His film work stretches over a span of decades, influencing every demographic of people in his ever-growing audience.

他的電影作品橫跨數十年，影響著不斷增長觀眾群中各類型的人。

Many film buffs place him on the list as one of their top filmmakers for any myriad of reasons.

許多電影愛好者出於各種原因將他列為頂級電影製作人之一。

Whether it be the emotionally relatable stories, the visual appeal of his hand-drawn scenes, or his well-written characters,

無論是情感上相關的故事，手繪場景的視覺吸引力，還是精心編寫的角色，

Miyazaki is definitely one of my favorite filmmakers for all of these reasons,

宮崎駿絕對是我最喜歡的電影製作人之一，因為所有這些原因，

but there's one thing in particular that I find striking about Miyazaki's work,

但宮崎駿的作品中有一點特別引人注目，

and I want to study the decisions he makes as a filmmaker in order to make his stories impactful.

我想研究他作為電影製片人所做的決定，以使他的故事具有影響力。

There's a great documentary about Miyazaki and his fellow workers at Studio Ghibli called the "Kingdom of Dreams and Madness".

有一部關於宮崎駿和他在吉卜力工作室的同事的精彩紀錄片，名為《夢與瘋狂的王國》。

During this documentary, you are taken through the journey of Miyazaki making what is potentially his last film ever, "The Wind Rises".

在這部紀錄片中，觀眾被帶領上宮崎駿製作他可能的最後一部電影《風起》的旅程。

As he goes along, figuring out the details of this last story,

當他繼續思考最後一個故事的細節時，

he is sharing with the interviewer his process, some of his nuances, and even what has kept him going as a filmmaker for nearly five decades.

他與採訪者分享了製作過程、一些細微差別，甚至是什麼讓他作為一名電影製片人堅持了近五年。

He is making his last film in his 70s, drawing every scene and writing every character to life.

他正在拍攝他 70 多歲的最後一部電影，繪製每一個場景，將每一個角色寫得栩栩如生。

The main thing that Miyazaki aims to portray in his films is the human experience.

宮崎駿希望在他的電影中描繪的主要內容是人類的經歷。

There's quite a lot of fantasy in his films, but he does a good job of understanding that fantasy is okay to be obscure,

他的電影中有很多幻想，但他理解幻想是晦澀難懂的，

but the stories of the human characters are portrayed just like that, human.

但故事中的人類就是單純地描繪，就是人。

Many of his protagonists begin their journey with some lack of experience or growth,

他的許多主角在開始他們的旅程時都缺乏經驗或成長，

but finish their journey with a newly-learned lesson or discovery, and by no means are the protagonists perfect.

但以新學到的教訓或發現結束他們的旅程，而主角們絕不是完美的。

Miyazaki understands that even good people experience things like jealousy or laziness or one-sidedness,

宮崎駿明白，即使是好人也會經歷嫉妒、懶惰或偏頗等事情，

and those aren't inherently bad qualities because everybody experiences these at one point or another.

這些本質上並不是缺點，因為每個人都會在某一時刻經歷過這些。

Everybody knows what it's like to be thrown into a situation of total confusion or what it's like to have a thought-about vanity.

每個人都知道陷入完全混亂的境地或者深思熟慮虛榮心是什麼感覺。

It's the way that these characters navigate their situation that makes them who they are,

正是這些角色應對處境的方式造就了他們，

and essentially teaches them quintessential life lessons that is then reflected to the audience.

並從本質上教會了他們典型的人生課程，然後反映給觀眾。

Miyazaki often speaks about what people want and what people think,

宮崎駿經常談論人們想要什麼、人們怎麼想，

and it's because that's what he observes, and has been observing, his entire life.

這是因為這就是他所觀察到的，並且是他一生中一直在觀察的。

And this awareness of the way people actually are is reflected in every one of Miyazaki's films.

這種對人的本質的認識反映在宮崎駿的每一部電影中。

The first thing that I found compelling about Miyazaki's process is the fact that he never has a script for any of his original films.

我發現宮崎駿的創作過程中最吸引人的一點是，他的任何一部原創電影都沒有劇本。

He just has a general idea of what he wants to do, then he starts to visualize it, and he draws the entire film in storyboards.

他只是對自己想要做什麼有一個大概的想法，然後他開始將其形象化，並在故事板中繪製整部電影。

Sometimes he doesn't even add dialogue for the characters until well into the storyboarding process.

有時他甚至不會為角色添加對話，直到進入故事板過程。

Studio Ghibli will start animating the first half of the film before he has even finished the second half or the ending.

吉卜力工作室將在他完成後半部分或結局之前開始動畫前半部分。

The process takes so long that it would be counterproductive to wait for the entire storyboard to be completed.

這個過程需要很長時間，等待整個故事板完成會適得其反。

For one Studio Ghibli film, Miyazaki could have 50 artists simply drawing different aspects of the film, like the backgrounds, the characters, the movements, the obstacles.

對於一部吉卜力工作室的電影，宮崎駿可以讓 50 位藝術家簡單地繪製電影的不同方面，比如背景、人物、動作、障礙物。

For every film, it seems like Miyazaki challenges himself to draw something new or different,

對於每一部電影，宮崎駿似乎都在挑戰自己，畫一些新的或不同的東西，

and he maintains a deep involvement in every process of the film,

他對電影的每一個過程都保持著深度參與，

whether it be overseeing other artists, being present for the voice acting, the music composition, the digital animation⏤everything.

無論是監督其他藝術家，還是在場配音、音樂創作、數位動畫等一切。

During this documentary, he talks about his struggle with drawing airplanes, which is sort of a big obstacle, considering the movie is about airplanes.

在這部紀錄片中，他談到了他在畫飛機方面的掙扎，有鑒於這部電影是關於飛機的，這是一個很大的障礙。

I just find Miyazaki's dedication to the visual art of storytelling so important.

我就是覺得宮崎駿對講故事這視覺藝術的奉獻很重要。

The fact that he is willing to try to tell the story simply with images first sort of forces him, in a way, to make this story flow without dialogue,

事實上，他願意首先嘗試簡單地用圖像來講述這個故事，這在某種程度上迫使他在沒有對話的情況下讓這個故事流暢，

so when dialogue is added on top of the story, it makes sense.

因此，當在故事之上添加對話時，就會說得通。

Many filmmakers today use dialogue almost exclusively as an expositional tool.

如今，許多電影製作人幾乎只使用對話作為一種闡釋工具。

Instead of showing you what happens next, they have a character spoon-feed it to you by blatantly explaining their situation.

他們沒有向你展示接下來會發生什麼，而是讓一個角色通過公然解釋他們的情況來向你灌輸。

Films are far more compelling when they show you how to feel instead of telling you how to feel.

當電影向你展示如何感受而不是告訴你如何感受時，它們會更引人注目。

All of Miyazaki's films are drawn so beautifully in their own ways that you already know what to feel,

宮崎駿的所有電影都以自己的方式描繪得如此美麗，以至於你已經知道該感受到什麼，

and this is largely due to the fact that Miyazaki knows how to illustrate the basic subtleties of human interaction and show a wide range of different emotions

這很大程度上是因為宮崎駿知道如何闡釋人類互動的基本微妙之處並表現出廣泛的不同情感

just by things like body language or the way a character does an action.

只是通過諸如肢體語言或角色執行動作的方式之類的東西。

And, because of this, the dialogue is almost strictly for character interaction and occasionally a piece of wisdom or thought, instead of exposition.

而且，正因為如此，對話幾乎完全是為了角色互動，偶爾也是一段智慧或思想，而不是闡述。

To any filmmaker who is trying to write a concept or to anyone who is having trouble finishing a script, I would say a helpful tool is to always storyboard your film.

對於任何試圖編寫概念的電影製作人或任何在完成劇本時遇到困難的人來說，我想說一個有用的工具就是始終為你的電影製作故事板。

So many people undervalue this.

所以很多人低估它。

Even if you aren't the most well-rounded artist, drawing stick figures and poorly rendered structures will start to give you a better vision in your head of what you actually want to put on screen,

即使你不是最全面的藝術家，繪製簡筆劃和渲染不佳的結構也會開始讓你在頭腦中更好地了解你真正想要在屏幕上顯示的內容，

and perhaps it will even help you to finish your story.

也許它甚至會幫助你完成你的故事。

But most importantly, it will help the people who you are working with to understand your vision much more clearly.

但最重要的是，它將幫助與你一起工作的人更清楚地了解你的視野。

Adversely to trying to tell them what you're seeing in your head or what you're feeling, it will be much easier just to show them instead.

與試圖告訴他們你在腦海中看到的或你的感受相反，直接向他們展示會更容易。

If you don't know how to storyboard, don't worry; it's actually pretty simple.

如果你不知道如何製作故事板，請不要擔心，它其實很簡單。

The channel Rocket Jump Film School made a great video on the basics of storyboarding, and I highly suggest you watch it if you're interested.

Rocket Jump Film School 頻道製作了一段關於故事板基礎知識的精彩視頻，如果您有興趣，我強烈建議您觀看。

I will leave a link in the description.

我會在連結放在敘述欄。

It's not just the fact that Miyazaki storyboards to better visually tell this story,

宮崎駿的故事板不僅是為了更好地視覺化地講述這個故事，

he is also storyboarding because the visuals of his film are half the experience.

他也因為電影視覺效果占了一半的體驗而製作故事板。

In an animated movie specifically drawn by an artist with the caliber of Miyazaki, the limits of reality are truly stretched, and as a result of it, amazing visuals emerge all the time.

在一部由宮崎駿這樣的藝術家專門繪製的動畫電影中，現實的極限真正被拉伸，因此，令人驚嘆的視覺效果不斷出現。

There are very few times in a Miyazaki film where you can't pause it and feel like you're looking at a detailed painting.

在宮崎駿的電影中，很少有幾次你會忍不住停下來，感覺自己正在看一幅細緻的畫作。

It's just beautiful artistry in motion.

它完全是會動的美麗藝術品。

Towards the end of the documentary Miyazaki and the interviewer are at the first screening of "The Wind Rises".

紀錄片接近尾聲時，宮崎駿和採訪者正在觀看《風起》的首映。

Miyazaki has finished his last film and he is reflecting on the experience of his entire career.

宮崎駿完成了他的最後一部電影，他正在反思他整個職業生涯的經歷。

He calls the interviewer over to the window of a tall building and asks her to look out.

他把採訪者叫到一棟高樓的窗戶前，讓她向外看。

He tells her this:

他跟她說：

When I heard this, it struck me that this man wasn't just making films to tell stories.

當我聽到這個消息時，我突然意識到這個人拍電影不僅僅是為了講故事。

He was drawing the realities he wanted to experience.

他正在描繪他想要體驗的現實。

Whether it be a train track moving along the ocean or a castle in the sky,

無論是沿著海洋行駛的鐵軌還是空中的城堡，

Miyazaki was imagining these stunning worlds and bringing them to fruition through his artistry.

宮崎駿想像著這些令人驚嘆的世界，並通過他的藝術將它們變成現實。

And I'm truly glad that he did, because they're amazing and that's the reason I titled this essay, "What You Can Imagine".

我真的很高興他這麼做了，因為它們太棒了，這就是我將這篇文章命名為《你能想像什麼》的原因。

The message I want to get across is to remember that films are make-believe.

我想傳達的信息是記住電影是虛構的。

You can create whatever you want in them, especially as technology advances more and more every day.

你可以在其中創造任何你想要的東西，尤其是隨著技術的日益進步。

So, don't be afraid to push the limits of what's actually possible and show people the world that you imagine.

因此，不要害怕突破實際可能性的極限，向人們展示您想像的世界。

During an interview with Stanley Kubrick in the 60s, he said that one way filmmakers can improve the industry is to be more daring and more sincere.

他在六十年代接受 Stanley Kubrick 採訪時表示，電影製作人改善這個行業的方法之一就是更加大膽、更加真誠。

So, take risks, push the boundaries of what's possible, and create stories with characters that are true to the human condition.

因此，勇於冒險，突破可能的界限，並創造具有真實人類狀況的角色的故事。

Thank you guys for watching; I hope you enjoyed.

謝謝大家的觀看； 我希望你們喜歡。

If you did, please like this video.

如果喜歡，請為影片點讚。

It simply tells me if people enjoy what I'm making and it ultimately decides if I should keep doing it.

它只是告訴我人們是否喜歡我所做的事情，並最終決定我是否應該繼續這樣做。

If you have any suggestions of topics about film or otherwise you think I should study, feel free to leave it in the comments below.

如果您對電影主題有任何建議或認為我應該學習的其它內容，請隨時在下面的評論中留下。

There's much, much more to be said about Miyazaki as his filmography is so diverse and his stories are much more immersive than I'm probably portraying them.

關於宮崎駿，有很多很多值得說的，因為他的電影作品如此多樣化，他的故事比我所描繪的更加引人入勝。

So, if you're still interested, I would highly suggest you watch his films and see for yourself.

所以，如果你仍然感興趣，我強烈建議你觀看他的電影並親自看看。

My personal favorite is "Spirited Away".

我個人最喜歡的是《神隱少女》。

Also, many other people who study film have covered his work in more detail, specifically about his characters or his attention to detail regarding animation,

此外，許多其它研究電影的人更詳細地介紹了他的作品，特別是他的角色或他對動畫細節的關注，

so you can research that, as well, if you like.

如果你想要的話，也可以研究一下。

Anyway, my name is JD, thank you for watching, and until next time, peace.

總而言之，我叫 JD、感謝各位觀看，我下次再見。