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