#Kaku Arakawa

[ofallingstar]

Seeing Hayao Miyazaki naked in an onsen was not on my 2024 bingo card lmao

[tylostoma]

never-ending man: hayao miyazaki (2016) dir. kaku arakawa

[sukkigorri]

In Hayao Miyazaki and the Heron, the legendary animation director loses close friends to old age and grapples with the twilight of his own life. Photo: Max “Recently I think maybe I’m going to die,” says Hayao Miyazaki. He smiles, hands clasped behind his head. “I imagine thanking everyone.” The quote, striking in its off-handedness, comes near the top of Kaku Arakawa’s Hayao Miyazaki and the Heron, an NHK documentary distributed here in North America by GKIDS that follows the legendary animation director across the seven-year production of his latest feature, The Boy and the Heron. (It was quietly added to the Max service last week along with the film itself.) The statement will come to feel like a premature indulgence. As the months tick by and we get deeper into the doc, the director starts grappling with the deaths of others instead. We watch as he plugs away on the film and loses close friends to old age. Many are fixtures of the Studio Ghibli universe: Michiyo Yasuda, a color designer and confidante; Isao Takahata, his friend, collaborator, rival, and Ghibli co-founder; Yasuo Ootsuka, a mentor; even a dear assistant. “This is what happens in the twilight of life,” he says, shuffling to his desk after learning about the latest departure. “Good grief. The bodies are piling up.” Death hovers over every other scene. The doc doesn’t linger on the COVID pandemic, but you’re reminded of its devastation by the sudden ubiquity of face masks. When another mentor, the producer Junzo Nakajima, comes to visit Miyazaki’s atelier, the conversation quickly turns to the older man’s ailing health. An unspoken question floats over the good-byes as he gets into his car to leave: Will these men ever see each other again? It’s not often you get to see a living legend seriously grapple with the din of mortality. In many senses, it’s a privilege to witness, but watching any man outlive so many friends is a terrible thing. Hayao Miyazaki and the Heron is not an entirely accessible documentary on its own. You’d need to be versed not only with The Boy and the Heron but also Miyazaki’s broader biography in order to properly savor what you’re shown. You might find it interesting how each character in The Boy and the Heron corresponds with someone in the director’s own life, but you probably wouldn’t fully appreciate the irony of how, say, Miyazaki views his long-suffering producer Toshio Suzuki as the conniving Heron. Poor guy. That biography is largely captured by several other NHK docs, two of which are available on Max as well: 2013’s The Kingdom of Dreams and Madness, directed by Mami Sunada, which was similarly constructed around the making of The Wind Rises, and 2016’s Never-Ending Man, also directed by Arakawa, which followed Miyazaki through the development of his first CGI creation, “Boro the Caterpillar.” (Another, the four-part 10 Years With Hayao Miyazaki, is available on Crunchyroll.) Hayao Miyazaki and the Heron retroactively turns the two mildly hagiographic Max docs into a sobering triptych, functioning as a kind of conclusion to a sustained look at a flawed creative genius who routinely defies age and pulls himself out of retirement to work on his art once more — until he comes up to the limits of whether he can do so much longer. What’s a little different about Arakawa’s doc is how purely melancholic it feels. We see, for example, how the death of Isao Takahata, Miyazaki’s mentor and rival, weighs on him the most throughout the development of The Boy and the Heron. Though he vastly overshadowed Takahata in renown, he clearly admired and loved the man, coveting his approval that was rarely given. So Takahata continues to loom large in Miyazaki’s head long after his death, to a point where Miyazaki not-so-jokingly blames everything from the weather to losing a pencil on the vengeful spirit of his late mentor. Arakawa likes to rapidly cut between several different scenes within a few seconds — replicating the sense of intrusive thoughts — to draw thematic and emotional associations. This device performs a few different functions: In some places, it’s used to connect aspects of Miyazaki’s own life to imagery visible in his movies; in one example, we see Miyazaki watch a small child stacking two toads atop each other that the doc smashes into the scene in Heron where a swarm of toads overwhelms Mahito, the protagonist. In others, Arakawa uses it to pin down an emotion Miyazaki tries to swerve away from. The director has a puckish quality about him, eager to cut a vulnerable statement with a wry observation or an ironic smile. “People said I’d be the first to go. Why am I still alive?” he says in one scene, before breaking into another smile. Arakawa follows this with a clip from Porco Rosso where Porco relates the story of seeing a celestial tunnel in the sky filled with planes of the many pilots who fell before him. In this age of hyper-brand management where practically every celebrity doc requires direct sign-offs from the subject themselves, it’s striking to watch a document of a global cultural luminary being so nakedly human. Of course, Hayao Miyazaki and the Heron is still a reverent work, leaving out a few messier strands of the man’s life that Miyazaki-heads might be curious about. We don’t get anything about his son Goro, for example, whose inability to live up to his father’s shadow was a major subject in The Kingdom of Dreams and Madness. But these omissions can be read as further reflecting Arakawa’s main thematic focus, which is the inevitability of death. We watch Miyazaki age into his 80s. We see his body and face shrink a little; that puckish smile grows more weathered. His hands, which have created so much beauty, start to tremble. The doc ends on an uplifting note, capping off Miyazaki’s seven-year odyssey with The Boy and the Heron with footage of his team watching their Oscar win on television, but by then it’s hard to feel triumphant. Miyazaki may abandon retirement once again to embark on another project, but the man is now 83. Death is a fact of life, and not even geniuses can outrun this biological truth. See All #Hayao #Miyazaki #Documentary #Obsessed #Death

[flashpastella]

-- > Ten Years with Hayao Miyazaki (2019) < -- de Kaku Arakawa (JP)

Qué onda 10 years...?

Es un documental sobre las crónicas creativas de Miyazaki cuando tiene que hacer "Ponyo".

El documental es un programa de televisión dividido en 4 episodios. Recomiendo principalmente los primeros dos, que tenemos full Miyazaki proceso creativo y lo vemos tirar data, sufrir, laburar, no laburar, y vamos conociendo un poco más qué pasa por su mente y corazón...

El episodio 3 es sobre su relación con su hijo, que también se convirtió en animador y tiene que arrastrar con mucho peso ser el "hijo de Miyazaki"... y vemos su drama la hora de hacer su primera película "Cuentos de Terramar".

El episodio 4,son los futuros proyectos de Miyazaki... que para mí ya despues de los otros tres, no es tan interesante a esa altura...

Recuerden que pese a estar estrenada en 2019, esta película se filmó desde el 2006, donde era otra la tecnología.

Algo que me gusta de este documental, así como el de los beatles, es que nos muestra a estas "mentes maestras" como humanos... como simples mortales al igual que uno... que sufre, que está confundido, que pifia, que pospone, que rollingea...y en algún momento por estar en constante movimiento las cosas van apareciendo.

[ljaesch]

GKIDS Acquires the North American Rights for the 10 Years With Hayao Miyazaki Documentary Series

GKIDS has announced on Twitter that it has acquired the North American rights for the 10 Years With Hayao Miyazaki documentary series. The documentary was directed by Kaku Arakawa, and it originally premiered in Japan in 2019. Prior to acquiring the rights to all four parts of the documentary, the fourth episode was included as a bonus feature on GKIDS’ Blu-ray/DVD combo release of The Wind…

[grusinskayas]

Never-Ending Man: Hayao Miyazaki | 終わらない人 宮崎駿 (2016) dir. Kaku Arakawa

[soulcialdent]

Sneak Preview Screening - Never Ending Man: Hayao Miyazaki at AnimeNYC 2018

Sneak Preview Screening – Never Ending Man: Hayao Miyazaki at AnimeNYC 2018

Never-Ending Man: Hayao Miyazaki 終わらない人 宮崎駿 (Owaranai Hito Miyazaki Hayao) is a documentary about Hayao Miyazaki and his never-ending work ethic directed by Kaku Arakawa.

I was able to watch a screening of the movie at Anime NYC. Hayao Miyazaki has won many awards for his films because of his love and dedication to his work.  He is an extraordinary filmmaker, animator, screenwriter, and manga…

[thefilmstage]

Never-Ending Man: Hayao Miyazaki (Kaku Arakawa; 2017)

See the new trailer.

[japoninfos]

Soirée projection « À la rencontre de NHK World TV » à la MCJP

Soirée projection « À la rencontre de NHK World TV » à la MCJP

Mercredi 12 avril 2017, NHK World TV, la chaine en anglais du diffuseur public japonais NHK, présentera deux documentaires à Paris pour une soirée de projection « À la rencontre de NHK World TV » à la Maison de la culture du Japon à Paris.

(© MCJP)

(more…)

[karolpilberg]

Hayao Miyazaki in an art block is such a mood

10 Years with Hayao Miyazaki (2019) dir. Kaku Arakawa

[honorstrange]

N American Distribution For Hayao Miyazaki Doc ‘Never-Ending Man’ Kaku Arakawa's 2016 documentary to hit theaters this winter!

[persinsala]

Never Ending Man - Hayao Miyazaki

Never Ending Man – Hayao Miyazaki

Reportage dedicato all’immenso animatore giapponese, Never Ending Man – Hayao Miyazaki è un percorso ideale, che racconta il nerbo del regista e la sua passione. Un viaggio che inizia con il suo ritiro dalle scene e che giunge a un nuovo progetto, probabilmente più difficile e travagliato. (more…)

[fuoridicinema]

Never Ending Man Hayao Miyazaki al cinema solo il 14 novembre

Never Ending Man Hayao Miyazaki al cinema solo il 14 novembre

Solo per un giono, il 14 novembre, sul grande schermo il documentario sul maestro dell’animazione Hayao Miyazaki.

Ancora buone notizie per gli amanti del cinema di animazione, dopo il successo di “In questo Angolo di Mondo” e “La Forma della Voce“ prosegue la stagione di cinema e anime con il documentario Never Endig Man dedicato a 

[ahi-inc]

2019/06/15 (Sat.) 14:00 - 20:00 秋葉原重工 - Akihabara Heavy Industry Inc. #24 ■Entrance: Door 3000 JPY / 1d w/f 2500 JPY / 1d ■Guest Live: Hiroyuki Arakawa ( SPECTRA / TOOLROOM / MULLER ) 暗闇 feat. 響洋平 ■Guest DJ: yohei HIBIKI ■Resident DJ & Live: wat ( Body Inform ) Atsushi Ohara ( LINEAR ) Takayuki Kamiya vs. 909state ■Resident VJs: akirafukuoka ( Raw-Fi ) clocknote. ( technoA / Diverse System ) KAZUMiX & PePcoMiX ( 1st-impact ) neknee 1F Lounge “秋葉原住宅 #11” ■Guest DJ: Junichi Funada ( westronica / Creators. ) Kenjamode ( Mo'House ) REV-TUNE ( Back 2 Bellforest / Energy for Weekend / Techno Alliance ) miyaaahh ( dp128Lab ) ■Resident DJ: Spinn.Teramoto ( Akihabara Housing, Ltd. ) Hiroshi Okubo ( nanosounds.jp / Creators. ) ■Photographer: EmAk ( GAIA_Crew / Back 2 Bellforest )

Hiroyuki Arakawa ( SPECTRA / TOOLROOM / MULLER ) 独特なグルーヴ感とリズム、淡く鮮烈なシンセを鳴らすエモーショナルテクノアーティスト。 国内主要ベニューやフェス、国外の公演においても毎度オーディエンスを熱狂の渦に巻き込んでいる。 独自の音楽性が評価され、名門COCOONやSOMA UKにもライセンスされた、BEROSHIMA - HORIZONのREMIXをPIG & DAN、FUNK'D VOID、TIGER SKIN等と共にリリース。 MULLER RECORDSにて、Laurent Garnier等から多くの支持を受けた"KAN KAKU EP"のレコードリリースや、"TRIGGER"のアルバムリリースを重ねる。 また、Mark Knight主宰のToolRoomにライセンスされた、"Alexander"はMark KnightのRadioshowにて紹介され、世界各国で大きな反響を呼んだ。 一方で自身のレーベルSPECTRAは、全5タイトルのリリースを重ね、Richie Hawtinを初めとする多くの海外アーティストがプレイした。 2019年にリリースした通算3枚目のアルバムは石野卓球、砂原良徳、ケンイシイ、ヒロシワタナベ、DRUNKEN KONGといった日本人アーティストの他に、 SECRET CINEMA、FRANK MULLER、Paco Osunaといった国外アーティストからの支持を受けた。 また、毎月のレーベルショーと、国内外でのツアーといった活動も精力的に行っており、独自の世界観を積極的に表現し続けている。 WEBSITE : http://spectra-label.com INSTAGRAM : https://www.instagram.com/arakawahiroyuki/ SOUND CLOUD : https://soundcloud.com/dj-arakawa YOUTUBE : https://www.youtube.com/user/djarakawahiroyuki BEAT PORT : http://www.beatport.com/artist/hiroyuki-arakawa/193485 TWITTER : https://twitter.com/spectra_arakawa FACEBOOK PAGE : http://www.facebook.com/hiroyukiarakawa.page yohei HIBIKI Techno、Minimal、Tech-Houseを軸として、３ターンテーブルによるDJ-MixとScratch/Turntablismを融合した手法で独自のDJスタイルを構築。都内主要クラブでキャリアを重ねると同時に、2005年には当時数多くの敏腕ターンテーブリストが全盛を誇る「VESTAX NOTRICKS SCRATCH DJ BATTLE」に唯一のテクノDJとしてエントリーし初出場で優勝。 リアルタイムでトラックエディットをする様な緻密かつスピーディーなミックス手法とその選曲には定評があり、DJとしてのフロア・コントロールと、バトル優勝歴を持つスクラッチを応用したライブ感をあわせもつDJとして、都内を中心に活動を展開。2004年以降は、YAMAHA主催のベトナム、フィリピン各国での大規模イベントのツアーDJに抜擢され、各都市の主要クラブ、フェスイベントにてDJを敢行し着実に評価を得る。 2005年より、ミクスチャーバンドのDJとしてアジア各国でのライブツアーおよびトラックリリースに参加する他、2009年には世界各国のDJから評価を得たDJミックス映像作品「3 Turntables & 1 DJ」を制作。シカゴ／ベトナム／台湾／上海でのDJツアー等、国内外を問わず精力的に活動を展開している。 -2005年 第6回 VESTAX NOTRICKS SCRATCH DJ BATTLE CHAMPION （優勝） ＜響洋平＞ クラブDJ／ターンテーブリストの傍ら、実話怪談蒐集家として活動を展開。クラブ怪談イベント「アンダーグラウンド怪談レジスタンス」、DJ BARを舞台とした参加型怪談ライブ「恵比寿怪談会」をプロデュースする他、各種怪談トークライブや映像作品への出演、怪談系書籍へのコンテンツ提供等、地道にオカルト街道を遊行中。 CSフジテレビ「実話怪談倶楽部」、amazon prime video channel恐怖「住倉カオスの怪談★語ルシス」、abema TV「バラエティ開拓バラエティ日村がゆく」等、怪談企画の番組に出演。 2018年「稲川淳二の怪談冬フェス怪談最恐戦」セミファイナリスト。 2019年5月には二作目となるソロ出演DVD作品「怪奇蒐集者 臨怪 響洋平(DJ響)2」をリリース。 足でかせぐ怪談をコンセプトに、全国各地、昼の世界から夜の世界まで、レコードと怖い話を掘り続ける怪談フリーク。 秋葉原重工レジデントのKURAYAMIが怪談家響洋平をフィーチャーしてエクスペリメンタル怪談ライブセットを披露する。 Junichi Funada ( westronica / Creators. ) ゲームサウンドデザイナー。 大学時代にTechno, Houseに目覚めて以来、マイペースにDJ活動を続けている。 奇数月第3木曜、六本木Varit.にて開催されるクリエイティブクラブイベント"Creators."にレギュラーDJとして出演中。 https://twitter.com/J_Funada https://twitter.com/westronica https://www.creators.love Kenjamode ( Mo'House ) 音楽と野球に没頭する少年生活を過ごす。北陸辺境ラップユニットNerd’s Attackとして活動する傍ら、ヒップホップ/ハウスに根ざしたパーティーMy Future Soul Vibeを主催。 2018年には同年代のDJ達とMo’Houseクルーを発足、地元金沢のアンダーグラウンドシーンの活性化に注力している。 「～を体現」や「～な空間を演出」といったことを意図してできないため、黙々と踊り、時に歌いながらプレイすることで感情を伝える。 REV-TUNE ( Back 2 Bellforest / Energy for Weekend / Techno Alliance ) 幼少期、インストミュージック、店内BGMなど、言葉の無い音楽に興味を持ち、ピアノの黒鍵だけ延々叩いて遊んでいたちょっと変わった少年は、中学二年の時、某ロボゲーをきっかけにテクノという音楽を知る。 2007年からDJ活動開始。ハードテクノ・ハウス・ハードスタイルなどをプレイ。イベントメイクが好きで、主に中野Heavysick ZEROを拠点に、その時々で思いついた様々なイベントを開催中。 トラックメイクも開始。Techno Alliance仕掛人の一人。 B2Bオフィシャルweb http://back2bellforest.com/ Twitter https://twitter.com/REV_TUNE miyaaahh ( dp128Lab ) 1992年よりHOUSE、HIP HOPを中心にDJ活動を開始。 多種多様な音楽を操るマエストロを目指し日々奔走中。

[elegieenbleu]

MON VOISIN HAYAO / Dans l'intimité d'un Studio Ghibli désolé, trainant les pieds, Hayao Miyazaki finit par sortir de son tablier une énième cigarette. Récalcitrant, l'homme se lamante en griffonnant quelques layouts et autres dessins inachevés. On le pensait pourtant retiré, mais l’imposante fabrique à images n’attends que lui pour être relancée. Telle une noiraude indiscrète, une caméra mal dissimulée se faufile derrière lui pour saisir ce qui ressemble désormais à son quotidien. Toujours farceur, avec cette étincelle dans le regard, il laisse échapper quelques rares sourires d’enfant amusé. Serait-ce l’excitation d’une ultime aventure ? _ Never-Ending Man, 2016, réalisé par Kaku Arakawa. Distribution française Eurozoom.

[grusinskayas]

Never-Ending Man: Hayao Miyazaki | 終わらない人 宮崎駿 (2016) dir. Kaku Arakawa