GHIBLI WHEN MARNIE WAS THERE WINDOWS

And Miyazaki called me into a different room. But one day, I closed the window just above my desk.

GHIBLI WHEN MARNIE WAS THERE WINDOWS

At Studio GhibliвЂ™s studio, there are windows in the ceiling, and when itвЂ™s sunny, weвЂ™ll leave it open, and when itвЂ™s raining we press a button and close the windows. Yonebayashi: I remember an episode when it was just after Ghibli, about a month in as an in between artist. I wondered what his memories are of working his way up the ranks at Studio Ghibli. I know Yonabayashi-san began as an inbetween artist on Princess Mononoke before working his way up to director.

That is, I guess, because heвЂ™s rather younger than the two maestros. He isnвЂ™t top-down, he takes a more bottom-up approach. With Mr Yonebayashi, itвЂ™s different, because his approach was taking collaboration with the team leaders of individual sections. As you know, Studio Ghibli is dominated by Miyazaki and Takahata, and everybody strives to achieve what they want, what they order and produce. But the direction from the director is very different. And the release to the world, itвЂ™s the same.

From the concept we discussed together, to working with the director, the staff, itвЂ™s the same. Nishimura: In terms of my work, itвЂ™s exactly the same. I wondered how the experience of producing that differed from Marnie, because I understand Princess Kaguya was a very difficult film to make. He was one of the producers on Princess Kaguya.

If they could do that, then maybe itвЂ™ll have been a worthwhile work to do. But when they see Marnie, maybe they could take a little step forward. They still feel left out, or feel lonely. From the beginning of the film, we had to show the illness of the mind, but at the moment in Japan, there are so many children who feel lonely and separate from others, cut off from others, even though theyвЂ™re always connected by SMS. Yonebayashi: There were a lot of discussions between the screenwriters and the producer, Mr Nishimura as well. How do you make what is an intimate drama about the friendship between two characters visual? I wondered if you could talk a little bit about the process of adapting a work of literature for a visual medium like animation. Inevitably, the fate of JapanвЂ™s most beloved animation house came up in the interview that follows, but we also found time to talk about the process of making Marnie, how it differed from the long and difficult production on The Tale Of The Princess Kaguya, and YonebayashiвЂ™s memories of first working at Studio Ghibli as an in-between artist. The movieвЂ™s significant not just as the second film from Yonebayashi вЂ“ who previously brought us the charming Arietty вЂ“ but also as what is almost certainly Studio GhibliвЂ™s final film. HeвЂ™s here with producer Yoshiaki Nishimura to promote When Marnie Was There вЂ“ an animated, gently fantastical drama about an isolated 12-year-old girl, Anna, and her friendship with a ghostly youngster named Marnie. Wearing a cool flat cap and a charming suit, director Hiromasa Yonebayashi looks like a bit like a Japanese Wes Anderson when we meet him in a London hotel one autumn morning.

Ghibli when marnie was there