Miyazaki's crisply modern but jammed team shop, Studio Ghibli, will never match the square footage (or profits) of the Disney domain in Burbank. His virtually handcrafted Ghibli Museum might make you hum "It's a Small World" in relation to the Disney parks, yet not since the apex years of Walt Disney has a cartoon genius so enthralled so many people.
It speaks of synergy, touched by envy, that Disney (still licking its Pixar divorce wound) releases Miyazaki's films in America. The paint-box colors and pillowy clouds, the big-eyed kids and gentle beasts, the Late Victorian deja-vu detailings of Disney's classic works are all given a more than conceptual rehab. Unlike the inspired but generic and imperatively corporate Disney, Miyazaki, who lives light and still dreams by pencil and paper, seems to pull his films from a zone of privacy.