The strength of his work could also be seen as its weakness.I read that Miyazaki writes his films as they are made, organically, and dangerously in such an eye-wateringly expensive medium as animation.He says that this is the only way he feels he can work, even though all too aware of the dangers . Of course this leads to that curiously personal dream-state that so many of his films achieve, rare and wonderful, but it can also develop a sense of pleasant aimlessness, a mild narcosis. For all that, there are always passages of extreme beauty to be found in his work…..the beautifully rendered backgrounds at various times of day, for instance when the girl Chihiro sets off on her evening train journey towards the end of “Spirited Away”,the cloudscapes and seascapes of “Porco Rosso”, and the amazing fires and explosions in the mysterious war sequence in “Howls Moving Castle”.
Miyazaki’s monsters are surprising,too, No Face in “Spirited Away” is charged with a vaguely undefineable strangeness, before moving up a gear to become MUCH more menacing,then sinking back to become a kind of dazed pet or companion…….No lazily-conceived laser-firing killer robots here in this very personal and very seductive universe.
Miyazaki is a great visionary and we’re lucky to have him.