structural:expansion, structural:scholar_edition, quality:correction
Early career

In 1963, Miyazaki was employed at Toei Doga; this was the last year the company hired regularly. He began renting a four-and-a-half tatami (7.4 m; 80 sq ft) apartment in Nerima, Tokyo, near Toei's studio; the rent was ¥6,000, while his salary at Toei was ¥19,500. 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). 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. Miyazaki found inbetween art unsatisfying and wanted to work on more expressive designs. He was a leader in a labor dispute soon after his arrival at Toei, and became chief secretary of its labor union in 1964; its vice-chairman was Isao Takahata, with whom Miyazaki would form a lifelong collaboration and friendship. Around this time, Miyazaki questioned his career choice and considered leaving the industry; a screening of The Snow Queen in 1964 moved him, prompting him to continue working "with renewed determination".

During production of the anime series Shōnen Ninja Kaze no Fujimaru (1964–1965), Miyazaki moved from inbetween art to key animation, 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). 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); he was chief animator, concept artist, and scene designer, and was credited as "scene designer" to reflect his role. On the film, he worked closely with his mentor, Yasuo Ōtsuka, whose approach to animation profoundly influenced Miyazaki's work. Directed by Takahata, the film was highly praised, and deemed a pivotal work in the evolution of animation, though its limited release and minimal promotion led to a disappointing box office result, among Toei Animation's worst, which threatened the studio financially. Miyazaki moved to a residence in Higashimurayama after his wedding in October 1965, to Ōizumigakuenchō after the birth of his second son in April 1969, and to Tokorozawa in 1970.

Miyazaki provided key animation for The Wonderful World of Puss 'n Boots (1969), directed by Kimio Yabuki. 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. 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. Beginning a shift towards slow-paced productions featuring mostly female protagonists, he provided key animation for Moomin (1969), two episodes of Himitsu no Akko-chan (1969–1970), and one episode of Sarutobi Ecchan (1971), and was organizer and key animator for Ali Baba and the Forty Thieves (1971). Under the pseudonym Akitsu Saburō (秋津 三朗), Miyazaki wrote and illustrated the manga People of the Desert, published in 26 installments between September 1969 and March 1970 in Boys and Girls Newspaper (少年少女新聞, Shōnen shōjo shinbun). He was influenced by illustrated stories such as Fukushima's Evil Lord of the Desert (沙漠の魔王, Sabaku no maō). In 1971, Miyazaki developed structure, characters, and designs for Hiroshi Ikeda 's adaptation of Animal Treasure Island, providing key animation and script development. He created the 13-part manga adaptation, printed in Tokyo Shimbun from January to March 1971.

Miyazaki left Toei Animation in August 1971, having become dissatisfied by the lack of creative prospects and autonomy, and by confrontations with management regarding The Great Adventure of Horus. He followed Takahata and Yōichi Kotabe to A-Pro, where he directed, or co-directed with Takahata, 17 of the 23 episodes of Lupin the Third Part I, originally intended as a movie project. This was Miyazaki's directorial debut. He and Takahata were engaged to emphasize the series' humor over its violence. The two also began pre-production on a series based on Astrid Lindgren 's Pippi Longstocking books, designing extensive storyboards; 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 —but the series was canceled after they were unable to meet Lindgren, and permission was refused to complete the project. Foreign travel left an impression on Miyazaki; using concepts, scripts, design, and animation from the project, he wrote, designed and animated two Panda! Go, Panda! shorts in 1972 and 1973, with Takahata as director and Ōtsuka as animation director. Their choice of pandas was inspired by the panda craze in Japan at the time.

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 in 1972, and delivered key animation for one episode each of Kōya no Shōnen Isamu (directed by Takahata) and Samurai Giants in 1973. In 1972, he directed a five-minute 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. In June 1973, Miyazaki and Takahata moved from A-Pro to Zuiyō Eizō, where they worked on World Masterpiece Theater, which featured their animation series Heidi, Girl of the Alps, an adaptation of Johanna Spyri 's Heidi. The production team wanted the series to set new heights for television animation, and Miyazaki traveled to Switzerland to research and sketch in preparation. Zuiyō Eizō split into two companies in July 1975; Miyazaki and Takahata's branch became Nippon Animation. They briefly worked on 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.

In 1977, Miyazaki was chosen to direct his first animated television series, Future Boy Conan; he directed 24 of the 26 episodes, which were broadcast in 1978. Only eight episodes were completed when the series began airing; each episode was completed within ten to fourteen days. An adaptation of Alexander Key 's The Incredible Tide, 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. Visually, Miyazaki was inspired by Paul Grimault 's The Adventures of Mr. Wonderbird. 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 before leaving Nippon Animation in 1979.