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Speaker 1: Warning, Today's episode contains spoilers for Miyazaki's The Boy and

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Speaker 1: the Heron, a kind of unspoilable movie.

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Speaker 2: And I was gonna say, it's pretty unspoilable, So if

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Speaker 2: you haven't watched it, you can go watch it, or

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Speaker 2: you can listen to this conversation and then go and

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Speaker 2: watch it, because really it's kid, you can't get spoiled.

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Speaker 3: It's a vibe.

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Speaker 4: Yeah.

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Speaker 1: Hello, my name is Jason Concepcion and I'm Roady Night,

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Speaker 1: and welcome back to X ray Vision, the podcast where

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Speaker 1: we dive deep to your favorite shows, movies, comics, and

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Speaker 1: pop culture. Coming to you from My Heart Podcasts where we're.

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Speaker 5: Bringing you to do Yo Yo Go Down. Episodes every

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Speaker 5: week Tuesday and Thursday.

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Speaker 2: In today's episode, it's a time capsule special. So in

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Speaker 2: the airlock we are sitting down and what Miyazaki's latest,

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Speaker 2: The Boy and the Heron, which is currently streaming on Max.

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Speaker 2: And then in the Hoosu section, we'll be running down

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Speaker 2: our top three studio Ghibli movies.

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Speaker 1: We open in nineteen forty three, World War two is

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Speaker 1: ongoing and there's a bombing raid over Tokyo and this

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Speaker 1: raid kills the mother of a young boy named Mahito Maki,

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Speaker 1: who is a young sensitive boy, the son of a

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Speaker 1: weapons maker and a air munitions factory owner. And we

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Speaker 1: get this beautifully horrific rendering of Mahido's mother dying in

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Speaker 1: flames and him racing there to try and save her

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Speaker 1: and is unable to save her. Really scary stuff. An

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Speaker 1: unknown amount of time passes something like a year, and

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Speaker 1: in that time, Mahido's father has married moved in with

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Speaker 1: unclear Mahido's aunt, his late mother's sister, Natsuko, and they

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Speaker 1: move back to this palatial country estate, very magical, very mysterious,

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Speaker 1: staffed by this cadre of very cutesy older women, and

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Speaker 1: it's a place of natural splendor. Also on the estate

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Speaker 1: is like this mysterious tumbled down tower that is all

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Speaker 1: locked up in. You're not alledged to one side, that

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Speaker 1: nothing's nothing that Almost as soon as Mahidro arrives he starts,

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Speaker 1: he notices a heron, a beautiful blue heron, that is

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Speaker 1: flying around. It flies onto the grounds, which that they

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Speaker 1: don't do. And the old women are like, wow, that's

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Speaker 1: weird doing that, and he takes notice. Things proceed and

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Speaker 1: Mahido is very very lonely and very very unhappy, and

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Speaker 1: he's going to school out there and the school kids

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Speaker 1: don't accept him. He gets in a fight with these kids,

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Speaker 1: and after the fight, he like deliberately hurts himself, takes

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Speaker 1: rock and mashes it into his own head and there's blood,

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Speaker 1: just copious amounts of blood pouring down.

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Speaker 5: The old women are like, oh my, and they patch

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Speaker 5: him up.

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Speaker 1: And after this happens, the heroin begins now to like

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Speaker 1: seek him out, come into his room and speak to him.

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Speaker 5: And this is really horrible, not what you expected.

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Speaker 2: When in the English stop voiced by Robert Pattinson.

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Speaker 1: Which is why I listened, Which is why I listened

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Speaker 1: to the English.

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Speaker 5: Dub, I will saying it.

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Speaker 2: The English stup for this movie is surprisingly fantastic. I

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Speaker 2: am a big believer in subtitles, and some ghibbli movies

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Speaker 2: Plano have English dubs that make me hate listening to

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Speaker 2: the English dub.

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Speaker 3: But I was blown away.

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Speaker 2: I saw this in the movie with the English dub,

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Speaker 2: and Robert Pattinson needed a very terrifying job as the heron.

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Speaker 3: No surprise, the.

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Speaker 1: Heron continues is saying like ever more ominous things, like

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Speaker 1: it's clear by the voice that there's something off about

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Speaker 1: this heron.

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Speaker 5: And then also it's saying he, oh, I could dig

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Speaker 5: you to your mother, I can show you where she is.

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Speaker 1: And in one of these encounters, Mahido is like paralyzed

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Speaker 1: and is all these frogs that the heron's summer come

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Speaker 1: and cover him, and Natsuko uses this special kind of arrow.

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Speaker 1: She like knew it was unclear to me from the

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Speaker 1: animation whether she could see what was happening all the

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Speaker 1: way far away or if this was happening beyond the trees,

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Speaker 1: and she kind of had an inkling that this.

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Speaker 3: Was going on, Yeah, like a sense.

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Speaker 1: Whatever the case, She fires this arrow up into the ear.

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Speaker 1: It arcs down and with a whistle and it comes

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Speaker 1: down and it frees him from the clutches of these frogs. Later, Mahido,

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Speaker 1: while searching this old ancient house, finds a book left

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Speaker 1: to him by his mom and it's addressed to him

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Speaker 1: to my son when you are grown, and he reads

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Speaker 1: it and tears are just like dripping onto the pages.

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Speaker 1: Is really wonderful moment. I love that we don't really

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Speaker 1: know what's in the book.

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Speaker 5: Yeah.

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Speaker 2: I think that this movie does a lot of it's

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Speaker 2: incredibly abstract, and I think that is something that kind

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Speaker 2: of throws some people off. But I love that it

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Speaker 2: was such a huge, high grossing movie and that it

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Speaker 2: won an OSCAR for Best Animated Feature, because I think

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Speaker 2: it shows that people are embracing nonlinear, non traditional storytelling,

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Speaker 2: because in one way, the setup of this movie is

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Speaker 2: a classic portal fantasy.

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Speaker 3: It's Alice in Wonderland.

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Speaker 2: It's about a child going through an experience and you're

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Speaker 2: not sure whether it's real or not real, and then

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Speaker 2: by the end of the experience they are changed by

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Speaker 2: it and they end up back in the world where

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Speaker 2: they are ready to deal with the world.

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Speaker 3: But I love that it is.

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Speaker 2: Such a kind of transcendental, strange version of a portal fantasy,

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Speaker 2: which is dealing with so much personal stuff that Miyazaki

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Speaker 2: usually thinks or tends to avoid, though obviously so much

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Speaker 2: of what Gibbli is is and what gibli is known

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Speaker 2: for is Mihazaki's own kind of explorations of grief.

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Speaker 3: But yeah, this is a really, really strange.

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Speaker 2: Movie, and I just absolutely adore the fact that we're

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Speaker 2: in a place in twenty twenty four where this could

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Speaker 2: become a huge grossing movie, because when you actually try

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Speaker 2: and explain it.

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Speaker 3: As we are now, people will be like, what are

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Speaker 3: you talking about? What's going on? Where did these frogs

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Speaker 3: come from?

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Speaker 1: We'll talk about this in the as we progress into recap.

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Speaker 1: But to me, this is a film you can't make

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Speaker 1: sense of it through plot. It makes perfect sense though,

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Speaker 1: from the perspective of like emotional plot, an emotional landscape

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Speaker 1: that this very lonely, very sad young boy is trying

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Speaker 1: to navigate.

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Speaker 5: So he's he finds the book.

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Speaker 1: It's from his mother, his co but he's interrupted because

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Speaker 1: there's like a hubbub outside and we've learned that stepmom

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Speaker 1: aunt Natsuko, who is ill, has disappeared. She like went

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Speaker 1: out into the forest, and so he has to He

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Speaker 1: goes with Kiriko, one of this very cutey old maids.

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Speaker 5: To go look for her. They go into the tower.

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Speaker 5: They find there the heroin who's like, your mom, here's

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Speaker 5: your mom? I can tell you tell your mom? Can't there?

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Speaker 2: She is there?

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Speaker 1: She is, she's napping right, and there's this like beautiful,

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Speaker 1: like sleeping beauty recreation of his mother. She's at rest

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Speaker 1: and when he touches her, she just melts into like water.

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Speaker 3: So scary. That's such a horrifying moment.

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Speaker 1: And so there comes like a battle scene in which

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Speaker 1: Mahido is being tortured and led astray by this strange heron,

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Speaker 1: who we're now noticing has like another note like as

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Speaker 1: the beak, there's a faith.

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Speaker 5: In there, there's like a noses, other teeth.

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Speaker 1: So he Mahido fires this arrow that he had fletched

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Speaker 1: with the heron's feathers, and now it can't miss It's

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Speaker 1: got true, and the Heron is like, I missed me.

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Speaker 5: But then all of a sudden, the arrow is like.

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Speaker 1: Chasing him and he's trying to get out of the

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Speaker 1: way of it, but it pierces his beak, and his

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Speaker 1: illusion of being a heroin melts way. And you see

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Speaker 1: that it's just kind of this like older strange half

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Speaker 1: bird half man wizard that's like Wallace Shan from a Princess.

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Speaker 3: Bride, Yes, very Wallace Shawn.

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Speaker 1: And the wizard basically says, I'll take you to find

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Speaker 1: not to go, and then they all like melt down

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Speaker 1: into this water world, sinking into this new oceanic realm

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Speaker 1: where a bunch of strange things happen here is where

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Speaker 1: basically plot doesn't matter.

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Speaker 2: Yeah blasts mattering and I think, like I think a

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Speaker 2: lot about the heron because there was that incredible tweet

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Speaker 2: which was by a twitter usic called Catherine Tinka, and

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Speaker 2: it says, Disney, we're in a creative I guess, Gibli,

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Speaker 2: we cannot restrain this old man from directing another beautiful

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Speaker 2: film about grief featuring the.

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Speaker 3: Freakiest little guys. And this movie features many freaky little.

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Speaker 1: Guy, many many, many freakingly little guys. So let's talk

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Speaker 1: about the freaky little guys that are so I mean

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Speaker 1: hein it descends into.

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Speaker 5: The ocean world.

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Speaker 1: There are these ravenous pelicans down there that come very

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Speaker 1: close to devouring him, but he is saved by a

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Speaker 1: younger version of Curiko the Maid, who is now this

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Speaker 1: fierce fisher woman with far more.

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Speaker 2: In line with your Gibli protagonist. Because Miyazaki, especially in

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Speaker 2: Miyazaki stories, he loves to tell a story about like

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Speaker 2: a strong young woman, and generally when he changes the

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Speaker 2: protagonist to a young man, he is telling more of

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Speaker 2: an autobiographicals story, and this is definitely in that space.

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Speaker 2: Mineazaki's dad also worked for the government. There are definitely

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Speaker 2: lines here that connect to his own life as well

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Speaker 2: as the people in the movie who represent people that

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Speaker 2: he works with.

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Speaker 3: So it's interesting to see.

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Speaker 2: But yeah, this version is definitely more of your traditional

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Speaker 2: narseka style.

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Speaker 5: Hero curricle like touches.

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Speaker 1: These little like bubbly like balloon like spirits called warawa

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Speaker 1: which I hope I'm pronouncing right, which reminded me honestly

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Speaker 1: of the Junomos from Stardo Valley the world.

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Speaker 3: Yes, very also, I think this is a lot.

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Speaker 2: I think part of the reason that Gibli has become

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Speaker 2: such a huge cultural juggernaut in America is there are

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Speaker 2: a lot of cute creatures, whether it's Tatro or the

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Speaker 2: soot sprites. These were giving me big spry energy from

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Speaker 2: Spirited Away, you know.

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Speaker 3: So the WaraWara.

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Speaker 2: If you're looking for your cute see new creature that

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Speaker 2: you're gonna want as a plush. It's the war war

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Speaker 2: in this movie.

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Speaker 5: So the warra Wara.

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Speaker 1: They fly to the real world to be reborn as

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Speaker 1: spirits and of course eat the pelicans that are so

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Speaker 1: ravenous eat them and as they're like hunting them, a

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Speaker 1: young woman named Him who can control fire, uses her

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Speaker 1: fire to basically defend the war o wara from these pelicans.

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Speaker 5: She burns them up.

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Speaker 1: Mahido comes across one of these burned up pelicans. Oh,

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Speaker 1: it's injured terribly, and this pelican tells Mikido, listen, we

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Speaker 1: came here. We flew here from we don't even remember where.

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Speaker 1: We're trying to get back to our homeland, but we've

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Speaker 1: tried to tried it. And there's no other islands even

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Speaker 1: close to this island, and there's nothing for us to

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Speaker 1: eat here. Nothing comes out of the ocean that we

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Speaker 1: can eat. The only thing we can eat is these

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Speaker 1: war a waras, and we're so fucking starving. And Currico basically,

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Speaker 1: broker's a deal between Mihido and the birdman, and Mihido

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Speaker 1: heals the birdman. He's got that hole in his beak

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Speaker 1: from the arrow, so he, like Mihido like carves this

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Speaker 1: little like plug and they push it into the birdman's

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Speaker 1: beak and the birdman is restored to full heroine beauty

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Speaker 1: and can fly around. And as this is happening, the parakeets, let's.

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Speaker 3: Talk about the parakeet ami.

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Speaker 1: The Paragon army is this like kingdom of human sized

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Speaker 1: parakeets bloodthirsty parakeets that follow a king with metals on

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Speaker 1: his chest and everything really scary.

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Speaker 2: This is definitely that moment remember when no Face and

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Speaker 2: Spirited Away begins to grow and you see how huge

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Speaker 2: he is as people feed him and he gives him

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Speaker 2: the money or the soldiers from the Witch of the

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Speaker 2: Waste to turn up in house moving costle. This is

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Speaker 2: that horrifying grotesque would haunt you if you saw as

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Speaker 2: a kid. And these parakeets are really really scary, and

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Speaker 2: I love that that is representative of their connection to

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Speaker 2: the person who rules them.

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Speaker 3: Let's say they are representative of him.

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Speaker 1: So they capture Mihido and they're like, fucking yeah, we're

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Speaker 1: gonna eat this kid. They're sharp and delicious, excited to

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Speaker 1: shop in a knife.

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Speaker 5: They want to sharp.

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Speaker 1: Listen, you can't just cut. You have to sharpen the knife.

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Speaker 1: You can't just get going and carve the kid up.

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Speaker 2: I'm trying to eat a delicious slice of this child.

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Speaker 2: I don't want to have to saw through it. I

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Speaker 2: don't want to ruin the meats.

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Speaker 1: They're in this cottage and they're about to cut the

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Speaker 1: kid up, but then flames break out and it's Hemi

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Speaker 1: who has saved Mihido's life. They like run from the

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Speaker 1: parakeets and the flames, and they run through this door

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Speaker 1: that connects the real world to the magical world, and

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Speaker 1: they are seen by Mihido's dad sees them. But then

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Speaker 1: Mihido's like, no, I can't, I have to Nottsuko like

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Speaker 1: I can't return to.

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Speaker 5: The real world yet, and he goes back.

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Speaker 1: They go into the parakeet kingdom because that's where they

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Speaker 1: believe Natsuko is and the and they find her there.

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Speaker 1: She's giving birth, but she's like she completely rejects Mihido

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Speaker 1: and his adventure to find her.

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Speaker 5: She doesn't want anything to do it.

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Speaker 1: Mihido, in desperation, calls out for his mom and but

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Speaker 1: now like all sorts of magic is happening, paper starts

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Speaker 1: swirling around in the air, the paper from the book,

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Speaker 1: probably the story that he was just reading when he

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Speaker 1: was interrupted by this mission, and it is covering him

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Speaker 1: and eventually they're all swallowed up by this paper. And

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Speaker 1: when Mihido wakes up or is still in a dream unclear,

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Speaker 1: he finds his grand uncle who built the tower, and

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Speaker 1: he is a wizard who is preoccupied with this mission

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Speaker 1: of stacking these differently shaped stone blocks, and this is

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Speaker 1: a very important thing to do because it creates like

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Speaker 1: the reality of the tower in which they are all in.

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Speaker 1: And he wants Mahido to succeed him because he's part

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Speaker 1: of his bloodline. He can only pass off this tower

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Speaker 1: mission to one of his bloodline. He says, like, if

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Speaker 1: you want to stack your own blocks, you can create

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Speaker 1: in this tower of your own any world that you wish.

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Speaker 1: But Mahido then notices that the blocks are infused with malice,

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Speaker 1: the malice of the real world, death and loss and

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Speaker 1: tragedy and all those things. He wakes up and is

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Speaker 1: freed from by the Birdman, who's like his ally. Now

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Speaker 1: they go into the tower of the Parakeet King, who

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Speaker 1: is taking Natsuko, and like this cryo chamber up the

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Speaker 1: tower to the Wizard and they chase the parakeet King

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Speaker 1: is like cutting up like the wooden stairs, so they

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Speaker 1: can't fucking chase Avrom.

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Speaker 5: He stops them down on.

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Speaker 3: It's very sny.

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Speaker 2: If you're a kid and you have a nightmare and

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Speaker 2: your your legs are stuck and you can't run, or

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Speaker 2: suddenly you can't scream because your mouth.

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Speaker 3: Is covered up.

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Speaker 2: It's definitely that kind of situation where anything that comes,

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00:17:12,000 --> 00:17:15,600
Speaker 2: anything that could come against you to stop you, is happening,

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00:17:15,680 --> 00:17:19,400
Speaker 2: which is also a way of showing Miito how powerful

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Speaker 2: this world is, Like, you really can make anything you

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Speaker 2: want here, and for somebody who is just steeped in tragedy,

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Speaker 2: surely that is an appealing option because you could make

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Speaker 2: your mum live here, you could live happily with her.

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Speaker 2: You can be the king of this world. Jason, you

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Speaker 2: had a great take on the parakee king connection to me.

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Speaker 2: Oh cool and the Wizard and how it It's like

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Speaker 2: how you read that story before we were talking.

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Speaker 1: I will unveil my parakeet okay, so what I think

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Speaker 1: the peking after.

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Speaker 5: We were almost done.

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00:17:52,480 --> 00:17:55,240
Speaker 1: So the perokee king and his like little followers in

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Speaker 1: the cryod chamber, they get up to the Wizard and

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00:17:57,280 --> 00:18:00,399
Speaker 1: it's like this beautiful garden of Eden where the Wizard

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Speaker 1: is insiding, and the parakeets are like, oh my god,

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Speaker 1: is this where we're from?

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Speaker 5: Is this our homeland? King tell us, is this it?

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Speaker 1: And it King's like, shut up, we have to deliver,

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Speaker 1: not to go to the wizard. Meanwhile, Mihido who had

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Speaker 1: been offered the blocks, refuses to build the tower because

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Speaker 1: he has malice in him, and he points to the

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00:18:22,040 --> 00:18:24,280
Speaker 1: scar on his head that he he had bashed himself

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00:18:24,320 --> 00:18:26,040
Speaker 1: in the head with and this fight that he had

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Speaker 1: had the parakeet king. It becomes frustrated by this constant

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Speaker 1: building of blocks and the fact that he cannot create

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Speaker 1: the world, this beautiful world for his followers that they

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Speaker 1: want to create, and he like slices at the little

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Speaker 1: table that the blocks are being created on and the

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Speaker 1: world collapses. The Birdman all escape and Mihido returns essentially.

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Speaker 5: To the real world.

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Speaker 1: Mahido watches the charm doll that he had like woken

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Speaker 1: up next to in the magical world transfer back into

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Speaker 1: the old version of Kurico, and then we go back

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Speaker 1: to we fast forward to two years after the war

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Speaker 1: where Mihido is going back to Tokyo with his father.

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Speaker 1: This is after the war now and his new brother,

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Speaker 1: the son of his dad, and Natsuko. Okay, here's what

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Speaker 1: I mentioned that like, you can't really follow this through plot.

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Speaker 1: That's how I feel anyway, This is how I feel.

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Speaker 1: Most Miyazaki movies are laid out. There is an emotional

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Speaker 1: inciting incident that happens at the top of every Miyazaki

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Speaker 1: film almost right, and in this one, it's the death

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Speaker 1: of Mihido's mother in a bombing raid and mostly everything

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Speaker 1: that follows after that. It makes only makes sense from

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Speaker 1: the perspective of the of Mahido's emotional journey to try

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Speaker 1: and deal with this. To me, what this story is

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00:19:50,359 --> 00:19:53,919
Speaker 1: about is a boy loses his mom and it's terrible.

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00:19:54,440 --> 00:19:58,879
Speaker 1: His dad, who is like barely around anywhere, quickly replaces

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00:19:58,920 --> 00:20:05,160
Speaker 1: the mother with the mother's sister, and the boy, Mahido,

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00:20:05,720 --> 00:20:09,720
Speaker 1: doesn't know where he stands with his new mom, doesn't

340
00:20:09,720 --> 00:20:13,440
Speaker 1: know if she loves him, she's a stranger to him. Meanwhile,

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00:20:13,720 --> 00:20:17,800
Speaker 1: the dad is completely preoccupied with the war effort and

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00:20:17,880 --> 00:20:23,320
Speaker 1: building different parts that the Japanese Air Force needs for

343
00:20:23,400 --> 00:20:27,000
Speaker 1: their planes, and barely pays any attention to the boy,

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00:20:27,119 --> 00:20:29,600
Speaker 1: who is lonely and only has these very old ladies

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00:20:29,640 --> 00:20:34,520
Speaker 1: to accompany him. He's in this beautiful landscape, this magical world,

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00:20:34,920 --> 00:20:38,400
Speaker 1: magical natural world that's full of mystery, and he discovers

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00:20:38,440 --> 00:20:43,600
Speaker 1: this book that's his mother's message from another world. He

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00:20:43,960 --> 00:20:49,640
Speaker 1: then falls into this adventure that does several things simultaneously.

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00:20:49,680 --> 00:20:52,199
Speaker 1: That again, I think only makes sense from the logic

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Speaker 1: standpoint of the kind of emotional rawness.

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Speaker 5: That you have when you're a child. You know, here's it.

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Speaker 1: As an Assida Rosie, I always found the scene the

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Speaker 1: Harry Potter scene in which everybody thinks Harry's dead but

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Speaker 1: he's yeah, and Haggard's carrying him back, and the tears

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Speaker 1: of Haggard are like dripping on Harry and everybody.

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Speaker 3: And Hermione's screaming.

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Speaker 5: That was resonated with the kid in me.

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Speaker 1: I think as a kid, you always want to know

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00:21:22,320 --> 00:21:25,359
Speaker 1: you're preoccupied. I felt like I was preoccupied with how

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00:21:25,359 --> 00:21:26,439
Speaker 1: does a feel about me?

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Speaker 5: Do they love me?

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Speaker 4: And I love?

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00:21:28,119 --> 00:21:31,399
Speaker 1: Do my friends like me? Does my family love me?

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Speaker 1: What would they do if.

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00:21:32,320 --> 00:21:34,800
Speaker 3: I if I died? But what happen? Yeah?

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Speaker 1: Yeah, And I think this adventure that Mahido falls into

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00:21:40,280 --> 00:21:44,359
Speaker 1: fulfills a lot of those those yearnings that a child has.

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00:21:44,480 --> 00:21:48,760
Speaker 1: On the one hand, he is on this heroic mission

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Speaker 1: to rescue his aunt who is now his mother, to

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Speaker 1: prove to her in a way that I'm worthy of

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Speaker 1: being your son, and when she rejects him, it's this

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00:21:57,840 --> 00:22:01,320
Speaker 1: horrible moment that that makes him think of his mother,

373
00:22:01,359 --> 00:22:02,879
Speaker 1: but he doubles down and says, no, I'm going to

374
00:22:03,040 --> 00:22:05,000
Speaker 1: prove to you that I'm really going to rescue you,

375
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Speaker 1: and you're going to see that I deserve love and

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Speaker 1: I deserve to be your son. Meanwhile, the father is

377
00:22:11,400 --> 00:22:14,560
Speaker 1: never involved, but he gets this glimpse where Mahido runs

378
00:22:14,600 --> 00:22:16,359
Speaker 1: into the real world for a moment like escaping the

379
00:22:16,400 --> 00:22:19,639
Speaker 1: parakeete army, where he's understands that, oh, my god, my

380
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Speaker 1: son is this courageous person. He's a warrior in his

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Speaker 1: own right, fighting a war just like the people that

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00:22:27,359 --> 00:22:31,000
Speaker 1: I'm supporting. He deserves my attention and.

383
00:22:30,960 --> 00:22:32,960
Speaker 5: He's doing this all on his own without me.

384
00:22:33,800 --> 00:22:38,479
Speaker 1: And through this adventure he also and now I'll get

385
00:22:38,520 --> 00:22:40,840
Speaker 1: to the part about the parakeee on me army, he

386
00:22:40,920 --> 00:22:44,920
Speaker 1: also encounters this grand uncle, which who represents the secrets

387
00:22:44,960 --> 00:22:47,440
Speaker 1: of the past from his family that he doesn't really understand.

388
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Speaker 4: Now.

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00:22:48,600 --> 00:22:52,360
Speaker 1: The thing I was saying was like, as this resonated

390
00:22:52,440 --> 00:22:56,520
Speaker 1: me because like as a like a child of immigrants,

391
00:22:56,640 --> 00:22:59,119
Speaker 1: as you start to get to know, as I started

392
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Speaker 1: to get to know my own family back in the Philippines,

393
00:23:01,880 --> 00:23:05,280
Speaker 1: you started to realize, oh, we're not we were kind

394
00:23:05,280 --> 00:23:09,639
Speaker 1: of our family was kind of like in the context

395
00:23:09,640 --> 00:23:11,520
Speaker 1: of the Philippines, the kind of well off family. The

396
00:23:11,520 --> 00:23:13,800
Speaker 1: fact that we could even make the move to the

397
00:23:14,440 --> 00:23:21,520
Speaker 1: US showed that we had some resources, and those often

398
00:23:21,600 --> 00:23:26,199
Speaker 1: the way that happened is that your family did stuff

399
00:23:26,240 --> 00:23:29,320
Speaker 1: that was kind of shitty from the perspective of me

400
00:23:29,480 --> 00:23:32,480
Speaker 1: finding out about what my family history was like, and

401
00:23:32,560 --> 00:23:35,439
Speaker 1: to me, that was what the parakeet Army represents. The

402
00:23:35,520 --> 00:23:39,760
Speaker 1: grand uncle is the family that had done some kind

403
00:23:39,840 --> 00:23:43,480
Speaker 1: of shitty things, had this private parakeet army that they

404
00:23:44,040 --> 00:23:47,880
Speaker 1: utilized to its own ends but also betrayed lots of times,

405
00:23:47,960 --> 00:23:50,280
Speaker 1: you know, like the grant of the like completely just

406
00:23:50,560 --> 00:23:54,119
Speaker 1: spurns this parakeet army that had done lots of things

407
00:23:54,160 --> 00:23:59,640
Speaker 1: for him, and that is that, to me, represents Mihido

408
00:23:59,760 --> 00:24:03,200
Speaker 1: learn about his family past and trying to rationalize these

409
00:24:03,320 --> 00:24:06,720
Speaker 1: very complicated, often negative things that he's finding out about

410
00:24:06,720 --> 00:24:10,640
Speaker 1: his family, and the culmination of the adventure is the

411
00:24:10,720 --> 00:24:14,800
Speaker 1: necessary rejection of this fantasy dream that he could ever get.

412
00:24:14,600 --> 00:24:15,399
Speaker 5: His mom back.

413
00:24:15,800 --> 00:24:21,000
Speaker 1: Over the course of this adventure, he is he meets

414
00:24:21,200 --> 00:24:23,600
Speaker 1: like a different version of his mom that is also

415
00:24:23,680 --> 00:24:23,960
Speaker 1: like his.

416
00:24:24,000 --> 00:24:28,840
Speaker 5: Love interest, his girlfriend, right and that felt very childlike.

417
00:24:28,320 --> 00:24:30,119
Speaker 1: To me, where you're in love with your mom, but

418
00:24:30,240 --> 00:24:35,320
Speaker 1: also like she's your mom, and you see every female

419
00:24:35,359 --> 00:24:38,400
Speaker 1: figure in the context of your mom, And.

420
00:24:38,440 --> 00:24:40,480
Speaker 3: So eventually I like, who do you want to marry?

421
00:24:40,520 --> 00:24:42,680
Speaker 3: I want to marry my mom like that, like when

422
00:24:42,720 --> 00:24:43,480
Speaker 3: you're a little kid.

423
00:24:43,560 --> 00:24:44,320
Speaker 5: It makes sense.

424
00:24:44,400 --> 00:24:47,240
Speaker 1: So ultimately he has to reject all of these things

425
00:24:47,760 --> 00:24:50,560
Speaker 1: and return to the real world. And on top of that,

426
00:24:50,600 --> 00:24:53,760
Speaker 1: there's also this very personal journey for me Azaki in

427
00:24:53,880 --> 00:24:59,480
Speaker 1: which he deals with a younger version of himself becoming

428
00:24:59,680 --> 00:25:04,439
Speaker 1: enamor with the fantasy life of a creative world that

429
00:25:04,520 --> 00:25:07,359
Speaker 1: could help him deal with the traumas of in his life.

430
00:25:07,640 --> 00:25:12,119
Speaker 1: But he also meets an older version of himself and

431
00:25:12,200 --> 00:25:15,159
Speaker 1: I know the grand uncle also represents one of the

432
00:25:15,200 --> 00:25:18,919
Speaker 1: co founders of Ghibli who passed away Paxon Yeah, and

433
00:25:19,000 --> 00:25:21,439
Speaker 1: meant a lot to him. But also it represents to

434
00:25:21,480 --> 00:25:25,560
Speaker 1: me how you can become trapped by a creative life.

435
00:25:25,640 --> 00:25:30,680
Speaker 1: You're trying to destower, stacking these blocks, forever isolated by

436
00:25:30,920 --> 00:25:33,679
Speaker 1: the people you from the people you love, doing looking

437
00:25:33,720 --> 00:25:37,000
Speaker 1: for someone to pass this off to. And in that sense,

438
00:25:37,440 --> 00:25:40,639
Speaker 1: this move makes complete sense to me, even though it's gibberish.

439
00:25:40,960 --> 00:25:42,040
Speaker 5: Yeah. Yeah.

440
00:25:42,040 --> 00:25:44,080
Speaker 2: Also, like I think that you touch on something really

441
00:25:44,119 --> 00:25:47,000
Speaker 2: interesting that because, like when I saw this movie with Nick,

442
00:25:47,040 --> 00:25:50,400
Speaker 2: you know, it's quite well known if you've watched the documentaries,

443
00:25:50,400 --> 00:25:53,239
Speaker 2: if you've seen the memes. Mea Zachi has like a

444
00:25:53,359 --> 00:25:57,160
Speaker 2: very tempestuous relationship with his son Goro and often comes

445
00:25:57,160 --> 00:25:58,840
Speaker 2: across seeming like he doesn't like him.

446
00:25:59,040 --> 00:26:01,480
Speaker 3: Nick felt like the movie could be an apology to Goro.

447
00:26:01,640 --> 00:26:03,440
Speaker 2: I don't think it's an apology because I don't think

448
00:26:03,440 --> 00:26:06,760
Speaker 2: that's in me A Zaki's way. But I do think

449
00:26:06,960 --> 00:26:11,240
Speaker 2: that there is a recognition, even subconsciously, of the plight

450
00:26:11,400 --> 00:26:13,399
Speaker 2: of the son who is trying to live up to

451
00:26:13,440 --> 00:26:16,520
Speaker 2: the father who has the option can you build this?

452
00:26:16,640 --> 00:26:18,800
Speaker 2: Can you take on what I have done? And obviously

453
00:26:18,840 --> 00:26:20,840
Speaker 2: that is what Goa Mihazaki's been trying to do his

454
00:26:20,880 --> 00:26:23,840
Speaker 2: whole life with his movies, and I think that is

455
00:26:23,960 --> 00:26:29,359
Speaker 2: very interesting. Also, pre coming on Mike, we were talking

456
00:26:29,480 --> 00:26:33,359
Speaker 2: with Carmen and Carmen our superducer. One of them mentioned

457
00:26:34,000 --> 00:26:36,240
Speaker 2: that this movie reminded her of Pan's Labyrinth, and I

458
00:26:36,240 --> 00:26:39,199
Speaker 2: think that's really interesting because I think what it shares

459
00:26:39,280 --> 00:26:42,399
Speaker 2: most with Pan's Labyrinth is that while it has a

460
00:26:42,520 --> 00:26:46,879
Speaker 2: very distinct historical setting and has a very specific story

461
00:26:46,920 --> 00:26:49,399
Speaker 2: that it's telling, I think it will be a movie

462
00:26:49,400 --> 00:26:53,360
Speaker 2: that is read into for many years about how does

463
00:26:53,400 --> 00:26:56,040
Speaker 2: it read to you? What does it say about your childhood?

464
00:26:56,080 --> 00:26:59,040
Speaker 2: You obviously were not around in the Civil War of

465
00:26:59,080 --> 00:27:03,159
Speaker 2: Pans Labyrinth. How does this make you feel about the

466
00:27:03,200 --> 00:27:06,800
Speaker 2: adventures you go on or the ways that stories change childhoods?

467
00:27:06,840 --> 00:27:09,119
Speaker 2: And I think this is very much in that space,

468
00:27:09,240 --> 00:27:12,320
Speaker 2: especially because on rewatch it really has.

469
00:27:12,160 --> 00:27:14,400
Speaker 3: A lot of scary moments that are more.

470
00:27:14,200 --> 00:27:17,199
Speaker 2: Akin to like a Grave of the Firefly or the

471
00:27:17,320 --> 00:27:21,640
Speaker 2: violence of a Princess Mononoke, rather than Tatro or Spirited

472
00:27:21,680 --> 00:27:24,800
Speaker 2: Away or the more commercial hits that the films you

473
00:27:24,840 --> 00:27:28,080
Speaker 2: would perceive as more commercial. But actually this is the

474
00:27:28,119 --> 00:27:30,480
Speaker 2: biggest gibli movie that we've had in America, So I

475
00:27:30,520 --> 00:27:31,720
Speaker 2: find that very interesting.

476
00:27:32,400 --> 00:27:36,440
Speaker 1: Yeah, the Pans Labyrinth, I think camp is really good

477
00:27:36,920 --> 00:27:41,359
Speaker 1: in the sense that the pans Lamborth is kind of

478
00:27:41,480 --> 00:27:44,679
Speaker 1: like to relate it to the Boy and the Heron

479
00:27:45,359 --> 00:27:48,480
Speaker 1: is like if you took the parakeet army part.

480
00:27:48,280 --> 00:27:49,560
Speaker 5: And just made that the whole movie.

481
00:27:49,600 --> 00:27:51,240
Speaker 1: It's about like, how do you come to terms of

482
00:27:51,240 --> 00:27:54,399
Speaker 1: the fact that your family was on both sides of

483
00:27:54,400 --> 00:27:58,239
Speaker 1: this horrific civil war and what I mean. And in

484
00:27:58,280 --> 00:28:00,000
Speaker 1: that sense, I think both of these movies are very

485
00:28:00,119 --> 00:28:03,399
Speaker 1: similar in that they are from the perspective and the

486
00:28:03,440 --> 00:28:06,720
Speaker 1: mentality and the emotional depth of a child. How does

487
00:28:06,760 --> 00:28:09,920
Speaker 1: a child try to deal with the world that they

488
00:28:10,000 --> 00:28:13,320
Speaker 1: see that they don't really understand, like you don't. There's

489
00:28:13,359 --> 00:28:16,280
Speaker 1: so many things that are unexplained in the way that

490
00:28:16,720 --> 00:28:20,200
Speaker 1: life to a child is like unexplained. Yeah, we don't

491
00:28:20,240 --> 00:28:28,680
Speaker 1: know what we have no access to. How Mahido's dad

492
00:28:28,960 --> 00:28:30,480
Speaker 1: and Natsuko.

493
00:28:31,400 --> 00:28:37,760
Speaker 2: Gotten that outside You are always in.

494
00:28:37,040 --> 00:28:41,640
Speaker 3: That space of a child. Oh now he's with the sister, okay,

495
00:28:41,640 --> 00:28:45,480
Speaker 3: and that is when you're a kid. And also I

496
00:28:45,520 --> 00:28:46,080
Speaker 3: think as.

497
00:28:45,960 --> 00:28:53,200
Speaker 2: Well, there's something very interesting there about like the replaceability

498
00:28:53,400 --> 00:28:56,200
Speaker 2: of his mom and then the Freudian way that his

499
00:28:56,360 --> 00:28:59,920
Speaker 2: mom and his stepmom become intertwined in the movie as

500
00:29:00,120 --> 00:29:00,880
Speaker 2: really interesting.

501
00:29:00,920 --> 00:29:03,080
Speaker 3: And I do think it's a movie of.

502
00:29:04,640 --> 00:29:08,000
Speaker 2: Conversation, Like it's a movie that you're gonna watch and

503
00:29:08,040 --> 00:29:08,640
Speaker 2: you might be like.

504
00:29:08,600 --> 00:29:10,320
Speaker 3: What the hell is going on or what does this mean?

505
00:29:10,480 --> 00:29:13,000
Speaker 2: But it sticks with you and you're gonna have conversations

506
00:29:13,040 --> 00:29:14,760
Speaker 2: about it. You're going to talk about what it means

507
00:29:15,000 --> 00:29:18,960
Speaker 2: and also no surprises, but it is absolutely visually stunning,

508
00:29:19,080 --> 00:29:22,760
Speaker 2: and it has a Johshashi soundtrack, so you're really getting

509
00:29:22,840 --> 00:29:26,880
Speaker 2: like some of the most fantastic score that you can

510
00:29:26,920 --> 00:29:29,200
Speaker 2: get of any movie experience.

511
00:29:45,760 --> 00:29:48,240
Speaker 1: I was watching Miyazaki in The Heir, in the two

512
00:29:48,280 --> 00:29:54,360
Speaker 1: hour quite heart wrenching documentary about Miyazaki and what he

513
00:29:54,440 --> 00:30:00,360
Speaker 1: was going through while making this film, including the fact

514
00:30:00,360 --> 00:30:02,320
Speaker 1: that he had stated that he was never gonna make

515
00:30:02,360 --> 00:30:03,360
Speaker 1: another film again.

516
00:30:03,680 --> 00:30:07,040
Speaker 2: This man retires more than anyone who's ever retired in

517
00:30:07,080 --> 00:30:07,800
Speaker 2: the well.

518
00:30:07,760 --> 00:30:11,040
Speaker 1: Nobody has retired more, the fact that he had lost

519
00:30:11,920 --> 00:30:15,120
Speaker 1: several people close to him during the in the development

520
00:30:15,160 --> 00:30:20,360
Speaker 1: of this film, and then the relationship with Joe Hisshashi

521
00:30:20,400 --> 00:30:24,120
Speaker 1: the composer is so unique because with everybody else around

522
00:30:24,200 --> 00:30:27,000
Speaker 1: him that he creatively collaborates with, he is like a

523
00:30:27,040 --> 00:30:33,240
Speaker 1: task master and he puts himself through more pain than

524
00:30:33,880 --> 00:30:38,840
Speaker 1: anybody else when he's yeah, but with Hishashi, he's just like,

525
00:30:39,000 --> 00:30:43,000
Speaker 1: I don't know, just do it. Yeah, He's like, but

526
00:30:43,080 --> 00:30:45,080
Speaker 1: you make whatever he wanted and it's flying.

527
00:30:45,680 --> 00:30:46,040
Speaker 5: Yeah.

528
00:30:46,160 --> 00:30:49,520
Speaker 2: I'm also really interested because originally I think like this

529
00:30:49,640 --> 00:30:51,480
Speaker 2: movie was in the works for a long time, and

530
00:30:51,520 --> 00:30:55,360
Speaker 2: it was gonna be focused on this idea of his

531
00:30:55,400 --> 00:30:59,680
Speaker 2: relationship with Asao Takahata, who is like that grand uncle

532
00:30:59,760 --> 00:31:03,160
Speaker 2: type character, but after he passed away, they refocused it.

533
00:31:03,480 --> 00:31:06,080
Speaker 2: And I'm so interested because then I'm like, so was

534
00:31:06,120 --> 00:31:09,640
Speaker 2: he is he your mentor is he your father figure?

535
00:31:09,680 --> 00:31:11,760
Speaker 2: And that's how you felt about him? Like are we

536
00:31:11,840 --> 00:31:16,160
Speaker 2: finally getting a glimpse into what shaped you? And I

537
00:31:16,600 --> 00:31:20,720
Speaker 2: just think it's really interesting that there's so much personal

538
00:31:20,760 --> 00:31:24,440
Speaker 2: stuff here, because Miyazaki generally would tell you that his

539
00:31:24,560 --> 00:31:27,440
Speaker 2: work is not particularly personal. He's just telling a story,

540
00:31:27,640 --> 00:31:29,800
Speaker 2: even though obviously with The Wind Rises that was a

541
00:31:29,880 --> 00:31:33,760
Speaker 2: very personal biographical film. But yeah, I just think there's

542
00:31:33,800 --> 00:31:36,680
Speaker 2: so much to pick apart here. And I love that

543
00:31:36,760 --> 00:31:39,800
Speaker 2: they did the Miyazaki and the Heroin because I think

544
00:31:39,840 --> 00:31:44,360
Speaker 2: that never ending man and the basically there's a four

545
00:31:44,480 --> 00:31:48,120
Speaker 2: hour set of documentaries that you can watch on NHK

546
00:31:48,320 --> 00:31:51,040
Speaker 2: dot com, which is like the Japanese news website, where

547
00:31:51,080 --> 00:31:53,960
Speaker 2: they made a four hour long documentary over ten years

548
00:31:54,040 --> 00:31:57,480
Speaker 2: about Miyazaki making all these different movies, and I think

549
00:31:57,480 --> 00:32:00,760
Speaker 2: they're some of the most insightful and interesting and sad

550
00:32:00,800 --> 00:32:04,280
Speaker 2: and fucked up things I've ever seen about creating.

551
00:32:04,400 --> 00:32:06,200
Speaker 3: In the extended.

552
00:32:06,400 --> 00:32:09,760
Speaker 2: HK versions, you can see him walk out of his

553
00:32:09,880 --> 00:32:14,480
Speaker 2: own son's movie screening and just be chainsmoking cigarettes outside

554
00:32:14,480 --> 00:32:16,520
Speaker 2: talking about how shit the movie is, and You're just like.

555
00:32:16,760 --> 00:32:19,760
Speaker 3: So bad, bro, please please.

556
00:32:19,880 --> 00:32:21,920
Speaker 2: And I think you get a lot of It's rare

557
00:32:21,960 --> 00:32:26,120
Speaker 2: that we get such an honest insight into the behaviors

558
00:32:26,160 --> 00:32:29,080
Speaker 2: of the people who make the things that we watch.

559
00:32:29,120 --> 00:32:31,560
Speaker 2: Me as Zaki is not ashamed of the way he

560
00:32:31,560 --> 00:32:33,800
Speaker 2: feels about his son's work, he is fine for you

561
00:32:33,880 --> 00:32:36,400
Speaker 2: to know that he thinks it's bad. And that's because

562
00:32:36,400 --> 00:32:39,400
Speaker 2: to him, making art is the most important thing and

563
00:32:39,440 --> 00:32:42,160
Speaker 2: it's what drives him. And I actually have like a

564
00:32:42,160 --> 00:32:44,560
Speaker 2: piece of paper behind me with me a Zaki on it,

565
00:32:44,600 --> 00:32:46,760
Speaker 2: and it says all important things in the world are

566
00:32:46,800 --> 00:32:47,320
Speaker 2: a hassle.

567
00:32:47,760 --> 00:32:49,840
Speaker 3: But if you said, why don't you quit, I'd say

568
00:32:49,880 --> 00:32:51,560
Speaker 3: shut up. And he's just.

569
00:32:51,600 --> 00:32:56,200
Speaker 2: Full of like incredible quotable moments like that, like where

570
00:32:56,240 --> 00:32:58,360
Speaker 2: he sees his cat and he says, you know, what

571
00:32:58,400 --> 00:32:59,240
Speaker 2: are you so relaxed for?

572
00:32:59,360 --> 00:33:01,320
Speaker 3: You have no skill, Like you don't know how it

573
00:33:01,360 --> 00:33:02,240
Speaker 3: is to be alive.

574
00:33:02,760 --> 00:33:05,960
Speaker 2: And I'm glad that on such a personal movie they

575
00:33:06,040 --> 00:33:10,600
Speaker 2: saw the value of following him on that journey.

576
00:33:10,840 --> 00:33:16,320
Speaker 1: I It's something that I struggle with, is like how

577
00:33:17,280 --> 00:33:22,080
Speaker 1: much should you and is it necessary to beat yourself

578
00:33:22,200 --> 00:33:27,040
Speaker 1: up in order to create something yeap worthwhile? And I

579
00:33:27,240 --> 00:33:29,440
Speaker 1: sometimes I like, obviously this works for me. Azaki and

580
00:33:29,480 --> 00:33:34,520
Speaker 1: he's eighty four something now and this is very well

581
00:33:34,680 --> 00:33:37,720
Speaker 1: maybe his last work. It was seven years since his

582
00:33:37,800 --> 00:33:41,760
Speaker 1: previous film and which he said would be his last,

583
00:33:42,520 --> 00:33:45,800
Speaker 1: And clearly this takes a toll on him, although he

584
00:33:45,920 --> 00:33:48,200
Speaker 1: clearly also like loves doing it.

585
00:33:48,200 --> 00:33:49,560
Speaker 3: It's all that drives him.

586
00:33:49,840 --> 00:33:52,840
Speaker 1: Yeah, but it's like one of those things where you know,

587
00:33:52,920 --> 00:33:56,040
Speaker 1: you see what other artists go through, sometimes creative people,

588
00:33:56,040 --> 00:33:59,440
Speaker 1: and I'm like, have we He's like he's too old

589
00:33:59,480 --> 00:34:03,600
Speaker 1: to change, But like as younger people than him, have we,

590
00:34:03,800 --> 00:34:08,080
Speaker 1: like Jedi mind tricked ourselves into believing that suffering is

591
00:34:08,160 --> 00:34:09,040
Speaker 1: like necessary.

592
00:34:09,120 --> 00:34:09,799
Speaker 3: I think that we have.

593
00:34:09,880 --> 00:34:12,480
Speaker 2: And I think that I think a lot about the Daniels,

594
00:34:12,520 --> 00:34:15,120
Speaker 2: the directors of Everything Ever All at Once in Swiss

595
00:34:15,239 --> 00:34:18,640
Speaker 2: Army Man, and I think about how on their sets

596
00:34:19,600 --> 00:34:22,319
Speaker 2: when they made everything ever all at once, everyone was

597
00:34:22,360 --> 00:34:25,040
Speaker 2: like it was the kindest set I've been on. We

598
00:34:25,080 --> 00:34:28,520
Speaker 2: would do like mindfulness yoga, at the beginning, we would

599
00:34:28,520 --> 00:34:31,399
Speaker 2: talk about what we were grateful for, and people like Jamie

600
00:34:31,440 --> 00:34:33,000
Speaker 2: Lee Curtis, who've been making movies for.

601
00:34:32,960 --> 00:34:36,480
Speaker 3: Decades, were just like, why isn't every set.

602
00:34:36,160 --> 00:34:39,680
Speaker 2: Like this, Like it takes such a small amount of

603
00:34:39,760 --> 00:34:44,040
Speaker 2: effort to be mindful and chill and treat people well.

604
00:34:44,080 --> 00:34:46,759
Speaker 2: Who are the crafty and who are the people who

605
00:34:46,760 --> 00:34:50,000
Speaker 2: are shooting and the ad and and and I think

606
00:34:50,040 --> 00:34:53,680
Speaker 2: that there is a space for us as younger creators,

607
00:34:53,760 --> 00:34:56,799
Speaker 2: to not only stop idolizing the idea of our own

608
00:34:56,880 --> 00:34:59,560
Speaker 2: struggle and our own trauma as being a key part

609
00:34:59,600 --> 00:35:04,279
Speaker 2: of creat but also of looking at how that kind

610
00:35:04,320 --> 00:35:07,319
Speaker 2: of mindset makes you create and treat other people, whether

611
00:35:07,360 --> 00:35:10,120
Speaker 2: in Meazaki's case it's Goro or I was speaking of

612
00:35:10,239 --> 00:35:14,840
Speaker 2: son is his Sun, which like Goro, like my my

613
00:35:15,480 --> 00:35:19,239
Speaker 2: poor friend, my sweet my sweet boy, like and he

614
00:35:20,880 --> 00:35:25,120
Speaker 2: You know, I think that there is an interesting space

615
00:35:25,239 --> 00:35:28,799
Speaker 2: to look at because obviously, like trauma, pain, struggle, those

616
00:35:28,800 --> 00:35:31,120
Speaker 2: things do inform us and they inspire us, and we

617
00:35:31,160 --> 00:35:35,319
Speaker 2: can take things from them, But there is also a

618
00:35:35,400 --> 00:35:38,640
Speaker 2: level where that can be fetishized, and it can become

619
00:35:39,560 --> 00:35:43,680
Speaker 2: a kind of situation of someone like Jared Leto doing

620
00:35:44,160 --> 00:35:47,920
Speaker 2: deep method acting on the Joko in Suicide Squad for

621
00:35:47,960 --> 00:35:50,640
Speaker 2: a movie he's in for like ten minutes, sending people

622
00:35:50,719 --> 00:35:53,040
Speaker 2: horrific things on set, you know. So I think there's

623
00:35:53,080 --> 00:35:55,719
Speaker 2: an interesting balance of it, and I just this is

624
00:35:55,760 --> 00:35:59,919
Speaker 2: such a classic Miyazaki line as well. Goro actually when

625
00:36:00,239 --> 00:36:04,080
Speaker 2: to Can Film Festival to accept an award for The

626
00:36:04,120 --> 00:36:07,239
Speaker 2: Boy and the Heron, and Miyazaki sent a message that said,

627
00:36:07,320 --> 00:36:10,759
Speaker 2: I don't understand any of this, but thank you. And

628
00:36:10,800 --> 00:36:13,480
Speaker 2: I think that's just like a really great way.

629
00:36:13,760 --> 00:36:16,239
Speaker 1: I mean, listen, the vibe I get from Yazaki from

630
00:36:16,280 --> 00:36:20,239
Speaker 1: watching Miyazaki and the Heron and other Doggi Retori is

631
00:36:20,239 --> 00:36:23,200
Speaker 1: about him and reading a bunch of articles about him,

632
00:36:23,800 --> 00:36:29,040
Speaker 1: is that he will gain access to the full weight

633
00:36:29,080 --> 00:36:31,600
Speaker 1: of the emotions he has and love he as towards

634
00:36:31,600 --> 00:36:35,760
Speaker 1: Goro when and if Goro passes before him, because.

635
00:36:35,640 --> 00:36:38,000
Speaker 5: He in Miyazaki and the Heron.

636
00:36:38,440 --> 00:36:41,040
Speaker 1: He's lost all these people in his life over the

637
00:36:41,040 --> 00:36:43,160
Speaker 1: course of this documentary, and you're watching him deal with that,

638
00:36:43,760 --> 00:36:47,400
Speaker 1: and he's like, how can we go on? Life is

639
00:36:47,480 --> 00:36:50,760
Speaker 1: pain and malice? Why life hates us? Life keeps taking

640
00:36:50,800 --> 00:36:54,279
Speaker 1: the people we love from us? And how can I

641
00:36:54,400 --> 00:36:59,520
Speaker 1: possibly go forward without this person and that person, and

642
00:36:59,560 --> 00:37:01,839
Speaker 1: it's like, did you tell them when they were alive?

643
00:37:01,960 --> 00:37:02,160
Speaker 4: No?

644
00:37:02,320 --> 00:37:05,000
Speaker 1: Absolutely did not. Did not share this with them when

645
00:37:05,000 --> 00:37:08,560
Speaker 1: they're alive. And part of me is like music. It

646
00:37:08,560 --> 00:37:10,080
Speaker 1: doesn't have to be like this, but I get you

647
00:37:10,080 --> 00:37:13,400
Speaker 1: know again, he's eighty. Yeah, this is not going to change,

648
00:37:13,800 --> 00:37:17,520
Speaker 1: but it's like watching that was the experience was like

649
00:37:17,600 --> 00:37:21,719
Speaker 1: Mihido in the tower meeting granduncle and grandadles, just.

650
00:37:21,680 --> 00:37:24,480
Speaker 5: Like ah, the blocks blocks and.

651
00:37:24,560 --> 00:37:27,880
Speaker 1: You gotta stack up and you could you could do

652
00:37:27,960 --> 00:37:29,960
Speaker 1: this too, and you great your own world and it's

653
00:37:30,000 --> 00:37:32,640
Speaker 1: like you kind of want to be like, does it

654
00:37:33,120 --> 00:37:34,720
Speaker 1: I think I would try to do it differently.

655
00:37:34,840 --> 00:37:37,760
Speaker 2: Yeah, exactly, like just I think and I think. Something

656
00:37:37,760 --> 00:37:40,359
Speaker 2: that I'm really happy about is I've always felt very

657
00:37:40,360 --> 00:37:42,759
Speaker 2: deeply for Goro and I've watched these kids got to

658
00:37:42,800 --> 00:37:43,280
Speaker 2: be terrible.

659
00:37:43,320 --> 00:37:46,600
Speaker 3: It's it's gotta be terrible. But I was very happy

660
00:37:46,640 --> 00:37:47,640
Speaker 3: when he went.

661
00:37:47,719 --> 00:37:49,880
Speaker 2: When he was at can you Know, he said his

662
00:37:49,960 --> 00:37:52,480
Speaker 2: father feels like the golden age of anime is over,

663
00:37:52,840 --> 00:37:54,759
Speaker 2: and he feels like this is what symbolizes the end

664
00:37:54,760 --> 00:37:57,120
Speaker 2: of his career because there's not much left. And then

665
00:37:57,400 --> 00:38:00,920
Speaker 2: he said, and everything will be for me when my

666
00:38:01,000 --> 00:38:04,040
Speaker 2: father and Suzuki san are dead, and I'm like, yes,

667
00:38:04,160 --> 00:38:08,000
Speaker 2: Goro Gem, I'm like you, I'm like, you've got to

668
00:38:08,040 --> 00:38:10,839
Speaker 2: start coming out and getting him back, because otherwise, like

669
00:38:10,880 --> 00:38:12,320
Speaker 2: you're just going to spend your whole life.

670
00:38:12,200 --> 00:38:15,560
Speaker 3: Getting got by your really messed up dad.

671
00:38:15,960 --> 00:38:19,120
Speaker 1: If someone wants to start with me Azaki, would they start?

672
00:38:19,280 --> 00:38:22,719
Speaker 1: Would you recommend starting with The Boy and the Heron No?

673
00:38:23,520 --> 00:38:26,360
Speaker 2: I think that if you have never watched a Studio

674
00:38:26,400 --> 00:38:29,879
Speaker 2: Ghibli movie before, I think there is a world in

675
00:38:29,920 --> 00:38:31,640
Speaker 2: which this would.

676
00:38:31,600 --> 00:38:33,840
Speaker 3: Overwhelm you and make you go, what am I watching?

677
00:38:33,840 --> 00:38:36,080
Speaker 2: Why would I watch the other things that this person

678
00:38:36,080 --> 00:38:38,799
Speaker 2: has done. But I would also say, if you're someone

679
00:38:38,840 --> 00:38:42,439
Speaker 2: who has no interest in anime or animated films, feel

680
00:38:42,480 --> 00:38:44,720
Speaker 2: like they're for kids, feel like they don't have layers,

681
00:38:45,000 --> 00:38:48,440
Speaker 2: whatever your own perception of anime is that's kept you

682
00:38:48,440 --> 00:38:52,000
Speaker 2: from watching them. But you like our House cinema, and

683
00:38:52,080 --> 00:38:55,319
Speaker 2: you like Bergman, and you like Herzog, and you like

684
00:38:55,400 --> 00:38:58,520
Speaker 2: the more esoteric directors, I would say this is a

685
00:38:58,520 --> 00:39:02,279
Speaker 2: fantastic endpoint. If that is something that's kept you away

686
00:39:02,280 --> 00:39:05,319
Speaker 2: from anime, I think it could be a really fantastic

687
00:39:05,680 --> 00:39:08,640
Speaker 2: first movie for people who think that animation isn't for

688
00:39:08,719 --> 00:39:11,400
Speaker 2: them because they like complex storytelling.

689
00:39:11,760 --> 00:39:12,600
Speaker 3: I think if you're.

690
00:39:12,640 --> 00:39:15,840
Speaker 2: Somebody who wants to embrace the lot of Studio Ghibli

691
00:39:16,000 --> 00:39:17,919
Speaker 2: and you've been in Bonds and Nobles and you've seen

692
00:39:17,920 --> 00:39:21,200
Speaker 2: a Tatro figure and you've seen people doing cool cosplays

693
00:39:21,280 --> 00:39:24,760
Speaker 2: as Princess Mononoke or Naska, I think this is probably

694
00:39:24,760 --> 00:39:27,520
Speaker 2: not the best first Gibli movie.

695
00:39:28,040 --> 00:39:30,319
Speaker 1: I think I agree completely with what you said. There's

696
00:39:30,360 --> 00:39:33,600
Speaker 1: a world in which maybe it's just like recency bias,

697
00:39:33,680 --> 00:39:37,040
Speaker 1: but I think this is among the most emotionally resonant films.

698
00:39:37,040 --> 00:39:37,800
Speaker 3: Oh definitely.

699
00:39:37,840 --> 00:39:42,440
Speaker 1: And if that's what you're after, this can really punch

700
00:39:42,480 --> 00:39:44,799
Speaker 1: you hard in the guts. On the other hand, it

701
00:39:44,880 --> 00:39:50,880
Speaker 1: is not the kind of easy to grasp whimsical and

702
00:39:50,920 --> 00:39:53,960
Speaker 1: magical adventure that some of the other ones are, which

703
00:39:54,000 --> 00:39:54,760
Speaker 1: brings us.

704
00:39:55,120 --> 00:40:01,920
Speaker 5: Oh yes, let's talk about our favorite Studio Ghibli Miyazaki movies.

705
00:40:02,040 --> 00:40:04,719
Speaker 5: Let's do top three? Should we trade off? And do?

706
00:40:05,040 --> 00:40:08,280
Speaker 1: Let's trade off? Yeah, you go first. What is your

707
00:40:09,000 --> 00:40:10,760
Speaker 1: number one Studio Ghibili?

708
00:40:11,080 --> 00:40:11,160
Speaker 4: Oh?

709
00:40:11,239 --> 00:40:13,120
Speaker 3: Yeah, my numb watch Studio Ghibli movie.

710
00:40:13,560 --> 00:40:18,560
Speaker 2: Controversial pick is actually it's actually not by Miyazaki, Okay,

711
00:40:18,600 --> 00:40:22,320
Speaker 2: but it is Whisper of the Heart, which is directed

712
00:40:22,400 --> 00:40:26,480
Speaker 2: by Yoshifumi Kondo with a screenplay by Hia Miyazaki, so

713
00:40:26,560 --> 00:40:30,960
Speaker 2: it is still has his fingerprints on it. I just

714
00:40:31,200 --> 00:40:33,719
Speaker 2: deeply love this movie. It's from nineteen ninety five. It's

715
00:40:33,760 --> 00:40:35,960
Speaker 2: one of my favorite movies of all time. It's actually

716
00:40:36,120 --> 00:40:39,799
Speaker 2: in my top four on Letterbox at the moment. And

717
00:40:39,840 --> 00:40:45,759
Speaker 2: it's essentially a movie about a young girl who is

718
00:40:45,840 --> 00:40:50,320
Speaker 2: trying to rewrite the lyrics to the classic John Denver

719
00:40:50,440 --> 00:40:54,040
Speaker 2: hit Country Roads Take Me Home, because in the eighties

720
00:40:54,680 --> 00:40:57,200
Speaker 2: Olivia Newton John did a version of that song that

721
00:40:57,280 --> 00:40:59,719
Speaker 2: was huge in Japan and not huge anywhere else.

722
00:40:59,719 --> 00:41:02,239
Speaker 3: And it's it's kind of about it's a slice of

723
00:41:02,280 --> 00:41:02,800
Speaker 3: life story.

724
00:41:02,840 --> 00:41:06,960
Speaker 2: It's set in a city, which is very rare for

725
00:41:07,480 --> 00:41:10,560
Speaker 2: a gibli movie, and she lives in a small apartment

726
00:41:10,600 --> 00:41:12,880
Speaker 2: with her parents, and the whole movie is really just

727
00:41:12,920 --> 00:41:17,400
Speaker 2: about her trying to find her way as a young

728
00:41:17,440 --> 00:41:20,200
Speaker 2: woman who wants to write. What's she going to study

729
00:41:20,239 --> 00:41:22,480
Speaker 2: at school? Will she be able to be a writer,

730
00:41:22,600 --> 00:41:25,200
Speaker 2: will she be a novelist? She wants to tell a story,

731
00:41:25,760 --> 00:41:30,799
Speaker 2: And throughout this she ends up finding a strange kind

732
00:41:30,880 --> 00:41:34,960
Speaker 2: of chochky antique shop and meeting a cat who may

733
00:41:35,040 --> 00:41:37,600
Speaker 2: or may not be magical. And it does have a

734
00:41:37,800 --> 00:41:46,640
Speaker 2: touch of that Studio ghibli hyper real magic, magical realism,

735
00:41:46,920 --> 00:41:49,400
Speaker 2: but generally it's more of a slice of life. This

736
00:41:49,600 --> 00:41:54,000
Speaker 2: is one of my ultimate rewatchable movies. I actually own

737
00:41:54,080 --> 00:41:57,640
Speaker 2: the album that Olivia Newton John did with her version

738
00:41:57,680 --> 00:42:00,080
Speaker 2: of Country Roads, and I just think this is a

739
00:42:00,239 --> 00:42:03,240
Speaker 2: perfect example of what Gipley does. Really.

740
00:42:03,239 --> 00:42:04,560
Speaker 3: Well, what's your number one?

741
00:42:08,000 --> 00:42:12,640
Speaker 5: I think my number one is Spirited.

742
00:42:12,800 --> 00:42:15,680
Speaker 3: Yeah, I mean, well, unbelievable film.

743
00:42:15,640 --> 00:42:23,360
Speaker 1: Just a truly magical coming of age film. I just

744
00:42:23,360 --> 00:42:28,120
Speaker 1: think it's fantastic and maybe one of the best movies

745
00:42:28,239 --> 00:42:30,800
Speaker 1: of the two thousands. Like in the Oh, it could

746
00:42:30,840 --> 00:42:33,799
Speaker 1: be like a top fifteen movie of the two thousands.

747
00:42:34,160 --> 00:42:41,080
Speaker 1: It's just like visually rich, emotionally rich young girl.

748
00:42:41,800 --> 00:42:46,000
Speaker 2: The emotional inciting incident, yes, which is she has to

749
00:42:46,040 --> 00:42:48,720
Speaker 2: move from school from like to a different city.

750
00:42:48,800 --> 00:42:50,879
Speaker 3: So you have that rule there that you pointed out.

751
00:42:50,880 --> 00:42:54,640
Speaker 1: Ali finds it like a magical amusement park and then

752
00:42:54,680 --> 00:42:58,120
Speaker 1: falls into a different world. It's just like fantastic and

753
00:42:58,840 --> 00:43:02,440
Speaker 1: iconic in its own way. When you if you've never

754
00:43:02,440 --> 00:43:04,720
Speaker 1: seen it before, you'll see it and then be like, oh,

755
00:43:05,360 --> 00:43:10,680
Speaker 1: I recognize thing that this has influenced in other spaces.

756
00:43:10,760 --> 00:43:14,080
Speaker 2: I also feel like for our Age, I feel like

757
00:43:14,120 --> 00:43:17,560
Speaker 2: this was like a very watershed moment because this got

758
00:43:17,560 --> 00:43:22,520
Speaker 2: a really wide release simply distributed by Disney. I think

759
00:43:22,600 --> 00:43:25,080
Speaker 2: we had this situation where we were like, oh, wait,

760
00:43:25,719 --> 00:43:29,759
Speaker 2: this is you know, I remember so distinctly going to

761
00:43:29,760 --> 00:43:30,799
Speaker 2: the cinema to see it.

762
00:43:31,000 --> 00:43:33,239
Speaker 5: That's a great point because I had not I knew

763
00:43:33,280 --> 00:43:37,080
Speaker 5: nothing of Gibli or Miyazaki before spirit Away and Spirited

764
00:43:37,160 --> 00:43:39,000
Speaker 5: Away was the one where it was like, oh, the

765
00:43:39,080 --> 00:43:40,840
Speaker 5: genius of Myazaki. Get ready.

766
00:43:41,160 --> 00:43:43,279
Speaker 1: It is like you're gonna You're gonna fall into this

767
00:43:43,320 --> 00:43:46,120
Speaker 1: and I was truly transported by this movie.

768
00:43:46,200 --> 00:43:47,080
Speaker 5: What is your next?

769
00:43:47,600 --> 00:43:50,360
Speaker 2: Okay? I just want to say a superduced Aaron was like, guys,

770
00:43:50,360 --> 00:43:51,839
Speaker 2: why did you start this list at number one?

771
00:43:51,920 --> 00:43:52,479
Speaker 3: That it's okay?

772
00:43:52,680 --> 00:43:55,800
Speaker 2: Do you know what? I'm gonna defend it simply because

773
00:43:56,200 --> 00:44:00,600
Speaker 2: really these are interchangeable favorites because all Gibli movies are incredible.

774
00:44:00,680 --> 00:44:03,080
Speaker 2: So I'm going to go with my second one is

775
00:44:03,080 --> 00:44:07,080
Speaker 2: gonna be Ponyo okay, which occasionally is also my favorite

776
00:44:07,280 --> 00:44:10,680
Speaker 2: depending on how I'm feeling. I saw Ponyo after Spirited Away,

777
00:44:10,719 --> 00:44:12,640
Speaker 2: and I'd seen Spirited Away in the cinema and I've

778
00:44:12,680 --> 00:44:13,680
Speaker 2: been waiting for Ponyo.

779
00:44:14,000 --> 00:44:15,759
Speaker 3: And when I first saw it, I was like, what

780
00:44:15,960 --> 00:44:16,520
Speaker 3: is this.

781
00:44:16,520 --> 00:44:19,040
Speaker 2: This does not look like spirit Away, It does not

782
00:44:19,400 --> 00:44:21,719
Speaker 2: feel like Spirited Away. It's so much more of a

783
00:44:21,760 --> 00:44:25,400
Speaker 2: small story, Like I was expecting this expansive you know,

784
00:44:25,440 --> 00:44:29,480
Speaker 2: Spirited Away had this high tech, you know, mix of animations.

785
00:44:29,800 --> 00:44:32,800
Speaker 2: But as I have grown older, I believe Ponyo is

786
00:44:32,840 --> 00:44:36,040
Speaker 2: actually a visual masterpiece. And what I didn't understand at

787
00:44:36,040 --> 00:44:39,400
Speaker 2: the time when I was a teenager was like every

788
00:44:39,440 --> 00:44:43,080
Speaker 2: scene in Ponyo uses five or six different animation techniques

789
00:44:43,120 --> 00:44:46,440
Speaker 2: and different brushstrokes, and there are moments when it looks illustrated,

790
00:44:46,440 --> 00:44:50,440
Speaker 2: and there are moments when it looks absolutely dynamic and

791
00:44:50,480 --> 00:44:54,120
Speaker 2: as hd as anything from Spirited Away. Look to my

792
00:44:54,200 --> 00:44:57,720
Speaker 2: teenage eyes, and it's essentially a retelling of The Little Mermaid,

793
00:44:57,800 --> 00:45:00,440
Speaker 2: but set in Japan. Again, it's actually one of the

794
00:45:00,440 --> 00:45:03,080
Speaker 2: more soft studio Ghibli movies. There is not a lot

795
00:45:03,080 --> 00:45:06,640
Speaker 2: of conflict. It's very much about a young boy who

796
00:45:06,680 --> 00:45:10,880
Speaker 2: meets this young fish girl called Ponyo and they become friends.

797
00:45:10,920 --> 00:45:13,880
Speaker 2: There are some very iconic studio Ghibli food moments in

798
00:45:13,920 --> 00:45:17,320
Speaker 2: this there's Ponyo making Ponyo, getting to eat ramen for

799
00:45:17,360 --> 00:45:19,640
Speaker 2: the first time, and falling in love with Ham. It's

800
00:45:19,719 --> 00:45:22,040
Speaker 2: very cozy. I also do think it is one of

801
00:45:22,080 --> 00:45:26,040
Speaker 2: the most visually impressive Gibli movies, But you just have

802
00:45:26,120 --> 00:45:29,839
Speaker 2: to open your mind to it because it seems very simplistic.

803
00:45:30,320 --> 00:45:33,000
Speaker 2: But actually I think it is a real masterpiece. And

804
00:45:33,040 --> 00:45:34,480
Speaker 2: I love this one, and it's one that I watch

805
00:45:34,520 --> 00:45:37,040
Speaker 2: with my niece and nephew a lot. And yeah, Ponyo

806
00:45:37,160 --> 00:45:38,160
Speaker 2: is up there for.

807
00:45:38,160 --> 00:45:41,879
Speaker 1: Me, next for me and same as you. This could

808
00:45:41,920 --> 00:45:44,080
Speaker 1: be number one if you catch me on the right

809
00:45:44,160 --> 00:45:46,480
Speaker 1: day for me. Kiki's delivery Service.

810
00:45:46,640 --> 00:45:49,600
Speaker 3: Oh, I love this movie so much. Now I'm like,

811
00:45:49,640 --> 00:45:51,560
Speaker 3: why didn't I make that my number one? It's like

812
00:45:52,120 --> 00:45:54,719
Speaker 3: it existed. I love that movie.

813
00:45:54,880 --> 00:45:56,080
Speaker 5: It's just a wonderful film.

814
00:45:56,239 --> 00:46:00,120
Speaker 1: Kiki is a young girl who's mama's a witch and

815
00:46:00,160 --> 00:46:02,439
Speaker 1: she's about to become a witch herself, so there's a

816
00:46:02,480 --> 00:46:05,480
Speaker 1: big right of passage moment for her. She moves to

817
00:46:05,600 --> 00:46:09,040
Speaker 1: a new place that she doesn't really know very well.

818
00:46:09,040 --> 00:46:15,680
Speaker 1: She's feeling very homesick, and she decides becomes inspired to

819
00:46:15,719 --> 00:46:21,200
Speaker 1: start her own delivery business using her witch magic ability

820
00:46:21,239 --> 00:46:27,120
Speaker 1: to fly and it's inciting. Incident to me is about

821
00:46:27,239 --> 00:46:29,439
Speaker 1: your young kid and you move, you don't know where

822
00:46:29,520 --> 00:46:30,880
Speaker 1: you are, and how do you deal with it? And

823
00:46:30,880 --> 00:46:39,320
Speaker 1: it's about this young woman, young girl finding her independence,

824
00:46:39,719 --> 00:46:43,080
Speaker 1: her own agency, her ability to stand on her own

825
00:46:43,160 --> 00:46:47,520
Speaker 1: two feet and deal with this huge life change of

826
00:46:47,560 --> 00:46:49,719
Speaker 1: not only just like moving, but being a thirteen year

827
00:46:49,719 --> 00:46:52,560
Speaker 1: old girl and being on the masp of young womanhood

828
00:46:52,920 --> 00:46:55,759
Speaker 1: and having to deal with all of those things basically

829
00:46:55,760 --> 00:46:59,200
Speaker 1: on her own, with this found family that she's assembled

830
00:46:59,239 --> 00:46:59,840
Speaker 1: around herself.

831
00:46:59,840 --> 00:47:02,640
Speaker 5: Just like, it's so good this movie.

832
00:47:03,160 --> 00:47:06,440
Speaker 2: I always so good when obviously we live in La

833
00:47:06,560 --> 00:47:08,520
Speaker 2: so we're really lucky. But this is a movie where like,

834
00:47:08,600 --> 00:47:10,560
Speaker 2: anytime it's on, I will go and see it at

835
00:47:10,560 --> 00:47:11,080
Speaker 2: the cinema.

836
00:47:11,480 --> 00:47:13,840
Speaker 3: It looks so beautiful. And also, you know what I

837
00:47:13,880 --> 00:47:14,560
Speaker 3: really love.

838
00:47:14,400 --> 00:47:16,919
Speaker 2: About it is there's two moments that I think about

839
00:47:16,920 --> 00:47:19,480
Speaker 2: a lot in this movie, which is like, there's one

840
00:47:19,520 --> 00:47:22,080
Speaker 2: moment where the first time she does a delivery for

841
00:47:22,160 --> 00:47:24,839
Speaker 2: the baker that she ends up kind of creating this

842
00:47:24,960 --> 00:47:28,880
Speaker 2: relationship with and this kind of familiar relationship with is

843
00:47:29,280 --> 00:47:30,799
Speaker 2: is she says, oh no, no, you don't need to

844
00:47:30,840 --> 00:47:33,320
Speaker 2: pay me, and the Baker's like you did the work,

845
00:47:33,760 --> 00:47:36,560
Speaker 2: accept the money, like get paid, and I was like, whoa,

846
00:47:36,560 --> 00:47:37,000
Speaker 2: this is.

847
00:47:37,000 --> 00:47:40,200
Speaker 3: Like so real, Like when you're you do say that,

848
00:47:40,239 --> 00:47:41,960
Speaker 3: You're like, I'll just do it. It's the right thing

849
00:47:42,000 --> 00:47:43,600
Speaker 3: to do. And then later on.

850
00:47:43,760 --> 00:47:46,360
Speaker 2: There's this kind of exploration of like what's it like

851
00:47:46,440 --> 00:47:49,160
Speaker 2: to have a writer's block, to have like a creative block,

852
00:47:49,239 --> 00:47:51,120
Speaker 2: to not be able to do the thing you always

853
00:47:51,160 --> 00:47:53,920
Speaker 2: thought you wanted to do? I mean Kigy's delivery service

854
00:47:53,960 --> 00:47:55,680
Speaker 2: on any day? That can be my favorite too. That

855
00:47:55,840 --> 00:47:57,480
Speaker 2: is such a beautiful movie.

856
00:47:57,560 --> 00:48:00,160
Speaker 5: It's a perfect, perfect, perfect, perfect little.

857
00:48:00,719 --> 00:48:03,480
Speaker 2: Yeah, it's absolute banger. I would have okay, so I

858
00:48:03,520 --> 00:48:05,879
Speaker 2: would have done that as one of mine. But seeing

859
00:48:05,880 --> 00:48:07,880
Speaker 2: as you did it, let's give the people the different one.

860
00:48:08,080 --> 00:48:10,760
Speaker 2: This was definitely my favorite for a very long time.

861
00:48:11,320 --> 00:48:15,719
Speaker 2: It is How's Moving Castle. I mean, come on, it's

862
00:48:15,800 --> 00:48:19,560
Speaker 2: like I for me. I again, I've been lucky enough

863
00:48:19,560 --> 00:48:21,120
Speaker 2: to go and see it in the movie theater. This

864
00:48:21,160 --> 00:48:24,600
Speaker 2: one actually has a fantastic dub as well, where you

865
00:48:24,680 --> 00:48:27,280
Speaker 2: get Christian Bale as how doing his best like Keanu

866
00:48:27,320 --> 00:48:34,000
Speaker 2: Reeves impression. But this is like the romantic fantasy visually

867
00:48:34,640 --> 00:48:40,040
Speaker 2: enticing gorgeous movie about a young girl who meets the

868
00:48:40,200 --> 00:48:43,960
Speaker 2: wizard how and then later gets transformed into an old

869
00:48:44,040 --> 00:48:46,120
Speaker 2: lady and has to go and find a way to

870
00:48:46,160 --> 00:48:48,879
Speaker 2: become young again. But again, it's about a young woman

871
00:48:48,960 --> 00:48:51,880
Speaker 2: finding her way in the world. It's about finding love.

872
00:48:52,000 --> 00:48:55,480
Speaker 2: It's also I would say, if you are trying the

873
00:48:55,480 --> 00:48:59,560
Speaker 2: gibli movies and you've watched something like Spirited Away and

874
00:48:59,600 --> 00:49:01,919
Speaker 2: you want watch The Boy and the heron, I feel

875
00:49:01,920 --> 00:49:04,600
Speaker 2: like Hou's Moving Castle is a good in between space

876
00:49:05,040 --> 00:49:08,600
Speaker 2: because even though it seems like a rather simplistic romance

877
00:49:08,760 --> 00:49:11,560
Speaker 2: kind of story, there is so much weirdness. There's a

878
00:49:11,600 --> 00:49:15,520
Speaker 2: lot of esoteric magic. There is a subplot about war

879
00:49:15,719 --> 00:49:19,000
Speaker 2: and making weapons and the notion of like being a

880
00:49:19,040 --> 00:49:22,320
Speaker 2: pacifist and how magic can be used as a weapon.

881
00:49:22,719 --> 00:49:24,040
Speaker 3: I just love that movie so much.

882
00:49:24,080 --> 00:49:27,120
Speaker 2: I know the soundtrack, the Johshashi score off by Heart

883
00:49:27,160 --> 00:49:29,200
Speaker 2: that is like one of my most listened to albums

884
00:49:29,239 --> 00:49:30,440
Speaker 2: every year on Spotify.

885
00:49:31,080 --> 00:49:33,000
Speaker 3: I think it's a.

886
00:49:32,440 --> 00:49:36,120
Speaker 2: It's an iconic kind of romance tale when a lot

887
00:49:36,120 --> 00:49:37,800
Speaker 2: of us were growing up and you're kind of like

888
00:49:37,960 --> 00:49:40,520
Speaker 2: romance isn't cool, Like romance sucks, But you'd watch How's

889
00:49:40,520 --> 00:49:42,160
Speaker 2: Moving Castle and you'd be like, I'm watching it for

890
00:49:42,239 --> 00:49:45,080
Speaker 2: like the animation, but really it was you know, and

891
00:49:45,120 --> 00:49:48,239
Speaker 2: it's it's crazy because like we haven't even touched on

892
00:49:49,640 --> 00:49:53,960
Speaker 2: some of the like Tatro is another movie that was

893
00:49:54,000 --> 00:49:57,080
Speaker 2: like so vibrantly important for me. But yeah, I will

894
00:49:57,160 --> 00:49:59,560
Speaker 2: say How's as my last one, and again any day

895
00:49:59,640 --> 00:50:00,880
Speaker 2: all three and I was could change.

896
00:50:00,960 --> 00:50:04,760
Speaker 5: I agree with you. I was I was going to have.

897
00:50:06,320 --> 00:50:07,719
Speaker 1: The Boy and the Heron is my third, but we

898
00:50:07,760 --> 00:50:10,279
Speaker 1: already discussed it because I think it's I think it's great,

899
00:50:10,640 --> 00:50:13,200
Speaker 1: And so then I was, I had picked hows Moving

900
00:50:13,200 --> 00:50:16,160
Speaker 1: Castle as my third for all the reasons you just said.

901
00:50:16,160 --> 00:50:17,440
Speaker 5: So now I'm going to pick another.

902
00:50:17,239 --> 00:50:21,200
Speaker 1: One because honestly, they're are just so many. I'm gonna

903
00:50:21,640 --> 00:50:26,560
Speaker 1: say as my alternate, my alt third, my neighbor Totoro.

904
00:50:27,040 --> 00:50:29,000
Speaker 3: Yes, just fantastic.

905
00:50:29,160 --> 00:50:35,239
Speaker 1: Again, similar themes to Kiki's delivery service. Two sisters. They

906
00:50:35,280 --> 00:50:37,640
Speaker 1: moved to the country to be close to their mom,

907
00:50:37,640 --> 00:50:41,920
Speaker 1: who's not doing well, and they just find a world

908
00:50:41,480 --> 00:50:46,480
Speaker 1: of magic and it's unexpected magic that they relate to

909
00:50:46,680 --> 00:50:52,000
Speaker 1: that teaches them a lot of things, including a cat bus, which.

910
00:50:51,800 --> 00:50:54,560
Speaker 2: Is just like a fantastic Some of the my creation

911
00:50:55,200 --> 00:50:56,840
Speaker 2: vibrant visual creations.

912
00:50:56,880 --> 00:50:59,920
Speaker 3: And I will say as well, the howls and howls.

913
00:50:59,520 --> 00:51:03,640
Speaker 1: And my neighbor too, in terms of visuals are like sumptuous.

914
00:51:03,200 --> 00:51:05,360
Speaker 3: Go I'm just those in the movie there.

915
00:51:05,480 --> 00:51:07,719
Speaker 2: I went to see Taturo in the movie theater with

916
00:51:07,800 --> 00:51:10,040
Speaker 2: a bunch of my friends a couple of years ago,

917
00:51:10,200 --> 00:51:12,160
Speaker 2: and I was just like, the whole time, I had

918
00:51:12,200 --> 00:51:15,719
Speaker 2: goosebumps because I've never really perceived like the way that

919
00:51:15,840 --> 00:51:18,879
Speaker 2: Joheshahi scores stuff, and it's like the score is in

920
00:51:18,960 --> 00:51:22,719
Speaker 2: time with the rain dropping on Taturo's like umbrella. And

921
00:51:22,920 --> 00:51:25,720
Speaker 2: the funniest thing is we are not even talking most

922
00:51:25,719 --> 00:51:28,440
Speaker 2: people listening to this, if you love GIBLI, you're probably like,

923
00:51:28,480 --> 00:51:32,160
Speaker 2: my list is completely different. What about Narsica, groundbreaking sci

924
00:51:32,200 --> 00:51:36,240
Speaker 2: fi with the inspirations from Mobius? What about Princess Mononoke

925
00:51:36,360 --> 00:51:38,719
Speaker 2: widely seen as one of the best ecological movies of

926
00:51:38,719 --> 00:51:39,120
Speaker 2: all time?

927
00:51:39,360 --> 00:51:42,160
Speaker 3: And that's the power of Gibli is like, so many.

928
00:51:42,040 --> 00:51:44,480
Speaker 2: Of these movies are unbelievable, And if we were talking

929
00:51:44,480 --> 00:51:47,280
Speaker 2: about the best movies, that might even be a different situation,

930
00:51:47,320 --> 00:51:49,040
Speaker 2: because then you have to bring in something like Grave

931
00:51:49,080 --> 00:51:52,239
Speaker 2: of the Fireflyers, which is an unbelievable war movie that

932
00:51:52,280 --> 00:51:55,080
Speaker 2: I believe is actually about to be streaming on Netflix

933
00:51:55,120 --> 00:51:57,719
Speaker 2: for the first time in America. And that is one

934
00:51:57,719 --> 00:51:59,560
Speaker 2: of the most horrifying movies I've ever seen, and I've

935
00:51:59,560 --> 00:52:01,760
Speaker 2: only been able to watch it once because it's so powerful.

936
00:52:02,000 --> 00:52:04,399
Speaker 2: So this is the power of Studio Ghibli. But oh,

937
00:52:04,560 --> 00:52:06,359
Speaker 2: I'm so happy we got to talk about these days.

938
00:52:06,400 --> 00:52:10,359
Speaker 1: That so good and I feel the same as first

939
00:52:10,360 --> 00:52:12,719
Speaker 1: of all, if you have Max, are all there for you.

940
00:52:13,440 --> 00:52:15,560
Speaker 5: Most of them are all there free pretty.

941
00:52:15,320 --> 00:52:17,960
Speaker 2: Much everything apart from Grave of the Fireflies, even including

942
00:52:18,239 --> 00:52:20,400
Speaker 2: some of the heart to Find ones like Ocean Waves

943
00:52:20,440 --> 00:52:22,399
Speaker 2: and some of them made for TV stuff.

944
00:52:22,520 --> 00:52:25,839
Speaker 1: And they're just so rich and resonant and wonderful and

945
00:52:26,360 --> 00:52:29,960
Speaker 1: a feast for the eyes and for the heart. Rosie,

946
00:52:29,960 --> 00:52:33,920
Speaker 1: this has been delightful, What a joy. On tomorrow's episode

947
00:52:33,960 --> 00:52:35,799
Speaker 1: of X ray Vision, we're diving into the Rings of

948
00:52:35,920 --> 00:52:40,319
Speaker 1: Power episode five from season two, and the next week

949
00:52:40,320 --> 00:52:42,799
Speaker 1: we're talking about our favorite animated shows on Netflix.

950
00:52:43,360 --> 00:52:45,160
Speaker 5: That's it for this episode. Thanks for listening.

951
00:52:45,840 --> 00:52:50,880
Speaker 4: Bye.

952
00:52:51,800 --> 00:52:55,160
Speaker 1: X ray Vision is hosted by Jason Upson and Rosie

953
00:52:55,200 --> 00:52:59,440
Speaker 1: Knight and is a production of iHeart Podcasts. Our executive

954
00:52:59,440 --> 00:53:03,680
Speaker 1: producers are Joelle Smith and Aaron Kaufman. Our supervising producer

955
00:53:04,040 --> 00:53:08,799
Speaker 1: is a Boo Zafar. Our producers are Carmen Laurent and

956
00:53:08,920 --> 00:53:12,360
Speaker 1: Mia Taylor. Our theme song is by Brian Basquez.

957
00:53:12,840 --> 00:53:17,160
Speaker 2: Special thanks to Soul Rubin and Chris Laude, Kenny Goodman

958
00:53:17,480 --> 00:53:19,560
Speaker 2: and Heidi our discord moderator.