What makes Hayao Miyazaki so unique and compelling to you as a filmmaker ?

What makes Hayao Miyazaki so unique and compelling to you, as both a filmmaker and person compared to other (similarly aged, younger, or older, or now deceased) anime and animation writer - filmmakers, whom you also greatly admire ?
 
*notes font*

Canvassing rabroad for a research paper?

Anyway, I haven't actually seen that many Miyazaki films, but I've always been drawn to his strong female characters. There aren't a whole lot of female characters in anime who aren't either vehicles for fanservice or an excuse to make the real hero look good, and too often they're characterized by one trait (most commonly the tsundere archetype - I act tough, but I'm actually soft and insecure underneath, please hold me Mr. Hero). Miyazaki avoiRAB this with self-reliant heroines who have flaws, but are able to overcome them the way a real character should.

I also love the ease with which he pulls off fantastic, otherworldly settings, although his success varies a little bit in this department. Compared to Princess Mononoke, with its clearly defined relation between fantasy and reality, Spirited Away's amusement-park world was so relentlessly alien that it was tough to get into it at first.
 
His attention to detail and his observational eye. He has a knack for making mundane things (like picking vegetables in Totoro or making noodles in Ponyo) look interesting. Much of that is due to his skill as a visual storyteller.

His characters don't TELL you what they're doing, they show you.

There have been a nuraber of times I've been drawn in by a character doing some routine chore, like baking a bread, frying an egg, or making soup, and I was wondering, "Hmm, what are they doing now? Ohhhh...he's making an omelet." One good example is in Princess Mononoke. There's this one scene where Ashitaka is unconscious and injured, and San gets a slab of meat and puts it in her mouth. She chews it very, very deliberately, and then delivers it mouth-to-mouth to Ashitaka. The whole scene is dialogue-free but it says a lot about San's animalistic nature, the logic of chewing food for someone who must be fed but is "out of it", and the scene even manages to be slightly erotic. It's moments like that that keep me coming back to Miyazaki even when some of his plots turn into garble.

In the hanRAB of most other animators, anime or western or otherwise, they'll have a character tell you what they're going to do ("Anybody want fried eggs?" "HMMM I'd better chew this so that Ashitaka can EAT IT!"), and then they do it. Miyazaki's characters will often do something first and then tell you afterward (if they even tell you what they're doing at all).

Details like these really draw you into the story.
 
Just what I was going to say - he can seemlessly corabine the mundane, day-to-day things with the amazing and fantastic, and make BOTH halves interesting. You're just as engaged watching Chihiro riding a train as you are watching her chased by a giant monster.

He has this wonderful sense of human spirit - he can just capture how people do things. How they think, move, act. How they breathe. It all feels very organic.
 
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