Podcasts about Miyazaki

Joe and Nathan are back live, and this week they cover everything from a heated debate over Studio Ghibli to an unexpected visit to the set of Extraction 3. Nathan explains why he just can't get into Hayao Miyazaki's films, Joe shares his experience seeing Christopher Nolan's The Odyssey in IMAX 70mm, and the two compare notes on Hollywood, Australian celebrities, and moviegoing etiquette. Plus, Nathan meets Chris Hemsworth, Joe recounts a very eventful trip to Universal CityWalk, the Rumor Mill Mailbag debuts with a brand-new theme song, and listeners send in voicemails, updates, and one unforgettable email that takes the conversation in a completely unexpected direction. In this episode: Nathan's controversial Miyazaki hot take Joe's Hollywood Bowl and The Odyssey adventures Behind the scenes on the set of Extraction 3 Meeting Chris Hemsworth (and almost Idris Elba) Australia's celebrity Mount Rushmore The debut of the Rumor Mill Mailbag Listener voicemails and star ratings Updates on the ongoing Lord Newton mystery Plus plenty of tangents, laughs, and Afterthought Media lore. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're back! Joining us after our one week hiatus is returning champion, the one, the only... Griffin Newman! We have so much to talk about this week, including: raccoon dogs, Isao Takahata's hatred of modernity, the history of “serious” animation, Operation Goblin, Star Wars(?), Mr. Belvedere(??), Dave Matthews Band(????), and also How To “Ball Up” a Pipeline! Next week it's our first non-Miyazaki/Takahata Ghibli entry, WHISPER OF THE HEART (1995) directed by Yoshifumi Kondō. 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 Blu-Ray Booklet Studio Ghibli: The Complete Works 2nd Edition Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert TCM Pom Poko Production History Pom Poko Influences Hoppers Band Inspiration Toshio Suzuki Incorrectly Anticipates 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.

Dear lord let Miyazaki cook with this one.Remember our motto: "BUY A SHIRT!"Merch: https://game-mess.creator-spring.comPatreon: https://patreon.com/gamemessDiscord: https://discord.gg/gamemess

The Spoiler Room Podcast has another "Animation Nation" episode. This time we get carried to the land of spirits with a look at #StudioGhibli 's #SpiritedAway. Join as we talk about this 2001 film from the legendary #HayaoMiyazaki . @GKIDStvJeff York's Site : https://theestablishingshot.org/ Ian's Site : https://www.kickseat.com Ray's Site: https://bsky.app/profile/filmnerdness101.bsky.social

We kick off our Marvelous Miyazaki Month with a look at the wonderfully imaginative film, "My Neighbor Totoro". We will discuss the style of animation, creative story, and why it has stood the test of time. We also find out who had changed their opinion of the film after a rewatch.Ian's Site: https://www.kickseat.com

¡Que pasa locos!Vaya semanita de funerales corporativos, despidos masivos y decisiones de mierda. Menos mal que nuestro CEO ha vuelto a poner orden y Joakin de sus vacaciones ZEN en Ibiza.Por un lado, Sony jubila el formato físico para 2028. Una tragedia histórica que tiene a Marco y Gringo llorando desconsoladamente sobre sus carátulas de plástico (asumiendo que en digital no poseemos absolutamente nada y sentenciando a Game a la quiebra), mientras Joakin celebra el apagón digital por todo lo alto, tachándolos de materialistas sin neuronas. ¿Será la legislación europea nuestro último clavo ardiendo?Por el otro, Xbox despide a casi 5000 personas para purgar su burocracia de catorce capas de directivos. Con pérdidas de 64 centavos por cada dólar invertido, Joakin tiene la solución de choque: prohibir la innovación, contratar a Miyazaki y obligar a todos a programar clones de Dark Souls con buena historia. De postre, analizamos el salseo de David Jaffe mandando a paseo a Alexelcapo.En los análisis, Gringo y Marco ponen nota al decepcionante 007 (con Marco abandonándolo por aburrimiento y Gringo empeñado en terminarlo por orgullo). Además, Marco nos habla de Mina: The Hollower, indie que tiene prácticamente terminado (para variar) tras recurrir a mods de accesibilidad para suavizar su enferma dificultad.¡Esperemos que os guste!⏱️ MARCAS DE TIEMPO REALES00:00 - ¡Que pasa locos! Inicio, salseo de Ibiza, compras compulsivas en Steam y debate de impuestos.37:50 - El ICG Bolt de la semana44:14 - El fin del formato físico: Sony y su apagón digital para 2028.01:20:15 - El "reseteo" de Xbox: 5000 despidos, Asha Sharma y la reestructuración de estudios.01:45:33 - Salseo de la industria: David Jaffe contra Alexelcapo.01:48:45 - 007 (IO Interactive): El gatillazo de James Bond y por qué Marco lo ha abandonado.01:55:20 - Mina: The Hollower: ¿Indie del año o un peldaño por debajo? El debate de los mods de accesibilidad.02:13:46 - El rincón del gourmet: Tortillas de Senen, latas Albo, felicitaciones a Puizo y cierre.

Farewell to freedom in the Adriatic and days of wild abandon! We're soaring back over the sea this week to hang out with our close personal friend, Porco Rosso! This is… the best movie ever made, right? Topics discussed this week: whether or not Han Solo is just Porco in space, Italian antifascism, French antifascism, fascism in general, Looney Tunes, and of course, cool planes. Next week it's all about raccoons as we go long on Isao Takahata's POM POKO (1994)! 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 Interview with Toshio Suzuki Behind the Microphone The Art of Porco Rosso 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.

Ep. 412: Pierre Coffin on Minions and Monsters Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Somehow Minions and Monsters was just the heaping serving of nuttiness that I needed last week! But what I hadn't quite anticipated was the extent of the movie's Hollywood references—ranging from Citizen Kane all the way back to... Eadweard Muybridge?! The movie love was evident and so I was eager to chat with Pierre Coffin, the director of Minions and Monsters, and the voice of its multilingual multitudes. We talked about movie influences, inspiration for the Minions voice, animation favorites and pet peeves, his favorite Miyazaki film, and much more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Eu estava tentando fazer uma lista sobre filmes de aventura com o Adriano. O problema de fazer lista é que você sempre acaba tendo que justificar para si mesmo o motivo de não colocar o filme que todo mundo esperava que você colocasse. A gente falou sobre o que faz uma jornada valer a pena no cinema, sobre como é sair de casa e voltar um pouco diferente.Acabou entrando Jodorowsky, irmãos Coen e bastante Miyazaki. E a gente também falou sobre Don's Plum. Aquele filme do Leonardo DiCaprio com o Tobey Maguire que eles processaram o diretor para não sair, provavelmente porque perceberam que estavam parecendo os idiotas que eles realmente eram nos anos 90. É um filme estranho.O episódio já está disponível.

VOV1 - Vào lúc 11h05 hôm nay 3/7, theo giờ Hà Nội, lại xảy ra thêm một trận động mạnh tại Nhật Bản, gây lo ngại sâu sắc khi làm dày thêm tần suất địa chấn trong một thời gian ngắn.Cơ quan khí tượng Nhật Bản cho biết vào lúc 13h05 hôm nay 3/7, theo giờ địa phương, tại thị trấn đảo Kumejima thuộc tỉnh Okinawa – cực Nam Nhật Bản, lại xảy ra thêm 1 trận động đất, với tâm chấn rất nông và chấn độ lên tới 6,4 độ. Mặc dù không gây thiệt hại và chỉ làm xáo trộn mặt biển ở khu vực gần tâm chấn, nhưng trận động đất hôm nay đang gây lo ngại sâu sắc, do làm dày thêm tần suất địa chấn trong một thời gian ngắn.Trong vòng 1 tuần qua, tại Nhật Bản đã xảy ra 6 trận động đất mạnh. Trong đó, trận đầu tiên mạnh 7,2 độ xảy ra lúc 7h30 sáng 25/6, với tâm chấn tại khu vực ngoài khơi tỉnh Iwate. Các trận động đất thứ 2, thứ 3 và thứ 4 xảy ra ngay ngày hôm sau tại tỉnh Chiba, Ibaraki và khu vực có 5 hồ nổi tiếng bao quanh núi Phú Sỹ thuộc tỉnh Yamanashi – giáp ranh thủ đô Tokyo, với chấn độ lần lượt là 5,8, 4,1 và 5,6 độ, làm rung chuyển nhiều địa phương ở vùng Kanto, bao gồm cả thủ đô Tokyo.Tiếp đó, vào lúc 8 giờ 40 phút sáng 01/07, theo giờ địa phương, một trận động đất khác mạnh 5,1 độ đã xảy ra, với tâm chấn nằm ở vùng đồng bằng phía Bắc tỉnh Miyazaki, ở độ sâu 10 km, làm rung chuyển hàng loạt các tỉnh ở vùng Kyushu như Miyazaki, Kumamoto, Oita, Kagoshima, Nagasaki, Fukuoka… Hiện nay các nhà địa chấn học Nhật Bản đang tích cực nghiên cứu tính chất, cơ chế và mối tương quan của hiện tượng dị thường nêu trên./.VOV Nhật BảnBản đồ phân bố chấn động do NHK đăng tải.

VOV1 - Một trận động đất có độ lớn 5,1 đã xảy ra vào sáng nay (01/07) làm rung chuyển khu vực ở Kyushu, phía Tây Nam Nhật Bản. Theo Cơ quan Khí tượng Nhật Bản, vào lúc 8 giờ 40 phút sáng nay (01/07, theo giờ địa phương), một trận động đất có độ lớn 5,1 đã xảy ra với tâm chấn nằm ở vùng đồng bằng phía Bắc tỉnh Miyazaki, ở độ sâu 10 km, làm rung chuyển hàng loạt các tỉnh ở vùng Kyushu, như Miyazaki, Kumamoto, Oita, Kagoshima, Nagasaki, Fukuoka…Cơ quan Cảnh sát Miyazaki cũng xác nhận, trận động đất khiến nhiều khu vực bị rung lắc mạnh và kéo dài trong khoảng 10 giây. Tính đến 8 giờ 55 phút sáng nay, cơ quan này chưa nhận được báo cáo nào về thiệt hại trong tỉnh và hiện đang tiếp tục thu thập thông tin liên quan.Trong khi đó, mặc dù không có cảnh báo nguy cơ xảy ra sóng thần từ trận động đất này, nhưng Cơ quan Khí tượng Nhật Bản đã phải phát đi cảnh báo khẩn cấp ngay khi động đất xảy ra, khuyến cáo người dân tiếp tục đề phòng với các dư chấn có thể xuất hiện trong thời gian tới.Trong những ngày gần đây, ở nhiều khu vực trên khắp Nhật Bản liên tiếp xảy ra động đất, như tại tỉnh Aomori và Iwate - Đông Bắc Nhật Bản, tỉnh Yamanashi, hay trước đó là tỉnh Chiba và Ibaraki… Những diễn biến động đất liên tiếp này xảy ra đang khiến các chuyên gia và người dân Nhật Bản đặc biệt chú ý và quan ngại. Nhiều chuyên gia cũng dự báo về một số hiện tượng cần đề phòng như “chấn động chu kỳ dài”, với đặc trưng lan truyền xa tới vài trăm km, thời gian rung lắc kéo dài…, đồng thời khuyến cáo người dân ở tất cả các địa phương chuẩn bị sẵn sàng cho trường hợp xấu nhất có thể xảy ra.Ngọc Huân/VOV-TokyoTải vềPlayMuteRemaining Time -1:21Trận động đất với tâm chấn nằm ở phía Bắc tỉnh Miyazaki nhưng khiến hàng loạt các địa phương khác ở khu vực Kyushu bị rung chuyển - Ảnh: TBS News

Get ready to reconnect with your 10-year-old self. Because we're about to face some of the most embarrassing (and transcendent) childhood memories in movie history! Topics discussed this week: dividing fractions, the questionable taste of unripe pineapples, Takahata and Miyakazi's legendary beef, uncanny animated facial muscles, the weather, and whether or not ALADDIN still holds up. Next week we take to the skies with PORCO ROSSO (1992). 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 The Making of Only Yesterday Princess Mononoke: The Art and Making of Japan's Most Popular Film of All Time Starting Point by Hayao Miyazaki Sharing a House with the Never-Ending Man by Steve Alpert 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.

Everyone's seen Spirited Away. Everyone's seen Princess Mononoke. Almost nobody has seen the 1984 Miyazaki film that's better than both of them. Richard Lewis, Thorin, and MonteCristo break down Nausicaä of the Valley of the Wind, the pre-Studio Ghibli masterpiece that handles environmentalism with more intelligence and nuance than anything Miyazaki made after it. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Complice la nuova edizione in sala, cogliamo l'occasione per parlare (ancora) di Hayao Miyazaki. Dopo 30 anni possiamo definire Principessa Mononoke un capolavoro?Sì

According to the city and other sources, the man requires assistance with walking and also has a visual impairment. He visited the polling station together with his mother. Because it took him some time to complete his ballot, his mother spoke to him while standing nearby. However, polling station staff judged her actions to constitute “voting interference,” which is prohibited under the Public Offices Election Act. Episode notes: ‘Miyazaki Disabled Man Gave Up on Voting After Mother's Help Deemed Interference by Polling Station Staff': https://barrierfreejapan.com/2026/06/20/miyazaki-disabled-man-gave-up-on-voting-after-mothers-help-deemed-interference-by-polling-station-staff/

Vi pratar bl.a. om vem som vann GAFFA3 2026, de hotade XBOX-studiorna, Sonys nya knapppatent, DOOM-kompositörens bortgång, 007: First Light, Mina The Hollower, The Adventures of Elliott: The Millennium Tales & Zero Parades: For Dead Spies Stötta Kontrollbehov på Patreon!För 50kr i månaden får du tillgång till podden oklippt & reklamfri direkt när den har spelats in och dessutom tillgång till allt tidigare exklusivt content samt allt material under jul och sommarledigheter. Som Patron stöttar du oss även i vår intervjupodd "Homo Ludens" där vi intervjuar intressanta personer om deras förhållande till TV-Spel. Du får även dessa avsnitt tidigare och reklamfria. För 100kr i månaden får du allt som 50kr-patrons får men du får också första tjing på alla eventuella koder & gratisgrejer som vi ibland erbjuder! Du är dessutom lite bättre än alla andra. Blir du gratismedlem på Patreon kan du va med och diskutera aktuella spel, rösta i omröstningar och ta del av mycket annat kul! www.patreon.com/kontrollbehov Besök vår Youtube-kanal och prenumerera:https://www.youtube.com/channel/UClQ2sTbiCcR0dqNFHwcTB0g Gå med i gruppen Kontrollbehov - Eftersnack på Facebook:https://www.facebook.com/groups/1104625369694949/?ref=bookmarks Vi finns också på Discord! https://discord.gg/848F6TWXDY Hör av er:kontrollbehovpodcast@gmail.com

Director/Producer Hiro Murai whose new show is Apple TV's “Widow's Bay,” joins host Ben Mankiewicz. They discuss why he and Donald Glover collaborate so well and how their initial approach to making “Atlanta” was unsustainable. Murai and Ben debate the value of surrealism in art and Murai reveals that he once pitched himself to direct a Beyonce video but completely understands why he didn't get the gig. His answers to the Super 8 span Japanese films like Miyazaki's “My Neighbor Totoro” and Takeshi Kitano's “Sonatine” to the Albert Brooks comedy “Modern Romance” and Kubrick's “The Shining.” Films Mentioned: Rosemary's Baby Eraserhead Cool Runnings The Shining Terminator 2: Judgement Day AKA T2 Elevator To The Gallows Boogie Nights No Country For Old Men Jurassic Park Modern Romance La Chimera 2001: A Space Odyssey Ran My Neighbor Totoro Tampopo The Sound of Music Reds Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

「１票の格差」が最大２．１０倍だった２月の衆院選は投票価値の平等に反して違憲だとして、二つの弁護士グループが選挙無効を求めた訴訟の判決で、東京高裁と福岡高裁宮崎支部は１２日、いずれも「合憲」と判断し、請求を棄却した。 Tokyo High Court and the Miyazaki branch of Fukuoka High Court in southwestern Japan ruled Friday that the last House of Representatives election, held in February, was constitutional in terms of vote-value disparities.

Tokyo High Court and the Miyazaki branch of Fukuoka High Court in southwestern Japan ruled Friday that the last House of Representatives election, held in February, was constitutional in terms of vote-value disparities.

VOV1 - Mặc dù đang và đang áp dụng đồng loạt nhiều biện pháp tổng thể để đối phó với tình trạng giảm dân số tự nhiên, nhưng Nhật Bản vẫn chưa giải quyết được một vấn đề cốt lõi là nâng cao tỷ lệ sinh sản của phụ nữ. Theo báo cáo “Xu hướng dân số” do Bộ Y tế và Lao động Nhật Bản vừa công bố, số trẻ sơ sinh ra đời tại nước này trong năm 2025 là 671.236 trẻ, giảm tới 14.937 trẻ so với năm 2024. Theo đó, tỷ lệ sinh sản trung bình trong đời một phụ nữ Nhật Bản chỉ còn 1,14 điểm, giảm 0,01 điểm so với năm trước đó. Đây là năm thứ 10 liên tiếp tỷ lệ sinh của phụ nữ Nhật Bản suy giảm và là mức thấp nhất từ trước đến nay.Trong số các địa phương của Nhật Bản, thủ đô Tokyo xếp cuối bảng tỷ lệ sinh trung bình 3 năm liên tiếp với mức 0,96 điểm, Hokkaido và Miyagi đồng hạng thứ 2 từ dưới lên với 1,0 điểm. Địa phương có tỷ lệ sinh cao nhất là Okinawa – cực Nam Nhật Bản, với 1,52 điểm, tiếp theo là Miyazaki và Fukui với các mức lần lượt là 1,46 và 1,45 điểm. Từ những con số nêu trên có thể thấy rõ tình trạng “Tây cao, Đông thấp”, tức là các địa phương phía Tây Nhật Bản có tỷ lệ sinh cao hơn phía Đông.Trong một diễn biến có liên quan, theo một báo cáo khác do Bộ Nội vụ và Truyền thông Nhật Bản vừa công bố, tổng dân số của nước này tính đến ngày 01/10/2025 là 123.049.524 người, giảm 2,5% so với cuộc điều tra dân số gần nhất vào năm 2020. Đây là lần giảm thứ ba liên tiếp trong chu kỳ điều tra dân số 5 năm một lần của Nhật Bản, đồng thời là mức giảm lớn nhất được ghi nhận trong lịch sử.Trong những năm gần đây, Chính phủ Nhật Bản đã và đang áp dụng đồng loạt nhiều biện pháp tổng thể nhằm khuyến khích kết hôn, sinh con để đối phó với tình trạng giảm dân số tự nhiên, bao gồm cả các biện pháp nâng cao sức khỏe sinh sản, giãn cách thời gian lao động, ưu đãi về thu nhập và nhà ở… nhưng vẫn chưa đạt được kết quả như mong đợi. Theo đó, việc duy trì dân số vẫn tiếp tục là bài toán nan giải đối với Tokyo.Tuấn Nhật/VOV- JapanBộ Y tế và Lao động Nhật Bản (ảnh VOV Tokyo)

In this week's bumper JTET, Jon Steele and James Taylor reviewed the games from the 1st round of the J2/J3 100 Year Vision League playoffs. In part 1, James talks about the West, with a focus on Toyama v Miyazaki, Nara v Oita, and Kanazawa v Tottori (to 30:25). Then in Part 2, Jon reviews the East games, with a particular look at Tochigi City v Iwata, Yokohama FC v Omiya, and Sgamihara v Fujieda (to end). There's also the usual Most Bravo Player and games to watch.   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.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.

✨ - Check out the Part of Your Broadway World Podcast

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.

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.

Lia Iovenitti"La scatola delle lacrime"Han KangIllustrazioni di Bomroya.Adelphiwww.adelphi.itSalone Internazionale del Libro Torinovenerdì 15, ore 11:30 - lab scrittura "due ciottoli sott'acqua" con Lia Iovenitti - lab scrittura padiglione 4venerdì 15, ore 13:45 - l'autore invisibile - i ferri del mestiere - con Lia Iovenitti e Federico Taibi - Sala Granatasabato 16, ore 11:00 - con Lia Iovenitti- Libreria Trebisonda, Via Sant'Anselmo. Salone Off.«Con gratitudine per le lacrime che, a volte, arrivano inaspettatamente a salvarci» (Han Kang).Un potente racconto sul tema del dolore – per i bambini e gli adulti – che racchiude tutto l'universo poetico di Han Kang.C'era una volta una bambina che viveva in un villaggio remoto fra le montagne. Come «due ciottoli sott'acqua», i suoi grandi occhi scuri erano sempre bagnati di pianto: bastava un'ombra, il soffio umido del vento poco prima della pioggia, un piccolo gesto o una melodia lontana a farle versare lacrime. Poi, un giorno, giunse al villaggio un uomo vestito di nero, con un grande cappello, una borsa scura e un minuscolo uccellino blu dalle piume lucenti. Era un collezionista di lacrime, alla ricerca dell'esemplare rarissimo che mancava alla sua raccolta: la lacrima versata «per nessuna ragione in particolare, e per tutte le ragioni del mondo». Incuriosita dalle storie di quell'uomo misterioso e ammaliata dalla «forza strana» dell'uccellino blu, la bambina decise di unirsi al loro viaggio. E durante il cammino – come narra Han Kang in questo racconto delicato e visionario, che ricorda una fiaba di Miyazaki – il mondo intero iniziò a mutare dentro e fuori di lei.Han Kang è una scrittrice coreana, vincitrice del Premio Nobel per la Letteratura nel 2024. Vittoria che le ha permesso di diventare la prima autrice asiatica nella storia ad aggiudicarsi tale riconoscimento.«Fin da quando ero bambina, ho sempre voluto conoscere. Conoscere il motivo per cui siamo nati. La ragione per cui esistono la sofferenza e l'amore. Queste domande sono state poste dalla letteratura per migliaia di anni e continuano a essere poste oggi». - Dal discorso di Han Kang alla cerimonia di premiazione del Premio Nobel per la Letteratura.Nata nel 1970, è figlia dello scrittore Han Seungwon e come il padre ha vinto il Yi Sang Literary Award.Studiosa di letteratura coreana alla Yonsei University, ha iniziato la sua carriera come poetessa. Nelle sue opere Han Kang si confronta con traumi storici, esponendo la fragilità della vita umana, enfatizzando le connessioni tra corpo e anima, vivi e morti, con uno stile poetico unico e sperimentale, confermandosi un'innovatrice della prosa contemporanea.In Italia i suoi romanzi sono pubblicati da Adelphi.Tra i titoli ricordiamo, La vegetariana, vincitore dell'International Booker Prize nel 2016, Atti umani (2017), Convalescenza (2019), L'ora di greco (2023), Non dico addio (2024), Il libro bianco (2025).Han Kang nel 2024 ha vinto il Premio Nobel per la Letteratura con la seguente motivazione: «per la sua intensa prosa poetica che affronta i traumi storici ed espone la fragilità della vita umana.»Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

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 

Studio Ghibli recibe el foco de El Ojo Crítico tras la concesión del Premio Princesa de Asturias de Comunicación y Humanidades, un reconocimiento que confirma su impacto cultural y artístico a nivel internacional. El programa analiza el legado creativo del estudio japonés, referente mundial de la animación y creador de películas que han marcado a varias generaciones.Para profundizar en la narrativa y el universo cinematográfico de Ghibli, participan Marta García Villar y Álvaro López Martín, autores del libro Mi vecina Miyazaki. Studio Ghibli. La animación japonesa que lo cambió todo. Además, Jonay Armas analiza la dimensión musical de sus producciones y el valor emocional de sus bandas sonoras.Escuchar audio

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/

I'm not crying, you're crying! We go over one of the saddest things which we were all dreading watching, but don't worry, there's plenty to talk about aside from crushing brutal sadness, such as the interesting polymath who wrote the story and the extremely methodical guy who directed the film, and of course some Miyazaki too. And if you're wondering, you don't have to watch the film to listen if you can't handle it right now (and if you want, you can read the short story which we talk about too)Support us at our podcasting network, Podcastio Podcastius at https://www.patreon.com/podcastiopodcastius.  You'll get early episodes of this and out other podcasts, along with a live chat here and there.Speaking of our other podcasts - seriously, you could only listen to various other configurations of us:Luke Loves Pokemon: https://lukelovespkmn.transistor.fm/Time Enough Podcast (Twilight Zone): https://timeenoughpodcast.transistor.fm/Game Game Show (a game show gaming games): https://gamegameshow.transistor.fm/Occult Disney: https://occultdisney.transistor.fm/Podcast: 1999 (where Mark and Matt rap about 70's tv sci-fi): https://podcast1999.transistor.fm/And Matt makes music here:https://rovingsagemedia.bandcamp.com/Coming Soon: The Starving GamesPsychoSteel

Påskeferien prøvede at nedlægge os med en arrig dobbelt-combo: Casper har svedt tran med 40 i feber midt i en vaskeægte 'Amadeus'-katastrofe i Grand Teatret, mens Jannik har kæmpet mod en decideret middelalderlig halsbyld. Men stormen er redet af, og nu er vi endelig klar til at snakke lidt om film igen, og endda af den gode slags. Vi lægger benhårdt ud med den britiske Tourettes-dramedy 'I Swear'. Nogle kalder den noget af det sjoveste, de længe har set, men vi undersøger, om man ikke misser pointen fuldstændig, hvis man udelukkende griner. Vi ser nærmere på ubehagelig komik, Robert Aramayos fantastiske præstation og en både sjov og rørende tragikomisk fortælling om en mand, der har decideret svært ved at etablere sig som et helt almindeligt menneske. Spørgsmålet er, hvorfor har englænderne altid været sindssygt gode til at få ekstremt høj kvalitet ud af ensporet følelsesporno.  Derfra suser vi direkte ind i det lidt unikke børnesyn i den Oscar-nominerede animationsfilm 'Lille Amélie'. Her lugter det langt mere af Miyazaki end af Pixar, når filmen ret modigt tager livets allerstørste spørgsmål under kærlig behandling. Alt sammen set fra et barns særlige, og indledningsvist fuldstændig ubevægelige, perspektiv. Episodens hovedret er Joachim Triers længe ventede norske sensation, 'Affektionsværdi'. Vi dykker ned i det komplekse, Bergman-inspirerede familiedrama spækket med metalag og en solid Stellan Skarsgård i rollen som martret filminstruktør. Men formår den overhovedet at ramme os lige så rent i hjertekulen som Triers andre Oslo-fortællinger? Til sidst tænder vi for Seriemorteren. Ikke for at dele stjerner ud, for det har vi ikke set nok til, men for at dele lidt umiddelbare 'feels' og tanker fra sofaen. Vi kaster et undrende blik på den vilde klatretøsen-farvegraduering og nuller-nostalgi i Netflix' storstilede Jo Nesbø-satsning 'Harry Hole', tjekker ind hos Trine Dyrholm i den dejligt underlige islandsk-danske thriller 'Den danske kvinde', og runder lynhurtigt Handmaid's Tale-spinoff'en 'The Testaments'. Længere er den ikke. Det var, hvad vi kom for. Vi ses i biffen, og vi høres ved på Hjørnet! Med venlig hilsen,Casper & Jannik

In spring 2026, social media platform X field-tested a new feature. Thanks to AI advances, with little fanfare, we now have universal translators. And suddenly the “curse of Babel” was temporarily lifted. Americans, Japanese, and Koreans began sharing their love of foods, patriotism, and fantastical stories. But for decades already, people around the world have found the wonder of creativity from overseas—manga, anime, games, and music. Why do we love these stories?[1. Photo by Branden Skeli on Unsplash.] Episode sponsors The Star-Blessed by Angie Dickinson Realm Makers 2026 Conference & Expo Land of Giants by Laurie Christine Above the Circle of Earth by E. Stephen Burnett Mission update New at Lorehaven: new reviews of Perplexity and Sanctified Subscribe free to get updates and join the Lorehaven Guild 1. Today every story can become localized To recap: God made people originally to act as one human family. Sin broke those relationships (Gen. 3), leading to global corruption. God's global Flood rebooted the world (Gen. 6-9). Generations later one humanity shared in evil. So He confused languages (Gen. 11). People now live with distinct cultures, all human yet divided. Pentecost showed a glorious reversal of this division (Acts 1-2). Radio and internet also shortened com distances between nations. Side effect: this makes us feel all crises are equally important to us. But, great benefit: this allows us to share in one another's stories. Auto-translate is not new, but recently on X it became default. These “universal translators” with AI are erasing language barriers. Japanese and Americans bonded over shared food, music, culture. And now Koreans and others are joining the conversations. So far it's wholesome and humanist (in the best possible way). People love their cultures most, and like others who do the same. Yet many fans have liked Japanese and Korean media for decades. 2. Fans love Japanese manga, anime, music Zack spent much of his childhood spent inside Japanese-created fantasy worlds. Stephen grew up enjoying cartoons that turned out to be anime: The original 1980s Superbook biblical fiction series 1 and 2 The lesser-known New Testament-focused The Flying House All voiced by the English dub cast of Kimba the White Lion Must credit televangelist Pat Roberton's original CBN station They worked with Tatsunoko Production before anime was cool Stephen has also grown to love Miyazaki films and newer anime. Manga makes half of graphic novel sales. Western comics rarely crack top ten. Lots more manga get produced into anime, so it's a dual format appeal. American comics tend to focus on superhero reboots from DC or Marvel. Meanwhile, manga spans nearly every genre of fiction. Manga focuses on adventure and achievement, rather than vanity. Manga focused on craftsmanship and audience, not sociopolitical agendas. Japan has much less influence Christian, yet creators address biblical themes. Many of them are at least familiar with the Bible as literature. So you'll get a Chrisitan missionary-focused plot arc in Rurouni Kenshin Or late-breaking messiah motifs and a “pastor” character in One Piece. 3. Fans also love K-dramas and K-pop Korean-made fantastical stories are also taking the world by storm. Both our wives enjoy a Korean original export: K-dramas. Many of them are whole-hearted tropey, romantic-dramedy. And many have fantastical elements, like modernized mythology. Then of course there's the music. Many K-pop artists love Bands like Stray Kids and A-Teez overtly tribute Western fantasy. Stray Kids teamed up with Ryan Reynolds as Deadpool for “Chick Chick Boom.” A-Teez has a whole post-dystopian dimension-jumping narrative. And recently, A-Teez's song “NASA” got used in Artemis II Korea has more evangelical Christian influence than Japan. That's likely why K-Pop Demon Hunters felt almost Christian. Certainly the movie well portrayed fallen “demons” and human redemption. The Holy Spirit can take the Gospel across any language barrier. Many Christians think “speaking in tongues” was for apostles only, now fulfilled. Other thinks it's a “private prayer language,” not actual languages spoken today. Either way, we have stories and technological tools that help bridge cultures. May the Lord use this to spread the best fantastical stories across the world May we share the gospel to “all tribes and peoples and languages” (Rev. 7:9). Com station Top question for listeners What are your favorite fantastical stories from other lands? Next on Fantastical Truth The late Captain Jim Lovell aboard Apollo 8 read Genesis 1 from orbit on Christmas Day. Col. Buzz Aldrin aboard Apollo 11 took secret Communion on the Moon. Captain Butch Wilmore spent time on the International Space Station and will speak at next month's Teach Them Diligently conference. More recently Captain Victor Glover aboard Artemis II, en route to a lunar flyby, shared pre-gospel thoughts about God's wonderful creation of planet Earth. Why do so many astronauts and faithful staffers of NASA take their biblical beliefs out of this world?

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]

Thanks to a Patreon supporter, it's finally time to dip our toes into the world of Lupin III - and to check out the first Miyazaki movie: The Castle of Cagliostro. We also talk about corporate transparency (vis-a-vis the baffling Steel Ball Run release schedule) and the flexatone. | Follow us on Apple Podcasts | Support us on Patreon | Follow us on BlueSky | We're on Threads/Instagram | Subscribe to us on YouTube | Join the fan Discord

Mai Hua, réalisatrice et autrice est une amie et elle est venue plein de fois sur Vlan! Elle a signé Les rivières et Make Me a Man, et sort aujourd'hui Mayday, un documentaire qui filme l'intérieur d'une retraite thérapeutique de 14 jours, sans électricité, sans réseaux sociaux, avec 12 personnes qui ne se connaissent pas et n'ont rien en commun.Mai Hua est donc une amie proche. On se connaît depuis longtemps et j'attendais cet épisode avec impatience, parce que ce qu'elle explore touche exactement ce que j'essaie de mettre en mots depuis des années : comment retrouver de l'élan dans un monde qui semble faire tout pour nous l'enlever.Dans cet épisode, nous parlons de la différence fondamentale entre développement personnel et soin collectif, de ce que ça fait de vivre sans téléphone pendant deux semaines, du rôle de la colère comme émotion mal comprise et puissante, et de pourquoi la joie est un acte politique, pas un sentiment léger.J'ai questionné Mai Hua sur ce que le cinéma peut soigner que la thérapie ne peut pas, sur la manière dont les réseaux sociaux organisent notre séparation, et sur ce que les peuples racines ont compris que nous avons oublié. C'est une conversation sur le courage, au sens littéral : courage vient du mot cœur. Et c'est exactement ce dont il est question ici.Citations marquantes"Est-ce que tu veux être une bonne personne ou une personne entière ?" — Carl Jung, cité par Mai Hua en ouverture du film Mayday."The circle is a shaman. D'être ensemble, ça nous fait accéder à une super intelligence, une super âme. Ce n'est pas juste un plus un font deux.""Si tu perds la joie, tu perds deux fois." — Nicolas Gau, cité par Mai Hua."Quand ton corps vit dans des éléments, il n'y a plus de douche, il fait froid, il y a une rivière pour se laver, le toi que tu vas créer est totalement différent de celui que tu peux créer devant ton ordinateur.""La raison d'être de la tribu, c'est la guérison des individus. C'est ça qu'on doit faire. Trouver la super soul qui va amener de la guérison aux individus pour nous mettre en mouvement."Idées dont nous parlons1. Le collectif comme antidote, pas comme supplément Timestamp approximatif : 0:05:30 à 0:07:11 La retraite filmée dans Mayday n'est pas du développement personnel. C'est une proposition culturelle : changer les règles du vivre-ensemble pour voir ce que les individus deviennent quand la tribu a pour cœur de les guérir, et non de les rendre productifs. Le capitalisme a inversé ce paradigme. Filmer ça, c'est montrer qu'une autre logique existe, et qu'elle fonctionne.2. La colère comme condition de l'intégrité Timestamp approximatif : 0:20:52 à 0:24:07 Réprimer la colère, c'est se couper d'une partie de soi. Dans une société de performance qui demande de gérer ses émotions, on devient "bonne personne" au sens social du terme mais on cesse d'être entier. La scène de la batte de baseball dans Mayday illustre ce que ça coûte de mettre cette émotion sous cloche, et ce que ça libère de la traverser.3. La joie est révolutionnaire Timestamp approximatif : 0:33:54 à 0:34:42 La joie n'est pas un sentiment léger ni un luxe. C'est le carburant de la résistance. Elle est inconditionnelle, intérieure, accessible, mais son accès est obstrué. Ce que la retraite, le film et la conversation visent tous les trois : désinterdire l'accès à la joie dans un monde qui tire systématiquement vers les passions tristes.4. L'écoute soigne plus que la parole Timestamp approximatif : 0:40:22 à 0:42:29 Le cercle s'appelle "cercle de paroles" mais c'est en réalité un cercle d'écoute. On parle une fois, on écoute vingt fois. Et c'est dans cet espace que quelque chose se libère : la parole de l'autre, quand elle circonscrît une vérité qu'on n'arrivait pas à formuler soi-même, agit comme de la magie. Delphine de Vigan l'a formulé ainsi : c'est un film qui parle du pouvoir des mots.5. On devient ce qu'on cultive Timestamp approximatif : 0:51:05 à 0:53:13 Les humains sont hyper adaptables. La violence comme l'entraide sont des potentiels. Ce qui décide, c'est la culture dans laquelle on s'inscrit, ce qu'on choisit d'entretenir. La discipline de la joie, de la résistance, de la convivialité n'est pas naturelle dans ce monde, mais elle est possible et nécessaire.Questions structurantes de l'interviewPourquoi filmer une retraite, et quel est pour toi le rôle des retraites dans un contexte où beaucoup de choses s'effondrent ?En quoi une retraite thérapeutique collective est-elle différente du développement personnel individuel ?Quel est le rôle du care et du soin dans le fait de redonner envie du futur ?En quoi être connecté à son corps, pas seulement à sa tête, change quelque chose dans cette démarche ?La colère est un sentiment mal jugé. En quoi est-ce un sentiment positif, et pourquoi l'exprimer est une condition d'intégrité ?Comment un documentaire peut-il produire chez le spectateur quelque chose de proche de l'expérience vécue par les participants ?Quel est pour toi le rôle du divertissement dans une société où l'attention est capturée en permanence ?Toi, qu'est-ce qui te donne de l'élan aujourd'hui, dans ce monde où tout semble s'effondrer ?Quel est le rôle des artistes dans cette période très particulière pour redonner de l'élan aux gens ?Est-ce qu'on ne ferait pas l'erreur de vouloir agir au niveau national ou global plutôt que local ?Références citées dans l'épisodePersonnes et penseursCarl Jung : citation en ouverture du film Mayday : "Est-ce que tu veux être une bonne personne ou une personne entière ?" — 0:22:35Joan Tronto : éthique du care, citée par Mai Hua comme fondement de sa démarche — 0:07:37Scott Peck (thérapeute) : définition de l'amour comme "the will to develop spiritually and to support the spiritual development of others" — 0:07:37Gilles Deleuze : "Le pouvoir a besoin de tristesse" — cité par Greg — 0:16:25Nicolas Gau : auteur d'un livre sur la joie comme acte de résistance. Citation : "Si vous perdez la joie, vous perdez deux fois." — 0:33:54Viktor Frankl : référence à la résistance qui génère de la joie, dans le contexte de la Seconde Guerre mondiale — 0:34:42Hayao Miyazaki : cité par Mai Hua sur le divertissement comme moyen de changer une trajectoire — 0:31:01Delphine de Vigan (romancière) : a participé au crowdfunding de Mayday et commenté le film autour du pouvoir des mots — 0:40:58Pablo Servigne : cité par Greg à propos de l'entraide et des sociétés violentes condamnées à mourir, dans le prolongement d'une interview précédente — 0:57:34Thomas Hobbes : "l'homme est un loup pour l'homme", "ma mère a accouché de deux jumeaux, moi et la peur" — cité par Mai Hua — 0:58:53Spinoza et Rousseau : cités comme alternatives à Hobbes sur l'entraide comme régulateur fondamental des sociétés — 0:58:53Mark Twain : "Il y a toujours un peu de lumière, il y a toujours un peu de violence" — cité par Mai Hua — 0:52:01Lumière Laprais : militante politique citée comme exemple de quelqu'un qui articule pouvoir local et discours global — 0:53:37FilmsPremier contact de Denis Villeneuve : scène de la linguiste qui traverse sa peur pour aller vers l'inconnu, citée comme métaphore de l'engagement malgré la peur — 0:11:18Les rivières : premier film de Mai Hua sur sa lignée familiale féminine — 0:26:00Make Me a Man : deuxième film de Mai Hua, aborde les "Pulse Battalions" britanniques de la Première Guerre mondiale — 1:02:25Mayday : documentaire en cours de sortie filmant une retraite thérapeutique de 14 jours — fil conducteur de l'épisodeLivres / conceptsFutur Ancestral : livre cité par Mai Hua sur les savoirs ancestraux inscrits dans nos gènes — 0:42:47Sex at Dawn : livre d'un couple de chercheurs critiqué sur certains chapitres, qui déconstruit le mythe de la violence naturelle de l'homme — 0:58:53Bullshit Jobs : concept évoqué implicitement (David Graeber), 70% des gens feraient un travail dont ils sentent l'inutilité — 0:38:14Peuples racines : livre d'une journaliste belge (nom oublié) ayant fait un tour du monde pour identifier les raisons d'être communes des peuples anciens — 0:56:06Timestamps clés 00:00 — Introduction : et si le soin était le chemin vers l'avenir ? Greg ouvre l'épisode sur la tension entre individualisme et solitude, et présente Mai Hua, réalisatrice de Mayday.01:52 — Pourquoi filmer une retraite Mai Hua explique sa motivation : redonner de l'espoir en montrant au public ce qu'elle a elle-même vécu comme participante et facilitatrice.04:44 — Développement personnel vs soin collectif Échange central sur la différence entre le self-care individualisé et la logique de la retraite collective. Le capitalisme a fait de la guérison une commodité.07:11 — L'éthique du care et la définition de l'amour Références à Joan Tronto et Scott Peck. L'amour comme volonté de se développer et d'aider l'autre à se développer.08:40 — Le rôle du care pour redonner envie du futur Relâchement, écoute, porosité avec la nature : un autre régime d'existence que l'efficacité et la performance.11:18 — L'engagement malgré la peur Scène de Premier contact de Villeneuve. La peur n'est pas quelque chose à vaincre, c'est quelque chose qu'on traverse.13:02 — La retraite comme microcosme de l'humanité 12 personnes très différentes sous le même toit. La confrontation des systèmes de croyance comme moteur de transformation.16:25 — Les réseaux sociaux organisent notre séparation Deleuze, les passions tristes, le café du commerce. Ce que la retraite fait à l'opposé de ce que les plateformes fabriquent.18:00 — Le téléphone, vrai trigger de la déconnexion Ce n'est pas la nourriture ni l'électricité qui paniquent les gens. C'est l'annonce qu'il n'y aura pas de téléphone.20:45 — Pourquoi le corps compte autant que la tête L'atelier de la colère, la batte de baseball, la somatisation. Le corps garde des émotions très anciennes.22:14 — La colère comme condition d'intégrité Référence à Carl Jung. "Est-ce que tu veux être une bonne personne ou une personne entière ?" Le coût de mettre sa colère sous cloche.25:54 — La puissance du collectif dans un monde individualiste "The circle is a shaman." Ce que le collectif permet que l'individu seul ne peut pas atteindre.27:07 — Comment un film peut soigner comme une expérience Le cinéma réhumanise nos expériences. Les gens rentrent en résistance, puis en empathie, exactement comme dans le cercle.29:47 — Divertissement et nihilisme passif Miyazaki, le doomscrolling, Netflix. La différence entre le divertissement qui endort et celui qui change une trajectoire.33:54 — La joie est un acte révolutionnaire Nicolas Gau : "Si tu perds la joie, tu perds deux fois." La joie est inconditionnelle, intérieure, et l'accès peut être désinterdits.42:29 — Le pouvoir des mots et la magie du cercle Delphine de Vigan sur Mayday. Quand un mot circonscrît une vérité que tu n'arrivais pas à formuler, c'est de la libération.53:05 — Comment cultiver l'élan au quotidien On devient ce qu'on cultive. La discipline de la joie, de la convivialité, du soin.57:34 — L'entraide comme loi naturelle Référence à Pablo Servigne. La loi de la jungle est un mythe. Les sociétés violentes meurent. L'entraide régit le vivant.1:00:03 — Collectif vs Trump : deux formes d'élan L'élan de prédation vs l'élan du collectif. Individuellement on est faibles, collectivement on est incroyablement puissants.1:03:24 — Imaginer un avenir positif Ce que Mai Hua aimerait pour ses enfants, pour les rivières, pour les oiseaux.1:04:09 — La clôture : ouvrir la porte du cœur Le mot "courage" vient du mot "cœur". C'est l'invitation finale de Mai Hua. Suggestion d'autres épisodes à écouter : Vlan #92 (VF

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/

Mariam Daud has built a devoted—and huge—online following by sharing beautifully prepared meals that draw from her Palestinian heritage and her American upbringing. Now she's showcasing her food in a debut cookbook: I Sleep in My Kitchen. Today on the show, we talk about going from sharing recipes online to doing so in print, finding inspiration in Studio Ghibli movies, and more. And before that it's the return on Three Things. Aliza and Matt discuss some of their recent restaurant visits as well as other fun things entering their worlds. This includes Matt's recent stops in Kingston, New York included stops at Mirador, Sorry, Charlie, and Graziano's Downtown Cafe. Kingston has serious range. Aliza visits Big CHUNE, a new Jamaican patty pop-up, Hani's for an exceptional seasonal (and Tik-Tok-trend certified) coffee drink, and has a first sip of Faccia Brutto's Lugermeister. Check out Rob Martinez's visit to Downtown Cafe in Kingston.    Subscribe to This Is TASTE: ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠YouTube⁠⁠    Learn more about your ad choices. Visit megaphone.fm/adchoices

Zach, Ben and T begin the WWII arc with a crushing movie, Grave of the Fireflies. A rare Studio Ghibli not directed by Miyazaki, Isao Takahata's short animated feature will move you to tears. There is a lot to unpack in the beginning of this arc!Instagram-@TheMovieVaultPodEmail us- themovievaultpod@gmail.comYouTube - https://www.youtube.com/@lastresortnetworkThis episode is brought to you by Point A Insurance (formerly Hedman Anglin Agency). Contact them at 614-486-7300 for your home and auto insurance needs. If you do contact them, make sure to tell them that Ben and Zach sent you! Visit their website for more information at www.PointAInsurance.com

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

Four years ago, artist Emily Yang aka pplpleasr began a creative journey that would help break new ground at the intersection of art, technology, and community.  In this episode, we sit down with Emily — founder of Shibuya — to talk about her evolution from illustrator to Emmy-winning storyteller.  Emily shares how Shibuya is pioneering “permissionless creativity,” using crypto rails to fund, build, and co-create original IP with global communities. Her breakout project, White Rabbit, became the first crypto-native project to win an Emmy (Outstanding Innovation in Emerging Media), proving that grassroots storytelling can reach mainstream acclaim. We dive into:  How White Rabbit crowdfunded alternate story endings  What it means to turn audiences from passive viewers into active participants  Why efficient capital formation is a game-changer for creatives  Building outside traditional studio systems  The creative tension between community input and artistic vision  Plus, Emily's biggest inspirations (Ghost in the Shell, Miyazaki, David Lynch, and more).  00:00 Behind the Fortune Magazine Cover 01:46 Founding Shibuya, and “Permissionless Creativity” 02:13 Winning an Emmy for White Rabbit., the First Crypto Project to Win an Emmy 03:14 What Is White Rabbit? (Interactive + NFT Model Explained) 05:53 From Passive Viewing to Interactive Storytelling 07:19 Opportunities for Creatives 08:27 Creative Inspirations (Miyazaki, Black Mirror) 09:25 Going With Your Gut, And the Advice Should Founders Ignore    Follow a16z crypto for more...  X: https://x.com/a16zcrypto  LinkedIn:  / posts    YouTube:  / @a16zcrypto    

In part 1 of this week's JTET, Jon Steele reviews the latest from the East groups of the J2/J3 100 Year Vision League, including a discussion of Tochigi City's ticket prices and his trip to watch Yokohama FC away in Hachinohe (to 33:00). Then in part 2 James runs through the West groups, with discussion of Miyazaki's win at Kitakyushu and Toyama's shootout win over Ehime to continue their encouraging start (to end). Both parts also include picks for Most Bravo Players and games to watch in matchday 6.   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

durée : 00:02:35 - Regarde le monde - par : Jean-Philippe Balasse - A première vue, on dirait une vieille bâtisse abandonnée, comme dans un animé de Miyazaki. Noyée sous la végétation, des toiles d'araignées au plafond. Un décor de bois vermoulu et de murs décrépis. Mais il y a de la vie, là, au fond du couloir, dans cette pièce exiguë. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Send a textA thirteen‑year‑old witch, a borrowed broom, and a city that doesn't owe you anything—that's the quiet magic that makes Kiki's Delivery Service unforgettable. We dive into why this story still hits hard: the sweetness of small kindnesses, the sting of indifference, and the way work can both drain you and define you. From the bakery's warm light to the wind over red rooftops, we trace how Miyazaki builds a world that feels lived‑in without overexplaining its rules, letting emotion and texture do the heavy lifting.We compare first impressions, highlight the European inspirations behind the seaside city, and talk about how Osono's simple act of hospitality becomes the turning point for Kiki's sense of belonging. Then we tackle the big question: why does Gigi stop talking? We explore it as both a magical bond loosening and a metaphor for leaving childhood behind, and how that silence reframes Kiki's isolation and resilience. The blimp set piece gets a close read too—why the battered street broom matters, how action restores purpose, and what it says about skill versus heart.Along the way, we have fun with dubs and voice casting, swap Disney pin‑trading lore, and debate Tombow's friend group in a world suddenly obsessed with flight. If you love Studio Ghibli, coming‑of‑age stories, or just want to feel the wind in your face for an hour, this one's for you. Hit play, then tell us your take: is Kiki Miyazaki's most rewatchable film, and what do you think really happened to Gigi's voice? Subscribe, share with a friend, and drop a rating to help more listeners find the show.Twitter handles:Project Geekology: https://twitter.com/pgeekologyAnthony's Twitter: https://twitter.com/odysseyswowDakota's Twitter: https://twitter.com/geekritique_dakInstagram:https://instagram.com/projectgeekology?igshid=1v0sits7ipq9yYouTube:https://www.youtube.com/@projectgeekologyGeekritique (Dakota):https://www.youtube.com/channel/UCBwciIqOoHwIx_uXtYTSEbASupport the show

Welcome back to Transporter Room 3, as we delve into the mid-season Starfleet Academy episodes "Come, Let's Away," "Ko'Zeine," and "The Life of the Stars" -- aka the one with the USS Miyazaki, the one with the wedding, and the one where Tilly comes back!We also pay tribute this week to a lost soul from the Dominion War. Plus, Phil's dog pays us a visit, so be sure to listen now!

Ponyo - Ep 384: Our long form series continues as your hosts have something "fishy" going on as we try and “sea” if it is possible for a little fish to transform into a little girl. We find out if Ponyo and Sosuke's dreams manage to stay afloat and whether or not their friendship will sink or swim on this nautical episode of Normies Like Us! WE LOVE HAM! @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/

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

The full Patreon episode on the Satoshi Kon classic is now available! For more audio like this including other Kon and Miyazaki and Dandadan, subscribe to our Patreon at patreon.com/bospod

This is a special HOLIDAY episode featuring the chat I had on Katherine May's Podcast “The Clearing” where guests explore their ideal real or fantasy retreat. Here's what Katherine said about the episode: The ADHD and autistic tendency to rest in motion is fully realised in American author and illustrator Andy J. Pizza's vision of the ideal retreat. Choosing an extraordinary fictional setting which incorporates an ingenious method of traveling the world, this episode showcases the wonder of a brilliantly creative, neurodivergent brain. Along the way, and with many fascinating tangents, Andy and Katherine discuss the power of Miyazaki films, their shared love of Fraggle Rock and longing for direction from the universe. A meticulously thought out and fully realised world that accommodates his own personal experience of ADHD, Andy unveils the most beautifully zany and imaginative dreamscape. An absolute treat.   SHOW NOTES: Fraggle Rock Last of the Summer Wine Wiki The Master and his Emissary book about left and right brain The Little Prince Producer / Editor: Sophie Miller http://sophiemiller.coAudio Editing / Sound Design: Conner Jones http://pendingbeautiful.coSoundtrack / Theme Song: Yoni Wolf / WHY? http://whywithaquestionmark.com   SPONSORS:SQUARESPACEHead to https://www.squarespace.com/PEPTALK to save 10% off your first purchase of a website or domain using code PEPTALK AEROPRESSCheck out Aeropress and use my code PEPTALK for a great deal: https://aeropress.com Learn more about your ad choices. Visit megaphone.fm/adchoices