Studio Ghibli Catalogue by Yen Ee Yeoh

S t u d i o G h i b l i

The Art Behind the Studio

S t u d i o G h i b l i

The Art Behind the Studio

Yen Ee Yeoh

0.1 Exhibition Example The photo “Warringah Art Exhibition” (Warringah Council, 2014)

C o n t n e t s. 6 . I n t r o d u c t i o n .

Hayao Miyazaki Isao Takahata Toshio Suzuki

1 2 .

4 0 .

5 3 .

7 6 .

B e h i n d

F r o m

T h e

B i b l i o g r a p h y.

t h e A r t.

I d e a t o F i l m .

w o r k s.

Introduction The Japanese animation studio, Studio Ghibli, founded by Hayao Miyazaki and Isao Takahata is famous for their quality of art, animation and deeper plot-lines that capture the hearts of many different viewers. Its name ‘Ghibli’ manifests from an Italian word meaning wind and was chosen by Miyazaki as he had wanted the studio to “blow a new wind through the animation industry”(Anime News Network, n.d.). While it is known widely as the ‘Disney of the East’(Creative, n.d.), their art, animation process and stories could not be any more different. Studio Ghibli’s works create stunning visuals of cross fantasy worlds and independent characters through the traditional animation styles of hand-paintings and digital paints.

0.2 Studio Ghibli Logo (Japanized World, 2014)

0.3 Howlâ&#x20AC;&#x2122;s Moving Castle (Ohiki, 2005, p52)

“Of course I believe that other worlds exist. If they don’t, life wouldn’t be interesting. It’s like love: you can’t see it but it exists - simply because you believe it. It’s just a matter of believing.”- Miyazaki

0.4 Castle in the Sky (Camilleri, 2005, p. 63)

1.1 Hayao Miyazaki (Xard, 2013)

Hayao Miyazaki Miyazaki always wanted a studio of his own. After the success of his first manga and spin off animation, his dream is about to become a reality. To form the team that would later turn Studio Ghibli into its current power-house, Miyazaki recruited his long-time friend Isao Takahata to join him in his dream of creating their own animation studio. They had also invited their colleague Toshio Suzuki, whom they have worked with on previous animation films, to play the part of the studio’s film producer. ‘Miyazaki’s works in film are highly distinctive, which come not only through his art but also through his richly realised fantasy worlds and the female characters. Many of his films are also approached with deep meaning concerning many social issues’(Napier, 2005) and even his own personal journey as a war-time child. ‘Born in Tokyo in 1941, Miyazaki started his career in Toei Douga Studio as an animator and was already highly involved in the early years of Japanese animation. This was the studio which brought together Mizayaki and his friend Takahata. He later moved to A Pro Studio along with Takahata where Miyazaki worked on his first TV series, Future Boy Canon. Within the new studio he continues to direct more films and in time released his own manga, Nausicaa of the Valley of the Wind, in 1982. And only two years later, in 1984, was the release of an animated film based on his manga. The success of this film was what led to the establishment of Studio Ghibli.’(IMDb, n.d.)

As since, Miyazaki has continued to direct and produce block buster films such as Princess Mononoke(1997), Castle in the Sky(1986), My Neighbour Totoro(1988), Spirited Away(2001) and much more. In the current year, 2014, Miyazaki has announced his final film, The Wind Rises. It’s not really known if this will be his final work as in 1993 he told Animerica: “Bear in mind that I’m a director who actually draws animation. Maintaining my current level of involvement can’t possibly last much longer….And I’d like to retire before someone suggests it to me. My particular Achilles’ heel is my worsening eyesight. It all comes down to how far you can push yourself.”(IMDb, n.d.)

1.2 Character Sketch (Concept Art) (Studio Ghibli Wiki, 2013)

1.3 Ariety roof scene (Ohiki, 2005)

With Miyazakiâ&#x20AC;&#x2122;s love for flight, it is not surprising that many of his films begin with scenes of flight. (Napier, 2005)

1.4 Isao Takahata Portrait (Eva Geeks Forum, 2013)

Isao Takahata In October 1935, Isao Takahata was born in Ujiyamada, Japan(Mubi, n.d.). Takahata is the co-head of Studio Ghibli and also the long term colleague of Hayao Miyazaki. Unlike Miyazaki, Takahata’s studies and career always moved him closer to his dream of being a director. He started his career in Toei Douga Studio in 1959; where he ultimately came to know Miyazaki. Within the studio’s animators’ union, him and Miyazaki chaired and vice-chaired the union. Toei Douga Studio also allowed Takahata to work on his first movie, with Miyazaki as an animator, as a director in Horus: The Prince of the Sun(1968). As years pass within Toei Douga Studio, his bond with Miyazaki pushed them to continue working as a director-animator team for many masterpieces. Takahata’s first film as a producer was Miyazaki’s Nausicaa Valley of the Wind(1982) was produced by Takahata, after Miyazaki agreed to only have it produced from his manga if Takahata was in charge of the production. Which brought him to later produce Studio Ghibli’s first animated film, Laputa: Castle in the Sky in 1986. Takahata later on went to direct Grave of the Fireflies in 1988 which has become a blockbuster film at its release along with Miyazaki’s My Neighbour Totoro. While Takahata’s animated films may not embody the many social issues which are touched on in his collegue, Mizayaki’s films, Takahata has flowed through many ranges of genre within his time at Studio Ghibli; from the war-film Grave of the Fireflies(1998), to a romantic drama Only Yesterday(1991), to comedic My Neighbors the Yamadas(1999) to an ecological adventure in Pom-Poko(1994). (Nausicaa.net, n.d.)

1.5 Looking for Mei (Mizayaki, 2005)

“I don’t try to create according to a particular model of the world… my world is one part of a larger world.” – Miyazaki Hayao in an interview with Yamaguchi Izumi. Eureka, Special Issue on Miyazaki.(Napier, 2005)

“ I was thinking of giving the castle a complete makeover as if Sophie and Howl were on a honeymoon, but because the castle consists of the junk created by Calcifer; Miyazaki told me that it should look normal. Even though the concept art conveys a closing image of the family nest with the white walls, the old lady, and kid playing with his dog, the castle hasn’t changed much aside from its ability to fly in the sky.” - Art Director, Yoji Takeshige (Napier, 2005)

1.6 Concept Art, Howl’s New Castle (Ohiki, 2005)

1.7 Concept Art, Howl’s New Castle (Ohiki, 2005) 1.8 Animation Cel, Howl’s New Castle (Ohiki, 2005)

1.9 Marching as Racoons (Takahata & Miyazaki, 1994)

1.10 Marching as humans (Takahata & Miyazaki, 1994)

1.11 Toshio Suzuki Portrait (Anime News Blog, 2014)

Toshio Suzuki Born in 1948 in Nagoya, Japan. Suzuki graduated from Keio University and soon joined a publishing company Tokuma Shoten Co., Ltd and later Asahi Geino magazine before becoming an editor of Animage in 1978. His time in Animage allowed him to meet with Miyazaki and also helped to create the film Nausicaa Valley of the Wind. Suzuki was a part of the co-founding of Studio Ghibli and officially moved to the studio as producer and CEO in 1989. Since then, Suzuki has been part of the many production of Miyazaki’s and Takahata’s animated films including Miyazaki’s ‘retiring’ film The Wind Rises(2014).(Yoichi, 2013) Suzuki later on stepped down from his position of CEO of Studio Ghibli in 2008, which position was succeeded by former Disney Japan exeutive Koji Hoshino, and continued working at the Ghibli producing films and sitting in the studio’s board of directors as an executive managing director. Currently, in 2014, it is known that Suzuki is again stepping down from his producer duties and taking on the position of General Manager.(Toshio Suzuki, n.d., para.3) Apart from the production of films in Studio Ghibli, Suzuki has also served as producer for other projects such as Hideaki Anno’s live action film RITUAL(2000) and the GhibliMuseum in Mitaka that has opened up in 2001. Since 2007, he has hosted his own radio talk show ‘Toshio Suzuki’s Ghibli Asemamire’ on Tokyo FM. He is also the author of several books, including Eiga Doraku(2005), Shigoto Doraku(2008) and Ghibli no Tetsugaku(2011). His latest book is ‘Kaze ni Fukarete’. (Yoichi, 2013)

While Studio Ghibliâ&#x20AC;&#x2122;s works are well known for their hand-crafted animations, some of their early releases had to incorporate some CG techniques. One of their most popular films that incorporated these techniques was Princess Mononoko(1997).

1.12 The transformed Forrest Spirit (Suzuki & Miyazaki, 1997)

1.14 Setsuko in a field of fireflies (Hara & Takahata, 1988)

Grave of the Fireflies was released as an incomplete film.“A movie not being completed is an emotionally difficult thing. But I believe the reason why I was able to overcome it was because I was a reporter. In other words, I was an onlooker. Reality was unfolding in front of me, but I was able to observe it as an onlooker even though I was part of it, and I had somehow acquired that skill at a certain point in time. Without it, I couldn’t have survived.” - Toshio Suzuki (Yoichi, 2013)

1.15 Storyboard: Howl’s Moving Castle (Ohiki, 2005)

‘... storyboards formed the foundation for the story. With their rough sketches and notes on the storyline, storyboards are more informative than concept sketches. providing an in-depth guide to the world of Howl’s Moving Castle for the staff members.’ (Ohiki, 2005)

From Idea to Film ‘The whole process begins, of course, with an idea – a book the director or producer likes, an incident from daily life, an experience pitched by a writer. At Studio Ghibli, the idea often comes from the directors or the producer Toshio Suzuki. It can be very vague at this stage; it doesn’t need to be a full story outline with all the characters in place. Before it can go any further, it needs to be developed into a proposal: an outline of the story that gives details of the main characters, the mood of the piece, and the kind of audience it can appeal to. This may be supported by artwork to give an idea of the look the director has in mind, but this may change before the production is actually complete. The proposal is designed for one purpose only – to persuade backers to come up with the money to make the movie. Studio Ghibli is unusual in that it employs a full range of staff and is able to carry out every part of the production process – except sound – from conception to principal photography in-house.

2.1 Secret meetings with the human (Jiburi, 2010)

The process of placing the work starts very early once funding is in place, and is the producer’s nightmare, because if he or she can’t get the right staff and meet his deadlines, he can’t fulfil his commitment to the backers to make the film on time. As soon as the money is in place and senior staff such as character designers, key animators, scriptwriters, and art directors have been signed up, a detailed timetable or flowchart for the progress of the work has to be prepared. Every element of the process must work together at the right time; the producer rides shotgun on this process. Meanwhile others, less concrete, decisions are being made by the director and key staff…. The script or screenplay is often revised right up to the last moment, but it will be substantially complete at this stage, and from it the storyboards are made. These are known in Japan as e-conte, short for ei (or “picture” in Japanese). These storyboards set out the whole picture, scene by scene, just like the storyboards for a live-action movie. Tiny sketches of the action will be made for each scene, usually in black and white though sometimes with a colour indication, and alongside each one will be notes of any dialogue or sound effects and instructions from the director. Many directors like to draw their own storyboards, but sometimes a team of specialist artists or one of the senior staff will do them. The designers, senior animators, and key staff meet to fix the final

look of the characters and their world, while the art director makes up the background and boards, which set out the colour range for the production. With all the planning and preparation in place, work can start on actually producing cels.

action. The director checks the key frames and asks for necessary changes. Miyazaki often corrects key frames himself, but on many productions the animation supervisor or animation director will draw the key frame corrections. All these checks are vital so that the inbetweeners can do their work correctly.

Cel animation is the form used by Miyazak and Studio Ghibli for their work … [this method of] animation is a series of images transferred or copied onto celluloid – hence the abbreviation – and colored in. These images are photographed in sequence and the film projected fast enough to give the illusion of movement. It’s a little like those flicker books we used to play with as a children, but on a much larger scale. (McCarthy, 2005)

An inbetweener is the ordinary soldier who works in the animation trenches. He or she takes the key frames and produces the series of drawings in between. These fill the gap and render the movement as smooth and fluid as the team’s skill, the budget, and the production schedule allow. The inbetweener works from time sheets provided by the key animator that dictate how many cels will be needed for each scene and which cels make up each frame. He or she may clean up the key frames, removing stray lines and unnecessary marks, … once the in-between drawings have been made and checked by a senior animator, who corrects any problems or faults, they are transferred onto celluloid…. This process, at this time is normally done through a mechanical copier. Though at the time of Studio Ghibli’s first films, animation tracers had to trace each cel by hand, working over the original drawings.

The process works something like what follows…. The senior key animators, working from the storyboards, now decide, frame by frame, what happens in each moment onscreen. Then the senior key animators, working from storyboards, create the layouts, the basic drawings for each scene. After a final check by the director the layouts go to the key animators, who draw the key frames – those frames at the beginning and end of each

2.2 / 2.3 Background Art (Miyazaki, 2005) 2.4 Kazuo Oga at work (Lost at E Minor, 2012)

The man behind many of Studio Ghibliâ&#x20AC;&#x2122;s background scenes, Kazuo Oga. (Above) Scenes from My Neighbour Totoro.

2.5 Remains of Setsuko & Seitaâ&#x20AC;&#x2122;s Home (Hara & Takahata, 1988)

Conventional background paintings remain a vital part of the animation process. They are started at the same time as the in-betweens, referring to the storyboards and background boards to get the colours and settings right. Every scene has its own background that may be seen from a number of different angles. â&#x20AC;Ś Once the background is laid up under the character cels and any special effects being done on cel are added, the director, art director, animation director, and colour designer can make their final checks to ensure that everything works together as it should, that the colour balance of each scene is right and that all the timings work together to produce the overall effect desired.

Now the director and art director decide what lenses, filters, and other camera equipment will be needed for each scene to create the final effect and they make detailed notes for the camera man. The whole package – cels, backgrounds, camera notes, and time sheets – is handed over to a photographic studio for shooting. The film is processed and checked, and the voice track, music, and sound effects added before final rushes are checked and film prints struck for projection.

‘…Studio Ghibli has an advantage … since all the stage work from one site and every process from concept to photography can be carried out here…’ (McCarthy, 2002)

Studio Ghibli explains to me how things are done a bit differently at Ghibli thanks to Miyazaki’s own natural talent as an animator and draftsman. After his ideas for a film takes shape, Miyazaki writes a brief synopsis and then draws dozens of imageboards using watercolours. He posts these imageboards as they are completed to give his staff an overall idea of the tone and direction of the new films. Miyazaki then produces the storyboards, but – due to deadline pressure – before all the storyboards are complete the animators are already working on the keyframes. At one-onone meetings with his key animators, Miyazaki reviews their layouts and sometimes reworks them in his own hand from the beginning. Once they get the go-ahead, the animators produce the keyframes, which Miyazaki then reviews

2.6 Cel Sketches of Kiki’s experience in town (Miyazaki, 2006)

2.7 Cel Sketches of Kiki’s experience in town (Miyazaki, 2006)

and, again, sometimes ends up redrawing himself. All the while he may still be working on the storyboards for the end of the film. In most other studios, the director will somple look through the key frames and communicate verbally what he needs to have changed. At Ghibli, which does not use an inbetweener system, the films are thus very much the direct product not just of Miyazakiâ&#x20AC;&#x2122;s imagination but of his careful hands-on craftsmanship.â&#x20AC;&#x2122; (McCarthy, 2002)

2.8 Storyboard Spread: Nausicca (Takahata & Miyazaki, 2008)

Samples of original storyboards; which includes notes to art directors and photographers. Images are part of Takahataâ&#x20AC;&#x2122;s and Miyazakiâ&#x20AC;&#x2122;s Studio Ghibli Layout Designs.

“Mizayaki is a director who is also an animator, and – unusual for the industry – he still corrects and redraws many of his junior colleagues’ drawings himself. When you see a Miyazaki movie, you actually see the director’s handiwork in the on-screen drawings, just as you would expect of an animator.” (Napier, 2005)

2.9 Concept Art: Nausicca (Takahata & Miyazaki, 2008)

The Works Examples from Studio Ghibliâ&#x20AC;&#x2122;s many films

3.1 Fight Scene 1 (Suzuki & Miyazaki, 1997)

3.2 Storyboard of Scene (Takahata & Miyazaki, 2008)

3.3 Fight Scene 2 (Suzuki & Miyazaki, 1997)

George Toroko in his quest to re-balance the ocean environment for Guranmanmare, the Mother of the Sea. Scene taken from the movie Ponyo on the Cliff (2008).

3.4 Balancing the ocean (Suzuki & Miyazaki, 2008)

3.5 Sketch Mei & Satsuke (Mizayaki, 2005, p. 44)

The main child characters in My Neighbour Totoro was initially sketched to be an only child. After many discussions and reviews of her actions and adventures, it was decided that she would have a sister that takes some of her roles within the film.

3.6 Original Sketch Satsuke (Mizayaki, 2005, p. 10)

3.7 Small Totoro Running (Mizayaki, 2005T, p. 85)

Motion and personalities play a big part in Ghibli’s animated films as many of their main characters are not ‘flashy’ in any way.

3.8 Shizuku flies (Suzuki & Miyazaki, 1995)

(Right) Completed keyframes of the movie The Secret World of Arrietty, where Sho and Arrietty converse in private in a bed of flowers.

3.9 Screens of Keyframes (Jiburi, 2010)

3.10 / 3.11 Sophie travels in a worm hole (Ohiki, 2005)

Howlâ&#x20AC;&#x2122;s Moving Castle was one film where Miyazaki planned and willingly used CGI effects for minor scenes.

3.12 Storyboard Cel (Takahata & Miyazaki, 2008)

Sen(Chihiro) and No-face take a long train ride as they head for Zanibaâ&#x20AC;&#x2122;s house to break Hakuâ&#x20AC;&#x2122;s curse. Scene from Spirited Away (2001).

3.13 Train Ride (Suzuki & Miyazaki, 2001)

3.14 Plane prototype (Suzuki & Miyazaki, 2013)

3.15 Reunion (Suzuki & Miyazaki, 2013)

3.16 Underwater Scene Storyboard (Miyazaki, 2009)

3.17 Cutting through clouds (Miyazaki, 2005) Image on pg 80

Miyazaki, H. (2006). The Art of Kiki’s Delivery Service: A Film by Hayao Miyazaki. California: VIZ Media LLC.

Miyazaki, H. (2009). The Art of Ponyo: A Film by Hayao Miyazaki. California: VIZ Media LLC. MUBI. (n.d.). Isao Takahata. Retrieved from: https://mubi.com/cast_members/1386 [Accessed: 7 Apr 2014].

Napier, S. (2005). Anime from Akira to Howl’s Moving Castle. US. Palgrave Macmillan.

Nausicaa. (n.d.). Isao Takahata: Miyazaki’s Colleagues. Retrieved from: http://www.nausicaa.net/ miyazaki/takahata/

Ohiki, Y. (2005). The Art of Howl’s Moving Castle: A film by Hayao Miyazaki. San Francisco, California: VIZ Media LLC.

Studio Ghibli Wiki. (2013). Concept Art [Image]. Retrieved from http://studioghibli.wikia.com/wiki/ File:Concept_art.jpg

Suzuki, T. & Miyazaki, H. (1995). Whisper of the heart [Motion picture]. Japan; Studio Ghibli

Suzuki, T. & Miyazaki, H. (1997). Princess Mononoke [Motion picture]. Japan; Studio Ghibli.

Suzuki, T. & Miyazaki, H. (2001). Spirited Away [Motion picture]. Japan; Studio Ghibli

Suzuki, T. & Miyazaki, H. (2008). Ponyo on the Cliff [Motion picture]. Japan; Studio Ghibli

Suzuki, T. & Miyazaki, H. (2013). The Wind Rises [Motion picture]. Japan; Studio Ghibli

Takahata, I. & Miyazaki, H. (2008). Studio Ghibli Layout Designs. Japan. Warringah Council. (2014). Warringah Art Exhibition [Image]. Retrieved from http://www. warringah.nsw.gov.au/play/whats/warringah-council-events/warringah-art-exhibition

Yoichi, S. (2013, October 11). Special Interview : Suzuki Toshio, Producer and Chairman, Studio Ghibli – Miyazaki Hayao and Takahata Isao Serving as the driver for two geniuses. Discuss Japan: Japan Foreign Policy Forum. Retrieve from http://www.japanpolicyforum.jp

Miyazaki, H. (2005). The Art of Porco Rosso: A Film by Hayao Miyazaki. California: VIZ Media LLC.

Miyazaki, H. (2005). The Art of My Neighbour Totoro: A Film by Hayao Miyazaki. California: VIZ Media LLC.

Lost at E Minor. (2012). Kazuo Oga [Image]. Retrieved from http://www.lostateminor. com/2012/06/27/the-artist-who-painted-totoros-forest/ McCarthy, H. (2002). Hayao Miyazaki: Master of Japanese Animation. Berkeley, California. Stone Bridge Press.

Jiburi, S. (2010). The art of Kari-gurashi. Koganei: Sutajiojiburi, Tokyo: Tokumashoten.

IMDb. (n.d.). Hayao Miyazaki. Retrieved from: http://www.imdb.com/name/nm0594503/ bio?ref_=nm_ov_bio_sm Japanize World. (2014). Studio Ghibli Brand [Image]. Retrieved from http://japanizedworld. com/2014/01/studio-ghibli-in-crisis/

Hara, T. & Takahata, I. (1988). Grave of the Fireflies [Motion picture]. Japan; Studio Ghibli

GhibliWiki. (n.d.). Toshio Suzuki. Retrieved from http://www.nausicaa.net/wiki/Toshio_Suzuki

Eva Geeks Forum. (2013). Isao Takahata [Image]. Retrieved from http://forum.evageeks.org/ post/672851/Anime-Industry-Honor-Roll-Awarded-Works-and-Creators-List/

Creative Studio: Madman Entertainment. (n.d.). Studio Ghibli Collection. Retrieved from: http:// www.madman.com.au/studioghibli/

Camilleri, J. (2005). Mizayaki Moebius Exhibition Catalogue. France. Production BVI.

Anime News Network. (n.d.). Studio Ghibli. Retrieved from: http://www.animenewsnetwork.com. au/encyclopedia/company.php?id=60

Animation News Blog. (2014). Toshio Suzuki [Image]. Retrieved from http://www.animenation. net/blog/2014/03/12/toshio-suzuki-retires-as-ghibli-producer/

B i b l i o g r a p h y

Yen Ee Yeoh Studio Ghibli: The Art Behind the Studio First Edition ÂŠ2014 Swinburne University of Techology All rights reserved. Printed in Melbourne at Print Corner. Bound in Melbourne School of Bookbinding.