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 a New Earthsea Picture 2
Toshio Suzuki, producer of the new Ghibli picture, gave his experience of how he and Hayao Miyazaki got an approval from Ursula K. Le Guin, in his talk to Yomiuri Newspaper. This is an outline:

Mr. Suzuki and Mr. Hayao Miyazaki went from Japan to see Ms. Ursula K. Le Guin, the writer of the Earthsea books, because Mr. Goro Miyazaki was hard at work on the frontline and had to make as great a number of pencil-line pictures as possible. Those pencil-pictures are THE play, the base, of the animation.

Suzuki took Miyasan, or Hayao, to Le Guin in the United States and said, with humor, that he was Goro. (The fact is that he was Goro's father.) She said that he was surprisingly old.

Miyasan said to her that he was a great lover of her Earthsea books and kept on reading them over and over. From Nausicaa to Howl, his works had some debts to those books. He got every detail of the story in his mind and was certainly the best person on the earth to make it into a motion picture. But he was old now, and that his son and friends were hoping to do the work. It might be a good idea if they made some new attraction from her old story. He would be responsible to every penciled pictures. He would take time reading through it and if it was bad, he would quickly put a stop to it.

Le Guin had some questions. The new picture was to be based chiefly on the third book, so Ged would be over 40 years old, and that would be better for an old man like Miyasan. And she was at a loss over how he would be responsible. Her point was if he was to be producer of the picture.

But Miyasan had a strong feeling of shame agaisnt being credited with his son. His reasoning would not make sense to Americans. Coming to an agreement was hard.

Then her son Teo, who had an experience of being in Japan and meeting Suzuki and Goro, came on Ghibli's side and gave a suggetion to take more time and have a night meal together. As a son of a great person, he had some feelings for Goro. But Miyasan was still making troubles, pointing at the painting made by Goro and saying it was wrong.

After some troubling discussion, they had a meal together, and at Teo 's suggestion, Le Guin at last made up her mind to take Miyasan's hand and say that she would give every right to Goro. Miyasan, a man of strong feelings, was crying.

When Goro made a key picture, it was good enough to make Miyasan at a loss of words against Goro. Suzuki was certain that anyone with a good power of observation might be good at making pencil pictures, and Goro quickly became good at it.

A number of animation experts in Japan saw Goro's pencil pictures and said that they were surprisingly good. Like father, like son. It was certainly a Miyazaki animation.

Miyasan still gives no talk to his son even when they are in the same floor. Goro's feeling for his father might be clear on his online pages.

Goro's way of giving direction is to have it acted out by himself, based on clear pictures in his mind. Painters and other workers get the idea from his acts.

Suzuki is going to give more weight to advertisement of Goro, because he is a new man in the field, as someone different from his father, but he has not made up his mind on how Miyasan will be credited for the new motion picture.

This outline in Basic English was made by Ryotasan. No other person is responsible for it. You may see Suzuki's complete talk in Japanese from the bookmark here:

| American Writings | 09:31 | comments(0) | - | pookmark |
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