TASK 2

RESEARCHING ANIMATORS

My Neighbor Totoro, 1990

HAYAO MIYAZAKI

Hayao Miyazaki, a reputable Japanese director, has influenced the world of animation and brought forth fresh, surreal, and fantastical concepts to life through meticulous hand drawn animation. He is well-known for his award-winning films Princess Mononoke, My Neighbor Totoro, and a select few others that have garnered popularity and inspiration throughout the animation industry.

His journey towards a creative field began during the transition from his completed studies in economics to an entry-level animator position in Toei animation, finding a lifelong friend, Takahata Isao, and his future wife, Ota Akemi.

Widely regarded as Miyazaki's masterpiece, Spirited Away is an incredible work of cinema that intertwines fantastic world building with engaging story telling. Its nostalgia seeps through with hints of The Wizard of Oz and Alice in Wonderland.

The movie held the record of the highest-grossing Japanese movie for 19 years and is the only foreign-language film to ever win the Academy Award for Best Animated Feature and the Golden Bear.

His work is often defined by lush watercolor and detailed landscapes, evident within Howl's Moving Castle and Ponyo. The complexity and depth of Hayao's characters makes it easy to resonate with them, as many of their personalities encapsulates a young protagonist facing conflict and change. Sounds and visuals are key in these films, with Joe Hisashi's incredible compositions easing its way into the movies. It's not overpowering the narrative, as foley is significant to a Ghibli film, however tunes in when the time is right.

The brutalism of Princess Mononoke's violent and swift row of weaponry and screams, or Ponyo's airy and fantastical characterization of the elements are all carefully woven with layered sound production. From the swelling brass and twinkling piano of which expound the animation and its visuals, Ghibli would not be the same without its sound design.

The fluttering of Kiki's dress and headband accentuate the presence of wind, with the unpredictable, almost jittery movements of the seagulls and her broom provide a childlike and airy atmosphere. Each detail cast upon this scene causes the audience to dart their eyes around, however Kiki remains the focus as the bold red accents highlighting her face stands out to the viewer.

The broom is a shade of yellow, contrasting against her dress and the sea below to make it clear that she's flying. The black waves below and the sterile white of the birds also pop against the background.

DANIEL PEMBERTON

Daniel Pemberton, an English composer and songwriter, had enhanced both Spider-Verse films with his incredible music that enhances the narrative and action of the movies. He deliberately tried to make something different from other movies, to have a singular unique score for people to remember.

The first piece he wrote had been a sketch that ended up being the cues that open and end the film. On the newsletter Variety, he presents his views in detail; “You’re making a score that jumps around different worlds and characters, and everyone has got to have a theme and melody and sound, and yet, they’ve all got to interact with each other.”

With Gwen Stacy, he wanted to create a track that synchronised with the look of her world, which consisted of runny and pastel watercolor. He also wanted to consider her grace and balletic qualities and her rock band background, creating music with a pop, indie-synth sound that reflected the 90s.

In contrast, you'll find Miguel O'Hara's score, who resides in a futuristic Neuva York in the year 2099, was abrasive and technological. It was purposefully made to sound heavy, electronic, and threatening.

With both Spider-Verse films, characters that appear or are antagonistic harbor heavy bass sounds with a prolonged pause between each beat. This is highlighted by Miguel, The Spot, and, spoilers, Earth-42 Miles plus his uncle.

These sounds became familiar to the audience from their consistent use and would bring further tension into the scene when heard. In a chase scene later in the film in Miguel's headquarters, the action blooms through the chaotic and almost comedic soundtrack that complimented the scene. Once he's alone with Miles, however, the melody dies down to introduce his booming music. It's suffocating and doesn't leave space for any harmonies, reflecting his reserved, brutal, and absent demeanor.

The colors that follow his character are also deep and saturated, even neon in some intervals. The music encapsulates the visuals and personality of his character perfectly.

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