"Miyazaki said he wanted the yard soil red because of the red loamy layers of the Kanto district. I always thought of soil as basically dull, either black or gray, so that was really hard for me. I kept on adding red and asked him whether this was what he wanted, and he would just say, 'No, I want more red!' (laughs). That's how we ended up with that extreme color."
宫崎骏自己也说，最初的构想只是画面，情节是后来补足的。
“At first, I had in mind children playing in the fields, where there wasn't much social context. but once it became a film, social factors such as the father's occupation and their reasons for movings had to be addressed. Incorporating all those elements expanded the scale of the film."
龙猫的底色确实很悲伤
只想说这部不是宫崎骏的作品，导演是高畑勋，虽说也是吉卜力工作室的
忍不住悲从中来瞬间泪奔
集结号本身就是个装逼的题材。。。
龙猫对我来说是非常温暖和怀旧的片子，勾起了很多小时候的回忆。乡下的小路、流水和田野，下午转成黄昏时变幻的光线，用芭蕉叶遮雨，在树荫下乘凉，蹑手蹑脚地跟踪小动物，夏日夜晚的月色, 等等。宫崎骏用的色彩和光影非常准确，只有妹妹遇到白色龙猫的那一场，我曾经觉得土的颜色偏淡，阳光下土的颜色应当是更明亮的砖红色。后来果然在书里看到这一段：
"Miyazaki said he wanted the yard soil red because of the red loamy layers of the Kanto district. I always thought of soil as basically dull, either black or gray, so that was really hard for me. I kept on adding red and asked him whether this was what he wanted, and he would just say, 'No, I want more red!' (laughs). That's how we ended up with that extreme color."
宫崎骏自己也说，最初的构想只是画面，情节是后来补足的。
“At first, I had in mind children playing in the fields, where there wasn't much social context. but once it became a film, social factors such as the father's occupation and their reasons for movings had to be addressed. Incorporating all those elements expanded the scale of the film."
无论如何，一千个人眼里有一千个龙猫！大家都很喜欢，就够了。
最绝的是连战狼都被塑造成受害者
来聊聊你攻击的这个“反战败”，不是啥新鲜的观点，国内豆瓣知乎上骂这片的人都这么说。
要我说，这片确实是反战败，只不过，它反的不仅仅是日本的战败，它反的是所有国家、所有民族、所有地区，所有人民的战败。
而只要有战争，就一定有战败方，就一定有被摧毁、被剥夺的无辜的生命。
虽然中国抗日战争最后胜利了，但在漫长的八年间，从某种意义而言，很多时候是溃败的，一片生灵涂炭。
战争，无论它最后的荣耀如何铭记在历史的丰碑上， 但它最坏的结局总是让弱势群体承受着。
所以，这片，它反战败，进而它反战，因为它反对所有被战争摧毁的美好生命。
我觉得，叫它厌战片，更为合适。