I do not know if Kaze Tachinu will get a 8+ vote overall.

IMDb shows 8+ now but as i keep update i know it is going down for sure. cause the first ones that voted was the most enthusiast voters now the votes will be more general and i am seeing lots of 7 and 8.

Can not say how the movie is until i see it , but i really wished to know if there is a similar imdb or boxofficemojo in japan , cause where the japanese votes are going

@orphic

did you submitted the review in imdb?

__________________
Watch everything but only take the good things from it

Ask, think and learn. Because the more we know the more we grow.

Watching the wrong to happen is the same as commiting the wrong.

If it looks like things are forcing you to be creative, Then be creative.

its a uniquely Miyazaki film, one only he could make and its uniqueness places it beyond being easily critiqued.[About Porco Rosso]
taken from a quote of Saddletank and Orphic Okapi

quote:

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Originally posted by Orphic Okapi
between three and nine months, with six being the average.

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__________________
Isakaya High School Roleplaying Info

"An old man like me stands no chance fighting against a high school girl in her underwear" - Oshino Meme, Nekomonogatari (Kuro)

From Upon A Poppy Hill, that came out two years ago, if I am not wrong. That's only being released here now, two years after, we are getting a DVD/BD release in September. So we won't get a DVD/BD release here, until 2015 ?.

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"A loving heart is the beginning of all knowledge

Wow, good to be back! Has been way to long since I posted something here

Went to movie theater last monday, FINALLY!!!! a new Ghibli! and from the master him self. I really enjoyed a lot and i voted 8/10 on IMDB. The music, the characters, the colors ..ah heck it has everything that one expects from a Ghibli movie.

Unfortunately there was family in front of me with their two sons. Around 3 and 4 years of age...that didn't really work out since it's not really a movie for kids. Long dialogues and zero fluffy totoro-like -characters in it so not really interesting for the youngsters They became bored and started to walk around after 30 minutes...
Ah well, what can you do? Just gambaru ..

Hope for those who are not living in Japan you will have a chance to see it as soon as possible. You'll like it very much. Actually there is funny little detail..the main character, Jiro Horikoshi, is from Gunma, Fujioka and that is where we have a shop! Fujioka people are really happy with all the attention now and it attracts a lot of people lately. They even brought out a special limited t-shirt ..will post a pic of it later.

Enjoy Kaze Tachinu!

I know what you mean about kids in front of me at the movies... Only the ones I seem to have to deal with the most are the teens that can't leave their cellphones off.
remember the pictures that you posted of Japan, way back when... Any chance for more, besides the t-shirt... (growls)



Also, a question if I may. Do you remember a statue of Totoro being situated near a bus stop in Japan? I don't know why, but I seem to think that you might know of it. We had one recently from the UK and I am trying to see if my memory is still ok, getting old sucks, as I've said before, lol

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I watch Japanese streaming video while in the states and there have been a few shows on NTV discussing the movie. I don't care what any of the critics say. In one of the shows, Miyazaki was at one of the showings and, at the conclusion of the film, he was in tears--in a very good way. That's all I need to know. The artwork, both foreground and background, was superb. After seeing the background art in Ponyo, I was beginning to get a little concerned.

There's definitely a lot of CGI in the new film, and you can tell in particular with the backgrounds, which are much more reminiscent of Spirited Away than Ponyo. I personally didn't mind the different style he employed in Ponyo; I thought it suited the movie, and it was nice to see Miyazaki try something a little different. But if you're a fan of his more heavily detailed artwork you'll love the art in this.

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I like tea!

quote:

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Originally posted by husky51
I know what you mean about kids in front of me at the movies... Only the ones I seem to have to deal with the most are the teens that can't leave their cellphones off.
remember the pictures that you posted of Japan, way back when... Any chance for more, besides the t-shirt... (growls)



Also, a question if I may. Do you remember a statue of Totoro being situated near a bus stop in Japan? I don't know why, but I seem to think that you might know of it. We had one recently from the UK and I am trying to see if my memory is still ok, getting old sucks, as I've said before, lol

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Husky51! When still living in the Netherlands I just gave the cinema life there. People have no idea how to behave when watching a movie at their movie theater. Now that I am in Japan going to movies is fun again. This is probaly because most of the times if I go to see a western movie there's not much people there. Maybe 3 or 4 or in some cases ..only me! Feels like my private home theater lol.

The Totoro-statue..I think that is the one in Nagasaki. A bit far away from Tokyo. Are you sure it's in Tokyo? I did a google-search but could only found that statue in Nagasaki. There's one more..in Oita-ken..that's the one that Miyazaki was inspired by.

As for the pictures ..sure!! What would you like to see?

First of all the Totoro statues and then anything of Japan from the cities to the countryside.

Then find another thread for it as this is about Kaze Tachinu

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As i said earlier , political and nationalist aspects of Kaze Tachinu must have a great importance. It seems true in recent articles.

If you do not know Studio Ghibli specifically distributed pamphlets to advertise not to amend a Rule of Constitution.

Of course it is about anti-war theme

However found a nice article

LINK

here it said

quote:

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“I was so tired of being told that children can’t do anything,” said one 15-year-old girl who posted a comment on Studio Ghibli’s website. “Then, ‘The Wind Rises’ showed me a man who had lived in a much more difficult time, but had been true to his dream and to the woman that he loved. This movie taught me how to live.”

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__________________
Watch everything but only take the good things from it

Ask, think and learn. Because the more we know the more we grow.

Watching the wrong to happen is the same as commiting the wrong.

If it looks like things are forcing you to be creative, Then be creative.

its a uniquely Miyazaki film, one only he could make and its uniqueness places it beyond being easily critiqued.[About Porco Rosso]
taken from a quote of Saddletank and Orphic Okapi

Its great to see an international trailer with subs!

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quote:

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Originally posted by Calforsale
Its great to see an international trailer with subs!

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__________________
Watch everything but only take the good things from it

Ask, think and learn. Because the more we know the more we grow.

Watching the wrong to happen is the same as commiting the wrong.

If it looks like things are forcing you to be creative, Then be creative.

its a uniquely Miyazaki film, one only he could make and its uniqueness places it beyond being easily critiqued.[About Porco Rosso]
taken from a quote of Saddletank and Orphic Okapi

Post last edited by saviour2012 on 08.16.2013, 07:21 AM.

This Interview of Miyazaki at Asahi Shimbun opened several parts of him that i never knew. I am literally Putting it here with some comments of mine. There is also a link to the original article

quote:

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(The Wind Rises), the latest work by animation film director Hayao Miyazaki, is now showing in theaters across Japan. The protagonist of this film is Jiro Horikoshi (1903-1982), the designer of the Mitsubishi A6M Zero fighter aircraft, flown by the Imperial Japanese Navy during World War II. Aside from writing and directing animated films, Miyazaki through his Studio Ghibli has also created numerous cartoons that realistically depict war and weapons. What attracts him to weapons, and what inspired him to portray the man who designed the iconic Zero? Miyazaki revealed his complex thoughts and feelings in a recent interview with The Asahi Shimbun. Excerpts from the interview follow. ***


Question: You once tried to purchase an actual Zero from the United States, didn't you?

Miyazaki: Airplanes are the most beautiful when they are in the air. I wanted to see a Zero flown by a Japanese aviator, not an American. My fantasy was to see it flown under high-voltage power transmission cables next to Studio Ghibli in western Tokyo. But my wife told me to stop being such an idiot, and that was that.


Q: What is it about the Zero that fascinates you so much?

A: Including myself, a generation of Japanese men who grew up during a certain period have very complex feelings about World War II, and the Zero symbolizes our collective psyche. Japan went to war out of foolish arrogance, caused trouble throughout the entire East Asia, and ultimately brought destruction upon itself. From the history of actual warfare, we can only conclude that the Japanese military was simply incapable of getting its strategy right for the Battle of Midway and other crucial campaigns. But for all this humiliating history, the Zero represented one of the few things that we Japanese could be proud of. There were 322 Zero fighters at the start of the war. They were a truly formidable presence, and so were the pilots who flew them. It was the extraordinary genius of Jiro Horikoshi, the Zero's designer, that made it the finest state-of-the-art fighter plane of the time. It was a contemporary of the Nakajima Ki-43 Hayabusa, operated by the Imperial Japanese Army. Both the Zero and the Hayabusa were about the same size, equipped with the same engine, and designed to be as lightweight as they could be. The only difference between the two aircraft was that the Zero was armed more heavily than the Hayabusa. And yet, when they flew together, the Zero was faster and could travel much farther than the Hayabusa. Why? Because Horikoshi intuitively understood the mystery of aerodynamics that nobody could explain in words. The majority of fanatical Zero fans in Japan today have a serious inferiority complex, which drives them to overcompensate for their lack of self-esteem by latching on to something they can be proud of. The last thing I want is for such people to zero in on Horikoshi's extraordinary genius and achievement as an outlet for their patriotism and inferiority complex. In making this film, I hope to have snatched Horikoshi back from those people.


Q: You are anti-war, and yet, you are deeply in love with the Zero, which was essentially a weapon of war. You see an inconsistency there, don't you?

A: I am a bundle of contradictions. The love of weaponry is often a manifestation of infantile traits in an adult. A university professor of public finance once gave a most eloquent lecture on how the war economy destroys the national economy. I was shocked by how much money I'd wasted on my collection of books and models of weapons, and I ended up trashing them all. Yet, when I saw such books a few years later, I couldn't resist buying them again. But, by then, I realized that my own perception had changed completely. What happens when you go to war with a country that has far superior industrial and natural resources than you do? You get your answer immediately when you compare the numbers of fighter aircraft made by Japan with those by Britain and the United States during the war. The Zero aircraft became involved in the war of attrition the latter half of World War II had become, and Japan rapidly lost its finest pilots. From then on, everything began to go south. Structurally, the Zero was not designed for mass production. Noting the Zero's extremely complex structure, a European scholar of the history of aviation actually wrote that he was truly amazed by the fact that the Japanese had built more than 10,000 of them.


Q: In one scene in "Kaze Tachinu," Horikoshi stands motionless before a mound of plane wreckage.

A: He must have felt like a wreck of a man himself. He had completely devoted himself to his dream of building a beautiful plane, and reached the pinnacle of his career in the 1930s by designing the Type 96 carrier-based fighter, which appears in the film, and then the Zero. But the wartime shortage of engineers forced him to work himself ragged in order to develop new fighter aircraft while upgrading and improving the Zero. His predicament could be likened to Studio Ghibli being ordered to "produce five films a year without hiring any new staff." He did everything he could, but much of his efforts were in vain. Still, he never equated that with his personal defeat. He later wrote in no uncertain terms, "It appears that I am being held partially responsible for that war. But I do not believe I am responsible."


Q: Yoshitoshi Sone (1910-2003), the engineer who assisted Horikoshi in developing the Zero, reportedly said upon seeing the aircraft being used for suicide missions, "This is so distressing. If so many people were going to die, I should not have designed this aircraft. I should not have built it." Do you think Horikoshi felt differently?

A: He may have felt something similar. But at the same time, he must have believed that he had nothing to do with how the Zero came to be used. Obviously, he bears responsibility for that war as a Japanese citizen, but I don't see why one engineer has to be held responsible for the entire history of the war. In fact, I think it's pointless to raise the issue of Horikoshi's war responsibility at all. I can relate to Sone's regret for having created the Zero. Still, had he not created it, I think he would have lived a much more disappointing life. As Sone says in my film, to build an airplane is a "beautiful dream that is also cursed." He built something he wanted to build, and was cursed and scarred as a result. But I fully believe that Sone must have thought later that there was nothing he could have done about it. In any age, it's best to live your life to the fullest. Nobody has the right to sit in judgment and decide what's good or bad for you.


Q: I understand that your father owned a munitions factory that made Zero components, and that experiencing the Great Kanto Earthquake of 1923 and air raids during the war turned him to nihilism. Is that true?

A: I associate the word nihilism with someone who acts cool and blase in a shallow or cheap way. But my father wasn't like that. All he believed was that his family was the most important thing in his life. After experiencing disasters that practically turned his world upside down, he abandoned all big talk about things like "important values" and "the right way to live." He was determined to protect his family and acquaintances to the best of his ability, but he believed he could not possibly be responsible for the nation or society at large. His stock phrase was, "Don't lose like a fool."


Q: Do you think like your father now?

A: I have learned to accept the fact that I can be useful only in an area in my immediate proximity--say within a 30-meter radius, or 100 meters at most, in a manner of speaking. I've got to accept my own limitations. In the past, I used to feel obliged to do something for the world or humanity. But I have changed a lot over the years. There was a time when I dabbled in the socialist movement, but I must say I was quite naive. When I saw Mao Tse-tung's picture for the first time, I found his face revolting. But everyone told me that he was a "great, warmhearted man," so I tried to think it was just a bad picture. I should have trusted my own gut feeling. That certainly wasn't the only time when I made a bad decision. I still am a man of many mistakes.


Q: During the period from the late Taisho Era (1912-1926) to the early Showa Era (1926-1989), which forms the backdrop of your film, there occurred the Great Kanto Earthquake and the Great Depression, and tensions were rising in the international community.

A: So very like now. One difference, though, was that back then, the Japanese people didn't take a long and healthy life for granted. At one time, Tokyo led the world in the number of tuberculosis patients. Young people were simply dropping dead. Because there was no guarantee about their future, everybody focused on living their lives to the fullest while they could. Last year and this year, several friends and colleagues of mine died in their 40s and 50s. Death comes to the young and old alike in no set order. It compels you to imagine that the Grim Reaper is ever lurking behind you. I myself become terrified of death when I am in a negative state of mind. But the thought of death ceases to bother me once I become productive.


Q: You say you can't be responsible for anything that happens beyond your figurative boundary, but in reality you are influencing countless people through your films. What do you say about that?

A: I make films as a business, not as a cultural endeavor. My films just happened to be successful. If people weren't interested in what I make, my company would go belly up in no time. Some of my staff who joined Studio Ghibli recently seem to think they've landed a job in a stable company, but that's pure illusion and outright ludicrous.


Q: With animated film studios increasingly farming out work overseas where wages are cheaper, the "hollowing" of the industry is now in progress. But Studio Ghibli continues to hire full-time workers here in Japan. Why are you doing that?

A: That is in order to ensure quality. We switched to a full-time employment system after making "Majo no Takkyubin" (Kiki's Delivery Service) more than 20 years ago. Until then, every film was made under contract with animators, whom we paid on a piecework basis. But to produce densely drawn pictures, the animators had to slow their pace of work, which translated into drops in their income. It became clear that the piecework payment system would only wear out the animators, so we decided to put them on salary as full-time employees. We knew, of course, that doing so would require us to be more prolific in producing new works in order to make ends meet, and that this would lower our operating efficiency. Still, it was the only way for us to survive and keep making pictures. With "Kaze Tachinu," the people we hired three years ago truly proved their mettle. They worked meticulously even on the most crowded mob scenes, the details of which would make any animator want to cry. What they did was so amazing that the result took even their breath away. Aside from Studio Ghibli, I believe the only other Japanese animation production company that keeps a certain number of full-time people on its payroll is Khara Inc., run by Hideaki Anno, the director of the anime TV series "Neon Genesis Evangelion." I have known and worked with Anno for 30 years. He is undergoing unspeakable hardships, giving his all to film-making and grooming the next generation of film makers. I asked him to do Horikoshi's voice in "Kaze Tachinu." Anno is being totally his own person in living this present era to the fullest. He is the closest match to Horikoshi I could ever come across today.



*** Hayao Miyazaki was born in 1941. A graduate of Gakushuin University, he joined Toei Animation Co. in 1963 and became active in the company's labor movement. Miyazaki co-founded Studio Ghibli in 1985. His numerous works include "Kurenai no Buta" (Porco Rosso).

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__________________
Watch everything but only take the good things from it

Ask, think and learn. Because the more we know the more we grow.

Watching the wrong to happen is the same as commiting the wrong.

If it looks like things are forcing you to be creative, Then be creative.

its a uniquely Miyazaki film, one only he could make and its uniqueness places it beyond being easily critiqued.[About Porco Rosso]
taken from a quote of Saddletank and Orphic Okapi

Post last edited by saviour2012 on 08.17.2013, 02:29 AM.

OHHH i want to see thin movie soooo much!!! thank fot the two videos Saviour!
I think that it's gonna be perfect!!

quote:

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I have learned to accept the fact that I can be useful only in an area in my immediate proximity--say within a 30-meter radius, or 100 meters at most, in a manner of speaking.

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I loved that.

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Hernán (Argentina)
My Ghibli guitar covers with tabs -My Ghibli page

Post last edited by leonbloy on 08.16.2013, 10:06 AM.

The english sub trailer i saw was by the toronto film festival.

http://www.youtube.com/watch?v=PhHoCnRg1...player_embedded

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The movie is being shown in the Venice film festival, with public exhibitions this week-end. (Actually, it's also in competition for the Golden Lion - but I suspect its chances are dim.)


Here's a review

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Hernán (Argentina)
My Ghibli guitar covers with tabs -My Ghibli page

Post last edited by leonbloy on 08.30.2013, 05:02 PM.

A review at japantimes. I am bolding some paras that seems important to me.

quote:

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Backlash against Miyazaki is generational by Roland Kelts

Oct 8, 2013

If you haven’t lived in Japan, it’s hard to appreciate just how beloved are anime maestro Hayao Miyazaki and his creative hub, Studio Ghibli. Annual surveys of Japanese consumers often find that Ghibli is their favorite domestic brand, ahead of stalwarts such as Toyota and Sony. Miyazaki’s animated epics regularly top the domestic theatrical market. “Kaze Tachinu” (“The Wind Rises”), his latest film — loosely based on the life of engineer Jiro Horikoshi, designer of Japan’s wartime Zero fighter plane — soared above its box office rivals for seven consecutive weeks after its July release. Meanwhile, his Oscar-winning “Spirited Away” (2001) remains the top-grossing film in Japanese history, knocking aside Hollywood live-action contenders such as “Titanic” and the “Harry Potter” films. In August, during a Japanese TV rebroadcast of Ghibli’s first full-length feature film, 1986′s “Laputa: Castle in the Sky,” viewers set a new Twitter world record for the number of tweets per second — easily surpassing the pre-existing tally set by fans of Beyoncé and her pregnancy announcement. But the rest of the world has been catching up. Miyazaki’s retirement announcement last month reverberated globally. Over three decades, beginning with 1979′s “Castle of Cagliostro,” he has emerged as the greatest animator of his era, and some would say of all time. Audiences and journalists at the Venice Film Festival, where “The Wind Rises” received its worldwide premiere, were reportedly stunned into silence when Koji Hoshino, the president of Studio Ghibli, first revealed the news at a press conference. One prominent American critic likened the announcement to “an unexpected death notice.”

All of which makes this summer’s nationalistic backlash in Japan against Miyazaki and his colleagues’ remarks on Japan’s political and historical conundrums that much more startling — and revealing.

The July issue of Neppu, Ghibli’s free self-published monthly booklet, featured a special section on Prime Minister Shinzo Abe and his administration’s campaign to revise Japan’s pacifist Constitution. Miyazaki declared his unequivocal opposition to revising the war-renouncing Article 9. He also said that Japan should apologize for the so-called comfort women, the Imperial army’s corps of wartime sex slaves that remains a highly sensitive matter, especially between Japan and South Korea. And he argued that some sort of compromise must be sought over Japan’s escalating territorial disputes with China and South Korea, either by dividing the territories by mutual consent or administering joint control over them.

Anyone who has paid even passing attention to Miyazaki’s history of leftist postwar positions — and his willingness to speak out or act on them — might have anticipated this. After the earthquake, tsunami and meltdown disaster of 2011, Ghibli hung a banner from its rooftop announcing that it would “make movies with electricity that did not come from nuclear power.” And back in 1963, one year into his first job at Japanese animation giant Toei, Miyazaki got involved in a labor dispute and soon became chief secretary of Toei’s labor union.

But the reaction to Ghibli’s anti-war, anti-revisionist essays was ferocious, especially among Japan’s so-called netto uyoku, or right-wing Internet users. Japan’s most famous, popular and revered visual artist was called “dim-witted,” “a traitor” and “anti-Japanese.” Some said they would never see another Ghibli film. Others were sarcastic, with one commentator wondering if Miyazaki would pay for comfort women from the profits of his film.

There are deep generational tremors afoot. At 72, some of Miyazaki’s first memories were formed during wartime, and the extreme poverty and suffering of the aftermath. Prime Minister Shinzo Abe, 58, and his peers are better acquainted with a more recent (albeit far less violent and destructive) national trauma: the collapse of Japan’s bubble economy of the 1980s and the nation’s slow slide since then into financial and global irrelevance. The need to feel a resurgent national pride may be exacerbated by the double-whammy of a rising Asia and decline of Japan’s main ally, the United States.

“I can’t help thinking that this is a watershed time for Japan, and that the election of Abe has stirred up a lot of painful emotions,” says Susan J. Napier, professor of Japanese studies at Tufts University in Massachusetts and author of a forthcoming book on Miyazaki. “A lot of Japanese are mainly concerned about the economy, and Abe at least gives the impression of finally trying to make some radical changes. I think people are both hopeful and scared to hope.”

Anime, and its print cousin and forebear, manga, are primarily products of postwar Japan. The medium’s first superhero, “Astro Boy,” was created partly out of artist Osamu Tezuka’s desire to see nuclear technology used for peaceful purposes after the devastation of Hiroshima and Nagasaki. Its first giant robot, “Tetsujin 28-go” (“Gigantor” in the West), was often depicted in original versions stomping through the New York City skyline. “Battleship Yamato,” one of the original series broadcast on American television, reimagined Japan’s sunken naval vessel as a retrofitted high-tech spaceship.

Ironically, “The Wind Rises” examines the complex and self-contradictory life of the engineer who created one of Japan’s most fearsome weapons — reflecting Miyazaki’s own contradictions. His father worked at Miyazaki Airplane, which made parts for Zero fighter planes, and Miyazaki has long been enamored of the mechanics of flight and aircraft. At the film’s premiere screening at the New York Film Festival two weeks ago, I was struck by the story’s sustaining narrative tension. Every moment of Jiro’s dreamlike bliss about beauty is bombed to Earth with a brutal thud. Images of flight and transcendence, the artist’s reveries, are followed by scenes of wreckage and death, the artist’s nightmare. Jiro remains a cipher throughout — so devoted to his visions of possibility that he can’t see the horror burning at the periphery. At the moment of his greatest achievement, he loses the love of his life.

Author and translator Frederik L. Schodt, who has translated Miyazaki’s interviews and essays, believes that Miyazaki’s role is critical in uniting Japanese generations amid the country’s current identity crisis. “At his age,” Schodt says, “and with his status among youth, (Miyazaki) can be an important bridge between younger generations, whose historical knowledge of World War II is limited, and an older, fading generation, for whom it remains a searing and real memory.”

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__________________
Watch everything but only take the good things from it

Ask, think and learn. Because the more we know the more we grow.

Watching the wrong to happen is the same as commiting the wrong.

If it looks like things are forcing you to be creative, Then be creative.

its a uniquely Miyazaki film, one only he could make and its uniqueness places it beyond being easily critiqued.[About Porco Rosso]
taken from a quote of Saddletank and Orphic Okapi

Post last edited by saviour2012 on 10.20.2013, 03:00 AM.

One man's opinion... And of course, he will post statements backing up his beliefs...

I think that Miyazaki's status is still solid.

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What a strange article. It has "Backlash" in its title yet contributes only 3 lines to that subject out of 39 lines (the other 36 describe Miyazaki's career and skill and Ghiblis history and popularity) and that "backlash" is entirely the opinions of people with the opposing political views who are obviously not going to agree with what he says.

Basically, its an article full of nothing.

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Isakaya High School Roleplaying Info

"An old man like me stands no chance fighting against a high school girl in her underwear" - Oshino Meme, Nekomonogatari (Kuro)