In fact, Ghibli, under Miyazaki, made a virtue of its high-cost approach, doing everything - and working deliberately - from an ivy-covered, three-storey building in Tokyo’s western suburbs. Some feature animations consist of about 10,000 drawings, but Ghibli’s sometimes exceed 80,000.
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Senior producer Toshio Suzuki made waves last month when he said in a series of interviews that Studio Ghibli might have to dismantle the expensive production system set up under Miyazaki, which included employing full-time animators in Japan.įamous for starting production without a complete script, Miyazaki insisted on working in pencil and spurned computer animation, resulting in intricately drawn frames and very long production spans. The mediocre takings comes as Ghibli’s fans and critics debate how and whether the studio will survive without the commercial magic of its founder. In six weeks, “Marnie,” the story of an asthmatic high school girl sent off for what becomes a summer marked by an unexpected and mysterious friendship, has taken in just $28 million at Japanese theatres. Ghibli’s first release since the legendary animator’s departure, “When Marnie Was There”, has failed to catch fire with Japanese moviegoers over the summer.īesides the gaping hole left by Miyazaki, Ghibli, like Japanese companies in other industries, faces a range of challenges: high payroll costs, low productivity and the rise of new and cheaper hubs for production elsewhere in Asia. But the animation studio is finding that life after Miyazaki, who retired last year, is tough going.
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