Prior to the initial launch of “Howl’s Transferring Fort” 20 years ago, Akihiko Yamashita spent almost two years working as a supervising animator on Studio Ghibli films.
“I really don’t know how many pages of images there are or how many cells are drawn. I just know that we work with a very large number and make a very large number,” Yamashita said. Election by an interpreter. “Today, we talk about work-life stability, but in this day and age, nobody knows.”
Yamashita first worked with animation maestro Hayao Miyazaki as a key animator on “Spirited Away” in 2001. Over the past 20 years, he has played a variety of roles in Studio Ghibli films, including assistant supervising animator on “Ponyo” (2008 ) and key animator on “The Wind Rises” (2013) and “The Boy and the Heron” (2023).
Yamashita remembers working 14-hour days at “Howl’s Transferring Fort” during the last six months of manufacturing, noting that there were “no Sundays” or “days off during the week.” However, after Miyazaki’s film was full, the supervising animator got three months’ pay.
“I know I can only do this because I’m in my 30s now,” Yamashita said. “I wouldn’t be able to do this now under any circumstances.”
Based largely on Dianna Wynne Jones’ 1986 fantasy novel of the same identity, “Howl’s Transferring Fort” follows a younger milliner named Sophie, who is magically transformed into a 90-year-old woman by the Witch of the Waste. In an attempt to break the curse, the elderly Sophie takes refuge in a moving fortress owned by a charismatic wizard named Howl.
In celebration of the twentieth anniversary of “Howl’s Transferring Fort,” now in theaters through October 3 as part of Ghibli Fest, Yamashita spoke with Election by way of an interpreter about his relationship with Miyazaki and the creation of the animated fantasy film.
How did the animation course for Hayao Miyazaki’s films differ from the various animation assignments you’ve done?
To begin with, he really drew attention to himself. From the structure to the story board – every part – they are interesting in themselves. And let’s be the button animator has drawn some animation. If they don’t like it, they will change it and draw a difficult picture. Then, it is important that different animators and animators have to deliver it to the final stage.
Another thing is the way he thinks about animation. Different animation administrators use animation to tell a narrative, but they tell a story with animation. It’s all built into her story.
What is the character design course for this film?
When it comes to Miyazaki’s working methodology, he has rough sketches – these are not commonly used in animation – but they are definitely a total representation of what he thinks the story and the film is about. This includes photos of characters, costumes, facial expressions, hair. For example, Howl became a blond man – this kind of image attracted attention, after the animators wanted to figure out how to make this image. When it comes to character animation, I draw a lot of pages, like 20 pages for the personality, and the way the character should be expressed. For this one, we had some time, so I spent a month or so drawing and getting my hands used to the kind of character drawings that would be needed to animate the film.
Howl’s castle has an intricate and detailed design. Can you describe the castle’s animation course? How many individuals have been concerned?
I doubt I can depend on it. There are many, many individuals working on it. When it comes to drawing large merchandise like these forts, there is often a basic design, and then different animators can draw from that basic design. But in this case, there is no initial basic design. So, there might be one scene where the engineering is drawn, and another scene where the little house is not in the same place. But in some ways, even with the modification of that angle that will display different things, it looks like a fortress in the long run.
There are also various things caught in the fortress, but as long as there are mouths and eyes and chimneys, then people only know that the factors are the same. So we benefit from a kind of false impression on the part of the audience to attract different things.
The music in “Howl’s Transferring Fort” is one of the most beloved scores in film history. Is the collaboration course between Hayao Miyazaki and composer Joe Hisaishi for the rating? And have you been concerned in any way?
This is us who are involved in animation not contacting any music. Each one is at a better level, at a prime level, between Mr. Miyazaki and Mr. Hisaishi. We heard among the demo-type things in the way of desired images throughout the manufacturing work, but I didn’t hear all the ratings until the film was finished. At that time, I was often a member of the audience properly.
How do you feel when you watch a movie with music?
With music, the impression of a movie can change drastically. In fact, I know the story and the pictures and animations are right, but until the music is available, it’s very difficult to tell the depth of the story. And the consequences will be good or bad, depending on how well the music fits the film. In this case, I think it’s fantastic because “Merry-Go-Spherical of Life” is the theme of this movie. It gives real depth to the story and animation.
What is your favorite scene to animate? And were there any selected scenes that were difficult to work with?
In fact, the whole thing is a bit difficult. It takes a lot of work, but it’s definitely interesting and fun. The one scene that I think really works well is the one that confirms how much of a lecherous character Howl is. And that’s the scene of the place, after Sophie entered the castle, and the next morning, Howl came back and came exactly like Sophie – very close to her – and said, “Who are you?” At that time, I had already drawn a difficult sketch with movements, and I confirmed it to Mr. Miyazaki. There should have been extra growth and development in that scene, but he said, “No, this is quality. That’s good,” and, “We can move on to the next scene.” So that scene Howl’s place in the profile, and I believe that it works very well, and I used to be very glad that it worked properly. This confirms a different aspect of Howl – that he is interesting and interesting.
How is your favorite character to be animated?
Most likely, Howl is the result of a person who is good-looking and really works, but in his own interior way, which is not involved. There are so many people who are really good at their work and craft that they create an unbelievable image. But after they get a place, they are just slobs and sloppy, and they are not likely to be seen as much. So, that kind of duality haunts me. Witch of the Waste can be like that too – she has both sides which appeals to me as well.
©Buena Vista Footage/Courtesy Everett Assortment
How is your relationship with Mr. Miyazaki? Has it changed over time?
I only have an office relationship with Mr. Miyazaki. It’s true, Mr. Miyazaki is my mother’s age, so I don’t have an apprentice or boss relationship, but an office relationship. And I think it’s very difficult to approach Mr. Miyazaki.
But with the informal conversations we have in the office, we talk a lot about real issues, which are not important. I used to live near Mr. Miyazaki’s place, and I used to meet Mr. Miyazaki and his wife while walking around the neighborhood.
You’ve worked on several Miyazaki films, including “The Boy and the Heron,” which you mentioned as the closing film. Do you think that is true?
When it comes to the movie function, I feel that in all possibilities his final movie. But he has directed eight brief films that can be seen at the Ghibli Museum. The museum has proven ten films to date, and I have made one film (“A Sumo Wrestler’s Tail”). I really like people to make two extra films to make 12, after which I will have some work to do as it is true.
Why 12?
At the Ghibli Museum, one film is shown in one month. So, if there are already 12 films, then he will be able to work for 12 months with 12 films.
This dialog has been edited and condensed.
