As much as Miyazaki, Old Creed, and the translator tried to put Alex in a certain box, they were only getting stumped by all the haziness that they had to sift through.

Instead of keeping themselves absentminded by that, they found it best to move on with the important parts.

In any case, it was just the finalizing of the transactional details during their cooperation and Mr. Miyazaki getting the stake-free funding guarantee.

It was just a simple investment on the side of the Creed but it was quite freeing and load-lightening to the side of the un-established Studio Ghibli.

With this British Mr. Creed's American dollars already in the works, Miyazaki's excitement should have been on being able to truly start out with his next project but he was still enthused with working out the things that Alex-san had divulged to him.

Helping out, fixing the quirks, and improving the capabilities of an animation crew was a step-by-step process but it shouldn't be a problem for a seasoned veteran like him.

What Miyazaki is looking forward to is all the possible applications he could work out when the recent animation conjectures do work out well.

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Eventually, the integration process and Hayao's style of perfectionism were being drilled into the Creed Animations subordinates.

Despite Mr. Miyazaki's good uncle appearance, the Creed employees got to know him to be a hard, and sometimes ruthless, taskmaster who sets exacting standards for them... and even himself.

When they are clearly just on the team integrating process, everyone was still being shaped up with strictness and unrelenting assiduousness.

The drawers had to draw the same exactness and flow as their counterparts while also keeping their own flare to the project. It was as vague as that but everyone had to pull themselves together as Mr. Miyazaki were ribbing on them at every failure they've made.

It had to be said that it was only a motion picture exercise of a walking stickman but the Japanese veteran manage to point out which they failed at and what they did wrong.

Some of them were even considering that the man was just playing some kind of sick joke on them. Many of them even want to punch the poor translator who is translating all the criticizing insults.

At least, unbeknownst to them, they were so united on proving themselves against an oppressor that they had already gotten a groove amongst themselves.

Of course, the drawers were not the only ones that Mr. Miyazaki had time nurturing and correcting with uncountable faults and improvement, the same could be said for the other animation correspondents as well.

The painters were hounded over for the color shading mistakes. The drawing-to-celluloid transferrers were pained about all their mishaps in the medium transferrence. The ones in charge of background and character overlaps were already quite jumpy with all the mistakes they've made.

The 'animation' compartment had all their faults laid out to them in detail that they were really reconsidering whether they were "experts" to begin with.

They were shown and enlightened to only just be a ragtag group of trained people that were fitted in from unwanted scraps.

Fortunately, Miyazaki did not fail in mending them all together to appear as seamless gems that supplement each other in the first place.

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Still, those were just the major adjustments being made on that compartment as the 'sound' and 'production' teams had it coming for them.

Although Miyazaki was particularly attuned to art, simulation of motion, and evocative storytelling, that didn't mean he doesn't know a thing or two about music, dubbing, and integrating proper sound work.

He is an animation director that should be able to blend every aspect of an animation project with amazing seamlessness after all.

The walking stickman project is what he made the 'sound' teamwork on and the innovative walking mechanism and relating it to various sounds is the way they went with it.

Although the complaints and fussy fault-finding were still there, it can't be denied that the people of the 'sound' department had fun with all the musical experimentation.

Even Miyazaki himself had some blast of his own as he picked up some of Alex-san's feasibility questions to test out.

Dubbing, musical accompaniment, and background noise may have just found their respective advancements. There was no doubt that everyone was intrigued by the weird findings and can't wait to try it out when the truly official projects come around.

The movie inspired by the Wales mining protests might have just found a musical ensemble to improve its capabilities on.

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At the point where Miyazaki is around the 'production' compartment, the more serious methodologies needed to be applied.

The post-production editing, timing, and sequencing may just be matters that couldn't be tinkered with yet as Creed Animations is far from reaching that point.

Still, pre-production is way too integral in everything that Miyazaki had to pull out all the stops of what he can do.

His techniques and special methods should be quite the secret to be kept to himself but Hayao Miyazaki is just way too dedicated to the craft of animation to think about some lousy exclusive specialties.

Alex-san's little input was already a big help in itself, so there was no way that an honorable man would renegade on the honor of reciprocation.

Storyboarding cues, character design tips, conceptualization mapping, timing sequences, error modifications, storytelling improvements, transforming script to drawn scenes, dialogue integration, and all the animation wisdom that Miyazaki had accrued over his many years of animation service has been laid out for Creed Animations to learn from.

It wasn't the true essence of the veteran's enlightenments in his style but it was the barebones of preparatory fundamentals that should be quite the big help to anyone that wants to move through the big mist of motioned drawings and fantastical entertainment through animation.

Mr. Miyazaki was incredibly generous that the Creeds may have gained more than they bargained for.

Alexander wasn't quite sure on what made Seasoned Hayao do his job above and beyond for Creed Animations but it was a welcomed assistance nonetheless.

A lot of stuff had been learned during these Miyazaki-lead training marathons.

Alexander had pretty much soaked in all the animation humdrum that he could. Seasoned Hayao was truly season Hayao in his opinion as his 21st-century animation knowledge was being outmatched.

Fortunately, him and Mr. Miyazaki had exchanged quite many animation possibilities that both of them might have won out at the end of it.

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In any case, the decision to bring in the Ghibli legend into a temporary helper role was quite a success.

Perhaps the Creeds could have gone for a local expert but adapting a foreign veteran at the helm did enough wonders for so many reasons that the local option couldn't just take over.

Japan's emphasis on following authorities meant that they were quite good with stabilizing a chain of command. With Seasoned Hayao being a top brass, everyone else became a considerable junior that needed to be nurtured and trained.

As much as Alexander had qualms with Japan's strict authoritarian model, there was no denying that it had immense advantages as well.

The pros and cons of Japan and authority needed to be put aside though, as Alexander was much more on the improved prospects of his new venture.

Creed Animations was getting honed by the Hayao-led days and it wouldn't be long until the projects have their official start.

In a way, Seasoned Hayao processed all the Creed prime ingredients and dabbed it with his own special seasoning mix to make quite a ready-to-serve dish.