村上隆さんのインスタグラム写真 - (村上隆Instagram)「The painting that stood out the most as a reference in this animation was Böcklin’s Island of the Dead. There were also many other examples of references to art, and I think the story was about Hayao-san going to see his mother when she was alive and well, the way he would have wished to see her, by utterly surrendering himself to the sparks of the synapses in various artists’ brains and connecting them to the sparks of creative moments in his own brain. The main character, Mahito, is Hayao-san. In the film, when Mahito walks along a hexagonal geometric path that evokes a birth canal, there are flickering sparks of electricity. I thought this was a depiction of electrodes generating in the synapses, the moment an art is born. Tracing his memories of the past, Mahito reaches Böcklin’s Island of the Dead. The foundation of the island is Noah's Ark and, just as in the departure scene from The Prince of the Sun: Hols’ Great Adventure, a 1968 theatrical animation in which Hayao Miyazaki played an important role for the first time, and in Future Boy Conan, a reworking of the same, Mahito sets out on a journey out into the open sea on a canoe… That is, the scene evoked Hayao-san revisiting his journey with director Isao Takahata. (Since Isao Takahara has already passed away, the scene is structured so that Hayao-san and the late director travel the netherworld together, and the world depicted is without the sun, as if he wanted to express hell.) There, he finds his mother from his youth, and a deep retrospection of himself with his mother takes place, and Mahito = Hayao-san finally accepts his mother-in-law, Natsuko, as a reality, while his true mother also steps out into her own youth. At over 80, Hayao-san is finally free of his intense attachment to his mother, and is dramatically reborn as a new Hayao-san. That, I think, was the story. 👉 3 posts in total. So, this is the second post, and the next is the end.」7月20日 13時56分