Name: 宮崎駿 | 大師的心靈 (Hayao Miyazaki | The Mind of a Master)
Uploaded: 2025-09-10T13:12:19.000Z
Duration: 28 min 50 s

動名詞

Do you remember the first time you saw a film by Hayao Miyazaki? I do, and I think I was honestly too young to appreciate them. I just thought they were wonderful because I felt like I could escape into their worlds. And also because I was told they were good. But the older I get, the more I realise just how magnificent his animation is. So today I want to try and understand what makes his work so special, and just as equally important, what drives him to continue making them.

你還記得第一次看宮崎駿電影的情景嗎？我記得，而且我覺得我當時真的太年輕了，不懂得欣賞它們。我只是覺得它們很精彩，因為我覺得我可以遁入它們的世界。也是因為有人告訴我它們很棒。但隨著年齡的增長，我越發意識到他的動畫有多麼華麗。是以，今天我想了解是什麼讓他的作品如此特別，同樣重要的是，是什麼促使他繼續製作這些作品。

情態助動詞 A2

There's been a lot said about Hayao Miyazaki, and really what I want to do with this video is dig as deep as I can, layer by layer, and also to reveal the essential elements of what make his work so unique. And I think we all know that feeling of wonder, just staring at the sheer force of imagination on show in his work.

關於宮崎駿，人們已經說了很多，而我想通過這段視頻儘可能深入地逐層挖掘，並揭示他的作品之所以如此獨特的基本要素。我想我們都知道那種驚歎的感覺，只是凝視著他作品中展現的純粹的想象力。

未來簡單式

Miyazaki's visual creations are just on a different level. His worlds became more and more populated with interesting creatures and beautiful flights into a dreamer's mind.

宮崎駿的視覺創作已經達到了另一個高度。他筆下的世界越來越多，充滿了有趣的生物和美麗的夢境。

Certainly, a deep part of that imagination is rooted in aspects of the Shinto belief that there are spirits everywhere, and that they deserve awe and respect.

當然，這種想象力的深層根源在於神道信仰的某些方面，即神靈無處不在，值得敬畏和尊重。

This gives him a license to be creative with bizarre but appealing characters. It's important to note that he doesn't actually write a script. He might write an outline, with his plan for a feature, but generally he draws an image and works from there.

這就給了他創造性地塑造怪異但吸引人的角色的許可。值得注意的是，他實際上並不寫劇本。他可能會寫一個大綱，提出自己的故事計劃，但一般情況下，他都是先畫出一個形象，然後再進行創作。

He aims to capture your interest with intriguing visuals.

他的目標是以引人入勝的視覺效果吸引你的興趣。

He builds the stories around these visual scenes. Totoro was originally just the image of a girl and Totoro at a bus stop, and the story grew out of that.

他圍繞這些視覺場景構建故事。龍貓》最初只是一個女孩和龍貓在公共汽車站的畫面，故事就是從這個畫面發展而來的。

It's really important to understand that he allows these visual montages to lead us through his work.

重要的是要明白，他讓這些視覺蒙太奇帶領我們領略他的作品。

And working in this way allows the animation to grow and change with its development, in a very visual style.

這種工作方式可以讓動畫隨著其發展而成長和變化，具有非常直觀的風格。

Like any great animator, he can sit and observe the world from a place that interests him, and then he begins filling the world with life.

像所有偉大的動畫師一樣，他可以坐在自己感興趣的地方觀察世界，然後開始讓世界充滿生機。

I think one of the essential elements of the success of Miyazaki's work is that his worlds feel full. Starting with the worlds they're even just set in.

我認為宮崎駿作品成功的基本要素之一就是他的世界讓人感覺充實。首先，它們甚至只是設定在一個世界裡。

With that, everything in the frame seems to just add to the story.

這樣一來，畫面中的一切似乎都為故事錦上添花。

There's a Japanese word, Funiki, which translates to atmosphere or mood.

日語中有一個詞叫 "Funiki"，意為氛圍或情緒。

It's part of the reason why often these spaces just feel so real, because of the rich atmosphere they strive to create.

這也是為什麼這些空間常常讓人感覺如此真實的部分原因，因為它們努力營造了濃郁的氛圍。

Yasuo Otsuka believes that Japanese animation emphasizes this idea of strong emotional resonance rather than just gag-based cartoons, which feeds into the deep worlds and atmospheres developed in Japanese animation.

大冢康夫認為，日本卡通片強調的是這種強烈的情感共鳴，而不僅僅是插科打諢式的卡通片。

Bearing that in mind, you can see why it's important to emotionally anchor these stories in a true world.

考慮到這一點，你就會明白為什麼將這些故事的情感錨定在一個真實的世界中是非常重要的。

Eleanor Cameron calls it the particularity of place.

埃莉諾-卡梅倫稱之為地方的特殊性。

The sense that there is a narrative anchored within a larger world.

在一個更大的世界裡有一種敘事的感覺。

And in order to see that, you have to be an excellent observer.

要看到這一點，你必須是一個出色的觀察者。

Miyazaki was originally influenced by European architecture and setting, and in a lot of his earlier work you can see that optimistic view of Europe coming through.

宮崎駿最初受到歐洲建築和環境的影響，在他早期的很多作品中，你都能看到他對歐洲的樂觀看法。

But into the 90s and onwards, as he became disillusioned after the collapse of the Soviet

但進入 90 年代以後，由於蘇聯解體，他的幻想破滅了。

Union, the Japanese elements began to take a more prominent role, as well as the more immediate space that he lives in.

在《聯盟》中，日本元素開始佔據更加突出的位置，他所生活的空間也更加直接。

What's interesting as well is that he gives us the space to breathe in the world that he set the story in.

同樣有趣的是，他給了我們一個空間，讓我們在故事設定的世界裡呼吸。

While some deem this technique the pillow shot, a moment of peace between all the action,

有些人認為這種技術是 "枕邊鏡頭"，是所有動作之間的片刻寧靜、

Miyazaki refers to it as ma, like a space between a clap.

宮崎駿稱其為 "ma"，就像拍手之間的空隙。

You take a second to break the tension and allow the film to grow in a deeper dimension.

你用一秒鐘的時間打破緊張，讓影片在更深的維度上發展。

And as well as the feeling in the world's created, the people that populate them are equally important.

除了對所創造世界的感受，生活在其中的人們也同樣重要。

Crowds bustle and every character's movement shows motivation.

人群熙熙攘攘，每個人物的一舉一動都彰顯著動機。

He's very particular in background animation, and checks each set of key animation, personally retouching scenes he's not really happy with.

他對背景動畫非常挑剔，會檢查每一組關鍵動畫，親自修飾他不太滿意的場景。

Bear in mind, this is happening while he's doing the storyboards.

請記住，這是在他製作故事板時發生的事情。

He hasn't even finished the story yet, but they're animating in the background.

他的故事還沒講完，但背景音樂已經開始播放了。

But he's very good at describing what he wants, and will push people hard to get there.

但他非常善於描述自己想要什麼，並會極力推動人們達到目的。

And underneath that push, there is a fundamental rule that Miyazaki has when it comes to drawing.

在這種推動力之下，宮崎駿在繪畫時有一個基本原則。

Storytelling is about the characters, so they need their vigour to leap off the page.

故事是關於人物的，是以他們需要躍然紙上的活力。

Here's where the wider depths of Miyazaki kick into gear.

在這裡，宮崎駿的廣闊深度開始發揮作用。

He knows that it's important to understand his characters, and let them grow organically as he draws.

他知道，瞭解自己筆下的人物，讓他們在繪畫過程中有機地成長是非常重要的。

What kind of facial expressions does this girl have?

這個女孩有什麼樣的面部表情？

I can draw each character, so I can understand them bit by bit as I draw.

我可以畫出每個角色，這樣我就能在畫畫的過程中一點一點地理解他們。

At the heart of his work are very motivated protagonists.

他作品的核心是非常積極主動的主角。

They inspire action, and are generally not passive at all.

它們能激發人們的行動，一般來說一點也不被動。

They don't tend to sit around and just run things through their mind over and over again, considering things internally.

他們往往不會坐在那裡，只是一遍又一遍地在腦海中回想，在內心考慮問題。

No matter what they're faced with, they just get up and go.

無論面對什麼，他們都能站起來，走下去。

And this is where his true mastery shows.

Boiling all that motivation down into how they move.

將所有的動力歸結為他們的行動方式。

帶著 Satsuki 和 Mei 跑到這裡來。

Although they're both performing the same action, you can see a lot of their character and how they move.

雖然他們都在做同一個動作，但你可以看到他們的性格和動作。

The younger sibling following the older one, repeating what she says, just to be part of the fun.

弟弟妹妹跟在哥哥姐姐後面，重複她說的話，只是為了湊湊熱鬧。

He pays very close attention to movement, ensuring it goes beyond just a movement, but makes sure it's anchored in a real world observation.

他非常關注動作，確保它不僅僅是一個動作，而是立足於對現實世界的觀察。

You're not just turning for the sake of turning.

You can tell just by looking at Satsuki, but she doesn't turn that much.

你只要看看 Satsuki 就知道了，但她並沒有轉那麼多圈。

I try to make them do anything, but they don't move.

我試著讓他們做任何事，但他們一動不動。

Even when he was producing only yesterday, not directing, I want to point out, he couldn't stop himself teaching the new recruits about true observation, rather than just assumption.

我想指出的是，即使昨天他還只是製片人，而不是導演，他也無法停止教導新兵如何真正地觀察，而不僅僅是假設。

This kind of thing isn't written as observation.

這種事情不是寫成觀察報告的。

If you're not achieving the level he wants, he can turn from the kind of Santa Claus vision people have of him, into a very hard taskmaster.

如果你沒有達到他想要的水準，他就會從人們心目中的聖誕老人變成一個非常嚴厲的任務負責人。

我想把我所有的想法都融入其中。

I'm a person who's smiling as much as I can.

我有一張和善的臉，但我不會笑。

Now, these strong characters seem to be projections of what he wished he was, despite all his mistakes.

現在，這些堅強的人物似乎是他希望自己成為的投影，儘管他犯過很多錯誤。

It roots directly into his childhood, where the community had to face ruin in post-World War II Japan.

它直接源於他的童年，在二戰後的日本，社區不得不面對毀滅。

But an essence comes through it, concentrating on what remains, rather than what is lost.

但是，有一種精髓貫穿其中，集中體現的是殘存的東西，而不是失去的東西。

And in this sense, the strong female characters that permeate his films are also thought to be a representation of his mother.

從這個意義上說，他的電影中充斥的強勢女性角色也被認為是他母親的代表。

A strong, independent woman who developed spinal tuberculosis when Hayao was very young.

她是一位堅強獨立的女性，在早苗很小的時候就患上了脊椎結核。

These elements shine a light on a deeper motivation in his work.

這些元素揭示了他創作的深層動機。

I want to create something that is reflected in the world.

我希望創作出能反映世界的作品。

I really start to understand his push for an incredibly high standard in animation.

我開始真正理解了他對卡通片極高標準的追求。

The most obvious thing is that I don't want to do anything embarrassing.

最明顯的一點是，我不想做任何尷尬的事情。

I want to create something that's not embarrassing.

我想創作一些不令人尷尬的作品。

When a film is made, the most important thing is not to feel sorry for it.

一部電影製作完成後，最重要的是不要為它感到遺憾。

I don't think about whether I should have done it or not.

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宮崎駿 | 大師的心靈 (Hayao Miyazaki | The Mind of a Master)

literally

struggle

essential

matter