If there is one person who understands the beauty of filmmaking, it is Guillermo del Toro. The director has crafted some of the most visually unique and pleasing movies including the much acclaimed Pinocchio. He has stated time and again how much he understands the difference between the medium of a project and the genre of a project.
When it comes to animated projects, many group it into one individual category. A similar thing happens with anime as well. The beauty of anime also lies in storytelling via visual aspects. Studio Ghibli might just be a master at that and del Toro too sees that. Out of the very many projects developed under Hayao Miyazaki, there is one that stands out to the director more than any other, My Neighbor Totoro.
Guillermo del Toro Started Crying After Watching My Neighbor Totoro
Guillermo del Toro is no stranger to watching movies made by Studio Ghibli. Hayao Miyazaki has always been a master storyteller and his visual intricacies tend to become the cherry on top. While talking with Collider, the director admitted that one movie moved him so much that he began crying.
“When Totoro started, I started weeping and I never stopped during the film because it was, at the same time, a childhood I was gaining and a childhood that had never been. So I think that’s a great one to start with.”
My Neighbor Totoro is a movie that won his heart in the most beautiful manner. Its visual satisfaction coincides with storytelling that narrates childhood in the utmost spectacular manner. The director confirmed that he could not stop crying while watching the movie from the moment it began. He even thinks that it is a movie that anyone can start their experience of Studio Ghibli with.
The Visual Connection of Studio Ghibli
Howl’s Moving Castle, Spirited Away, My Neighbor Totoro, Princess Mononoke, the list of movies that Studio Ghibli has made is one that is mesmerizing to look at. There is no doubt that Guillermo del Toro too appreciates just how visually appealing the studios make their projects. In an interview with Collider, it became clear that the director has a similar view to Miyazaki’s movies as the rest of the world.
“The power of [Hayao] Miyazaki is that he shows you something that is impossibly beautiful and painfully beautiful. This is something that very few filmmakers do. When something is so absolutely staggeringly beautiful as a piece of art, you understand that you will never experience it in real life, you, at the same time, gain it and lose it, meaning you get a sense of almost melancholy and you’re moved to tears.”
He appreciated how some directors can manage to bring beauty in a project at such a level that it feels unique and so connected with the audience. Watching a movie by the studios is as if the entire experience is immersive in its own interesting manner.
