Twenty years later, Miyazaki’s comments seems as powerful and thought-provoking as they did then, so Jerry agreed to present the interview I did two decades ago.ĭirector Hayao Miyazaki makes his animated features primarily for Japanese audiences. Although I remember a Japanese crew filming while we talked, I was surprised to hear my voice asking Miyazaki about the film’s ending and to see him signing my copy of the “Art of” book, which I still have. Among the extras on the disc-which have been included in earlier editions-is the Japanese documentary Princess Mononoke in USA, which I’d never watched. It also comes with a pamphlet that includes Miyazaki’s poems about the characters (which were printed in “The Art of Princess Mononoke”) and an essay by Glenn Kenny. To mark the 20th anniversary of its US release, Gkids has issued a new Blu-ray of Princess Mononoke and a disc of Joe Hisaishi’s score, packed in thick cardboard pages that suggest a children’s book. My respect for him as an artist and filmmaker has only grown. Since then, I’ve done other interviews with him, introduced programs with him, and visited him at Studio Ghibli. He struck me as an intense man, who thought carefully before replying to my questions. I didn’t speak any Japanese, nor did Miyazaki speak any English.
Princess mononoke director free#
We met at a hotel in West Hollywood we sat at a garden table where he was free to smoke. Princess Mononoke was his first film to receive a major US release, and my editors at the LA Times let me do a profile of him. Twenty years ago, I met Hayao Miyazaki for the first time.
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