As I delve into the captivating world of Studio Ghibli and its illustrious animator, Yoshiaki Kawajiri, it becomes evident that his work is a testament to the depth and complexity of human emotions, as well as the intricate relationships between characters. His unique perspective, shaped by years of working under Hayao Miyazaki, lends an extraordinary dimension to the animation in films like “Howl’s Moving Castle.
Two decades back, prior to the debut of “Howl’s Moving Castle”, Akihiko Yamashita devoted close to two years to his role as the lead animator, overseeing the production, in the Studio Ghibli movie.
Yamashita shared with EbMaster that he can’t recall exactly how many pages or cells of drawings were made back then, only that an immense amount of work and drawing was done. In those times, the idea of work-life balance was not even considered.
Initially, Yamashita collaborated with renowned animation master Hayao Miyazaki as a lead animator in the 2001 movie “Spirited Away”. Since then, over more than two decades, he has taken on different responsibilities within Studio Ghibli productions. For instance, he worked as an assistant head animator for “Ponyo” (2008) and was a key animator for “The Wind Rises” (2013) and the upcoming film “The Boy and the Heron” (2023).
As I, a dedicated movie critic, reflect on my experience with “Howl’s Moving Castle”, I can’t help but recall the relentless grind during the final six months of production. There were no days off to unwind or take a breather, let alone enjoy a leisurely Sunday. Instead, I found myself fully immersed in 14-hour workdays, seven days a week, with no respite during the week.
Yamashita notes that he was capable of achieving what he did back then because he was in his thirties. Today, however, he admits he wouldn’t have the same ability to do it.
According to Dianna Wynne Jones’ 1986 fantasy novel titled “Howl’s Moving Castle”, the story revolves around a young milliner called Sophie. In a magical twist, she is turned into an old woman of 90 years by the Witch of the Waste. To undo this enchantment, the elderly Sophie seeks shelter in a mobile castle that belongs to a captivating wizard named Howl.
To mark the 20th anniversary of “Howl’s Moving Castle,” which is currently showing in cinemas as part of Ghibli Fest until October 3rd, Yamashita recently spoke with EbMaster (through an interpreter) about his collaboration with Miyazaki and the process of creating the enchanting animated movie.
What’s unique about animating a Hayao Miyazaki film compared to other projects I’ve worked on before?
As a dedicated movie enthusiast, I’m always the one sketching out my ideas. From the initial layouts to the intricate storyboards, every detail is hand-drawn by me. Now, imagine a scenario where a key animator has worked on some animation. If it doesn’t meet my standards, I will personally rework it and create a rough draft. Then, the key animators and other artists must refine that sketch to bring it to its final, polished form.
Instead of other animation directors using animation merely as a means to narrate their stories, he constructs the narrative itself within the animation – it’s an integral part of his storytelling process.
What was the character design process like for this film?
According to Miyazaki’s approach, he creates preliminary sketches which serve as his vision for the story and the film. These sketches encompass the characters’ appearances, costumes, expressions, and hairstyles. For instance, depicting Howl as a blond man is one such image he draws. Once these images are set, the animators work on bringing them to life in the animation. Miyazaki also spends considerable time drawing numerous pages for each character to determine their expression and appearance. In this particular project, we were short on time, so he spent about a month or so perfecting the character drawings needed for the film’s animation.
The design of Howl’s castle is so elaborate and well-crafted. Can you explain the process used to animate it? Approximately how many individuals contributed to this animation?
It seems I’m having trouble keeping track of numbers here. The project involved a multitude of contributors. Typically, when creating such a vast structure as a castle, there would be an initial blueprint to follow, and different artists would work from that base design. However, in this unique scenario, no such blueprint was available. This meant that the layout could vary from scene to scene – one scene might show the small house in one position, while another could have it in a different spot. Despite these angle changes, which might depict things differently, the final result gave the impression of a single, unified castle.
Although various items might adorn the castle, if it has a door, windows, and smoke coming out from the top, viewers will still recognize it as the same structure. We capitalize on this kind of misunderstanding by our audience to present slightly altered versions of the castle.
How did the teamwork between Hayao Miyazaki and composer Joe Hisaishi unfold when creating the cherished soundtrack for “Howl’s Moving Castle”? Did you play a role in this process at all?
In our animation project, we never interfere with the music; that’s handled by Mr. Miyazaki and Mr. Hisaishi on a more superior level. During our production phase, we were exposed to some preliminary musical pieces corresponding to the desired visuals, but it wasn’t until the film was completed that I got to listen to the entire soundtrack. At that stage, I felt like an ordinary viewer.
How did you feel watching the film for the first time with the music?
The right music can dramatically alter the perceived essence of a movie. While I was familiar with the plot and visual aspects, it wasn’t until the music was added that I truly understood the film’s depth. The outcome could be great or poor, depending on how well the music complemented the movie. In this instance, I found it splendid as “Merry-Go-Round of Life” served as the theme for this movie, adding a profound dimension to both the story and animation.
Which scene did you most enjoy bringing to life, and was there one that posed a unique challenge for you?
Indeed, the entire scenario presented quite a challenge, requiring considerable effort but also offering intrigue and enjoyment. Among all parts, one particular scene stood out as particularly effective – the one portraying Howl in a more sensual light. This occurs when Sophie enters the castle, followed by Howl’s return the next morning, approaching her closely and asking, “Who are you?” I initially drafted a preliminary sketch to convey the movement, which I then shared with Mr. Miyazaki. While there was room for further development and growth in this scene, he appreciated it as is, stating, “This is good; we can proceed to the next scene.” In this profile shot of Howl, I felt a strong impact, and I was delighted with how well it turned out. This scene showcased an alternate side of Howl – his attractiveness and sexiness.
What about your favorite character to animate?
I find Howl captivating due to his exterior charm and allure, yet there’s a certain enigma about his inner self that intrigues me. Many individuals excel in their professions and project an impressive persona, but upon closer inspection at home, they reveal messy and careless habits. This duality between public and private lives is fascinating to me. The Witch of the Waste shares this dual nature, which adds to her allure.
What is your relationship like with Mr. Miyazaki? Has it changed over the years?
In terms of our professional connection, Mr. Miyazaki and I share an office environment rather than a traditional master-apprentice or superior-subordinate dynamic, given that we are roughly the same age, with him being my mother’s contemporary. However, establishing a close personal bond with him appears to be challenging.
In our everyday chats at work, we often discuss quite trivial, location-specific topics. Interestingly, I once resided quite near Mr. Miyazaki’s home, and occasionally, during my strolls around the neighborhood, I would encounter him and his wife on their walks.
Throughout your career, you’ve contributed to several of Miyazaki’s movies, such as “The Boy and the Beast,” a film he declared as his last work. Do you think this statement is genuine?
Regarding full-length movies, it seems his latest may be his final one. However, he’s directed eight short films that have been screened at the Ghibli Museum, making a total of ten so far. Among these, I’ve produced one film titled “A Sumo Wrestler’s Tail”. Ideally, I’d like him to direct two more shorts, bringing the count to twelve. This would also provide me with additional projects to work on.
Why 12?
At the Ghibli Museum, they screen one movie per month. If there are twelve movies in total, it means that an entire year’s worth of screenings can be scheduled.
This conversation has been edited and condensed.
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2024-09-29 02:17