How Mononoke Hime was Born - Tape 2 (A Life was put into!) // Mononoke Hime // Nausicaa.net

1996/07/16: A prominent Chinese movie director, Mr. Sousou Den (his most famous movie is Aoi Tako - Blue Kite}, visits Ghibli to conduct an interview with Miyazaki. They talk about movies for three hours.

Miyazaki:
I think that Japanese children instinctually feel and are frustrated about that they have to live in the limited world and also being not really welcomed by the society. I, as one of adults who are responsible for creating the society and providing shelter and hope to them, want to answer them by showing, how adults have been confronting the issues and also trying to resolve problems. I know that this is a very difficult subject, to reach any conclusion, in which I feel comfortable enough to present to children. Yet knowing that, I want to produce a movie to address following: Even though children and adults expect confrontations with many difficulties and obstacles in their future and its own society, still they encourage themselves to live up and find their soul mates to survive and to build better one. Perhaps, I may be naive, but I think that the current are is the most difficult period in our history. As you know, all of us had worked so hard to improve our living standard. For example, regarding agriculture industry, we invented new machines, devices, agricultural chemicals, and synthetic fertilizer to improve productivity. As the result, our productivity not only in agriculture, but also in any manufacturing and production industry has increased dramatically, and we were very happy about our success and outcome. But sooner, ironically, we have encountered and been suffering from its negative consequences from our own success. Many these good discoveries and inventions started giving its harsh and unthinkable negative side affect to our lives and nature. Further, more irritating fact is that, we cannot blame and accuse someone and/or groups of people for these unjustified problems. Because all of us have participated in the process of putting so much efforts for improving our lives and convenience of society with positive and good wishes, and we were just concentrated on positive outcome, but not negative ones. This is a very tuff situation. And, we have not successfully found the good solution to live with the negative outcome yet. I believe and hope that our generation is responsible for and committed to find the best possible solution to our younger generation.

Den:
In your movies, relationship between human and nature is main motif. Why did you want to focus this subject?

Miyazaki:
Relationship between human being and its Mother Nature has been great deal for my life, especially when I was young. Because I was very much interested in the activities of making and producing. I made movies about people who lived with goats on top of mountains. Their lives totally depends on goats, for instance, they make their clothe from goat's fur, get milk from goats, and make cheese from it. While I was making the movies, I could not stop thinking about following: If grasses on mountains, in which is only food for goats, is disappeared, what will be happen to their lives? Who owns these mountains and grasses? And so on. Then, I came to the point, where I realized that our Mother Nature have been made all our production and manufacturing activities possible. Unfortunately, arrogant humans, including myself, have taken everything for granted, and have forgotten about this simple fact. Ever since, what possession and distribution really mean to us and in the society has become a big issue to me. If transaction of possession and distribution take place among human beings, I can anticipate any potential problems and may come up to the best possible solutions. But what if transaction takes place between human and Mother Nature? It goes beyond our control.

Den:
You do not write a script for your movie. Is that a reason and also tactic for making good and dynamic movies?

Miyazaki:
No, not at all. The reason, why I do not write a script is that when I start making my movie, the script will be obsolete and useless, because after writing a script, I will start making a movie. Then, I will end up re-writing a new script. That is a same reason, why I do not complete my E-konte, before making an animation movie. Of course, I know what and how the story ends in a bigpicture. The important thing in the process of making a movie is how I can reach my destination logically, which means, if I can drive my audience logically enough to the end and convince them or not. I usually say that I am a slave of my movies. A movie wants to become a movie by itself. On the way, a movie itself wants to convey its own messages to the audience, but not I want to represent my messages to the audience. For instance, When I started the current movie, Mononoke Hime, I completed only one quarter of my E-konte. While I am drawing my E-konte, I gradually start to understand personalities of characters and my thoughts, in which I intent to address in the story. I started to find myself of saying that "Oh this person (characters) should not say such things! He will not do things like that, and etc." In fact, every moment of drawing E-konte and in each procedure of making a movie inspires my creativity, and that is how I move on along with the animation production. You know, I will be a part of my movies, and movies made me to make them as they are.

Parallel to Miyazaki and his staff's struggle for producing Mononoke Hime, Suzuki is in his own struggle for creating the most financially successful movie. In order to do so, one of his tasks is making the best advertising copy for the movie.

I have been working with Miyazaki for twenty years, and therefore, I believe that I know what he wants to make in his new movie. It is not an easy job to express main contents of the movie in a simple and short word. On top of that, unfortunately, at this moment, I do not know exactly what this story is about and how the story ends. Regardless to the current situation, it is my duty and responsibility to create the best possible advertising & Marketing strategy for the movie. I have been working with Mr. Shigesato Itoi, one of the most prominent copywriters in Japan, to create advertising copies for Ghibli movies for long time. Up to now, Itoi- san always thanks to my quick decision making as only one time discussion. But, this time, he ended up proposing 50 different ideas for Mononoke Hime.

We will show faxes exchanged between Suzuki and Itoi, starting from 1996/03/21 to 1996/07/07.

1996/06/04 Itoi:
I am very sorry for not submitting my proposal much earlier, but I could not come up good ideas for a long time. It is difficult. How about following:

1996/06/04 Suzuki:
Miyazaki and I do not like non-of them. Please come up other proposal!

1996/06/18 Itoi:
I cannot visualize faces of prospective audience of this movie. How about following:

1996/06/25 Itoi:
I am suffering from Mononoke Neurosis. How about following:

1996/07/01 Itoi:
It is tough, because I do not understand the complication of the story. How about following:

1996/07/07 Suzuki:
Thank you very much for all your hard work. Miyazaki and I really like your copy, Ikiro. Even though, it is an only one word with three letters, it represents what Miyazaki wants to say in the drama and it has a very powerful sounds. This is it!

1996/07/11: Two animation film directors from Disney visit Ghibli to meet with Miyazaki. Two directors are, Mr. Karl Wise, Director for Notre-Dame's Bell, and Mr. Gairy Toulsdail. Three animation film directors are having fruitful conversation and sharing their common interest in their lives, animation film making. Especially, they enjoy talking about one of most difficult tasks, as a movie director, that is how effectively they can lead their fellow animators. Miyazaki says, "I usually think about them as a group of donkeys. I do not consider themes as a group of sheep. If they are sheep, it is easy to lead toward to one direction, sheep usually follow their leader, a goat. But, unfortunately, they are donkeys. I have to hit their hips a couple of times, then they start walking for a while and then again stop. Whenever I am concentrating on my own work, meanwhile each of them is moving toward to different directions individually."

Meanwhile, a new business relationship between Tokuma Shoten Group and Disney is about to start.

Suzuki:
Mr. Kouji Hoshino, Managing Director of Buena Vista Home Entertainment Japan, came to me and asked me to consider about giving him an exclusive distribution right for all animation films made by Ghibli in the home entertainment market. I was totally confused by his proposal, more honestly, I felt what a shameless demand he is asking. Because I felt that he wanted to get most out of our work.

Hoshino:
I have watched Ghibli's movies on the TV so many times. I knew the fact that about 5 million of households in Japan watched Totoro, which means, no doubt about most of these 5 millions households have already recorded Totoro from their TV sets in their home. A 5-millions is a significant number, as you know. I simply did not understand the reason, why Ghibli has been losing such a big business opportunity of making money from the home entertainment market. We, Buena Vista, as a part of Disney, can produce a best home video for Ghibli movies and distribute them. That is our expertise in the business.

Suzuki:
I got his point, and also, while I was talking with Mr. Hoshino, I came up the best marketing strategy to leverage Mononoke Hime's presence in the market place. I said to Hoshino, I will give you the exclusive distribution right for all Ghibli movies. But in its return, you have to negotiate with Disney and distribute to release our new movie, Mononoke Hime at movie theaters in the USA. That is the deal.

Hoshino:
Initially, I was shocked by his counter offer, and thought it would be impossible. Sooner, I had a gut feeling, that I might be able to convince the upper management in Disney, such as Mr. Michael Johnson, to release "Mononoke Hime" at movie theaters in the USA. So I said, I will give it a try!

1996/07/23: Apparently, Hoshino succeeded to convince upper management at Disney about Suzuki's proposal. Two business groups, Tokuma Group and Disney are about to start pushing their strong support to Mononoke Hime.

Suzuki:
I wanted to have the biggest press conference in Japanese history. I wanted to invite 1,000 news reporters and media. Since Mr. Michael Johnson, President of Buena Vista Entertainment was not able to come to Japan for the event, I wanted to have him and Mr. Joe Ross, Chairman at Disney Studio, on the live coverage via satellite to our press conference in Japan.

The press conference is held at Hotel Ookura on July 23, '96, and has 1,000 attendance. Considering the fact, 1996/07/23 is in the middle of the Atlanta Olympics, it is an amazingly successful event. Tokuma President, "I am very pleased to announce that Disney and Tokuma Group have reached an agreement of starting business together". Miyazaki, "I am very happy to receive an honor, that Mononoke Hime will be released at movie theaters in all over the world. At the same time, I feel a big pressure to make my lifetime opportunity and dream to come true. But, President Tokuma told me, ‘If you cannot make it this time, you still have second chance.’ I really appreciate of his generous encouragement. I am committed to make the best movie, and look forward to meeting with all of you again in next summer, when Mononoke Hime is completed".

Miyazaki and Suzuki are enjoying a toast at a party after the press conference. Especially, Suzuki tells everyone, whomever he meets in the party "all I can think about is Mononoke Hime's success. Nothing else is in my mind now". Meanwhile, staff at Ghibli are talking and celebrating about this latest news in the office.

Miyazaki works on his Genga for the scene, in which Eboshi's cape is waving in wind. He wants to repeat the same movement of her cape, but at the same, he wonders if he should change some movements in back to back move. As usual his habit, Miyazaki talks with Andou about his idea. Eventually, Miyazaki is sure about his original idea, and repeats 5 times of the same movement in the scene to create her cape's smooth wave.

Wind has been one of common and important motif in Miyazaki animations. We can see some examples of scenes with wind, such as wind is blowing hardly, and characters fly in wind, from Naushika, Totoro, Majo no Takkyubin.

In Miyazaki's own word, "Kokoro ga ugoku to kuuki ga ugoku (When heart feels and mind works, air also moves)". In Mononoke Hime, Miyazaki uses wind scenes very effectively to present main characters' feeling. In the scene, in which Ashitaka meets with San at first time, their hairs are waving to express their sensuality to each other. In the scene, in which San stands up on the top of Tatara-ba to confront to Eboshi, San's hair is waving too. In the scene, which Ashitaka confront to Eboshi at Tatara-ba and finds out the origin of his curse, Ashitaka's hair wave very hardly. In his E-konte for the scene, in Miyazaki's own word, "Ashitaka no karada no naka kara ikari to kanashimi ga kaze to natte, hotobashiru (Strong wind, as a symbol of his anger and sorrow, brows out from Ashitaka's body). Shizen no housoku o koeta Kokoro no Kaze (This is super natural wind from his heart). Kokoro ni kaze ga fuiteiru (wind is blowing in his heart)".

Miyazaki checks the movements of his Genga in the quick action recorder with Andou. Within a minute, Miyazaki finds something is wrong in Ashitaka's hair movements. He tells Andou, "Don't you think that Ashitaka's head in the Genga looks like a rice ball and the head is not waving enough, therefore, as if Ashitaka wears a wig?" His quick judgement of wrong movements has made him possible to check all Genga by himself, unlike most other animation directors. Along with collection of his Genga, Miyazaki writes down new time schedule for filming the scene on the time sheet. This scene is especially difficult for filming, because the scene consists with many different but simultaneous movements.

1996/08/09: We did not expect to see anyone at Ghibli building today, because today is in middle of summer holidays. Surprisingly, Miyazaki and most of his main staff are there on their work. Miyazaki works on his Genga for the scene, in which San recognizes Ashitaka's tear, while she is tearing off a piece of dried meet. Miyazaki is thinking how he should express San's subtle feeling in her facial expression. He talks with Andou about this.

Ms. Hitomi Tateno, Douga Check Animator, sits next to Andou. Tateno, My job, as a Douga check animator are:

Tateno corrects patterns in village people's cloth in background drawing. Later, when we see the scene from the final movie, we are shocked to find the facts: Fist of all, how small objects she was working on. Secondly, most audience even may not be able to notice if each one wears consistently the same pattern of cloth in such a small background scene.

Ms. Rie Nakagome, Douga Check Animator, corrects movements of many flags. She is in the process of making consistent and simultaneous flags movements in the background drawing.

1996/09/26: Miyazaki works with his right hand with full of therapeutic magnets. He suffers from the constant pain, because he has abused his right hand, wrist and arm for a long time. That is why he draws his E-konte with weak pressure. One time, he joked about his hand, "There is an unwritten rule in the universe, in which every human can draw lines up to the total length of 7 and a half times as long as around the globe. I have already passed this limit".

1996/10/02: Miyazaki has been working on only his E-konte. He tries to write Ashitaka's line in the scene, in which Ashitaka goes to rescue San from the wounded Okkotonushi's body. Miyazaki talks with Andou, "Ashitaka has a tendency to speak with justice, and that is boring. I want to let him say something different here. Ah, what will Baku-san (Director, Isao Takahata) do for the scene, if he writes? Should I draw his big face here?" Then continues to talk to himself, "Ii no ka naa? (Does this look fine?) Ii n da (Yes, it is just fine). The drama is in the Muromachi are, not in this century. It is difficult what shall I make him to say? Shall I make other people to speak, in stead of Ashitaka?" During these Miyazaki's talk, Andou patiently listens to and smiles without saying any word.

Andou:
Basically I do not speak any word to Miyazaki, whenever he talks with me about his E-konte or Genga. Initially, when I encountered this situation, I was in panic to find out what to say to Miyazaki; how should I speak up my own thoughts, what he is really looking for? What would be appropriate words for him and scenes. Sooner, I became to understand that Miyazaki-san is confirming about his own thoughts by speaking to me. When we speak to other people about our thoughts, suddenly we can make ourselves clear. That is what Miyazaki-san needs, while he is creating his original drama and animation. My duty is just listen to his thoughts to fulfil his needs.

Miyazaki completes his E-konte for the scene. He thinks that the scene is a kind of "Tsuuzoku Manga Cut" (common comic cut), though.

Mr. Naoya Tanaka, Art Director brings his latest batch of his background paintings to Miyazaki. He painted 8 sheets of background paintings for the scene, in which Ashitaka's arrow fries towards its object. In this scene, in order to express strength of Ashitaka's arm and his arrow's flying power, background paintings are moved for filming, in stead of moving the arrow, itself. The arrow has never moved in filming. This animation technique is called as Haikei Douga (background Douga). Tanaka is not sure about why he had to draw only 8 different sheets, considering the total length of the cut. He worries about if he should draw more. Miyazaki says to Tanaka, "It is just fine. We can repeat some of background paintings. However, we cannot repeat too many times, because if we do so, it will be boarding." In the final filming, Miyazaki used all 8 sheets at first, and then he repeated first 6 sheets once more.

Background Douga techniques are used for another scene, in which an arrow fries and cut off Samurai's arm. In addition to background douga techniques, in this scene, in order to express remarkable power of the arrow, small waving movement of the arrow itself was added.

CG room The goal at Ghibli CG room is to produce CG, in which can blend out with cell paintings in animation. Mainly, mapping technique is used to create Ghibli CG, in which background paintings are cut and divided into small square pieces, and each information from small square pieces is transferred on the three dimensional board. Mr. Michinori Katayama, CG Production Department, explains his work by showing one of his background CG. Katayama says, "Ordinal CG, such as CG in computer games, is drawn basically only one-dimensional mapping techniques. The biggest challenge for creating CG, in which does not look like ordinal CG, is how we can transfer air and emptiness in color from cell paintings into our CG by using mapping technique. For example, when I drew this CG, I drew front side scenery with smaller size and detail. On the other hand, I drew the other side scenery with enlarged size and less detail. At the same time, I considered camera view, such as wide lens view or telephoto lens, and height of camera focus point, where gives the audience better sense of speed of the scene. I created three different versions for the scene, and Miyazaki picked one of them. He rejected the other two versions with the following reasons: First one's background moves too fast. The second one has dog's view point, because camera focus was too low."

Mr. Yoshiyuki Momose, CG Production Department, explains other examples of Ghibli CGs, "I Used CG mapping technique to maintain consistency of thickness of blood and area range of bloodstain around San's mouth in the scene, in which San tries to suck up the bullet from Moro's wound. When we film sequential cell paintings for the scene, it is almost humanly impossible to create clear picture around San's mouth, because the are of blood stain around her mouth is so small, but many cells to move. I transferred only the bloodstain from one cell into CG by using mapping technique, and then I composite CG and cell paintings for the filming."

Next example is the scene, in which Ashitaka's arrow gets into the eyeball of Tatari-gami in the beginning of the movie. "I wanted to create very realistic muscle movements around the eyeball and snakes around the eye along with the movements of the arrow's getting into the eyeball. Firstly, I transferred a layout drawing of the eye and created 3D model of the in the computer screen. Secondly, we developed a special software to express 3D movements of muscle, eyeball, and snakes, such as shrinking, moving backwards, twisting, and creeping, and etc. , as close as that is expressed by cell painting. Thirdly, I completed 3D-CG for the scene by using this new software. The scene is only less than 2 seconds long, but it took me for 3 months to complete these work. The three-month-length is as long as a group of construction workers and carpenters can build a house from scratch."

1996/10/09: Miyazaki works on the E-konte for the scene, in which Ashitaka reaches struggling San inside of glutinous Okkotonushi's wound, but eventually he falls into the Shishi-gami's pond, where wounded Moro is laying down as if she is already passed away. It appeared that this is themost difficult and important scene for Miyazaki's entire E-konte. The scene contains all main characters at the same time. However, unfortunately, Miyazaki has only 30 seconds to express all confusions and events, without losing any important essences and speed of the scene. Miyazaki works on his E-konte, stops, scratches his head, and thinks for a while. He goes to Andou's desk and starts making conversation with him. Miyazaki says, "Ah, something is wrong in my scene. You know, this is a deadfall and horrifying scene, and I do not know what to make all these events in 30 seconds." Surpassingly, Andou replies, "I think Ashitaka's face is too dark. What you just draw is very difficult to understand how events are taking place in the story." Miyazaki says, "Unn. I have been afraid of this moment to be happening. Oh, no. I want to make this scene as everything is happened by unexplainable force. But not to illustrate and explain the story. I do not want to have a cut, in which just explain the events, because if I do so, I will lose speed of the scene."

Miyazaki continues his drawing, dumps his drawings into the wastebasket, then picks up them, takes a look at them again. Again, Miyazaki goes to Andou's desk and talks with Andou. The contradiction between Miyazaki and Andou's opinion on the E-konte for the scene is that Miyazaki wants to omit a cut, in which illustrate Ashitaka's situation, such as where he is, what he is doing, and how serious he gets hurt, and etc. Because other important characters, such as Eboshi, Jiko-bou, imitation wild boars, Moro, mountain dogs, Okkotonushi, and even Shishi-gami will appear to the scene. And these characters take their own actions with their own thoughts and objectives. Miyazaki thinks that audience is smart enough to understand, that Ashitaka is sinking and struggling to escape from the deep inside of the Shishi- gami's pond during these events are occurring. Therefore, it is impossible and not necessary to illustrate and explain all details. He also wants to move the story fast enough to give more realistic feeling to the audience. In reality, if we stand there observers, we will never have a time and a chance to look and/or think about Ashitaka in such a short time. Contrary, Andou thinks that because Ashitaka and San are most important main characters, Ashitaka should not be neglected from the scene regardless to the absolute time frame. Audience may not like to watch other events; if they are not informed enough about Ashitaka's situation.

Miyazaki understands Andou's point, and finally, he gets an idea how he should draw the scene. He says to himself, "I got it. I did not think about this way." After the break through, he completes the E-konte for the scene. We will watch the final outcome.

1996/10/12: Yasuda, head of the coloring department, comes to Miyazaki and reports about her experience about the preview for Mononoke Hime. She was very surprised to watch a new type of preview, in which is very different from Ghibli's previous previews. Yasuda says to Miyazaki, "It is very different. Not many characters speak and very few narration in the preview."

Suzuki:
Ghibli's previous previews were made from the presentation of one important scene from movies, unlike other companies' previous, in which are usually made from many cuts from the final movies. For this reason, I usually drew the E-konte for the previews by myself. But this time, I wanted to make a different type of preview, and asked Mr. Keiichi Itagaki, Preview Production company of Karu Enterprise, to create a preview, in which is a 30-second length with 30 different cuts from the movie. I got basic concept for making of this preview from that of "20th Century Eizou" at NHK.

Itagaki:
I have been working with Suzuki for a long time. But this time, I could not believe what he asked me to do. Yet confusing by the request, I was so excited about Suzuki's passion of re- inventing Miyazaki movie's image and perception, that are very comfortable and educational animation movies to watch with young children, still adults can enjoy them too. After watching the 40-minute of a new movie (at the meeting time, the movie was completed only 30%), I was very confident about selling new Miyazaki animation. Mononoke Hime has a very different type of contents in its animation. For example, we watch scenes, such as a human head and hands are chopped off and fly out from bodies. Meanwhile, the image album for the movie arrived to my office. After listening to a newly composed music from the album, in which is a up-beat and Japanese drum lissome sounds song, I got a very good gut feeling for bright future of the movie.

Studio Ghibli
Kaze no Tani no Naushika kara 13 nen (13 years since Naushika)

Mononoke Hime
Tokuhou (Special Report)
Gensaku. Kyakuhon Miyazaki Hayao (Hayao Miyazaki Original Drama)

IKIRO (Live)

Sakuga Maisuu (Total Saguga)
110,000 Mai (110,000 sheets)

Miyazaki Hayao no Shuutaisei (The results of all Hayao Miyazaki's work)

Ashitaka's voice: "Let that girl go! That girl is a human!"

'97 nen Natsu (Summer of 1997)

Zen koku Touhou youga kei road-show (Present at Touhou western movie theaters in all over Japan)

1996/10/21: Suzuki calls a two full-day advertising planning meeting with main movie participants at Atami-shi, Shizuoka-ken. Participants are:

The most important factor of making a financially successful movie in Japan is which movie theaters in Yuuraku-cho in Tokyo the movie is released on an opening day. If Mononoke Hime is released at Sukara-za (the most prestigious movie theater in Touhou group, who is a presenter of Mononoke Hime in Japanese movie theaters), it will gain a promise and a strong commitment from Touhou to bring the financial success to Ghibli. Up to now, Ghibli's movies has never obtained this position from Touhou. Suzuki's objective of this advertising planning meeting is:

At the meeting, all participants, except Suzuki, are still in the process of understanding and accepting a different type of Miyazaki movie and Suzuki's different approach to the market. They are confused by Miyazaki and Suzuki's motivation, energy, and decisions of challenging against the odd, in which they destroy the already well-established excellent reputation and general perception. For this reason, they are instinctually not so sure about how Mononoke Hime can and should compete the marketing fight to achieve its sales goal. Knowing the general atmosphere at the meeting, Suzuki shows a new poster for Mononoke Hime. Then, he shows other two bad example posters, in which he already refused to use. Suzuki says, "These two posters do not understand the concept of the movie. In the poster, a big tree is presented as a main focus. That is not a case for Mononoke Hime. Mononoke Hime is a story and a drama of human beings."

1996/10/15: The coverage team decides to play practical joke with Miyazaki, and installs a CCB camera on right side of the shelves of Miyazaki's working desk to observe his face and work from a different angle. Miyazaki does not notice anything, and keeps on working on the Genga for the scene, in which Ashitaka falls from Yakkuru. While he is drawing the scene, he talks to himself, starts humming, and has a cigarette either in his mouth or his left hand. Miyazaki says to Andou and Tateno, "I am very sleepy, and have to be humming".

1996/10/23: Miyazaki comes to Ghibli with Kurenai no Buta, Red Three Wheeler Tryking, made in England and is a three wheel car. He gets off from his car with a lunchbox wrapped by a traditional Japanese wrapping cloth (furoshiki) in his hand, in which his wife makes for him everyday. The coverage team and Miyazaki exchange morning greetings. Miyazaki goes straight to his work desk, and puts the lunchbox and his bag on the top of the shelve. The position for his lunchbox and bag is always same.

9 days has passed on since we started to secretly film Miyazaki's face from the CCB camera. Miyazaki finally realizes that he has been observed from a different angle. Then he decides to play the camera by himself. He goes to Mr. Kenichi Yamada, Genga Animator, and starts to film Yamada's funny facial expressions. Meanwhile, Mr. Katsuya Kondou, Freelance Comic Animator but previously worked at Ghibli, shows up to Ghibli and asks Miyazaki to consider giving him second chance to work for Ghibli. Miyazaki says to Kondou, "You have played around enough for yourself, haven't you?" At the same time, Miyazaki continues filming his animators, and suggests Mr. Kitarou Kousaka, Sakuga Director to film something with the CCB camera. Miyazaki talks to Mr. Jun Suzuki, Cameraman in the coverage team. Miyazaki, "I want to observe how fishes live in my pond by using this kind of camera. It would be interesting to watch their movements from their eyes, in which this kind of camera would provide me the function, I wanted. This lens sows us view from fisheye. I want to watch how tiny small creatures in water walk. If this camera flies like a bird, we would be able to watch and observe something interesting, and be able to film scenes, where one third of view is covered by grasses, and so on. Or I can film the view with bags".

Then, Miyazaki quickly puts a piece of layout paper in front of the camera to shut out the obstruction for his work.

Time Miyazaki tells us, "I have to go to the acupuncture treatment. Because I have too much pain and stiffness in my shoulders and around neck. I feel hazy, and cannot work anymore." He suffers from his shoulder and neck pain and stiffness as another job related disease. For this reason, he enjoys giving massages to his staff members. He also issues special coupons for his employees to get acupuncture therapy from his therapist at Ghibli. Therefore, his employees do not take time off to go to acupuncture therapy. Apparently, all employees appreciated his idea very much. Based upon the success of Miyazaki's coupon distribution, Ms. Seiko Shinohara takes this project to the next level. She makes an official announcement, "Because the massage coupon was very popular, Ghibli decided to have acupuncture therapists in here regularly to provide their service to all employees as one of Ghibli's fringe benefits."

1996/11/9: Miyazaki works on his Genga for the scene, in which a warrior (Bushi), who is riding back on a horse with a Japanese halberd dashes in his hands, starts a fight with Ashitaka in full power. Miyazaki wonders how many sheets of Douga he should insert in between each of 4 sheets of Genga. Miyazaki talks to Andou about this subject. Andou wants to have three sheets of Douga in between each Genga, because he thinks that would be the best way of express the speed and power for the fight. Unlike Andou, Miyazaki thinks inserting four sheets is better, because one less Douga in between each Genga will be a too fast move (as if they fly) to the audience. Two discuss about this for a while. Miyazaki finally decides that he inserts 4 sheets, 4 sheets, and 3 sheets. Then he writes down new time schedule in the time sheet for filming for the scene. In fact, this scene is very complicated and requires a careful coordination with many different kinds of drawings for filming; such as background Douga, small size Ashitaka, a Bushi swings a Japanese halberd, Ashitaka dashes to a Bushi, Arm of a Bushi, Sward of Ashitaka, blood's spray, and a special drawing called as mekuramashi (successfully in putting the audience's eyes off).

Miyazaki suddenly asks a questions to the interviewer, Mr. Kuratani. Miyazaki, "Mr. Kuratani, are you glad that you did not become an animator, aren't you? You have been observing us for long enough to tell me your opinion of the nature of animators' work ?" Kuratani, "This job requires a lot of patience". Miyazaki, "Yes, you got it right. The first requirement for being an animator is patience, the second one is patience too. Nothing for the third and the fourth, and finally, the fifth is again patience. You know, but not only animators also all other work/jobs need a lot of patience, though. Fortunately, we, animators do not repeat the same work everyday, unlike some other jobs, such as noodle restaurants' cook."

1997/2/8: Miyazaki, "I used to think that animators' work is categorized as one of the most creative jobs in this world. But, I have gradually come to the point, where all work is equally difficult and creative. For instance, regarding noodle restaurants' cook, it is easy to cook very tasty noodle only one time as an accident. But that is not a case of operating restaurants or cooks' work. They have to constantly serve delicious noodle everyday. Further more, many typical noodle restaurants have their solid regular customer. These regulars have already established expectations from services and tastes from their regular restaurants and cook. To meet its regulars' expectations and maintain its successful noodle restaurant, a cook and/or an owner cannot change the level of service and established tastes, but at the same time, one has to always improve everything and also provide something new. Other wise, the regulars may not come to the restaurant as often as the cook/the owner wants them to do. You know, our work is just as same as that of cooks and owners of noodle restaurants."

Uratani thought that Miyazaki started to talk about something different from Mononoke Hime production, and therefore, shut off the camera. As a matter of fact, Miyazaki wanted to share his newest discovery with Uratani. But, unfortunately, Uratani made a mistake. When Miyazaki listened to Mera's singing, he instantaneously became a big fun of Mera and decided to ask him to sing a song for the movie.

Miyazaki and Suzuki discuss about a song, in which Mera is going to sing for the movie. Miyazaki, "Mera is a man with female voice, and I love it." Suzuki, "I asked Mr. Hisaishi to compose a song, as we usually do. Actually, he has already composed two different versions, Japanese style and Western style. I am sure that you have already listened to the image album." Miyazaki, "I just need only one chorus, and like definitely western style one. Because the drama is taking place, before the Japanese culture is established. However, I do not like the introduction of the song, and the word of ‘Sonata’ (meaning is you) in my poem for the song. I will change the word from ‘Sonata’ to ‘Omae’ (both words mean you as a woman to be called by a man). You should work with the composer, Mr. Hisaishi and Mr. Mera to create a western style, hard, sophisticated, and ‘Toumeikan no aru’ song for the movie. Mera-san's voice has ‘Toumeikan’ (Toumeikan in this situation suggests crystal clear beauty to appeal deep into audience's spirits and minds) in natural, thus his voice will be a perfect match to the song and the movie."

Suzuki carries a long Japanese sword on his back and shows it to everyone at Ghibli. Miyazaki teases Suzuki about Suzuki's carrying the Japanese sword. Miyazaki, "Because Suzuki-san has been negotiating with Disney very hard, he has to carry his Japanese sword to show his strong commitment to his Japanese idea and origin to Americans. I am sure that it will be good on you." Suzuki, "It would be nice, if I can do so. Unfortunately, this is my practice tool for Iai-dou, and has nothing to do with the big negotiations."

Sakuga meeting Miyazaki and Ms. Seiko Shinohara, Genga Animator, discuss about details for the scene. Miyazaki talks while he is demonstrating Ashitaka's actions by himself, as if he is an acting director for actors. Miyazaki, "Long back, the air in the globe was very clear an thin, and therefore, we could observe the shadow portion of the moon clearly. Once a while, even now, we can see the shadow portion of the moon. I am sure that you have seen it at least one time." Regarding Ashitaka's action, in which while he looks for San and shouts her name as ‘San, where are you?’ "You know, he utters ‘Sa N’ as "Saa - N" with this kind of voice. At this time, Ashitaka's face should move in this way."

Miyazaki says "San" many times with showing his body action and facial expressions and utterance.

This is how Genga animator and Miyazaki draw the layout for the scene and sets out camera movements accordingly. Based upon the discussion, Shinohara draws the Genga, complete the scene, and hand them out to the art department to finish the scene, so that the filming department can film the scene. We see the final version of the scene from the movie.

1996/11/13: Studio Ghibli has a special practice training day for an emergency accident, in which a big earthquake has been occurred in Tokyo area. All employees participate in the training. First of all, some staff goes to farmers' houses near by to get vegetables directly from them. Then, Ms. Tateno and Ms. Nakagome from Douga Check Department cook Imoni (a kind of stew cooked with sweet potatoes and other vegetable) with fresh vegetable. While all staff members are performing their given functions for the emergency situation, Miyazaki secretly checks his own invention for the emergency, in which is placed under the bicycles' parking lot.

Mr. Syoukichi Arai, Business Administration and Management Department, leads the event to confirm with all employees about equipment and devices in the building to fulfill minimum needs when an emergency situation is occurred. As a part of demonstrations, Miyazaki and Ms. Ai Kagawa, Genga Department try to start a small generator. Following the demonstration, everyone enjoys eating Imoni.

Finally, Miyazaki reveals his secret invention, in which is placed under the bicycles' parking lot. It is a portable toilet. A Japanese style toilet pot is brought up from the underground, and a toilet tank is placed underground. A special curtain is used to keep privacy for a toilet user. Miyazaki explains about his invention and strategy for the survivals. Miyazaki, "If you are one of survivors, please work with other survivors as hard as possible. Give up thinking about people, who have died or being lost. We can learn many things from the Koube (Kansai) earthquake situation. After an earthquake passed on, water and food will be the basics for your survival. Fortunately, Ghibli is located in such a suburb area, where many farmers are cultivating vegetable, we can ask them for food. To do so, you must develop reasonable nice relationships with your neighbors. The second serious problem will be a toilet. Please do not use flush toilets in the buildings. Use these portable draw-up toilets. Be practical and creative! Luckily we have many Douga papers in the building, and use them as your toilet tissue. In addition to these, Ghibli bought a lot of survival sheets, in which are made from aluminum foil sheets. This is a suggestion from Mr. Shigeru Furubayashi, Director of Business Administration and Management Department. You should try on the sheet, then will understand and experience how this sheet will keep your body warm."

Mr. Youji Takeshige, Art Director, came to Miyazaki with his latest background paintings, in which are drawn the same big stone with many different kinds of weather condition. Miyazaki wants to express length of time passed, by showing changes of weather; such as before rain starts, rain falls, and after rain is over. Miyazaki basically likes what Takeshige painted for the cuts, in which Ashitaka travels with Yakkule and suddenly finds out that the Tatara-ba is attacked and consequently burned our. However, Miyazaki challenges Takeshima about the brightness of colors for the scenes. Takeshige was an oil painter prior to becoming an art director for Ghibli animation production. For this reason, he has a tendency of drawing too much details more than standard animation paintings. In his background paintings, unlike his usual habit, Takeshige painted the scene with less detailed and clarity (Toumeikan), in which creates special effects to audience to feel about something is about to be happen. If the scene were filmed from actual natural scenarios, this special effect would have never been expected to see. Because of Ghibli's long established animation film production techniques and expertise, Miyazaki can transform his and/or main characters' emotions into its scenes very effectively. By showing changes of weathers in the scene, Miyazaki can successfully make his audience a perfect prediction of how the story goes on. In Japanese common sense, the weather goes to bad or rain starts indicates that the something in bad has yet to come. We will watch the final outcome from the scene in the movie.

Ms. Michiyo Yasuda, Head of Color Department, is also deciding colors of grasses for the same scene, in which Takeshige is working on. She came to Miyazaki to discuss about her opinion in coloring. Yellowish green should be a color for grasses, but she wants to express subtle color difference among leaves and even between both sides of a single leaf. By doing so, she believes that the final outcome has depth of coloring and that can present reality of natural beauty. Based upon her long experience of color design, she wants to use blue green effectively in series of yellowish green colors for the scene. Miyazaki basically trusts in her judgement, and does not comment anything on her opinion. Yasuda goes back to her work, but again comes back to Miyazaki to confirm her final decision of choosing colors for the scene with him. She uses the darkest yellowish greens for leaves, in which are closest to the audience. And gradually, she uses less colored green (close to white) for leaves in back side of the scene. Miyazaki likes her idea and agrees with it. At this time, we will watch the same scene, paying our special attention to the colors of bushes around big stones from the final movie.

Yasuda answers the interview regarding difficulty of cell coloring. Yasuda, "As you guess, it is very difficult to express subtle colors and mixing many different colors in one small space in cell painting, especially in green and yellowish green. Because of limitations of space and nature of material, the color on cell is always simple and one color. If you look at one live-leaf, I am sure that you will be able to find complications of mixture of green and yellow colors there. It is much easier to express the natural leave' colors in painting. Considering all these facts and to create the most natural and beautiful colors in cell painting, I have to use many different types of green, blue green, yellowish green, and yellow in the same cell. That is how I express depth of natural beauty in the scene."

She also answers her own definition of Toumeikan (clarity), in which is one of most important concept of Miyazaki animation production philosophy and techniques. Yasuda, "My own definition of ‘Toumeikan no aru iro (color with clarity)’ is the color, that can make audience fresh natural air from the scene. We, as Ghibli, likes using dull color, which is color you see through a screen, such as a glass. It is not as bright as the original definition from any color chart. But the most importantly, it should not be a darkish color. And color conveys air from the scene, and the air should fall through to the audience, but not stay in the scene. As consequences, the audience should feel good and comfortable about what they are watching and can enjoy the beauty from the scene. I would say that ‘Toumeikan no aru iro’ is a comfortable color with fresh air."

No doubt about the fact, in which Ghibli has created incredibly beautiful natural scenery in the Mononoke Hime movie. Especially, it is hard to believe that the beginning of the movie, the scene of mountains with mist, haze, and smoke is not filmed from real natural scenery. It is a result from long experience and painful efforts of all members at Studio Ghibli, as an animation production factory.

Mr. Hiroyuki Itou, Assistant Director, scratches many lines on a cell by a cutter-knife. And then, he puts the cell on the top of one of background paintings, to see how his created rain looks in the scene. After that, the filming Department films the rain cell with a black plain background, then composes it with many different background paintings by using super techniques. Mr. Kouji Tanifuji, Special Effect Department, shows us how he created steams in the scene, in which Jiko-bou eats Kayu (rice soup) with Ashitaka. Firstly, he sprays special chemical to a cell, in order to prevent static electricity, in which makes painting all over. Secondly, he sprays white paint from an air-blush to create shapes of steam on the cell. After that, the Filming Department films the steam cells with other cells and background paintings with super techniques. Mr. Kaichi Fukudome, Special Effects Department, practices blush touch painting techniques to draw many different types of uneven lines. Right next to his desk, Mr. Tanifuji draws many scratches for wounded San's face, arms, legs and body.

The Filming Department uses a special filming technique, called as Toukakou techniques, for filming smokes in the movie. Under the camera, there are at least five layers to create special effects to make smokes beautiful and realistic: The first layer is a mat with a shape of smoke on top of the Douga for a scene. The second layer is a board with half-transparent material. The third one is an {Akuriru} board, in which has bubble shapes on the surface, and this board slowly moves, when filming is taking place. The last one is a glass board with wave shapes on its surface. Mr. Atsushi Okuda, Filming Director, tells the interviewer about how Ghibli created black smoke in the scene, in which Tatara-ba is burning out. Okuda, "We have already established skills and techniques how to film white smokes in movies. However, it is the first time for us to film black smokes in the movies. I asked the CG department to create digital black smokes by reversing the color of white smokes from our inventory. The most difficult scene to film in Mononoke Hime movie was a panorama view of Tatara-ba, where contains more than 15 lines of smoke. We filmed a panorama view by using multi- layers filming techniques for the scenery. Along with movements of the camera, we can see the complete view of Tatara-ba. On top of the complete view of the scenery, we had to composite with 15 to 16 lines of smoke. Eventually, we have ended up filming the scene 16 times, in which is the same total numbers of lines of smoke in the scene."

>From the beginning of November, ivy on the Ghibli building start changing its color. On the rooftop of the building, there are many replicas of dinosaurs' heads.

1996/11/22: Miyazaki works on his E-konte for the scene, in which Ashitaka grabs arrows from his back suck and simultaneously shoots off the arrows. Miyazaki demonstrates Ashitaka's hands movements of grabbing an arrows by himself, in order to understand hand's movements and movements of an arrow itself, and cut into sequential pictures, in which creates his own E- konte cuts.

Meanwhile, Mr. Katsuya Kondou shows up to Miyazaki's desk. Once he had worked for Ghibli, but he left Ghibli to pursue another opportunity. However, once again, Kondou decides to work for Miyazaki, and Ghibli and Miyazaki have accepted his decision to come back. Kondou tells Miyazaki about his reason for leaving Ghibli before. Kondou, "I did not have any confidant on my career and my life, and therefore, I was afraid of my own future with various reasons." Miyazaki starts giving his own view of Kondou's problems and advice. Miyazaki, "If you have a strong will, I am sure, there is always a way to open up your own future. You are just like a 'Houtou musuko (prodigal son) to me. I think that your biggest enemy of your life is your own worldly passions. You have to fight with your own desires and learn about what patient means to you. Don't run away from your own problems, stay there with your pride. Don't let your inner worldly desires to control your life. You know, no matter where you go to look for yourself or better life, as long as you have this attitude, you will not able to succeed with the way you want. Once you become thirty years old, you should not be so childish."

While speaking with Kondou, Miyazaki simultaneously works with Mr. Masaaki Endou, Genga Animator, with discussing about the scene from his E-konte, in which all main characters of Mononoke Hime appear around the Shishi-gami pond.

1996/11/27: Based upon yesterday's discussion, Endou has completed his layout drawings for the scene, and brings it to Miyazaki. Miyazaki checks the layout drawings, and soon finds many mistakes. First of all, Miyazaki does not like drawings of Moro's face, and corrects her nose and eyes by himself. Miyazaki, "You have to express godmother's atmosphere from Moro's facial expressions. She should hold up her ears always too, because that is how dogs do. Next is Okkotonushi's body. I don't like your drawings of muscle around his neck and body shape. He is a wild boar, and looks very similar to the shape of a rhinoceros, but not a pig. Many people believe that a wild boar is a kind of a pig, but that is wrong. And then, you should draw Eboshi's hat more fashionably. The hat's shape you drawn in here does not represent her personality and character. A hat can look very stylish, if the person knows how to wear. Eboshi is a modern lady, and a new type of woman. She wears her hat as one of her expressions of her fashionable clothes and life style."

1996/12/2: Mr. Katsuya Kondou, Genga Animator, discusses with Miyazaki about his first assignment after returning to Ghibli. It is Genga drawings for the scene, in which Eboshi shoots Shishigami. Miyazaki wants Kondou to draw Eboshi as a modern stylish lady, even though he created her role in the scene as a devil.

The camera shows Miyazaki's hand written memo, in which he describes personalities and personal histories of the main characters in the movie. According to his own description of Eboshi's personal history and personality is: A mysterious lady, Eboshi, conveys an image of strong red color. When she was little, a child slave trader bought her out to the outside of Japan. She married with a head of a group of robbers (Wakou - Japanese outlaws), who dominated and attacked trade ships between Japan and China in the South China Sea. After killing her own husband and obtained her own freedom from the group, Eboshi came back to Japan with her husband's money and wealth (One of them is a Chinese primitive gun), to build her own country, in order to rescue her childhood poor friends. Since her youth, Gonza has been always with her, as her loyal follower and a guard. As a matter of fact, he served originally as her husband.

Even though, Miyazaki addresses the biggest challenge in the current Japanese society in Mononoke Hime, the drama in the movie takes place in the Muromachi era. The reasons are: 1. Miyazaki believes that the dramatic changes in terms of social value and life style among Japanese occurred in the Muromachi era. 2. The situations in the Muromachi era can be considered as compatible to that of the current Japanese society. In fact, Miyazaki has been mainly influenced by research-results conducted mainly by a historian, Mr. Yoshihiko Anno. Anno's view of the Middle Ages Japanese' social phenomena can be found in his books, such as "Nihon no chuseei ni nani ga okita ka? (What happened in the Middle Ages of Japan?)". According to the books, the Middle Ages social phenomenon is characterized as following: 1. Relationships between nature and human beings changed drastically. As a result, people started not to be afraid of something mystery and unexplained. 2. People started to yearn for urban life styles, which is based upon consumption, and moved to big cities. Some people started to live on their lives as travelers, such as peddlers (street side venders), monks, and street performers, but not as farmers, who stay in the same village all their lives. 3. Because of increasing of exchange of information and transactions of commodities, people started to pay less attention and obedience to political power holders. 4. Visibility of women in society was very prominent.

Miyazaki shows up to Ghibli without his mustache. He tells the camera, "I wanted to show my strong will to everybody, in which I will make Mononoke Hime on time. That is why I shaved my mustache. That's all."

However, unpredictable accident has been occurred very soon. On his way to Ghibli, Mr. Kenichiro Yoshida, Genga Animator, crashed with his own motorbike, and rushed to the hospital. He is seriously injured and doctors are trying to stop his bleeding. Miyazaki announces the sad news to all his staff members. Miyazaki, "Yoshida crashed by himself, and his wound is very serious. We have already contacted his parents, and sent Mr. Tanaka from the Production Department to the hospital to take care of Yoshida. Right now, all we can do for him is playing for his survival sincerely. Everybody, please be careful and pay enough attention to whatever you are doing." After while, Miyazaki is relieved from his tension with the first report from Mr. Tanaka in the hospital, that Yoshida will not die from the injuries.

1996/12/14: Along with reports, that Yoshida has been recovering steadily, a little by little every day, Miyazaki feels better and easier. Although, he wishes Yoshida's quick recovery and has acknowledged and appreciates his hard work, Miyazaki cannot stop complaining about Yoshida's accident with Andou. Miyazaki, "I know he has been working very hard, but he did not complete his Genga. He crashed at the moment, in which we need him most and so badly. You know, I feel he just run away from the problems, with a timing of the most important moment for his professional life." As usual, Andou does not comment on anything about Miyazaki's words, because Andou knows that what Miyazaki says on the words do not mean anything to deep inner Miyazaki's thought and warms heart to his own young animators.

1996/12/19: Mr. Kenichi Konishi, Genga Animator, puts his latest bunch of Genga into the quick action recorder to take a look at it with Miyazaki. The scene is that Okkotonushi waves his neck very hard to throw off Ashitaka's body from his neck. Miyazaki notices that all heights of Okkotonushi's body in the scene is drawn in the same height and it is wrong. Okkotonushi's back born should be higher than his hip. They watched movements of the Genga from the quick action recorder with different speeds and change timing of movements. Miyazaki finds another mistake, in which Okkotonushi's neck's waving timing is not consistent. He also finds out another irritating points from the scene to Konishi. Miyazaki, "You know, Okkotonushi looks like saying ‘Watch my nose!’ You should reduce the size of his mouth and stretch out the length of his nose. His face should be pushed into his body and express sequential movements; pull power, keep power for a while, and throw off Ashitaka with his full power. When Okkotonushi moves, all his body should also move along with his face movements. He should sink his body once, before waving off his neck." Konishi totally understands Miyazaki's points and appreciates his advice. Now, we observe the final outcome of the scene from the movie.

Miyazaki concentrates on working on his E-konte and jiggles his leg, as is his habit. He is creating the drama for the last portion of the story. He talks to himself. Miyazaki, "I have to end the story with the modern rationalism. But the truth is that there is anything we can call as truth in this world, so I can create whatever I want to. I do not want to make the story with influence of mysterious Buddhism. But more I try to avoid touching the Buddhism world, I compose the drama toward to that world. What an irony!"

During the movie production, three assistants for Ms. Yasuda, Director of Color Department, are nicknamed as three Kodamas at the Color Department. They are Ms. Naomi Mori, Ms. Mayo Iseki, and Ms. Kanako Moriya. With them and Yasuda, Miyazaki jokes about Kodoma's face and body features in the movie. Yasuda, "Kodama looks like Totoro. Don't you think so?" Miyazaki, "Maybe. Do you know the difference between them? It is that Totoro does not live for thousands years, but Kodama does."

Miyazaki talks with his staff members about the last scene of the movie drama. Miyazaki, "It should end with reproduction of greens. But a little by little reproduction will be happening very slowly. I don't think that a dramatic reproduction makes any sense to the movie and represent the reality of the nature itself. Maybe we can add one Kodama is walking in the scene."

On the same day, 1996/12/25, Suzuki calls a advertising staff meeting. He announces luxurious castings for dubbing and Mera's new song for the movie. Everyone at the meeting is very excited about how luxurious and prominent actors Mononoke Hime will have. All these actors have never played in the same movie before, because these actors' guarantees are very high and therefore, no one could afford to hire all of them at the same time. Suzuki explains about Miyazaki's decision on why he chose Mera as a singer for the movie. Suzuki, "When he listened to his voice the first time, Miyazaki instantaneously fell in love with Mera's voice. Because Mera is a man with a woman's voice. Miyazaki has a reversed view of everything, such as he sees beauty in ugly things."

Suzuki also gives the updates on his latest trip to the US. Suzuki, "I just showed the 1-minute advertising film for Mononoke Hime at Disney. After watching the film, one of the movie production members of Hercules showed me her Sam's up and said, ‘Exciting!’ And Mr. Michael Johnson, President, said to me, ‘It is a tough movie.’ I like his expression of a tuff movie, because, for me, it means that the movie is powerful and meaningful enough to appeal to adult audience."

While the camera shows us Ghibli's routine lives, such as Miyazaki checks and completes Genga, draws his E-konte, and staff members draw their parts while listening to their headphone music, the narrator tells us the following, "The work of an animator is not drawing pictures based upon one's preference. The task of an animator is draws lines to express animals and objects to make their own movements within given the framework. Miyazaki defines that in principal western people capture an object as a lump, but Japanese captures an object as a line. By giving his definition, Japanese animators at Ghibli's hard work of drawing lines can be rationalized and understand as a result of the nature of Japanese racial traits."

1996/12/28: As same as most of other Japanese works places, today is an annual cleaning day at Ghibli. Camera shows us scene, in which staff members clean their work desks, drawing tools, pens, brushes, bookshelves, windows, and rooms.

Unlike his staff members, Miyazaki is in mode of working very hard to complete his E-konte within 1996. He goes to downstairs to attend the rash for the cut, in which Tatara-ba burns out. From the beginning of the cut, Miyazaki does not like what he is watching. Miyazaki orders NG and to re- film the cut. Miyazaki: Tatara-ba looks like a peaceful hot spring spa, in which gives totally wrong impression to the audience. Please do not put so much color to the scene.

Without taking any break, Miyazaki discuss with Mr. Hiroko Monowa, Genga Animator, about the scene, in which Jiko-bou with other two of his followers ran away with carrying Shishigami's chopped head, while Shishigami's body without his head still runs after them to get his head back. Firstly, Miyazaki explains about the mark on Shishigami's body. Miyazaki, "I created the design to transform an image of primitive life, such as a birth of life. Spiral shapes of the mark represent a life and water. In the Joumon era, people used spiral lines and shapes on surfaces of pottery as their remarks of the culture. I am sure that you know these. OK. Next subject is Jiko-bou's movement in the scene. You have to remember that basically, he is a funny man. In this scene, he runs panicky as fast as possible, and his role in the scene is an absolutely devil. However, considering his personality, he should look like enjoying to run, and therefore, he should rise up his shoulders in funny way. Even though, we have to express the scene of ‘run and catch’ and eventually, one of carriers falls down, we should include comedy touch actions and movements into this cut."

After then, Miyazaki goes to his acupuncture for his shoulders, arms and neck stiffness and pain treatment. On the way out, he makes a casual conversation (with cynical smile on his face) with one of his staff members about the conversation with his wife. Miyazaki, "This morning, when I said to my wife, ‘I will go to the office on December 31’, Do you know what she said to me? She said, ‘OK, go head. Please feel free to do so, no one is stopping you‘."

While Miyazaki is out, Suzuki brings a new comer, Mr. David Ensinas, French Animator, to Ghibli. Suzuki introduces David everyone in there. Ms. Seiko Shinohara is happen to be near by the camera and greets David with others as his Sempai (senior) animator. Shinohara, "Now, we are extremely busy, and therefore, please help us as much as you can. To do so, you should learn many aspects of Ghibli's work as soon as possible. We hope your drawing skill is matured enough to meet the Ghibli's standard, as we expected and required you as a helper to Ghibli." Ms. Alexsandra Waeraus, Italian Animator, comes and greets David. She came from Italy to join Ghibli about 1 year ago. Suzuki takes David to the rooftop garden of the building too. After a while, Miyazaki comes back from his acupuncture treatment, and gets a report about David's arrival and that David will start working at Ghibli starting January 6.

Miyazaki shows his latest E-konte for the last scene of the movie to Shinohara. Indeed, he has re-drawn his E-konte for the scene after 1-week of struggle. However, regardless to Miyazaki's efforts to create a perfect E-konte, Shinohara does not like the latest version of E-konte. Shinohara, "I like the previous version better than this one. Because the previous E-konte is more interesting, and gives me more realistic and powerful feeling of that end is coming. You know, this version gives me an impression on that Miyazaki has to finish the story and therefore regardless to the complication and intensity of the story, Miyazaki has to rush and run to the end. This is not good at all. Don't you think so, Andou-san? By the way, why do you have to make Yakkuru's appearance into the cut. I'd rather not see wounded Yakkule. We understand what is going on the drama. " Miyazaki, "But, you know without Yakkuru, how can I tell about this story? It's all bluff." Shinohara, "Later on, we can have a cut for Yakkuru. A movie is all bluff, isn't it? Don't you think so, Andou-san?" Unlike normal his attitude, Andou also agrees to Shinohara's opinion. Miyazaki, "You think so too? OK, I understand, I will go with the previous version." Shinohara, "You'd better spend more time to think about the scene. I will work on the other portions of Genga now. Why don't you put this assignment after the New Year holidays? Once you sleep and rest well, you will have a better judgement. Don't you think so, Andou-san?" Miyazaki, "As a matter of fact, I was not sure which one I should use. Whenever I have a doubt about my decision, I usually listen to other's opinion. And always it worked out fine." Indeed, Miyazaki knows that Shinohara and Andou's argument makes sense and he himself agrees with them.

Miyazaki re-starts working on his E-konte. However, realistically speaking, Miyazaki is already running out of time for his Ghibli animation production capability. Based upon the production timeline, Miyazaki has to complete the movie, Mononoke Hime by end of March 1997. According to the timeline and its own production capability, he can add another 95 cuts to the movie at this point. However, in his perfect world, to complete his story, he needs another 120 cuts. After long thoughts and discussion with himself, Miyazaki decides to use his previous version of E-konte. Miyazaki, "Oh no, I cannot add Yakkuru's cut in it. They are right. I do not have a space for Yakkuru." He continues to work on his E-konte, in order to make a cut for Yakkuru in it. No matter how hard he tries, there is no way of inserting Yakkuru's cut within given length of the movie. As a matter of fact, later on, Miyazaki will once again, make a change of this scene…. At this moment, no one knows what will be happen to the future.

After a long day and night, all employees including Miyazaki and Suzuki enjoy the Bounenkai (annual forgetting year party) party at the function room. The main announcement at the party is an upcoming event, Tour de Shinsyuu, a biking tour to the Miyazaki's second house in Nagano.

1997/1/7: Mr. Yoshikazu Mera, Tenor Singer, Mr. ?Yuzuru? Hisaishi, Composer and Music Director, and Suzuki work on the main song recording at the Wonder Station Studio. Suzuki, "This song will be playing for the scene, in which beautiful moonlights are shining to the forest, Ashitaka and San. Miyazaki's request to Mera-san is that please sing a song as if you are murmuring." Following this comment, at his first test recording, Mera sings a song with his emotion. Hisaishi, "Miyazaki's request is murmuring. I think that you put too much emotion into the song while you were singing. More practice singing, Mera sings with less emotion, and therefore, his voice becomes inorganic sound. In addition to this, Mera does not know whose feeling he is singing for a song. Eventually, he is very frustrated." Mera, "So, I should sing the song, as if I were at Karaoke-bar. When I sing a song at stages, I try to make a voice, but that is not for this case." Again Mera tries to sing his song. Mera, "Suzuki-san, may I give you my thought? From my perspective and in principal, what I have been singing today is not a song. Because I just followed the melody, but I did not put any emotion into a song. I understand Miyazaki-san's request of murmuring, but even I murmur a poem with a melody, I need to put my emotion in it. That is how I sing a song." Suzuki understands Mera's straggle. Suzuki, "I understand your frustration very well. I will ask Miyazaki about whose feeling Mera-san should sing for the song, and will get back to you."

1997/1/8: In order to explain the scene for Mera, in which Mera's song is expected to be playing for, Miyazaki brings his E-konte, background paintings, cells for the scene, and a partially completed film with him. After his brief explanation for the scene, Miyazaki gives a most crucial information to Mera. Miyazaki, "I hope these materials will be helpful for you to understand my image of the scene. I wrote about Ashitaka's feeling to San in the poem. This is a song represents Ashitaka's inner voice. Therefore, I think that Mera-san should sing more freely." Mera's face becomes shinning and he smiles. Mera, "I got it. Thank you very much, Miyazaki-kantoku."

Mera starts his practice in front of Miyazaki, Hisaishi, and Suzuki. Today's song sounds totally different from that of yesterdays. Miyazaki asks Hisaishi to change the tempo of the song to make it as close as Miyazaki's imagination. Since Miyazaki wrote a poem only for one chorus, Mera repeats the same song twice. After listening to Mera's practice, Miyazaki expresses his gratitude to Mera's song. Miyazaki, "I really like your song, especially second chorus. Your voice became totally full and directly catches my heart. You certainly express a boy's emotion very well." Mera, "I really enjoy singing this song. I love the second chorus too." Apparently, Miyazaki made Mera a very happy singer. Mera and Hisaishi change the word in the poem from "Sonata" to "Omae" (both represent meaning of you, as a woman) to create smooth flow. Mera completes his recording with his satisfaction on his big smile.

After finishing Mera's recording, we (the coverage team) become to learn another big accident regarding Mononoke Hime production. The news is started to be revealed in this way. Miyazaki starts a casual conversation with Hisaishi. Miyazaki, January 5 was my birthday, and as I had promised to Suzuki-san and others, I completed my E-konte by 11:30 PM on January 4. I was very proud of my accomplishment, In which I had completed my E-konte while I was still 55 years old. Hisaishi, "Waw!. That is excellent! Great!" Suzuki (in an interview form -speaks to the camera), "Yes, indeed, he completed. But, after seeing his E-konte, I was very surprised in a bad way. Yes, he has successfully completed the 2-hour movie E-konte, but the last cut is too easily and a sudden end. Actually, it was not interesting and did not convey what the movie is about. At the same time, I know, if I say something to Miyazaki now, we will end up having a longer movie. Yet knowing the fact, in which I had pressured him to make a 2-hour movie, and it tunes to the situation like this, what an irony for me to let making a longer movie. I did not know what to do with the situation, it was beyond my imagination. It took me for a while to come to the point, where I could no longer stand with my mixed emotion for not producing the best possible movie, yet knowing the fact not trying all available possibilities. For this reason, in this morning, while we were riding in the subway to come to here (the recording studio), I finally said to him, ‘Why don't you kill Eboshi?’ Miyazaki is clever and creative enough to understand what I mean by saying that. Without showing any sign of either hesitation or question for my changing of my mind, Miyazaki started to give me many different versions of story for the last cut. Apparently, my decision on making a longer movie gave him another driving power to make the best possible movie, he has ever made. Nevertheless, Miyazaki promised me to re-start working on his E-konte as soon as he gets back to Ghibli today."

Camera shows back in the recording studio. Miyazaki continues to speak with Hisaishi. Miyazaki, "I came up many different ideas during my 15 minutes ride on the Yamate-sen (a kind of subway line in Tokyo) in this morning." Hisaishi, "Ha, ha, ha. I think that killing Eboshi makes a lot of sense to create a reasonable ending, such as Ashitaka goes back to the Tatara-ba and takes over its operation in Eboshi's place. I like the idea." Miyazaki, "I like cheerful women in the Tatara-ba. You know that a woman should be always cheerful, and I believe that a cheerful Woman's face is a symbol for a piece."

1997/1/14/: In front of Miyazaki's desk, he had put a new slogan banner, "Unfinished! Changes in the E-konte", on top of his old banner, in which was written as "Congratulation on the completion of E-konte".

Suzuki's interview continues. Suzuki, "On January 20, Miyazaki came to me to show his latest E-konte, in which contains three major changes. The changes are: 1. Miyazaki does not kill Eboshi. Instead of doing so, he added the scene, in which Eboshi loses her right arm. 2. The scene of Tatara-ba's big burned out. 3. Extension of the total length of the movie by 15 minutes. The animation movie production capacity of Ghibli is 5 minutes length of a movie per month on average. Given this condition, additional 15 minutes animation production means that we need another 3 months for additional production workload. The Mononoke Hime project team has been working on the strict timeline of a movie release date of June 1, 1997. But, this additional 3-month production extension will make this deadline unrealistic without any change of Ghibli production capacity. Nevertheless, along with his new decision of making a 15-minute longer movie, Miyazaki started to shout to his staff members, ‘I do not care about if we cannot make the release date. It is ok with me and Suzuki to go out of business—, but at the same time, he started to work very hard to push himself to his limit."

Again the camera shows the Miyazaki and Hisaishi's conversation scene back in the recording studio on 1/8/1997, to show us a back up evidence for the above mentioned Suzuki's comment on Miyazaki. Miyazaki, "It is ok, whatever happened to Ghibli. It's all about me."

In fact, as soon as Miyazaki re-starts working on his new E-konte, the air in Ghibli building has been dramatically changed. All staff members share Miyazaki's strong commitment to himself and the ultimate goal of making of the best possible animation movie, with the attitude of whatever takes Miyazaki are willing enough to devote himself moving forward to the goal. For this reason, the atmosphere has become tense more seriously, and many written slogans are displayed on walls. One of examples is "Work on weekend!". Miyazaki says to the camera, "Whatever happen, I can take it, because I will make Ghibli go broke!"

Because of too over loaded of Ghibli's production work, in order to improve its production speed, Miyazaki takes over all layout works for the last portion of the movie by himself. Miyazaki, "If I ask someone to do layout works for me, anyway, I will end up check and correct them. It will be better off for me to do everything from the beginning, then I can minimize redundancy of the work. I created this mess, so I have to take my responsibility too, you know? But it is a tedious work!" Miyazaki works on the Layout work for the scene, in which a huge Didarabotchi runs after Ashitaka and San are running with riding back on Yamainus. He decides the total distance of movement of the background painting to decide the width of each running step of Yamainu, and orders for sequences of each character's movements. The camera shows us the final layout drawings for the scene. We also see many of Miyazaki's final layout drawings for the movie. In fact, Miyazaki had used to work for Director, Takahata, as a layout animator prior to Ghibli, and therefore, this is one of his expertise too. Miyazaki also started to draw his Genga directly. In this way, he can save the production time by skipping procedures of ordering Genga to his staff, waits for their completion, and checks and& corrects them. He draws his Genga for the scene, in which Didarabotchi's body fall parts and draws onto Ashitaka and San. The camera shows us the final outcome for the scene from the final movie.

One of the most impressive and sophisticated results from Ghibli's animation techniques and its staff's endless efforts to make the perfect animation movie, can be found the final outcome of the Didarabotchi's body in the movie. First of all, the Sakuga Department divides the Didarabotchi's body into many small parts, and then draws each part separately. For instance, the outline of the Didarabotchi's body is drawn into two different mask formats, called a male mask and a female mask. Then, Mr. Okui and Mr. Kojou, the Filming Department, prepare for cel filming to combine all cels, in which is drawn each part of its body separately. For example, its body outline is filmed from three layers, such as a male mask, an {akril} board, and a female mask. This is how Ghibli created the mysteriously shining Didarabotchi's inside of the body. In many other movies, a reversed order of the layers, as of a female mask, an {aklil} board and a male mask, has been widely using to create aurora sparkling lighting effects from the object to the air. The entire Sakuga team, including Miyazaki checks the outcome from the computer screen. Another effort is that in order to create mysterious transparent Didarabotchi's body beauty, Ms. Masako Funaki, Genga Animator, draws its many different internal organs' movements with different speeds in the Genga. Mr. Sugao, the CG Department, draws bubbles in its body. Mr. Sugao uses three dimension drawing techniques to create many particles, and then adds particle's movements for floating into the air. After that, he inserts particles into Didarabotchi's body and horns on his back, in which each horn is drawn separately. Many other staff members, Yasuda and Miyazaki check the finished Didarabotchi's body CG from the computer screen. Yasuda admires its outcome, "Waohh! Unbelievable, mysterious and beautiful!! I can imagine how difficult to create such a beauty. Look, how many horns Didarabotchi has." This is only one of many other examples of how Ghibli transforms the Miyazaki's powerful imaginations into the visible forms. Miyazaki's imagination of Didarabotchi's body is that "The night sky is walking."

1997/1/29: Miyazaki corrects the Genga for the scene, in which Ashitaka runs with Yanainu, and Yamainu impatiently orders Ashitaka "You run too slow, ride on my back." Today, we feel Miyazaki's aura from his back, in which as if he becomes dead nuts on over committing himself to reach his goals. Apparently, he does not like the angles of muscle of Ashitaka's thigh on the Genga, and thinks that Ashitaka in the Genga does not run as intended. Miyazaki grumbles, "This animator does not know the fundamentals of animation. I know that the animator have spent many months to complete this Genga, though. Whatever we draw on papers reflects our own lives, such as how we live on our own lives positively or negatively. This animator cannot break his own boundary, in which he has created by his own definitions of everything, such as run. In order to become a successful animator, one has to take out all one's frustration in one's own life into one's drawing. First of all, live differently, think differently, and behave differently from one's own domain."

The camera shows us Miyazaki's specially written order for drawing, in which is placed right next to the scene in his E-konte. It says, "Dump the idea of ordinal cut drawing"

Miyazaki, "Ashitaka is a very positive boy, and he must run fearlessly with full speed regardless to the situation, in which he runs out with his full speed."

Once Miyazaki starts drawing his own Ashitaka on papers, we can see Miyazaki's fearless frustration transforms into Ashitaka on papers, and with Ashitaka's body Miyazaki's spirit is running in the scene. We feel from the scene, as if Ashitaka shouts to the air, "I am free!" We watch the final outcome for the scene from the movie.

The narrator explains the origin of a word of "animation". The origin of animation is animate, and animate came from the Latin word of animare, in which means breathing life. Miyazaki, "In my principal, if an animator has a very serious hobby, in which he can engage it the most of his time or energy, he cannot become a successful animator. Because in my experience, the ultimate work of an animator sucks up everything from you have physically and emotionally, and eventually wipe out your life. Of course, you will be frustrated by doing so, but, you have to be willing enough to devote yourself to the animation and take out your frustration into your drawing. This is not a work you like to do, it requires more, and you must live it up. I have been living like this for a long time, and one day, I discovered that my sons have suddenly grown up! I am not proud of my life of being so selfish, and my sons had criticized me often about my ignoring of my family before. But what an irony! Both of my two sons have also become men, like me. Nowadays, I laugh at them in my mind and quietly tell them, ‘Zamaamiro! (I got you!) Now you understand how difficult live on your own life as a man! You got it all.‘"

Mr. Takeshi Seyama, Editor, and Miyazaki start editing the movie. Miyazaki tells at the staff meeting, "The objective of the editing at this time is that do not drag any emotion. Seyama-kun, I know there are many portions in the movie do not meet the Ghibli/Miyazaki standard, and may not be interesting to watch. Let's cut as much as possible and make it short and crispy!"

February, 1997: After-recording by actors for Mononoke Hime has started, even though the animation production still goes on. The camera shows us scenes at voice recording studio, including actors, Miyazaki, and Suzuki are preparing their own functions. Now, Miyazaki's fight shifts from a fight with himself for breathing a life into something visible to a fight for firing up others' spirits to make voice for the movie. A new fight has yet to come. The camera shows us Miyazaki and Suzuki talks with big smile on their faces.