A Quote by Shigeru Miyamoto
When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.
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I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
In Japan there is a lot of manga, but around manga there are video games, manga on cellphones, manga in card games... so people not only enjoy manga but also the products around it.
I will always choose to work in a movie based on whether I would want to watch it - if I would be willing to spend money in a theatre on it. The script and the people you will work with come after that.
I look for people who have raw intelligence and a great work ethic and loyalty, and I can quickly identify people who have the right ingredients. But sometimes it is more difficult to get them to accept the fact that they can take on increasing responsibility. Oftentimes individuals will decide how far [they] go by how much work they're willing to put in and how quick they are to ask for help. Too many people have this deep-seated fear that if they ask for help, they will be thought less of.
I lose faith every time I have to start a new page, and this is no joke. I've occasionally been criticized over the past couple of years for publicly "complaining" about how difficult drawing comics is, yet I've only mentioned it so that the younger cartoonists who are trying it out and finding it difficult and painful realize that they're not alone. There's not really any set way of learning how to do this, and it's always a struggle to improve, and, more importantly, see accurately whether or not one's work is communicating any shred of feeling or truth at all.
See yourself being a master of gratitude in the future. Mentally picture how this will help you feel joy the moment you are awake and are grateful for being alive. See how you can be grateful and happy for each breath. Realize that when you master gratitude, you will see a happy face every time you look into the mirror. See how your entire quality of life will be improved. See how other people will tell you that they enjoy being around you because you are such a happy person.
When I see my work in a gallery I often wonder how I got to this point. Sometimes the process of making the work feels like a blur, and I look at the work and wonder how I actually made it.
The effort to create a work of art that is true and potentially lasting, that is the very best work of art you can create at that point in your life - a book that may only reach or move a few people but will seem to those people somehow transformative. That's the ideal; that's always the motivation.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
When anyone is creating anything, it has no choice but to be in that stream. The art I create and the art my colleagues create is part of it. But the question is: how long will it last in the stream? I think of it really as an enormous river, with its shores very distant from each other, and only time will tell what's going to last in the end. It seems to me that all music of our time is connected, but I never think about where I am in the river or how I would be placed by others inside of it.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
You never know how things will last, if they will last, and how people will use them in the future. It was a fun movie for young people at the time in the 80s; but it struck a cord with people and it has lasted so I'm very proud of being a part of that.
I pray that you will understand the words of Jesus, “Love one another as I have loved you.” Ask yourself “How has he loved me? Do I really love others in the same way?” Unless this love is among us, we can kill ourselves with work and it will only be work, not love. Work without love is slavery.
For unless one is able to live fully in the present, the future is a hoax. There is no point whatever in making plans for a future which you will never be able to enjoy. When your plans mature, you will still be living for some other future beyond. You will never, never be able to sit back with full contentment and say, "Now, I've arrived!" Your entire education has deprived you of this capacity because it was preparing you for the future, instead of showing you how to be alive now.
The question is not about whether it will work or not. It's how quickly we can pull it off. Structural change will happen. When economies grow, there comes a time when you cannot rely on investment alone. We had that. The return on investment is becoming less and less. So we have to change. The old model doesn't work anymore. It's a question of speed.
I retire every time I'm done with a movie. Then I go back. You know, I enjoy sleep. But I love to work; it's fun for me. As long as it continues to be fun, and I'm tolerated by the people around me, I will do it.
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