The Incomparable, number 478, September 2019.

Welcome back everybody to The Inconparable.

I'm your host, Jason Snell.

In this episode, we are reconvening our Miyazaki Club.

We are walking through the films of the great Japanese director,

Haya Miyazaki, as selected by John Syracusa, who joins me now. John, welcome.

I don't know if I would call Miyazaki a director. He was introduced him as a director,

but I always think of him having seen all these documentaries about him as an animator first. He is an animator. He's a writer, director, but I always think of him, having seen all these documentaries about him, as an animator first.

He is an animator.

He's a writer, director, animator, enthusiast of aviation and weather.

But if you watch him, if you watch him, quote unquote, directing the movies he's supposedly

directing, what he seems to do most of the time is, A, draw all the storyboards, and

B, look over every frame

of every drawing from every other animator and tell them what's wrong with it and and draw on them and fix it

yeah all right and uh joining us to talk about the latest selection which i'll mention a minute

are two other panelists aline sims is here hello hello this Hello. This movie made me sad. That's my opening

statement. Okay. People don't even know what the movie is yet, but we'll get there. Steve Lutz is also

here. Hi, Steve. Hello, Jason. I'm excited to get to talk about this movie that is also a weird

Miyazaki movie, but in a different way than the usual weirdness of Miyazaki movies. movies. It's true. I've got my one sentence opening statement, too, which is that I think this is the most

adult Miyazaki movie, not adult in the way you're thinking, and probably also not

adult in that other way that you're thinking, but definitely the most adult.

And it's also the latest, chronologically speaking.

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