Original subtitles

Originally aired August 10, 2010

This man's making a walk to the movies today.

'It's the premiere.'

Before him is a long line.

On the first day of 'Arrietty the Borrower' screening

the cinema is overcrowded.

'Here, eggplant.'

Not long before, he is surrounded.

'Can you sketch me Arrietty?'

'Arrietty, I can't draw well.'

'Ah, sorry.'

This man who looks unremarkable at first glance

is Hiromasa Yonebayashi, the director.

(Hiromasa Yonebayashi, the director)

'The Director.'

Next in line of big brothers

he is known and fonded by everyone as 'Maro'.

Maro challenged the position of the director for the first time

by creating the world of Arrietty.

'Can you show yourself?'

The protagonist of the movie, Arrietty,

is a little girl who lives under a family's house.

'Do not be afraid.'

It's both a story of a forbidden love

and one of a separation.

So pure.

After the premiere, Maro's attending the meet-up.

'This is my first work as a director.

I’m joyful to see so many hearts touched.

Thank you all so much.'

Maro's debut is a big adventure movie.

Some reason for that is his teacher.

None other than famous Hayao Miyazaki himself.

'Take a look.'

Originally, Maro was an animator.

Following Miyazaki on his path for over a decade.

'No charm.

Think this, there is mural of the God in the Sistine Cathedral

with his arm stretched forward.'

'I do not know of one.'

'One needs to educate.'

But about a year and a half ago

Miyazaki all of a sudden appointed him as a director.

'Miyazaki-san approached me and asked, whether I want to direct.

I was stuttered.

How do you propose things like this to someone inexperienced.'

Sudden promotion.

Hayao Miyazaki pays Maro no attention.

'Don't intervene.

It's my motto in such matters.

Never point out the next move.'

'Bad.'

(Unexpected situations)

'What happened?'

'It's too late!'

(Studio's latest entry)

'What now?'

'Is this considered complete?'

(Directing ability questioned)

'Uh, not right.'

'Maro is still a bit reluctant to follow Miyazaki's style.'

(No successor in line)

(The master is aging)

'Getting old.

Sometimes I can’t see the audience’s faces.'

(The weight of the director's name)

'It's all my responsibility, if this fails, I will take blame.'

'A little harder.

Those before you drew to the point they couldn’t hold the pencil.

There's no time to be leisurely and contented.'

'Well...'

Maro as a director for the first time.

Hayao Miyazaki as a guardian.

Two people in their strive for an ideal.

This is the story of the 400 days' clash.

Inside Ghibli's Creation ~400 Days of Clash Between Hayao Miyazaki and The New Director~

(A story behind the 'Arrietty' creation)

It's like you lose yourself to this incredible world

when you take look at these pictures.

Even I seem to be sucked into its story.

These shots are all from this summer's movie

'Arietti the Borrower',

copied straight from the design drafts.

The protagonist of this movie

is the little thief who lives under the floor named Arrietty.

She borrows from humans to maintain a bare minimum

in this story of little people who steal to live.

Hayao Miyazaki created 'My Neighbor Totoro', 'Spirited Away',

many masterpieces that are known all over the world.

I’ve always liked Hayao Miyazaki’s works since I was a kid.

A giant long-haired Totoro cat flying to the skies.

I remember my childhood amazement.

In 'Kiki's Delivery Service'

I happened to be about the same age as the girl Kiki.

I was moved by her courage and how gentle she was.

Still hard to forget.

It’s like Hayao Miyazaki’s movies have been growing up with me.

For this movie, Hayao Miyazaki is in charge of the script.

And a newcomer called Maro, Hiromasa Yonebayashi, comes as the director.

(Based on an English Children's Book)

The first thing the two people started was making the design drafts.

The design draft is the director’s way of imagining a whole story through a single picture.

A sketch which true to the story's atmosphere.

Hayao Miyazaki and Maro discussed many things and created these drawings as a framework.

This is the first Arrietty that Maro came up with:

It's more child-like than the one in the movie.

After that, more Arrietties arose.

Through the pictures' lense character's decisions were considered.

With the cold and strong Arrietty, for example,

the story was to be centered around her dying companion.

Just like this, all kinds of Arrietty were made up.

Eventually, the story came to be about a girl-thief and a human boy.

There are many small details in the design drafts.

For example, this one shows what props the borrower usually uses.

The contents of the bag and how to use them are all written in detail.

But although various props are drawn,

only a few are used in the actual movie.

Based on piles of these drawings,

Hayao Miyazaki and Maro created the stunning world of Arrietty.

Being director and animator throughout their history,

they are like an old master and an apprentice.

But the production of this movie

has shifted their roles.

The story of a miracle that rejoined two hearts

starts here.

Chapter 1. The director's seat.

A windy day about a year ago.

Everyone's ready to officially start a film production.

'Has everything been moved here?'

'Yes.'

Maro is Hiromasa Yonebayashi.

He moved to a special seat.

This is the director's seat where only the directors can sit.

Directors of past generations headed by Hayao Miyazaki

created countless immortal masterpieces here.

Maro who was originally an animator

never thought about becoming a director.

'There is much to do,

but I can't choose.

Can't think of anything.'

Maro first felt the charm of animation production 18 years ago.

While being a student of the University of Fine Arts

he worked part-time to create animations for advertisements.

(Maro in school days)

The pictures seem move on their own.

There's interest to be found here.

(Ads produced by Maro)

'Picture is an epitome of static,

but there is life in them.

It was very fun to make.'

At that time he saw a movie that changed his life.

A movie depicting the daily lifes of middle school students first time in love,

'Whisper of the Heart'.

Produced by Hayao Miyazaki.

His outstanding skills of showing an inner world through subtle

captivated Maro's heart.

('Whisper of the Heart')

Longing to make this kind of movie,

Maro instantly dropped the university

and joined Studio Ghibli

to chase his dreams as an animator.

(Archive footage from 2000)

Acquiring drawing skills from Miyazaki

and learning the technology.

Because of his talent in vivid expressions

he was commissioned to draw many important scenes in Miyazaki's movies.

Chihiro's parents addicted to the desire of overeating.

(The scene Maro took in 'Spirited Away')

Meeting with Hal and his magical abilities

and Sophie's confusion.

('Howl's Moving Castle')

The excitement of the goldfish marching into the new world.

('Ponyo on the Cliff')

'Maro's style has taken shape.

I felt it profusely while making 'Ponyo'.

This kid was ready to do animation by himself.'

From the day Maro moved to the director's seat

an atmosphere of anxiety spreads among the employees.

'Are these checked by Miyazaki-san?'

'No, he does not do any checks.'

'He doesn't? Really?'

The reason for that is the storyboard Maro has made.

Hayao Miyazaki wrote the script this time,

and Maro drew a storyboard based on it.

A storyboard is composed of meticulous images,

bearing a resemblance to movie drafts,

having a decisive influence on a story's flow.

Hayao Miyazaki has not seen the storyboard.

Entrusted it to Maro.

'I thought, me having to copy that meant Miyazaki's already greenlit it.

So it's not how it is, huh?

That's how.'

What confused the members more is

Maro revising Hayao's motive behind the work.

Turns out Miyazaki considered the theme of his work as

a spiritual communication between creatures and humans.

'Arrietty likes young Sho because he is handsome.'

But Maro went further.

Setting the theme as a love story between two people.

What a future holds for this new creation

the team is unsure.

(Arietti’s briefing)

Today the members who are about to participate in the production

hold a work explanatory meeting.

'Every day the film crew follows us.'

Hayao Miyazaki also came.

Telling everyone his thoughts.

'Maro came and asked me if I want to check the storyboard.

I asked him whether he wanted me to, and he answered 'No'.

So I haven't seen the slightest.'

'It was you who said 'I don't want to see it!'

Hayao Miyazaki didn't read the storyboard.

After this he won’t get involved in film's making.

'The only greatest responsibility to think of desperately

is of reaching the highest point.

I don't know how capable Maro is,

but to him everything I entrust.

Regardless of Ghibli's life or death.'

'This might be an unbearable thing to bear.'

Producing a masterpiece that costs millions

is an opportunity rarely given to an inexperienced newcomer.

Even so, Miyazaki went all-in with his decision.

'To make matters right, to do what should be done you put an order to things.

To be obsessed with little details is to miss the big picture.

If it's to happen, I need to act the way I do.

It seems simple to intervene,

but holding his hand and letting him follow

won't make anyone any good.'

Maro, the challenger of the directorship.

And Hayao Miyazaki, the deferrer.

For this pair it's a dense day to start from.

Hayao Miyazaki made a big promotion.

In fact, for many years, he's worried about not having a successor.

Before that, Miyazaki also promoted many newcomers

to deliver him a new movie.

But Miyazaki has strict requirements,

being involved in film productions for years.

'Newcomers are put under a lot of pressure.

But actually it's me who's thriving the most,

judging whether a person is worthy,

giving them a chance to step up, if I can.

I've had my own setbacks in this matter.'

69 years old.

In his search for successors, aging pressures Miyazaki even more.

'What a highschooler me would think looking at this?

Can't imagine.

Getting old.

Sometimes I can’t see the audience’s faces clearly.'

There's not gonna be another director,

that's what Miyazaki thinks.

At this time, the frames' production has started.

Relying to the storyboards made by Maro,

animators draw pictures that's gonna go on-screen.

Every picture has to be analyzed and modified.

This is also a part of the director's job.

Maro feels distressed this day.

'Uh, not right.'

Arrietty, who is new to humans, comes to get her tools,

feeling amazed.

'Yes.'

That's an animator's depiction of Arrietty's face.

Maro thinks it's too ordinary.

He feels he wants the picture to show a stronger joy.

'A little uplift of the hair means she's in a good mood.

If handled right,

it should come as an interesting shot.'

Eyes and mouth open at the same time.

The hair also moves, making the joy more intense.

'The energy bursting out of the body.

It’s impossible not to show it onscreen.

If you don’t understand the mood of your character, you can’t draw it.'

Maro with his stellar drawing skills

encountered a big directing challenge this day.

4 months after starting the production,

the team checks the completed reel.

'Arrietty’s first broadcast, everyone.'

Animators, directors, background artists,

the main staff are all gathered together.

There is a problem with one part of the reel.

A 13-second shot depicting the courtyard where Arrietty lives.

It's an important fragment to establish an underlying worldview.

After watching it, the atmosphere becomes solemn.

As a director, Maro can't decide, whether it's good or not.

'Yeah, no way.'

Another take.

'Yeah, that's it.'

Feeling something's aloof, one needs to pinpoint it.

'Does this work?'

Producer Toshio Suzuki has his questions.

'What are your thoughts, Takeshige-san?'

'The picture appears commonplace.

Grass, land and stones make it look boring.'

'Still have to modify it.'

Maro can only think of asking old members for advice.

'I can't take part in this.'

Decide everything and take responsibility. This is what directing is about.

Maro's sensing deep harshness.

Miyazaki has always cared about Maro.

Since September, he moved to a place where he can see the director’s seat.

Starting his own project.

'No idea what's it gonna be.'

But he didn't even greeted Maro.

'It felt cold when he didn't say a word, though deep down I know,

he still has a lot.'

'I try not to visit him.

When I was a director myself, seniors would be unhappy if I pointed at them.

Maybe there are some who want others' help.

But that's because they are not strong enough.'

Maro and Miyazaki keep their distance from each other.

Spending each day in all pretty much but silence.

Movie 'Arrietty the Borrower'.

It depicts the story of a little thief girl and a human boy meeting and separating.

Maro, the newly appointed director,

is particularly concerned about how to transcribe the mood of a girl attracted by a teenage boy.

For example, take the scene where Arrietty is talked to by a boy for the first time.

It's late at night, the humans are long asleep,

Arrietty sets off with her dad,

but being inadvertently seen by a boy makes her stop.

(A fragment of 4 seconds, dissected)

'I saw you in the yard today.'

What Maro cares about is the scene after this.

Even though Arrietty was caught by the boy, she's still determined to leave.

Thorn apart by the rules of a secrecy and the great feeling for the boy,

Arrietty’s complex mood's brilliantly estabilished in a fragrance.

The subtle psychological changes are seen on Arrietty in this scene upon her return to dad.

With only 4 seconds,

it took 32 drawings to show it.

The key to grasping the mood is these 6 key frames.

As the director, Maro asked the animator to draw original frames,

checked them and made changes.

This is the originals drawn by the animator.

Arrietty just turns around to leave.

But Maro thinks that Arrietty’s complicated mood should be emphasized.

On this shot Maro drew over and added notes.

Maro thinks that Arrietty's heart is still there, but she needs to turn away.

Here's the modified version.

Firstly, the moment when Arrietty turns,

the hair is still facing the direction of the boy.

Then this next moment,

a melancholy is added that tightens the jaw

to highlight Arrietty’s complicated feelings.

Please see the edited fragment.

With the help of these subtle movements, the kind of being attracted by but needing to leave,

Arrietty’s complicated feelings are reflected.

Characters in this scene convey their mood through expressions and actions.

Maro calls it "acting".

It's because of his acting talent,

Maro was promoted to be the director.

But now he has to face the harshness of the directorship that he has never imagined.

Chapter 2. The weight of the name.

The end of 2009, 7 months before the release.

'Now, this is terrible.'

A presentation of 'Arrietty the Borrower is held.

With only but the producer Toshio Suzuki making a stand.

Director Maro did not show up.

'What place Yonebayashi-san has in Suzuki-san's heart?'

'As an animator, Maro is the best in Ghibli.

I won’t lose face on the world stage.

But is he an excellent film director?

This is yet unknown.'

Suzuki-san continues to abrupt any unfounded critique.

'To what percent has movie been made by now?'

'Vague answer, we aren't slowing down.

Now I'm in trouble.'

Seriously behind schedule,

this time around, it already threatens the summer release.

Maro didn’t come to the presentation. What are Suzuki's thoughts?

'Let not the young director appear before the film is finished.'

'Yeah, basically.

No use wandering around in that place.

Better off drawing another frame.'

At this moment, Maro's still baffled.

To find inspiration this day

he's come to the creek near the studio.

'A bit boring.

Seems to be better here.'

How does the human world appear in Arrietty's eyes?

'Like this.

Arrietty's world should seem similar to that.'

Never compromise Maro's meticulous creation fever.

But this attitude also slows down the progress.

'December will pass in a blink of an eye.

Nothing fun about it, is it?'

Maro's inspection of the originals did not reach the expected progress.

The goal is 5 shots a day.

In reality, only 3 completed, at best.

In order to make the film production enter the best state,

Maro's work as a director has to become more arduous.

Animation go-throughs.

Background and color check-ups.

Come the trial screenings of the completed reels, one after another.

'Looks pretty good.'

In order to catch up,

Maro silently modifies the originals.

'This is so hard.'

The director personally makes a thorough revision of the original frames.

This is a unique approach that Miyazaki implements.

'Hayao Miyazaki himself is a powerful animator,

able to draw a lot by himself.'

But in the pursuit for the ultimate motions,

the number of frames to modify has also risen sharply.

Maro wants to portray the moods of the characters in their fullest.

To do so, he insisted on revising the originals himself.

'The previous scene has this same expression.

The next one should not have that expression, right?

I think the flow of the story is also the flow of the characters' psychological transformations.

Thus, I have to do this well.'

The new year is approaching, December 30th.

In the empty corner of the room

Maro is still sitting in the director's seat.

Checking of the originals accumulated.

'You coming tomorrow, Maro?'

'Yeah.'

'Still at it?'

'Right.

I plan to come home before 12.

Don't want to listen to New Year's bells in here.'

'Happy New Year!'

Working the New Year's Eve tomorrow,

Maro's exhaustion great as ever.

January 2010.

'Please take care this year.'

'Please take care.'

Maro continues to work from the 3rd.

'Rash.

All over the skin.'

Perhaps the intense stress caused it.

'Is it all right?'

'It hurts.

Tingling.'

The next day, producer Suzuki called Maro over.

'How is the rash?'

To resolve the problem of delays,

advice on improving the workflow is given.

'After all, you are planning on increasing productivity, aren't you? There are things matter and those that don't.

To my mind, work needs to be focused.'

Differentiating key points according to their importance.

Indicating the movie will not be in time without prioritizing certain things.

'Things being difficult so far.

I know I shouldn’t say this and I didn’t tell him.

But this is the first time so behind the schedule.'

This day (February 24th) another incident happened.

'Please take care.'

The editing staff pointed out a mistake no one expected.

'Viewers may still notice.'

The incoherent movement of the characters is called out during the cut.

This is the scene that went wrong.

Arrietty's dad climbs up the ladder.

But the next shot, all of a sudden, shows him already on his feet as if he's teleported.

A low-grade mistake like that wasn't discovered by checks.

'Well...'

Stepping into the human world for the first time,

Arrietty's filled with excitement.

This reel's gonna destroy that feeling.

'Additional fragment is needed.'

'A shot of Arrietty climbing a ladder, for example.'

Maro offered to add a new cut-in.

'This is also a gamble.'

With deadlines long overdue and numeral shot corrections,

Maro, as a director, decided to draw that part himself.

A year since a sudden promotion.

Maro is under the weight of the director's name.

Standing up against challenges.

Living a lonely life.

'It's all my responsibility, if I fail, I will be fully responsible.

Not only I'm doing this,

I have to be sure it ends up being as interesting as it can be.'

The next day, Maro begins solving the problematic scene.

Inserted is the shot of Arrietty climbing up the ladder with excitement.

'My heart thumps.'

How do body movements that overcome gravity look like?

'Let her let go of her right hand now.'

It'd take a few days for a usual animator to analyze this action.

It's a very difficult shot.

Maro, with his top-class animator arm,

fills the paper with imposing drafts.

Validating the shots on the computer right after.

'It feels light.'

Then proceeding to modify.

Hayao Miyazaki also heard of a sudden accident.

He came to Maro who is immersed in his drawings.

Although he keeps looking at him, he still doesn't address him.

In the past few months, Miyazaki has been keeping his distance from Maro.

It's easy to intervene,

but doing so won't make Maro become a real director.

Hayao Miyazaki is also fighting.

'This is my temperance, never point fingers.

He won't know how much endurance is required.

The director is the one who makes the final decision.

So I can't intervene.'

It took Maro 6 hours to finally complete the cut.

'Yes, pretty good.'

The road to pursuing the dream is rugged.

Even so, Maro has always reached the destination.

It is difficult and distressing to entrust things to others.

Hayao Miyazaki chose Maro to challenge the director's seat.

But behind this decision

lies a bitter memory from 12 years ago.

Chapter 3. The Death of the Companion That Cannot Be Forgotten.

Director's seat in a corner of Studio Ghibli.

There once sitted a man Hayao Miyazaki treasured in the past.

Yoshifumi Kondo, the animator who died 12 years ago is always remembered by everyone.

Originally, Miyazaki and Kondo worked together in A Production company.

A senior and a junior animators sitting next to each other.

Hayao Miyazaki called Kondo, who was 10 years younger than him, Kon-chan.

Kept following him.

At that time, Miyazaki-san and Kondo-san made an agreement.

If they were to make a movie with a theme that Kon-chan liked,

Miyazaki was to be a producer and Kon-chan a director.

Then Kondo began to emerge as an animator.

'Grave of the Fireflies' he worked on

('Grave of the Fireflies')

that depicts a sad story of the little siblings depending on each other

received a high praise.

Miyazaki, on the other hand, has greatly consolidated his position as a director.

Inviting Kondo to produce a new movie,

Miyazaki appointed him as the animation director for 'Kiki's Delivery Service'

to be responsible for the art design.

('Kiki's Delivery Service')

For the last scene in 'Porco Rosso',

the protagonist Porco's duel scene, Kondo was also in charge.

('Porco Rosso')

Then came a day Hayao Miyazaki promoted Kondo to be the director,

fulfilling the promise made when they were young.

But after starting the movie production,

the relationship between the two took a turn for the worse.

Hayao Miyazaki began to give advice.

Starting one clash with Kondo after another.

Cornering for substantial changes.

The result of disputes between the two

won the No.1 box office record for Japanese domestic movies that year.

But overwhelmingly heavy tasks

were quietly eroding Kondo's body, who was already weak.

2 years after the film's completion,

Kondo was knocked down by illness and died young at 47.

'He aged fast after finishing that movie.

Rapidly declining and passing away at the age of 47.

That's why I'm not crossing the river yet, death has overcharged for that ferry.

It is a pity.'

Acknowledging Kondo's talent to anger with him as the director.

This death is like a thorn that cannot be pulled out of Miyazaki's heart.

The passing of the companion who has made many films with him.

Miyazaki-san said, a crossing of the river.

Can't help but make you feel a magnificence of the director's part.

10 years since then

Miyazaki-san once again promoted a newcomer because of his appreciation for the talent.

This time, Hayao Miyazaki is alienating Maro on purpose.

Keeping things silent.

While Maro also devotes himself to the film production,

returning Miyazaki a satisfaction he yearns for.

But the final stage of the film production

is gonna cause a huge shift to the pair's beliefs.

Chapter 4. The final stretch.

Final days of the production.

Hayao Miyazaki, who has been silent, starts to act.

'Miyazaki-san has been glancing behind me.

This kid, I just can't understand.

Just said that thing and left.'

Speaking of the scene's shots,

Miyazaki feels something is wrong.

'That's it.'

Arrietty's mother is caught by men.

And in the scene Arrietty steps onto the shoulder to rescue her.

'Miyazaki's not fond of the idea of climbing into human hands.

She's almost like a doll when held.'

What Miyazaki is worried about is that if she gets on the palm

it will destroy the equal relationship between Arrietty and Sho.

But Maro has a different opinion.

'Giving a hand without a second thought,

reaching out to Arrietty who is crying in trouble.

I'm trying to find out what's wrong with it.'

Although he understands Miyazaki’s concerns,

Maro has a gut feeling that his idea is right.

'Well...'

Expressing the mood of two people attracted to each other

is still lacking.

It doesn’t matter to Maro if it's Sunday,

he's working up late at night in the director's seat.

Miyazaki's senior remark to the new director

caused a lot of oscillations in his heart.

'OK, shall continue tomorrow.

That scene, gonna ask Sho about that scene.

I always do that when it happens. Thought, it'd be interesting.

No choice but this.'

'Let's do it.'

A week later, Maro starts to act.

'This is the shot before Arrietty steps on the palm.'

Maro decides to add a new motion before Arrietty gets into the hand.

Maro's original idea was that Arrietty just wipes her tears before stepping up.

'Highlight the mood.'

Having to emphasize the notion that Arrietty has made up her mind of boarding Sho's palm,

after she wipes her tears, another expression is added:

a nod of determination.

'Still have to show Arrietty's will,

invited by Sho's gentle voice.

Various complex moods intertwine

resolving finally into her taking the step.'

Going against Miyazaki's story policy,

Maro affirms himself.

'Looks plausible.'

The deadline for the originals is in 3 weeks.

Maro feels a great load of pressure.

Even talks less.

The changes in Maro can also be felt by Miyazaki.

'Feels like diarrhea. Well, that's an impression it's grown to.'

Miyazaki intentionally kept his distance from Maro this year.

While Maro has reached the limit of his energy and stamina.

Miyazaki knows better than anyone that this is the most painful time.

The last critical moment.

Miyazaki's slowly walking up to Maro.

'There are a lot less flowers. There used to be a flower shop here.

The yellow house on the opposite side. It seems so faint.'

'It's getting lighter.'

'It used to be bright yellow, lemon yellow!'

The topic they are discussing is the scenery seen from the director’s seat for years.

'There's no one besides us, so let this guy do it.

Let him take charge.

His knees aren't broken yet.'

After that, Maro completed all the drawings as planned.

'Please take care.'

May. Works on the movie enter post-production phase.

The dubbing begins.

That day, conversations between Sho and Arrietty are recorded.

'I don't know how to match it.'

'Try changing it slightly.'

The scene is near the end, with Maro reaching out to Arrietty.

'Let's find her together.'

Speaking also has its requirements.

'Let’s find it together.' Try to be more sincere.

Imagine talking to a child.

Be manly.'

'This is better.'

Director Maro approves.

'Thank you for your hard work.'

Just steps away from film's completion.

There is one last thing waiting for Maro.

'Miyazaki also wants to watch.'

Miyazaki wants to see the movie for the first time,

while the trial screening for insiders is underway.

According to his reaction, the work may be significantly revised.

'As a planner, he has the right to deny.'

'There isn't a time Miyazaki doesn't get angry.'

Maro is full of anxiety.

A break off from a rainy season, sunny June 24th.

The day of the preview has finally come.

'Very nervous.'

Including Miyazaki,

a large number of people was asked to watch the movie.

Maro looks a little fidgety.

'I want to run away immediately after the screening,

too afraid to ask others what they might think.'

Miyazaki also walks towards the venue.

'Miyazaki-san's collar stands up.'

'Good morning!'

Miyazaki's and Maro's eyes do not meet.

Maro walks to the screening room.

'The middle is better!'

'Is it OK if I sit here?'

'You sit in front of me!'

It took two people a year and a half to sit here.

Arrietty and Sho's first meeting.

'Sho, where are you?'

The two, gradually attracted to each other.

'Mother!'

Finally comes the scene where Hayao Miyazaki's original intention was greatly changed.

'Let's find her together.'

A nod of determination.

Arrietty's boarding onto Sho's palm.

What are Miyazaki's thoughts?

Comes the movie's climax scene.

'Sho!'

Miyazaki-san sheds a tear.

Miyazaki raises Maro's hand high.

'Really well done!'

'Thanks to everyone, the movie is finally completed.

Thank you very much!'

The face of Maro with all the work past looks very relaxed.

After the screening, Hayao Miyazaki speaks to Maro a word of approval.

'Arrietty's and the boy’s moods are very good.

Finally, the becoming of the director.'

The birth of a new director.

It's been a while since they exchanged their words with smiles.

Hiromasa Yonebayashi known as Maro.

And Hayao Miyazaki-san.

In the days to come

they will go on their own directing paths.

Subtitles by ninep9up.