bathhouse reflects Shinto purification rituals and onsen culture ✨ The real folklore behind Haku's dragon form and river spirits ✨ The environmental message hidden in the Stink Spirit scene ✨ The possible yokai inspiration behind Yubaba and mountain witches ✨ And the true meaning behind No-Face, one of the most mysterious characters in animation From ancient Shinto beliefs about spirits in nature to the strange world of Japanese yokai, this episode uncovers the folklore that shaped Spirited Away's spirit world. If you love Japanese mythology, anime history, folklore, or Studio Ghibli, you're in the right place. Website (

In this episode of The Movie Men Podcast, Brady and Carl discuss Princess Mononoke (1997), the acclaimed animated epic from director Hayao Miyazaki and Studio Ghibli. Set in a mythic version of feudal Japan, the film follows Ashitaka, a young warrior caught in the middle of a growing conflict between industrial expansion and the spirits of the forest. Featuring memorable characters like San—the fierce human raised by wolves—and Lady Eboshi, the determined leader of Iron Town, Princess Mononoke blends fantasy, environmental themes, and large-scale storytelling. Brady and Carl share their reactions to the film and reflect on its lasting reputation as one of the most celebrated works in animated cinema.   Subscribe to us on YouTube - https://www.youtube.com/@themoviemenpodcast Like us on Facebook - https://www.facebook.com/The-Movie-Men-Podcast-2335323586526490/ Support us on Patreon - https://www.patreon.com/themoviemenpodcast Follow us on Instagram - https://www.instagram.com/themoviemenpodcast/ Follow us on X - https://twitter.com/TheMovieMenPod Buy our Merch - https://shop.spreadshirt.ca/the-movie-men-podcast/ MOVIE MEN BINGO - https://mfbc.us/m/jz85dn?fbclid=IwAR2sBAj4B4gZWApb91_azca4QfYX6WGzu7YxHwiIwOHqVONtd9bOoTwPQAI Brady' Gaming Channel - https://www.youtube.com/channel/UCH6K0vldmqS05fxegNrwWHw   Theme Licensed through - https://pixabay.com/  

We begin with Hayao Miyazaki's directorial debut in Lupin III: Castle of Cagliostro. We break down the "gentleman thief" trope, invite family to ask a few big questions, then have just enough time to watch the beautiful intro.

Welcome to Studio Ghibli Weekly, a new show celebrating the genius and legacy of Hayao Miyazaki and similar film makers. What makes these movies some of the greatest of all time? Let's start at the very beginning.

Jackie and Greg board a train to the spirit realm for Hayao Miyazaki's SPIRITED AWAY from 2001. Topics of discussion include Miyazaki's unbridled imagination, how the film never speaks down to children, its lessons about adulthood and the environment, and why it could rightly be considered the greatest animated film ever made.#75 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.com

Two Dudes waltz into the world of magical world of Hayao Miyazaki's 2004 masterpiece, Howl's Moving Castle. Featuring the voices of Christian Bale, Emily Mortimer, Lauren Bacall, Billy Crystal, and Jean Simmons. Get $5 off your Martie order at https://martie.com/TWODUDESWATCHCARTOONSFollow the pod

"Try laughing, then whatever scares you will go away."Few films capture the magic of girlhood quite like MY NEIGHBOR TOTORO, one of the few films that actually prioritizes the perspective of children rather than an "all-ages" affair. This week, The Wives Colangelo are recontextualizing their feelings about Hayao Miyazaki's classic fantasy tale, and celebrating his objective masterpiece exploring imagination, nature, age-appropriate anxiety, and adorable forest spirits.--------Article MentionedTowards a True Children's Cinema: on My Neighbor Totoro: https://www.brightwalldarkroom.com/2017/03/13/towards-a-true-childrens-cinema-on-my-neighbor-totoro/ --------Become a Patron! https://www.patreon.com/thisendsatprom--------MONTHLY SPOTLIGHTThe Flytrap Media (https://www.theflytrapmedia.com)--------Social Media Plugs@ThisEndsAtProm@BJColangelo@HarmonyColangelo----------Logo Design: Haley Doodles @HaleyDoodleDoTheme Song: The Sonder Bombs 'Title': https://thesonderbombs.bandcamp.com/

durée : 01:06:31 - Club Jazzafip - Une émission en l'honneur du célèbre réalisateur, scénariste, animateur, dessinateur et producteur japonais, créateur du studio Ghibli qui a fait naître "Le Voyage de Chihiro", "Princesse Mononoké", "Le Château Ambulant" ou encore "Mon Voisin Totoro", Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Chelsea and Wade discuss Wade's favorite Hayao Miyazaki film Howl's Moving Castle.Don't forget to like, follow, or subscribe, and leave us a review! Let us know what you'd like us to cover next!  Follow us here!Instagram: https://www.instagram.com/poddemastered/Facebook: https://www.facebook.com/PodDemasteredBluesky: https://bsky.app/profile/poddemastered.bsky.socialYouTube: https://www.youtube.com/@poddemasteredHave any topic requests, questions, or general comments? Send us an email at demasteredpodcast@gmail.com.Music: Switch Me On by Shane Ivers - https://www.silvermansound.com

Spirited Away: Episode 376 - This week on Normies Like Us, we finally step through the tunnel and into the bathhouse as we cover Hayao Miyazaki's beloved animated masterpiece, Spirited Away. For many, it's a childhood classic; for others, it's their first trip into the wonderfully strange world of Studio Ghibli. Either way, we're watching it with fresh eyes and very normal expectations. Grab your herbal tokens, don't forget your real name, and join us as Normies Like Us gets swept away. Insta: @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @MikeHasInsta https://www.instagram.com/mikehasinsta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

While Lawson's voice recovers, enjoy a full episode from our patreon, wherein Joe from the Spirit Hunters helps him & Hannah understand what happened with this Ursula K. Le Guin adaptation, directed by Hayao Miyazaki's son, Goro. To listen to us review the GOOD Miyazaki films, support us at patreon.com/bospod