Editing Hayao Miyazaki (section)

=== Early career ===
[[File:Isao Takahata.jpg|thumb|right|upright=0.9|Miyazaki first worked with [[Isao Takahata]] ''(pictured)'' in 1964, spawning a lifelong collaboration and friendship.{{sfn|McCarthy|1999|p=30}}{{sfn|Batkin|2017|p=141}}{{sfn|Mahmood|2018}}]]

In 1963, Miyazaki was employed at [[Toei Doga]];{{sfn|McCarthy|1999|p=30}}{{sfn|Lenburg|2012|p=16}} this was the last year the company hired regularly.{{sfn|Miyazaki|1996|p=437}} He began renting a four-and-a-half ''[[tatami]]'' (<!--2 tatami = 1 tsubo-->{{convert|2.25|tsubo|m2 sqft|disp=out}}) apartment in [[Nerima]], Tokyo, near Toei's studio; the rent was {{JPY|6000}},{{sfn|Miyazaki|1996|p=437}}{{sfn|McCarthy|1999|p=30}} while his salary at Toei was {{JPY|19,500}}.{{sfn|Miyazaki|1996|p=437}}{{notetag|During his three-month training period at Toei Doga, Miyazaki's salary was {{JPY|18,000}}.{{sfn|Miyazaki|1996|p=437}}}} Miyazaki worked as an [[inbetween artist]] on the theatrical feature films ''[[Doggie March]]'' (1963) and ''[[Gulliver's Travels Beyond the Moon]]'' (1965) and the television anime ''[[Wolf Boy Ken]]'' (1963).{{sfn|McCarthy|1999|p=217}} His proposed changes to the ending of ''Gulliver's Travels Beyond the Moon'' were accepted by its director; he was uncredited but his work was praised.{{sfn|Lenburg|2012|pp=18–19}} Miyazaki found inbetween art unsatisfying and wanted to work on more expressive designs.{{sfn|Lenburg|2012|p=17}} He was a leader in a labor dispute soon after his arrival at Toei, and became chief secretary of its labor union in 1964;{{sfn|McCarthy|1999|p=30}} its vice-chairman was [[Isao Takahata]], with whom Miyazaki would form a lifelong collaboration and friendship.{{sfn|Lenburg|2012|p=17}}{{sfn|Mahmood|2018}} Around this time, Miyazaki questioned his career choice and considered leaving the industry; a screening of ''[[The Snow Queen (1957 film)|The Snow Queen]]'' in 1964 moved him, prompting him to continue working "with renewed determination".{{sfn|Lenburg|2012|p=18}}

During production of the anime series ''[[Shōnen Ninja Kaze no Fujimaru]]'' (1964–1965), Miyazaki moved from inbetween art to key animation,{{sfn|McCarthy|1999|pp=217–218}} and worked in the latter role on two episodes of ''[[Sally the Witch]]'' (1966–1968) and several of ''[[Hustle Punch]]'' (1965–1966) and ''[[Rainbow Sentai Robin]]'' (1966–1967).{{sfn|Odell|Le Blanc|2009|p=37}}{{sfn|McCarthy|1999|p=218}}{{sfn|Lenburg|2012|p=19}} Concerned that opportunities to work on creative projects and feature films would become scarce following an increase in animated television, Miyazaki volunteered in 1964 to work on the film ''[[The Great Adventure of Horus, Prince of the Sun]]'' (1968);{{sfn|McCarthy|1999|p=31}}{{sfn|Lenburg|2012|p=19}} he was chief animator, concept artist, and scene designer,{{sfn|Lamarre|2009|pp=56ff}} and was credited as "scene designer" to reflect his role.{{sfn|Greenberg|2018|p=17}} On the film, he worked closely with his mentor, [[Yasuo Ōtsuka]], whose approach to animation profoundly influenced Miyazaki's work.{{sfn|Lamarre|2009|pp=56ff}} Directed by Takahata, the film was highly praised, and deemed a pivotal work in the evolution of animation,{{sfn|McCarthy|1999|p=38}}{{sfn|Anime News Network|2001}}{{sfn|Drazen|2002|pp=254ff}} though its limited release and minimal promotion led to a disappointing box office result,{{sfn|Greenberg|2018|p=17}} among Toei Animation's worst, which threatened the studio financially.{{sfn|Berton|2020|p=14}}
Miyazaki moved to a residence in [[Higashimurayama]] after his wedding in October 1965,{{sfn|Lenburg|2012|p=20}} to [[Ōizumigakuenchō]] after the birth of his second son in April 1969,{{sfn|Miyazaki|1996|p=438}} and to [[Tokorozawa]] in 1970.{{sfn|Miyazaki|1996|p=438}}

Miyazaki provided key animation for ''[[The Wonderful World of Puss 'n Boots]]'' (1969), directed by [[Kimio Yabuki]].{{sfn|McCarthy|1999|p=219}} He created a 12-chapter manga series as a promotional [[tie-in]] for the film; the series ran in the Sunday edition of ''[[Tokyo Shimbun]]'' from January to March 1969.{{sfn|Comic Box|1982|p=111}}{{sfn|''Animage''|1983}} Miyazaki later proposed scenes in the screenplay for ''[[Flying Phantom Ship]]'' (1969) in which military tanks would cause mass hysteria in downtown Tokyo, and was hired to storyboard and animate the scenes.{{sfn|Lenburg|2012|p=22}} Beginning a shift towards slow-paced productions featuring mostly female protagonists,{{sfn|Greenberg|2018|p=31}} he provided key animation for ''[[Moomin (1969 TV series)|Moomin]]'' (1969), two episodes of ''[[Himitsu no Akko-chan]]'' (1969–1970),{{sfn|Odell|Le Blanc|2009|p=39}}{{sfn|McCarthy|1999|p=219}} and one episode of ''[[Sarutobi Ecchan]]'' (1971), and was organizer and key animator for ''[[Ali Baba and the Forty Thieves (1971 film)|Ali Baba and the Forty Thieves]]'' (1971).{{sfn|McCarthy|1999|p=220}} Under the [[pseudonym]] {{Nihongo|Akitsu Saburō|秋津 三朗}}, Miyazaki wrote and illustrated the [[manga]] ''[[Sabaku no Tami|People of the Desert]]'', published in 26 installments between September 1969 and March 1970 in {{Nihongo|''Boys and Girls Newspaper''|少年少女新聞 |Shōnen shōjo shinbun}}.{{sfn|Miyazaki|1996|p=438}} He was influenced by illustrated stories such as Fukushima's {{Nihongo|''Evil Lord of the Desert''|沙漠の魔王|Sabaku no maō}}.{{sfn|Miyazaki|1996|p=194}} In 1971, Miyazaki developed structure, characters, and designs for [[Hiroshi Ikeda (director)|Hiroshi Ikeda]]'s adaptation of ''[[Animal Treasure Island]]'',{{sfn|Comic Box|1982|p=111}}{{sfn|''Animage''|1983}}{{sfn|McCarthy|1999|p=27, 219}} providing key animation and script development.{{sfn|Greenberg|2018|p=26}} He created the 13-part manga adaptation, printed in ''Tokyo Shimbun'' from January to March 1971.{{sfn|Comic Box|1982|p=111}}{{sfn|''Animage''|1983}}{{sfn|McCarthy|1999|p=27, 219}}

Miyazaki left Toei Animation in August 1971,{{sfn|McCarthy|1999|p=39}} having become dissatisfied by the lack of creative prospects and autonomy, and by confrontations with management regarding ''The Great Adventure of Horus''.{{sfn|Lenburg|2012|p=24}} He followed Takahata and [[Yōichi Kotabe]] to [[Shin-Ei Animation|A-Pro]],{{sfn|McCarthy|1999|p=39}} where he directed, or co-directed with Takahata, 17 of the 23 episodes of ''[[Lupin the Third Part I]]'',{{sfn|McCarthy|1999|p=220}}{{sfn|Lenburg|2012|p=28}} originally intended as a movie project.{{sfn|Lenburg|2012|p=26}} This was Miyazaki's directorial debut.{{sfn|Greenberg|2018|p=54}} He and Takahata were engaged to emphasize the series' humor over its violence.{{sfn|Lenburg|2012|p=28}} The two also began pre-production on a series based on [[Astrid Lindgren]]'s ''[[Pippi Longstocking]]'' books, designing extensive storyboards;{{sfn|McCarthy|1999|p=39}}{{sfn|Takahata|Miyazaki|Kotabe|2014}} Miyazaki and [[Tokyo Movie Shinsha]] president Yutaka Fujioka traveled to Sweden to secure the rights—Miyazaki's first trip outside Japan and possibly the first overseas trip for any Japanese animator for a production{{sfn|McCarthy|1999|p=39}}{{sfn|Greenberg|2018|pp=32–33}}—but the series was canceled after they were unable to meet Lindgren, and permission was refused to complete the project.{{sfn|McCarthy|1999|p=39}}{{sfn|Takahata|Miyazaki|Kotabe|2014}} Foreign travel left an impression on Miyazaki;{{sfn|Greenberg|2018|p=33}}{{sfn|Berton|2020|p=91}} using concepts, scripts, design, and animation from the project,{{sfn|Lenburg|2012|p=26}} he wrote, designed and animated two ''[[Panda! Go, Panda!]]'' shorts in 1972 and 1973, with Takahata as director and Ōtsuka as animation director.{{sfn|McCarthy|1999|p=221}}{{sfn|Odell|Le Blanc|2009|p=47}} Their choice of pandas was inspired by the panda craze in Japan at the time.{{sfn|Greenberg|2018|p=33}}

Miyazaki drew storyboards for the first episode of ''[[The Gutsy Frog]]'' in 1971 (though they went unused), provided key animation and storyboards for two episodes of ''[[Akado Suzunosuke (TV series)|Akado Suzunosuke]]'' in 1972, and delivered key animation for one episode each of ''[[Kōya no Shōnen Isamu]]'' (directed by Takahata) and ''Samurai Giants'' in 1973.{{sfn|McCarthy|1999|pp=221–222}} In 1972, he directed a five-minute [[Television pilot|pilot film]] for the television series ''Yuki's Sun''; the series was never produced, and the pilot fell into obscurity before resurfacing as part of a [[Blu-ray]] release of Miyazaki's works in 2014.{{sfn|Greenberg|2018|p=36}} In June 1973, Miyazaki and Takahata moved from A-Pro to Zuiyō Eizō,{{sfn|Miyazaki|1996|p=440}}{{sfn|McCarthy|1999|p=39}} where they worked on ''[[World Masterpiece Theater]]'', which featured their animation series ''[[Heidi, Girl of the Alps]]'', an adaptation of [[Johanna Spyri]]'s ''[[Heidi]]''.{{sfn|Miyazaki|1996|p=440}} The production team wanted the series to set new heights for television animation,{{sfn|Greenberg|2018|p=38}} and Miyazaki traveled to Switzerland to research and sketch in preparation.{{sfn|Lenburg|2012|p=29}} Zuiyō Eizō split into two companies in July 1975; Miyazaki and Takahata's branch became [[Nippon Animation]].{{sfn|Miyazaki|1996|p=440}}{{sfn|Lenburg|2012|pp=29–30}} They briefly worked on ''[[Dog of Flanders (TV series)|Dog of Flanders]]'' in 1975 before moving on to the larger-scale ''[[3000 Leagues in Search of Mother]]'' (1976), directed by Takahata, for which Miyazaki traveled to Argentina and Italy as research.{{sfn|McCarthy|1999|p=39}}{{sfn|Odell|Le Blanc|2009|p=39}}

In 1977, Miyazaki was chosen to direct his first animated television series, ''[[Future Boy Conan]]'';{{sfn|Berton|2020|p=98}} he directed 24 of the 26 episodes, which were broadcast in 1978.{{sfn|McCarthy|1999|p=39}}{{sfn|McCarthy|1999|p=223}} Only eight episodes were completed when the series began airing; each episode was completed within ten to fourteen days.{{sfn|Berton|2020|p=98}} An adaptation of [[Alexander Key]]'s ''[[The Incredible Tide]]'',{{sfn|Miyazaki|1996|p=441}} the series features several elements that later reappeared in Miyazaki's work, such as warplanes, airplanes, and environmentalism. Also working on the series was Takahata, Ōtsuka, and [[Yoshifumi Kondō]], whom Miyazaki and Takahata had met at A-Pro.{{sfn|McCarthy|1999|p=39}}{{sfn|Odell|Le Blanc|2009|p=15}}{{sfn|Odell|Le Blanc|2009|p=41}} Visually, Miyazaki was inspired by [[Paul Grimault]]'s ''[[The Adventures of Mr. Wonderbird]]''.{{sfn|Greenberg|2018|p=81}} Miyazaki did key animation for thirty episodes of the ''World Masterpiece Theater'' series ''[[Rascal the Raccoon]]'' (1977) and provided scene design and organization on the first fifteen episodes of Takahata's ''[[Anne of Green Gables (1979 TV series)|Anne of Green Gables]]'' before leaving Nippon Animation in 1979.{{sfn|McCarthy|1999|p=40}}{{sfn|McCarthy|1999|p=223}}{{sfn|Odell|Le Blanc|2009|p=40}}