This is a notebook and guide for learners of English as a second or overseas language, all over the earth. Most of the writings here are in Basic English, first designed by C. K. Ogden, using 850 necessary words and a number of international words only.
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How Ghibli Came to Make an Earthsea Picture
The Earthsea Quartet (Puffin Books) Toshio Suzuki, producer of the new animation based
 on Le Guin's
Earthsea books, gave a long talk
 to the
Yomiuri Shimbun, the newspaper with the
 greatest number of readers in Japan.
 The talk in Japanese has been made public at

 Yomiuri Online, 26 December 2006. I have put an
 outline of the talk in Basic English. This is Part 1.


Miyasan, or Mr. Hayao Miyazaki, first got in love with Ms. Ursula Le Guin's Earthsea books, and it made Mr. Suzuki, his friend and producer of a newsletter on Japanese animation, interested in them. They were hoping to make them into animation before they made Nausicaa in 1984, Mr. Suzuki said, because those stories were different from any other stories of good one with special power fighting against bad one. Fights with oneself given in the Earthsea stories was a new idea and made new pictures like Star Wars possible.

風の谷のナウシカAt that time Ms. Le Guin was against the offer from Japan and offers from any motion picture producers. If the Japanese got a chance at the time, however, they would not have made Nausicaa.

Years went by and Ms. Masako Shimizu, who put the books into Japanese, sent Studio Ghibli, the company started by Miyasan and his friends, words from Le Guin that seeing Miyazaki animation the writer came to have a hope for the Earthsea stories to be made into pictures by Miyasan.

ハウルの動く城 Suzuki was happy but Miyasan was troubled,
 because he was putting all of his power and
 attention to Howl's Moving Castle.
 Miyasan had a feeling that long years had
 gone by and times were changing.

 Castles are great buildings, generally made in the past.

When they got Le Guin's approval, Suzuki, who was working for Ghibli then, had come to have a feeling, by going through the books again, that the third book was very good for the time, the time in which most of the common Japanese did not see how hard their living would be if they let the government go on like it was. They were giving up their common, down-to-earth, way of looking at things.

When starting the work of making the picture, Suzuki made a decision that the position of director, the most responsible person on the frontline, giver of directions, was to be taken by Miyasan's son, Mr. Goro Miyazaki.

Miyasan and other men who got Ghibli started first were getting very old and the company would come to an end if some young persons did not come to the front. Suzuki had been happy with what he had been doing, but he was still responsible for the future of the young ones working for Ghibli. But Miyasan was not a good teacher. His hard way of training made young ones nearly out of their minds. The only young one who was all right to be between Miyasan and others was Goro.

Suzuki became a friend of Goro when Goro was at middle school. The boy became a designer of gardens, did well on looking after the work of building the Ghibli House of Art, and became head of the art house. Though he had no experience of making animation, he was good at making observations and interested in works of his father.

Watching strong-minded Goro working for the art house, Suzuki gave him a request that Goro would be joined with the early group working on Earthsea stories in 2003

Miyasan was strongly against Goro joining the group, and there were mixed opinions, but Goro became the maker of pencil pictures which was THE baseline of the new animation, sometimes copying his father's way and sometimes making up a new way himself.

This writing is an outline, in Basic English, of a long Japanese talk, "Making New Earthsea Picture: The Earliest Talk on the Earth" Part 1, in Yomiuri Online.
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