Hayao Miyazaki at the table

Japanese cuisine is not divided into starter/main/dessert. At its heart is rice (gohan) surrounded by a soup and several small side dishes: that is *ichijū-sansai*, "one soup, three dishes." Alongside that, there are *men* (noodles) in a single bowl, vinegared *sushi* for festive days, and *kashi* (sweets) and teas for snacks. At Miyazaki's studio, this grammar is joined by a custom of his own: the studio table, where people eat quickly, standing or leaning over drawings, a steaming bowl slipped between two storyboards. The food is humble, hot, shared — exactly as in his films, where a simple egg on noodles becomes a moment of happiness.

Clear broth made from kombu seaweed and dried, smoked bonito flakes. It is the umami backbone of almost all *washoku* — invisible but everywhere, like the work of an animation studio. Miyazaki loves this idea of a patient foundation, handmade, that supports everything else without ever showing itself.