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The Fall of Phaeton, 1913, Giorgio de Chirico

I love seeing other people make the overblown OOPS I FORGOT SOMETHING performance for no-one that most of us do when we have to turn around in the middle of the pavement.

- when someone thinks no one’s paying attention and they sing-talk themselves thru a task

- when people are looking for scissors, in their home or in a store, and they make the scissors gesture with their non-dominant hand as an aid to remind them what they’re doing.

- when automatic social interactions glitch, like when you tell a waiter that you hope he enjoys his food too, or tell the stranger on the phone that you love them. 

- the hand gesture people make when they’re thinking at their computer, not typing, and their elbow rests on the table, and they feel the edge of their fingernail with their thumb. This is such a lovely little gesture and to my knowledge I have never seen it in fiction. You’d think it would come up all the time in fic.

- when you’re sharing an experience with a complete stranger (like watching a seagull throw up in public, or waiting for a late train) and you make eye contact, and some comment to each other, and then you guys are, like, ALLIES now. Like you would willingly ride to war to save them. You can’t make eye contact again, but you are very aware of them. 

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki

Small Scandinavian home | styling by Copparstad & photos by Spinnell