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Originally aired
August 10, 2010
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This man's making a walk to the movies today.
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'It's the premiere.'
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Before him is a long line.
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On the first day of 'Arrietty the Borrower' screening
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the cinema is overcrowded.
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'Here, eggplant.'
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Not long before, he is surrounded.
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'Can you sketch me Arrietty?'
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'Arrietty, I can't draw well.'
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'Ah, sorry.'
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This man who looks unremarkable at first glance
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is Hiromasa Yonebayashi, the director.
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(Hiromasa Yonebayashi, the director)
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'The Director.'
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Next in line of big brothers
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he is known and fonded by everyone as 'Maro'.
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Maro challenged the position of the director for the first time
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by creating the world of Arrietty.
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'Can you show yourself?'
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The protagonist of the movie, Arrietty,
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is a little girl who lives under a family's house.
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'Do not be afraid.'
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It's both a story of a forbidden love
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and one of a separation.
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So pure.
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After the premiere, Maro's attending the meet-up.
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'This is my first work as a director.
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I’m joyful to see so many hearts touched.
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Thank you all so much.'
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Maro's debut is a big adventure movie.
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Some reason for that is his teacher.
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None other than famous Hayao Miyazaki himself.
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'Take a look.'
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Originally, Maro was an animator.
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Following Miyazaki on his path for over a decade.
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'No charm.
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Think this, there is mural of the God in the Sistine Cathedral
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with his arm stretched forward.'
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'I do not know of one.'
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'One needs to educate.'
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But about a year and a half ago
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Miyazaki all of a sudden appointed him as a director.
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'Miyazaki-san approached me and asked, whether I want to direct.
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I was stuttered.
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How do you propose things like this to someone inexperienced.'
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Sudden promotion.
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Hayao Miyazaki pays Maro no attention.
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'Don't intervene.
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It's my motto in such matters.
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Never point out the next move.'
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'Bad.'
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(Unexpected situations)
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'What happened?'
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'It's too late!'
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(Studio's latest entry)
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'What now?'
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'Is this considered complete?'
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(Directing ability questioned)
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'Uh, not right.'
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'Maro is still a bit reluctant to follow Miyazaki's style.'
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(No successor in line)
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(The master is aging)
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'Getting old.
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Sometimes I can’t see the audience’s faces.'
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(The weight of the director's name)
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'It's all my responsibility, if this fails, I will take blame.'
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'A little harder.
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Those before you drew to the point they couldn’t hold the pencil.
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There's no time to be leisurely and contented.'
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'Well...'
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Maro as a director for the first time.
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Hayao Miyazaki as a guardian.
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Two people in their strive for an ideal.
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This is the story of the 400 days' clash.
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Inside Ghibli's Creation ~400 Days of Clash
Between Hayao Miyazaki and The New Director~
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(A story behind the 'Arrietty' creation)
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It's like you lose yourself
to this incredible world
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when you take look at these pictures.
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Even I seem to be sucked into its story.
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These shots are all from this summer's movie
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'Arietti the Borrower',
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copied straight from the design drafts.
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The protagonist of this movie
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is the little thief who lives under the floor named Arrietty.
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She borrows from humans to maintain a bare minimum
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in this story of little people who steal to live.
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Hayao Miyazaki created 'My Neighbor Totoro', 'Spirited Away',
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many masterpieces that are known all over the world.
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I’ve always liked Hayao Miyazaki’s works since I was a kid.
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A giant long-haired Totoro cat flying to the skies.
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I remember my childhood amazement.
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In 'Kiki's Delivery Service'
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I happened to be about the same age as the girl Kiki.
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I was moved by her courage and how gentle she was.
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Still hard to forget.
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It’s like Hayao Miyazaki’s movies have been growing up with me.
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For this movie, Hayao Miyazaki is in charge of the script.
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And a newcomer called Maro, Hiromasa Yonebayashi, comes as the director.
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(Based on an English Children's Book)
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The first thing the two people started was making the design drafts.
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The design draft is the director’s way of
imagining a whole story through a single picture.
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A sketch which true to the story's atmosphere.
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Hayao Miyazaki and Maro discussed many things
and created these drawings as a framework.
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This is the first Arrietty that Maro came up with:
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It's more child-like than the one in the movie.
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After that, more Arrietties arose.
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Through the pictures' lense character's decisions were considered.
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With the cold and strong Arrietty, for example,
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the story was to be centered around her dying companion.
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Just like this, all kinds of Arrietty were made up.
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Eventually, the story came to be about a girl-thief and a human boy.
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There are many small details in the design drafts.
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For example, this one shows what props the borrower usually uses.
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The contents of the bag and how to use them are all written in detail.
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But although various props are drawn,
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only a few are used in the actual movie.
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Based on piles of these drawings,
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Hayao Miyazaki and Maro created the stunning world of Arrietty.
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Being director and animator throughout their history,
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they are like an old master and an apprentice.
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But the production of this movie
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has shifted their roles.
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The story of a miracle that rejoined two hearts
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starts here.
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Chapter 1. The director's seat.
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A windy day about a year ago.
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Everyone's ready to officially start a film production.
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'Has everything been moved here?'
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'Yes.'
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Maro is Hiromasa Yonebayashi.
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He moved to a special seat.
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This is the director's seat where only the directors can sit.
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Directors of past generations headed by Hayao Miyazaki
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created countless immortal masterpieces here.
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Maro who was originally an animator
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never thought about becoming a director.
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'There is much to do,
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but I can't choose.
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Can't think of anything.'
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Maro first felt the charm of animation production 18 years ago.
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While being a student of the University of Fine Arts
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he worked part-time to create animations for advertisements.
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(Maro in school days)
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The pictures seem move on their own.
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There's interest to be found here.
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(Ads produced by Maro)
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'Picture is an epitome of static,
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but there is life in them.
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It was very fun to make.'
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At that time he saw a movie that changed his life.
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A movie depicting the daily lifes of middle school students first time in love,
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'Whisper of the Heart'.
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Produced by Hayao Miyazaki.
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His outstanding skills of showing an inner world through subtle
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captivated Maro's heart.
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('Whisper of the Heart')
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Longing to make this kind of movie,
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Maro instantly dropped the university
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and joined Studio Ghibli
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to chase his dreams as an animator.
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(Archive footage from 2000)
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Acquiring drawing skills from Miyazaki
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and learning the technology.
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Because of his talent in vivid expressions
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he was commissioned to draw many important scenes in Miyazaki's movies.
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Chihiro's parents addicted to the desire of overeating.
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(The scene Maro took in 'Spirited Away')
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Meeting with Hal and his magical abilities
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and Sophie's confusion.
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('Howl's Moving Castle')
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The excitement of the goldfish marching into the new world.
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('Ponyo on the Cliff')
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'Maro's style has taken shape.
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I felt it profusely while making 'Ponyo'.
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This kid was ready to do animation by himself.'
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From the day Maro moved to the director's seat
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an atmosphere of anxiety spreads among the employees.
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'Are these checked by Miyazaki-san?'
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'No, he does not do any checks.'
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'He doesn't? Really?'
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The reason for that is the storyboard Maro has made.
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Hayao Miyazaki wrote the script this time,
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and Maro drew a storyboard based on it.
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A storyboard is composed of meticulous images,
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bearing a resemblance to movie drafts,
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having a decisive influence on a story's flow.
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Hayao Miyazaki has not seen the storyboard.
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Entrusted it to Maro.
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'I thought, me having to copy that meant
Miyazaki's already greenlit it.
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So it's not how it is, huh?
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That's how.'
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What confused the members more is
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Maro revising Hayao's motive behind the work.
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Turns out Miyazaki considered the theme of his work as
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a spiritual communication between creatures and humans.
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'Arrietty likes young Sho because he is handsome.'
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But Maro went further.
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Setting the theme as a love story between two people.
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What a future holds for this new creation
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the team is unsure.
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(Arietti’s briefing)
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Today the members who are about to participate in the production
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hold a work explanatory meeting.
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'Every day the film crew follows us.'
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Hayao Miyazaki also came.
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Telling everyone his thoughts.
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'Maro came and asked me if I want to check the storyboard.
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I asked him whether he wanted me to, and he answered 'No'.
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So I haven't seen the slightest.'
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'It was you who said 'I don't want to see it!'
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Hayao Miyazaki didn't read the storyboard.
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After this he won’t get involved in film's making.
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'The only greatest responsibility to think of desperately
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is of reaching the highest point.
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I don't know how capable Maro is,
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but to him everything I entrust.
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Regardless of Ghibli's life or death.'
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'This might be an unbearable thing to bear.'
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Producing a masterpiece that costs millions
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is an opportunity rarely given to an inexperienced newcomer.
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Even so, Miyazaki went all-in with his decision.
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'To make matters right, to do what should be done
you put an order to things.
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To be obsessed with little details
is to miss the big picture.
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If it's to happen, I need to act the way I do.
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It seems simple to intervene,
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but holding his hand and letting him follow
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won't make anyone any good.'
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Maro, the challenger of the directorship.
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And Hayao Miyazaki, the deferrer.
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For this pair it's a dense day to start from.
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Hayao Miyazaki made a big promotion.
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In fact, for many years, he's worried about
not having a successor.
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Before that, Miyazaki also promoted many newcomers
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to deliver him a new movie.
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But Miyazaki has strict requirements,
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being involved in film productions for years.
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'Newcomers are put under a lot of pressure.
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But actually it's me who's thriving the most,
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judging whether a person is worthy,
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giving them a chance to step up, if I can.
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I've had my own setbacks in this matter.'
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69 years old.
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In his search for successors,
aging pressures Miyazaki even more.
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'What a highschooler me would think looking at this?
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Can't imagine.
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Getting old.
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Sometimes I can’t see the audience’s faces clearly.'
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There's not gonna be another director,
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that's what Miyazaki thinks.
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At this time, the frames' production has started.
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Relying to the storyboards made by Maro,
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animators draw pictures that's gonna go on-screen.
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Every picture has to be analyzed and modified.
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This is also a part of the director's job.
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Maro feels distressed this day.
257
00:21:09,850 --> 00:21:12,100
'Uh, not right.'
258
00:21:13,480 --> 00:21:19,240
Arrietty, who is new to humans, comes to get her tools,
259
00:21:20,710 --> 00:21:23,540
feeling amazed.
260
00:21:25,280 --> 00:21:27,950
'Yes.'
261
00:21:31,050 --> 00:21:33,320
That's an animator's depiction of Arrietty's face.
262
00:21:34,090 --> 00:21:36,910
Maro thinks it's too ordinary.
263
00:21:40,570 --> 00:21:44,810
He feels he wants the picture to show a stronger joy.
264
00:21:49,230 --> 00:21:54,880
'A little uplift of the hair means she's in a good mood.
265
00:21:55,080 --> 00:21:57,960
If handled right,
266
00:21:58,270 --> 00:22:02,160
it should come as an interesting shot.'
267
00:22:06,570 --> 00:22:08,230
Eyes and mouth open at the same time.
268
00:22:09,050 --> 00:22:12,950
The hair also moves, making the joy more intense.
269
00:22:17,080 --> 00:22:19,400
'The energy bursting out of the body.
270
00:22:19,620 --> 00:22:23,090
It’s impossible not to show it onscreen.
271
00:22:23,270 --> 00:22:27,580
If you don’t understand the mood of your character, you can’t draw it.'
272
00:22:37,420 --> 00:22:39,480
Maro with his stellar drawing skills
273
00:22:41,160 --> 00:22:46,150
encountered a big directing challenge this day.
274
00:22:52,100 --> 00:22:53,820
4 months after starting the production,
275
00:22:57,700 --> 00:23:00,430
the team checks the completed reel.
276
00:23:02,320 --> 00:23:05,570
'Arrietty’s first broadcast, everyone.'
277
00:23:08,400 --> 00:23:11,240
Animators, directors, background artists,
278
00:23:11,630 --> 00:23:13,550
the main staff are all gathered together.
279
00:23:20,610 --> 00:23:22,830
There is a problem with one part of the reel.
280
00:23:27,790 --> 00:23:31,500
A 13-second shot depicting the courtyard where Arrietty lives.
281
00:23:33,510 --> 00:23:36,600
It's an important fragment to establish an underlying worldview.
282
00:23:43,260 --> 00:23:45,890
After watching it, the atmosphere becomes solemn.
283
00:23:57,320 --> 00:24:01,130
As a director, Maro can't decide, whether it's good or not.
284
00:24:03,520 --> 00:24:06,290
'Yeah, no way.'
285
00:24:11,410 --> 00:24:12,380
Another take.
286
00:24:19,270 --> 00:24:20,700
'Yeah, that's it.'
287
00:24:23,590 --> 00:24:26,290
Feeling something's aloof, one needs to pinpoint it.
288
00:24:32,880 --> 00:24:34,850
'Does this work?'
289
00:24:36,770 --> 00:24:40,490
Producer Toshio Suzuki has his questions.
290
00:24:48,030 --> 00:24:51,730
'What are your thoughts, Takeshige-san?'
291
00:24:52,480 --> 00:24:56,950
'The picture appears commonplace.
292
00:24:57,620 --> 00:25:07,080
Grass, land and stones make it look boring.'
293
00:25:09,130 --> 00:25:13,250
'Still have to modify it.'
294
00:25:15,970 --> 00:25:19,780
Maro can only think of asking old members for advice.
295
00:25:27,390 --> 00:25:31,530
'I can't take part in this.'
296
00:25:32,970 --> 00:25:36,050
Decide everything and take responsibility.
This is what directing is about.
297
00:25:38,510 --> 00:25:40,900
Maro's sensing deep harshness.
298
00:25:58,950 --> 00:26:03,660
Miyazaki has always cared about Maro.
299
00:26:10,580 --> 00:26:16,060
Since September, he moved to a place where he can see the director’s seat.
300
00:26:16,280 --> 00:26:17,770
Starting his own project.
301
00:26:20,250 --> 00:26:22,290
'No idea what's it gonna be.'
302
00:26:25,360 --> 00:26:27,990
But he didn't even greeted Maro.
303
00:26:32,830 --> 00:26:37,870
'It felt cold when he didn't say a word,
though deep down I know,
304
00:26:38,030 --> 00:26:41,320
he still has a lot.'
305
00:26:43,030 --> 00:26:45,160
'I try not to visit him.
306
00:26:45,820 --> 00:26:51,370
When I was a director myself, seniors would
be unhappy if I pointed at them.
307
00:26:53,330 --> 00:26:58,230
Maybe there are some who want others' help.
308
00:26:58,410 --> 00:27:00,570
But that's because they are not strong enough.'
309
00:27:08,300 --> 00:27:12,060
Maro and Miyazaki keep their distance from each other.
310
00:27:15,070 --> 00:27:17,650
Spending each day in all pretty much but silence.
311
00:27:43,550 --> 00:27:46,030
Movie 'Arrietty the Borrower'.
312
00:27:46,660 --> 00:27:51,850
It depicts the story of a little thief girl
and a human boy meeting and separating.
313
00:27:53,460 --> 00:27:55,290
Maro, the newly appointed director,
314
00:27:56,530 --> 00:28:02,530
is particularly concerned about how to transcribe the mood of a girl
attracted by a teenage boy.
315
00:28:05,390 --> 00:28:10,320
For example, take the scene where Arrietty is talked to by a boy
for the first time.
316
00:28:15,500 --> 00:28:17,450
It's late at night, the humans are long asleep,
317
00:28:17,690 --> 00:28:19,420
Arrietty sets off with her dad,
318
00:28:25,790 --> 00:28:29,700
but being inadvertently seen by a boy makes her stop.
319
00:28:05,390 --> 00:28:29,700
(A fragment of 4 seconds, dissected)
320
00:28:32,090 --> 00:28:37,950
'I saw you in the yard today.'
321
00:28:40,710 --> 00:28:43,840
What Maro cares about is the scene after this.
322
00:28:45,540 --> 00:28:49,830
Even though Arrietty was caught by the boy,
she's still determined to leave.
323
00:28:55,690 --> 00:29:00,180
Thorn apart by the rules of a secrecy
and the great feeling for the boy,
324
00:29:01,400 --> 00:29:06,350
Arrietty’s complex mood's brilliantly
estabilished in a fragrance.
325
00:29:12,440 --> 00:29:19,750
The subtle psychological changes are seen on Arrietty
in this scene upon her return to dad.
326
00:29:20,490 --> 00:29:22,680
With only 4 seconds,
327
00:29:25,910 --> 00:29:29,740
it took 32 drawings to show it.
328
00:29:34,160 --> 00:29:39,490
The key to grasping the mood is these 6 key frames.
329
00:29:42,020 --> 00:29:46,450
As the director, Maro asked the animator to draw original frames,
330
00:29:46,860 --> 00:29:50,410
checked them and made changes.
331
00:29:53,590 --> 00:29:56,530
This is the originals drawn by the animator.
332
00:29:58,640 --> 00:30:02,470
Arrietty just turns around to leave.
333
00:30:06,390 --> 00:30:13,050
But Maro thinks that Arrietty’s
complicated mood should be emphasized.
334
00:30:15,060 --> 00:30:20,570
On this shot Maro drew over and added notes.
335
00:30:22,900 --> 00:30:30,870
Maro thinks that Arrietty's heart is still there, but she needs to turn away.
336
00:30:31,040 --> 00:30:32,630
Here's the modified version.
337
00:30:37,840 --> 00:30:40,940
Firstly, the moment when Arrietty turns,
338
00:30:42,530 --> 00:30:49,530
the hair is still facing the direction of the boy.
339
00:30:53,020 --> 00:30:54,900
Then this next moment,
340
00:30:55,320 --> 00:30:58,240
a melancholy is added that tightens the jaw
341
00:30:58,630 --> 00:31:02,640
to highlight Arrietty’s complicated feelings.
342
00:31:07,630 --> 00:31:11,470
Please see the edited fragment.
343
00:31:15,560 --> 00:31:21,710
With the help of these subtle movements, the kind of
being attracted by but needing to leave,
344
00:31:21,910 --> 00:31:24,940
Arrietty’s complicated feelings are reflected.
345
00:31:38,070 --> 00:31:42,520
Characters in this scene convey their mood through expressions and actions.
346
00:31:43,160 --> 00:31:46,550
Maro calls it "acting".
347
00:31:48,130 --> 00:31:50,050
It's because of his acting talent,
348
00:31:50,370 --> 00:31:54,530
Maro was promoted to be the director.
349
00:31:56,460 --> 00:32:06,460
But now he has to face the harshness of the
directorship that he has never imagined.
350
00:32:10,620 --> 00:32:18,110
Chapter 2. The weight of the name.
351
00:32:21,470 --> 00:32:25,760
The end of 2009, 7 months before the release.
352
00:32:29,490 --> 00:32:31,510
'Now, this is terrible.'
353
00:32:33,600 --> 00:32:37,280
A presentation of 'Arrietty the Borrower is held.
354
00:32:39,350 --> 00:32:42,750
With only but the producer Toshio Suzuki making a stand.
355
00:32:44,510 --> 00:32:47,510
Director Maro did not show up.
356
00:32:51,630 --> 00:32:55,440
'What place Yonebayashi-san has in Suzuki-san's heart?'
357
00:32:55,750 --> 00:32:59,180
'As an animator, Maro is the best in Ghibli.
358
00:32:59,440 --> 00:33:04,070
I won’t lose face on the world stage.
359
00:33:04,230 --> 00:33:07,960
But is he an excellent film director?
360
00:33:08,100 --> 00:33:10,040
This is yet unknown.'
361
00:33:11,920 --> 00:33:15,540
Suzuki-san continues to abrupt any unfounded critique.
362
00:33:19,190 --> 00:33:22,670
'To what percent has movie been made by now?'
363
00:33:22,850 --> 00:33:26,100
'Vague answer, we aren't slowing down.
364
00:33:26,380 --> 00:33:28,090
Now I'm in trouble.'
365
00:33:31,550 --> 00:33:32,790
Seriously behind schedule,
366
00:33:33,730 --> 00:33:37,320
this time around, it already threatens the summer release.
367
00:33:42,910 --> 00:33:47,370
Maro didn’t come to the presentation. What are Suzuki's thoughts?
368
00:33:48,720 --> 00:33:52,170
'Let not the young director appear before the film is finished.'
369
00:33:52,400 --> 00:33:54,040
'Yeah, basically.
370
00:33:54,260 --> 00:33:56,480
No use wandering around in that place.
371
00:33:56,630 --> 00:34:00,130
Better off drawing another frame.'
372
00:34:07,170 --> 00:34:10,830
At this moment, Maro's still baffled.
373
00:34:14,950 --> 00:34:17,660
To find inspiration this day
374
00:34:17,900 --> 00:34:21,030
he's come to the creek near the studio.
375
00:34:25,230 --> 00:34:27,640
'A bit boring.
376
00:34:28,590 --> 00:34:30,840
Seems to be better here.'
377
00:34:33,060 --> 00:34:36,600
How does the human world appear in Arrietty's eyes?
378
00:34:42,190 --> 00:34:44,370
'Like this.
379
00:34:45,350 --> 00:34:50,600
Arrietty's world should seem similar to that.'
380
00:34:56,320 --> 00:35:00,520
Never compromise Maro's meticulous creation fever.
381
00:35:03,720 --> 00:35:07,050
But this attitude also slows down the progress.
382
00:35:14,110 --> 00:35:16,860
'December will pass in a blink of an eye.
383
00:35:17,010 --> 00:35:19,980
Nothing fun about it, is it?'
384
00:35:26,110 --> 00:35:29,950
Maro's inspection of the originals did not reach the expected progress.
385
00:35:34,470 --> 00:35:36,740
The goal is 5 shots a day.
386
00:35:37,160 --> 00:35:40,430
In reality, only 3 completed, at best.
387
00:35:46,450 --> 00:35:48,170
In order to make the film production enter the best state,
388
00:35:48,530 --> 00:35:51,420
Maro's work as a director has to become more arduous.
389
00:35:56,390 --> 00:35:59,520
Animation go-throughs.
390
00:36:04,030 --> 00:36:06,080
Background and color check-ups.
391
00:36:09,990 --> 00:36:13,770
Come the trial screenings of the completed reels, one after another.
392
00:36:17,240 --> 00:36:19,740
'Looks pretty good.'
393
00:36:23,050 --> 00:36:24,250
In order to catch up,
394
00:36:24,880 --> 00:36:27,090
Maro silently modifies the originals.
395
00:36:31,950 --> 00:36:34,310
'This is so hard.'
396
00:36:38,180 --> 00:36:41,890
The director personally makes a thorough revision of the original frames.
397
00:36:44,130 --> 00:36:49,220
This is a unique approach that Miyazaki implements.
398
00:36:52,340 --> 00:36:56,230
'Hayao Miyazaki himself is a powerful animator,
399
00:36:56,380 --> 00:36:59,080
able to draw a lot by himself.'
400
00:37:00,370 --> 00:37:03,250
But in the pursuit for the ultimate motions,
401
00:37:04,160 --> 00:37:06,090
the number of frames to modify has also risen sharply.
402
00:37:11,540 --> 00:37:15,770
Maro wants to portray the moods of the characters in their fullest.
403
00:37:17,350 --> 00:37:19,720
To do so, he insisted on revising the originals himself.
404
00:37:25,520 --> 00:37:27,340
'The previous scene has this same expression.
405
00:37:27,490 --> 00:37:30,750
The next one should not have that expression, right?
406
00:37:30,930 --> 00:37:38,040
I think the flow of the story is also the flow of the
characters' psychological transformations.
407
00:37:38,230 --> 00:37:40,920
Thus, I have to do this well.'
408
00:37:47,810 --> 00:37:50,820
The new year is approaching, December 30th.
409
00:37:54,870 --> 00:37:56,760
In the empty corner of the room
410
00:37:57,020 --> 00:37:59,740
Maro is still sitting in the director's seat.
411
00:38:08,330 --> 00:38:10,910
Checking of the originals accumulated.
412
00:38:13,320 --> 00:38:14,550
'You coming tomorrow, Maro?'
413
00:38:14,770 --> 00:38:15,380
'Yeah.'
414
00:38:15,580 --> 00:38:16,310
'Still at it?'
415
00:38:16,440 --> 00:38:17,480
'Right.
416
00:38:18,000 --> 00:38:20,180
I plan to come home before 12.
417
00:38:20,350 --> 00:38:23,630
Don't want to listen to New Year's bells in here.'
418
00:38:29,020 --> 00:38:31,730
'Happy New Year!'
419
00:38:33,950 --> 00:38:36,020
Working the New Year's Eve tomorrow,
420
00:38:37,950 --> 00:38:40,180
Maro's exhaustion great as ever.
421
00:38:51,500 --> 00:38:53,780
January 2010.
422
00:38:54,900 --> 00:38:56,080
'Please take care this year.'
423
00:38:56,250 --> 00:38:57,460
'Please take care.'
424
00:38:58,590 --> 00:39:01,310
Maro continues to work from the 3rd.
425
00:39:05,380 --> 00:39:07,060
'Rash.
426
00:39:07,600 --> 00:39:09,640
All over the skin.'
427
00:39:10,240 --> 00:39:12,860
Perhaps the intense stress caused it.
428
00:39:14,640 --> 00:39:16,280
'Is it all right?'
429
00:39:16,540 --> 00:39:18,240
'It hurts.
430
00:39:19,820 --> 00:39:21,900
Tingling.'
431
00:39:25,860 --> 00:39:29,380
The next day, producer Suzuki called Maro over.
432
00:39:33,740 --> 00:39:37,200
'How is the rash?'
433
00:39:38,110 --> 00:39:40,070
To resolve the problem of delays,
434
00:39:40,260 --> 00:39:43,200
advice on improving the workflow is given.
435
00:39:47,490 --> 00:39:53,360
'After all, you are planning on increasing productivity, aren't you? There are things matter and those that don't.
436
00:39:53,860 --> 00:39:57,220
To my mind, work needs to be focused.'
437
00:39:58,290 --> 00:40:00,760
Differentiating key points according to their importance.
438
00:40:01,300 --> 00:40:04,790
Indicating the movie will not be in time without prioritizing certain things.
439
00:40:08,850 --> 00:40:12,390
'Things being difficult so far.
440
00:40:12,550 --> 00:40:17,000
I know I shouldn’t say this and I didn’t tell him.
441
00:40:17,190 --> 00:40:20,730
But this is the first time so behind the schedule.'
442
00:40:27,130 --> 00:40:30,380
This day (February 24th) another incident happened.
443
00:40:33,180 --> 00:40:35,130
'Please take care.'
444
00:40:38,260 --> 00:40:42,330
The editing staff pointed out a mistake no one expected.
445
00:40:46,580 --> 00:40:49,980
'Viewers may still notice.'
446
00:40:50,720 --> 00:40:55,470
The incoherent movement of the characters is called out during the cut.
447
00:41:02,300 --> 00:41:03,290
This is the scene that went wrong.
448
00:41:05,330 --> 00:41:07,870
Arrietty's dad climbs up the ladder.
449
00:41:09,490 --> 00:41:15,480
But the next shot, all of a sudden, shows him already on his feet as if he's teleported.
450
00:41:18,680 --> 00:41:22,420
A low-grade mistake like that wasn't discovered by checks.
451
00:41:30,220 --> 00:41:32,150
'Well...'
452
00:41:35,740 --> 00:41:37,930
Stepping into the human world for the first time,
453
00:41:38,600 --> 00:41:40,260
Arrietty's filled with excitement.
454
00:41:42,540 --> 00:41:46,080
This reel's gonna destroy that feeling.
455
00:41:53,100 --> 00:41:55,470
'Additional fragment is needed.'
456
00:41:55,670 --> 00:41:59,100
'A shot of Arrietty climbing a ladder, for example.'
457
00:41:59,970 --> 00:42:03,120
Maro offered to add a new cut-in.
458
00:42:05,370 --> 00:42:07,460
'This is also a gamble.'
459
00:42:08,560 --> 00:42:12,370
With deadlines long overdue and numeral shot corrections,
460
00:42:14,850 --> 00:42:19,570
Maro, as a director, decided to draw that part himself.
461
00:42:33,860 --> 00:42:35,510
A year since a sudden promotion.
462
00:42:39,130 --> 00:42:43,320
Maro is under the weight of the director's name.
463
00:42:50,180 --> 00:42:51,690
Standing up against challenges.
464
00:42:53,010 --> 00:42:54,380
Living a lonely life.
465
00:42:59,130 --> 00:43:03,310
'It's all my responsibility, if I fail, I will be fully responsible.
466
00:43:04,170 --> 00:43:09,250
Not only I'm doing this,
467
00:43:10,720 --> 00:43:18,160
I have to be sure it ends up being as interesting as it can be.'
468
00:43:28,510 --> 00:43:32,480
The next day, Maro begins solving the problematic scene.
469
00:43:36,820 --> 00:43:42,210
Inserted is the shot of Arrietty climbing up the ladder with excitement.
470
00:43:44,980 --> 00:43:47,690
'My heart thumps.'
471
00:43:48,640 --> 00:43:53,260
How do body movements that overcome gravity look like?
472
00:44:00,020 --> 00:44:02,780
'Let her let go of her right hand now.'
473
00:44:03,780 --> 00:44:08,360
It'd take a few days for a usual animator to analyze this action.
474
00:44:08,530 --> 00:44:09,840
It's a very difficult shot.
475
00:44:15,680 --> 00:44:18,880
Maro, with his top-class animator arm,
476
00:44:22,240 --> 00:44:24,620
fills the paper with imposing drafts.
477
00:44:31,690 --> 00:44:34,600
Validating the shots on the computer right after.
478
00:44:42,770 --> 00:44:46,340
'It feels light.'
479
00:44:49,040 --> 00:44:51,010
Then proceeding to modify.
480
00:45:09,850 --> 00:45:13,600
Hayao Miyazaki also heard of a sudden accident.
481
00:45:18,870 --> 00:45:23,180
He came to Maro who is immersed in his drawings.
482
00:45:30,410 --> 00:45:33,790
Although he keeps looking at him, he still doesn't address him.
483
00:45:44,850 --> 00:45:50,710
In the past few months, Miyazaki has been keeping his distance from Maro.
484
00:45:56,590 --> 00:45:58,350
It's easy to intervene,
485
00:46:01,150 --> 00:46:06,100
but doing so won't make Maro become a real director.
486
00:46:09,540 --> 00:46:12,200
Hayao Miyazaki is also fighting.
487
00:46:17,470 --> 00:46:21,090
'This is my temperance, never point fingers.
488
00:46:21,990 --> 00:46:24,730
He won't know how much endurance is required.
489
00:46:24,880 --> 00:46:28,200
The director is the one who makes the final decision.
490
00:46:30,530 --> 00:46:34,020
So I can't intervene.'
491
00:46:40,510 --> 00:46:43,750
It took Maro 6 hours to finally complete the cut.
492
00:46:48,260 --> 00:46:50,140
'Yes, pretty good.'
493
00:46:53,360 --> 00:46:57,300
The road to pursuing the dream is rugged.
494
00:47:00,230 --> 00:47:04,290
Even so, Maro has always reached the destination.
495
00:47:27,480 --> 00:47:33,300
It is difficult and distressing to entrust things to others.
496
00:47:36,520 --> 00:47:43,160
Hayao Miyazaki chose Maro to challenge the director's seat.
497
00:47:44,600 --> 00:47:46,590
But behind this decision
498
00:47:46,780 --> 00:47:51,660
lies a bitter memory from 12 years ago.
499
00:47:58,710 --> 00:48:04,870
Chapter 3. The Death of the Companion That Cannot Be Forgotten.
500
00:48:08,750 --> 00:48:11,250
Director's seat in a corner of Studio Ghibli.
501
00:48:14,150 --> 00:48:20,690
There once sitted a man Hayao Miyazaki treasured in the past.
502
00:48:25,260 --> 00:48:31,650
Yoshifumi Kondo, the animator who died 12 years ago is always remembered by everyone.
503
00:48:40,600 --> 00:48:44,340
Originally, Miyazaki and Kondo worked together in A Production company.
504
00:48:44,610 --> 00:48:47,570
A senior and a junior animators sitting next to each other.
505
00:48:52,700 --> 00:48:57,380
Hayao Miyazaki called Kondo, who was 10 years younger than him, Kon-chan.
506
00:48:57,680 --> 00:48:59,030
Kept following him.
507
00:49:06,080 --> 00:49:09,090
At that time, Miyazaki-san and Kondo-san made an agreement.
508
00:49:14,700 --> 00:49:18,230
If they were to make a movie with a theme that Kon-chan liked,
509
00:49:21,480 --> 00:49:25,840
Miyazaki was to be a producer and Kon-chan a director.
510
00:49:32,310 --> 00:49:36,650
Then Kondo began to emerge as an animator.
511
00:49:39,090 --> 00:49:41,020
'Grave of the Fireflies' he worked on
512
00:49:21,480 --> 00:49:41,020
('Grave of the Fireflies')
513
00:49:41,620 --> 00:49:46,630
that depicts a sad story of the little siblings depending on each other
514
00:49:46,800 --> 00:49:48,410
received a high praise.
515
00:49:58,200 --> 00:50:02,620
Miyazaki, on the other hand, has greatly consolidated his position as a director.
516
00:50:04,680 --> 00:50:10,420
Inviting Kondo to produce a new movie,
517
00:50:17,440 --> 00:50:21,650
Miyazaki appointed him as the animation director for 'Kiki's Delivery Service'
518
00:50:22,320 --> 00:50:23,750
to be responsible for the art design.
519
00:50:17,440 --> 00:50:23,750
('Kiki's Delivery Service')
520
00:50:32,820 --> 00:50:34,350
For the last scene in 'Porco Rosso',
521
00:50:35,380 --> 00:50:39,260
the protagonist Porco's duel scene, Kondo was also in charge.
522
00:50:32,820 --> 00:50:39,260
('Porco Rosso')
523
00:50:47,960 --> 00:50:52,130
Then came a day Hayao Miyazaki promoted Kondo to be the director,
524
00:50:53,180 --> 00:50:54,840
fulfilling the promise made when they were young.
525
00:50:59,390 --> 00:51:01,790
But after starting the movie production,
526
00:51:02,170 --> 00:51:04,330
the relationship between the two took a turn for the worse.
527
00:51:09,410 --> 00:51:11,890
Hayao Miyazaki began to give advice.
528
00:51:12,750 --> 00:51:15,060
Starting one clash with Kondo after another.
529
00:51:17,120 --> 00:51:20,840
Cornering for substantial changes.
530
00:51:27,890 --> 00:51:31,420
The result of disputes between the two
531
00:51:32,100 --> 00:51:35,110
won the No.1 box office record for Japanese domestic movies that year.
532
00:51:44,170 --> 00:51:46,990
But overwhelmingly heavy tasks
533
00:51:47,220 --> 00:51:52,220
were quietly eroding Kondo's body, who was already weak.
534
00:51:58,050 --> 00:51:59,360
2 years after the film's completion,
535
00:52:00,250 --> 00:52:04,990
Kondo was knocked down by illness and died young at 47.
536
00:52:12,280 --> 00:52:15,370
'He aged fast after finishing that movie.
537
00:52:15,540 --> 00:52:19,920
Rapidly declining and passing away at the age of 47.
538
00:52:27,350 --> 00:52:34,310
That's why I'm not crossing the river yet,
death has overcharged for that ferry.
539
00:52:40,900 --> 00:52:42,190
It is a pity.'
540
00:52:52,280 --> 00:52:57,070
Acknowledging Kondo's talent to anger with him as the director.
541
00:53:00,040 --> 00:53:05,580
This death is like a thorn that cannot be pulled out of Miyazaki's heart.
542
00:53:27,500 --> 00:53:33,120
The passing of the companion who has made many films with him.
543
00:53:36,100 --> 00:53:39,180
Miyazaki-san said, a crossing of the river.
544
00:53:39,850 --> 00:53:44,650
Can't help but make you feel a magnificence of the director's part.
545
00:53:47,770 --> 00:53:48,850
10 years since then
546
00:53:49,830 --> 00:53:56,760
Miyazaki-san once again promoted a newcomer because of his appreciation for the talent.
547
00:53:59,800 --> 00:54:03,930
This time, Hayao Miyazaki is alienating Maro on purpose.
548
00:54:04,430 --> 00:54:06,140
Keeping things silent.
549
00:54:09,060 --> 00:54:13,320
While Maro also devotes himself to the film production,
550
00:54:13,620 --> 00:54:16,010
returning Miyazaki a satisfaction he yearns for.
551
00:54:18,520 --> 00:54:21,740
But the final stage of the film production
552
00:54:22,080 --> 00:54:26,080
is gonna cause a huge shift to the pair's beliefs.
553
00:54:31,890 --> 00:54:38,860
Chapter 4. The final stretch.
554
00:54:43,530 --> 00:54:45,110
Final days of the production.
555
00:54:48,010 --> 00:54:51,770
Hayao Miyazaki, who has been silent, starts to act.
556
00:54:56,950 --> 00:54:58,660
'Miyazaki-san has been glancing behind me.
557
00:54:58,970 --> 00:55:00,460
This kid, I just can't understand.
558
00:55:00,630 --> 00:55:02,700
Just said that thing and left.'
559
00:55:06,160 --> 00:55:07,940
Speaking of the scene's shots,
560
00:55:08,590 --> 00:55:11,030
Miyazaki feels something is wrong.
561
00:55:16,250 --> 00:55:18,510
'That's it.'
562
00:55:21,100 --> 00:55:24,040
Arrietty's mother is caught by men.
563
00:55:27,250 --> 00:55:30,800
And in the scene Arrietty steps onto the shoulder to rescue her.
564
00:55:38,520 --> 00:55:41,570
'Miyazaki's not fond of the idea of climbing into human hands.
565
00:55:41,800 --> 00:55:47,600
She's almost like a doll when held.'
566
00:55:49,150 --> 00:55:51,550
What Miyazaki is worried about is that if she gets on the palm
567
00:55:52,060 --> 00:55:55,630
it will destroy the equal relationship between Arrietty and Sho.
568
00:55:59,930 --> 00:56:03,530
But Maro has a different opinion.
569
00:56:06,420 --> 00:56:09,360
'Giving a hand without a second thought,
570
00:56:09,570 --> 00:56:13,350
reaching out to Arrietty who is crying in trouble.
571
00:56:13,530 --> 00:56:18,560
I'm trying to find out what's wrong with it.'
572
00:56:21,540 --> 00:56:23,280
Although he understands Miyazaki’s concerns,
573
00:56:25,280 --> 00:56:30,090
Maro has a gut feeling that his idea is right.
574
00:56:32,580 --> 00:56:34,170
'Well...'
575
00:56:36,370 --> 00:56:39,780
Expressing the mood of two people attracted to each other
576
00:56:40,020 --> 00:56:42,320
is still lacking.
577
00:56:56,090 --> 00:56:58,950
It doesn’t matter to Maro if it's Sunday,
578
00:56:59,580 --> 00:57:01,730
he's working up late at night in the director's seat.
579
00:57:09,380 --> 00:57:11,950
Miyazaki's senior remark to the new director
580
00:57:13,030 --> 00:57:14,970
caused a lot of oscillations in his heart.
581
00:57:30,100 --> 00:57:33,330
'OK, shall continue tomorrow.
582
00:57:39,220 --> 00:57:44,420
That scene, gonna ask Sho about that scene.
583
00:58:09,620 --> 00:58:15,880
I always do that when it happens. Thought, it'd be interesting.
584
00:58:16,050 --> 00:58:19,620
No choice but this.'
585
00:58:31,320 --> 00:58:33,140
'Let's do it.'
586
00:58:34,810 --> 00:58:37,750
A week later, Maro starts to act.
587
00:58:41,990 --> 00:58:46,640
'This is the shot before Arrietty steps on the palm.'
588
00:58:49,520 --> 00:58:55,010
Maro decides to add a new motion before Arrietty gets into the hand.
589
00:59:02,100 --> 00:59:08,230
Maro's original idea was that Arrietty just wipes her
tears before stepping up.
590
00:59:13,230 --> 00:59:15,090
'Highlight the mood.'
591
00:59:18,130 --> 00:59:24,480
Having to emphasize the notion that Arrietty has
made up her mind of boarding Sho's palm,
592
00:59:31,600 --> 00:59:34,650
after she wipes her tears, another expression is added:
593
00:59:38,870 --> 00:59:40,600
a nod of determination.
594
00:59:45,180 --> 00:59:49,010
'Still have to show Arrietty's will,
595
00:59:49,170 --> 00:59:52,250
invited by Sho's gentle voice.
596
00:59:52,410 --> 00:59:55,100
Various complex moods intertwine
597
00:59:55,300 --> 00:59:57,680
resolving finally into her taking the step.'
598
01:00:05,920 --> 01:00:08,410
Going against Miyazaki's story policy,
599
01:00:12,450 --> 01:00:14,690
Maro affirms himself.
600
01:00:18,780 --> 01:00:21,050
'Looks plausible.'
601
01:00:32,330 --> 01:00:35,240
The deadline for the originals is in 3 weeks.
602
01:00:41,440 --> 01:00:45,100
Maro feels a great load of pressure.
603
01:00:53,290 --> 01:00:54,850
Even talks less.
604
01:01:08,250 --> 01:01:11,530
The changes in Maro can also be felt by Miyazaki.
605
01:01:18,300 --> 01:01:23,140
'Feels like diarrhea. Well, that's an impression it's grown to.'
606
01:01:31,620 --> 01:01:36,410
Miyazaki intentionally kept his distance from Maro this year.
607
01:01:41,870 --> 01:01:43,990
While Maro has reached the limit of his energy and stamina.
608
01:01:48,120 --> 01:01:52,550
Miyazaki knows better than anyone that this is the most painful time.
609
01:02:07,590 --> 01:02:09,860
The last critical moment.
610
01:02:17,000 --> 01:02:20,310
Miyazaki's slowly walking up to Maro.
611
01:02:24,390 --> 01:02:29,000
'There are a lot less flowers. There used to be a flower shop here.
612
01:02:31,980 --> 01:02:34,880
The yellow house on the opposite side. It seems so faint.'
613
01:02:35,050 --> 01:02:37,300
'It's getting lighter.'
614
01:02:37,490 --> 01:02:40,050
'It used to be bright yellow, lemon yellow!'
615
01:02:41,830 --> 01:02:47,630
The topic they are discussing is the scenery seen from the director’s seat for years.
616
01:02:56,040 --> 01:02:59,800
'There's no one besides us, so let this guy do it.
617
01:02:59,950 --> 01:03:02,140
Let him take charge.
618
01:03:04,670 --> 01:03:09,120
His knees aren't broken yet.'
619
01:03:11,750 --> 01:03:17,070
After that, Maro completed all the drawings as planned.
620
01:03:31,900 --> 01:03:35,150
'Please take care.'
621
01:03:36,650 --> 01:03:40,940
May. Works on the movie enter post-production phase.
622
01:03:41,610 --> 01:03:42,840
The dubbing begins.
623
01:03:50,990 --> 01:03:54,270
That day, conversations between Sho and Arrietty are recorded.
624
01:03:57,930 --> 01:04:00,430
'I don't know how to match it.'
625
01:04:00,590 --> 01:04:03,090
'Try changing it slightly.'
626
01:04:08,880 --> 01:04:13,270
The scene is near the end, with Maro reaching out to Arrietty.
627
01:04:17,490 --> 01:04:18,670
'Let's find her together.'
628
01:04:20,600 --> 01:04:22,440
Speaking also has its requirements.
629
01:04:28,180 --> 01:04:30,680
'Let’s find it together.' Try to be more sincere.
630
01:04:30,840 --> 01:04:33,740
Imagine talking to a child.
631
01:04:37,990 --> 01:04:39,800
Be manly.'
632
01:04:52,970 --> 01:04:55,140
'This is better.'
633
01:04:55,570 --> 01:04:58,540
Director Maro approves.
634
01:05:00,880 --> 01:05:02,670
'Thank you for your hard work.'
635
01:05:08,480 --> 01:05:12,230
Just steps away from film's completion.
636
01:05:18,080 --> 01:05:22,940
There is one last thing waiting for Maro.
637
01:05:26,040 --> 01:05:28,490
'Miyazaki also wants to watch.'
638
01:05:28,700 --> 01:05:30,400
Miyazaki wants to see the movie for the first time,
639
01:05:30,990 --> 01:05:33,080
while the trial screening for insiders is underway.
640
01:05:36,950 --> 01:05:41,040
According to his reaction, the work may be significantly revised.
641
01:05:44,500 --> 01:05:47,700
'As a planner, he has the right to deny.'
642
01:05:48,110 --> 01:05:52,330
'There isn't a time Miyazaki doesn't get angry.'
643
01:05:55,260 --> 01:05:57,740
Maro is full of anxiety.
644
01:06:13,910 --> 01:06:17,690
A break off from a rainy season, sunny June 24th.
645
01:06:25,910 --> 01:06:28,670
The day of the preview has finally come.
646
01:06:33,360 --> 01:06:34,740
'Very nervous.'
647
01:06:35,010 --> 01:06:36,540
Including Miyazaki,
648
01:06:36,790 --> 01:06:39,790
a large number of people was asked to watch the movie.
649
01:06:44,380 --> 01:06:46,980
Maro looks a little fidgety.
650
01:06:53,810 --> 01:06:57,590
'I want to run away immediately after the screening,
651
01:06:57,960 --> 01:07:02,850
too afraid to ask others what they might think.'
652
01:07:05,790 --> 01:07:07,640
Miyazaki also walks towards the venue.
653
01:07:12,820 --> 01:07:16,230
'Miyazaki-san's collar stands up.'
654
01:07:19,480 --> 01:07:22,690
'Good morning!'
655
01:07:32,320 --> 01:07:34,770
Miyazaki's and Maro's eyes do not meet.
656
01:07:44,020 --> 01:07:45,410
Maro walks to the screening room.
657
01:07:51,140 --> 01:07:52,340
'The middle is better!'
658
01:07:53,460 --> 01:07:55,470
'Is it OK if I sit here?'
659
01:07:55,630 --> 01:07:59,980
'You sit in front of me!'
660
01:08:13,360 --> 01:08:17,550
It took two people a year and a half to sit here.
661
01:08:29,420 --> 01:08:30,900
Arrietty and Sho's first meeting.
662
01:08:31,750 --> 01:08:33,980
'Sho, where are you?'
663
01:08:41,500 --> 01:08:42,900
The two, gradually attracted to each other.
664
01:08:47,350 --> 01:08:48,460
'Mother!'
665
01:08:50,580 --> 01:08:55,910
Finally comes the scene where Hayao Miyazaki's original intention was greatly changed.
666
01:08:59,150 --> 01:09:00,570
'Let's find her together.'
667
01:09:04,040 --> 01:09:05,790
A nod of determination.
668
01:09:08,470 --> 01:09:12,150
Arrietty's boarding onto Sho's palm.
669
01:09:23,660 --> 01:09:25,920
What are Miyazaki's thoughts?
670
01:09:43,170 --> 01:09:47,690
Comes the movie's climax scene.
671
01:09:49,660 --> 01:09:50,730
'Sho!'
672
01:10:02,350 --> 01:10:06,240
Miyazaki-san sheds a tear.
673
01:10:24,260 --> 01:10:28,130
Miyazaki raises Maro's hand high.
674
01:10:31,630 --> 01:10:35,150
'Really well done!'
675
01:10:40,360 --> 01:10:43,130
'Thanks to everyone, the movie is finally completed.
676
01:10:43,290 --> 01:10:46,770
Thank you very much!'
677
01:10:53,230 --> 01:10:56,940
The face of Maro with all the work past looks very relaxed.
678
01:11:03,810 --> 01:11:08,450
After the screening, Hayao Miyazaki speaks to Maro a word of approval.
679
01:11:15,810 --> 01:11:21,220
'Arrietty's and the boy’s moods are very good.
680
01:11:23,160 --> 01:11:27,040
Finally, the becoming of the director.'
681
01:11:29,250 --> 01:11:30,610
The birth of a new director.
682
01:11:35,050 --> 01:11:40,730
It's been a while since they exchanged their words with smiles.
683
01:11:51,110 --> 01:11:55,060
Hiromasa Yonebayashi known as Maro.
684
01:12:02,680 --> 01:12:05,010
And Hayao Miyazaki-san.
685
01:12:10,220 --> 01:12:11,780
In the days to come
686
01:12:12,000 --> 01:12:17,630
they will go on their own directing paths.
687
01:12:55,190 --> 01:12:57,920
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