Observations: The American voice actors were a good match for their Japanese counterparts, Disney did an excellent job on this adaptation and dub. I was especially pleased with Chihiro's voice, her characterization was key to the film and Disney made the wise choice of picking a natural, un-mannered voice for the character. Lin's voice was also very well suited to her character. I only noticed a few places where lines had been added to clarify a cultural detail or a plot element. Per Disney's contract, no cuts were made in the film, and the footage ran just as it had in Berkeley. The film has not been Disnified, it is a careful and sincere translation of Miyazaki's work into English. Transcript: Miyazaki _Spirited Away_ Q&A - El Capitan Theater - 9/10/02 (Slightly paraphrased, I tried to get as many of Miyazaki's exact words as I could, but I may not have the phrases and questions dead right since I didn't have a tape recorder.) Miyazaki often replied in a joking way, although it's impossible to reproduce that here. Read his answers as if he always has a twinkle in his eye. Miyazaki was greeted and sent off with a standing ovation. The voice actress for Chihiro (and Lilo) was in the audience an also stood for applause, as did several figures responsible for the English version of the film.) Charles Solomon: Sensei, you said you made this film for the daughters of several friends who had all just turned 10. Please tell us some more about this. A: I made many films but none that addressed them. Several friends daughters have turned 10 and we have never made a film for them. I started reading books and manga and discovered there was a disconnect between what was in them and what was in the minds of these girls. Solomon: I have heard the film, as originally storyboarded, ran three hours. What did you cut? Did you postpone this film a year? A: The story would fill three hours, although there were not three hours worth of storyboards. In my usual tricky way, I said this was no problem, we just need one more year. I cut the film for the producer's sake: I remember the day, May 3, 2000. (No Face became a central character as a result of that cut.) It was a holiday that day, there were only 4 of us in the studio . I was explaining the storyboard when I realized, oh no, this is a three hour film... So it had to be cut. Solomon: So No Face is the producer-figure? A: In the scene early in the film (when Chihiro is crossing the bridge) No Face appears as a minor character. I decided to expand his character -- I make up the film as I go along. Solomon: And that's what we're doing here, tonight. I've heard that the scene with the Stink god/River god was based on a personal experience. Could you elaborate? A: River gods have long been revered in Japan, but our actual rivers are desecrated and polluted. I helped clean the local river: once we did yank out a bicycle. It smelled bad! Solomon: Is Studio Ghibli like Yubaba's bathhouse, with people running around, in a way that would upset a child? A: When the Studio Ghibli staff ask me what the bathhouse represents, I say "Studio Ghibli". It's just a small building, our studio (like the bathhouse) has three floors. If a rookie animator was told to make a visit to the scary producer on the third floor, you would have felt the same as Chihiro did visiting Yubaba. Solomon: You are Haku to the producer's Yubaba? A: It takes both of us to make up Yubaba. At first he said I'm Kamagi (the boiler room attendant). Plenty of our animators have six arms... Solomon: Many animators wish they did! What is your reaction to the English dub? A: .... have seen it. [Ed: Miyazaki chose not to view the dub] I trust John Lasseter and trust he's done a good job. Solomon: Princess Mononoke did very well in Japan, although the response here was not the same. It did not do as well, not equal to Japan, in part because it was set in Muromachi Japan [This was not as clear in the American adaptation of the script.] But Spirited Away is a contemporary story, more approachable by audiences in other countries. A: Princess Mononoke is difficult for adults to understand, and better understood by children. In Japan it is the children who instinctively get it, while adults were scratching their heads. Perhaps it was too raw for American children to see... Solomon: In America we have the odd notion that kids ought not to see some things... Talk about the importance of fantasy for children. A: Fantasy is an absolutely essential element for children, as a temporary respite or escape or as a sucker and source of support. But if you go to completely into it and surrender to it, it can become a psychosis. It may sound hypocritical, since we sell videos: but watch this film once. Solomon: I saw it four times! A: Then you're close to psychosis, aren't you? Solomon: I think the audience would do so, too! Since Miyazaki woke up early this morning to fly from Toronto to join us, the equivalent of 2:30 am local time, we'll only have a few questions. Audience member questions: Q: I've heard there will be an animated version of Kurosawa's Seven Samurai by Monkey Punch. Are you involved in this, or will there be another Lupin movie? A: I am opposed to the animation of Seven Samurai. Lupin I leave to everyone else. Solomon: An equally bad idea is the current project to film a live action version of Dragon Ball Z. Q: I heard during Princess Mononoke that you were having pain in your hand. Did you do less drawing on this film? Are you feeling better? A: My hand always hurts. In Japan we have a saying, "To be long-lived is bad for your health." Solomon: To be an animator is to be a masochist. A: Perhaps. Q: I'm a high school art teacher and yearbook advisor. Our young people always seem to be studying for AP exams rather than spending time with their families. How do I teach them? I can't replace their parents... A: We have the same problem in Japan. Our young people don't study, or do anything but play computer games. I think in order to revive our children we need to change the way we live. My producer and I talk about this often. Solomon: Children are mirrors, if their is a flaw in them then it is only our reflection. A: In a way I can't point my finger at the current generation's parents, we raised them. Q: I've heard you said that you would retire after making Princess Mononoke, but then Spirited Away came along -- are you planning to retire? A: I've learned in life you don't always get what you want. Q: Will you do a sequel to one of your earlier films? A: Never. Q: You said you made this for the daughters of your friends; I had nothing like this as a ten-year-old girl... Thank you. Q: Some ideas come from dreams, some from hard work, some come to you all at once -- which ones are the most satisfying to you and what do you do when you can't think of ideas? Q: What is the source of your inspiration? A: I think and write, and think and write, and think and write; but the more I work and the more I torment myself the less it works -- then, from inside: voila! There it is.