I guess the official English title of this is “Wizard of Earthsea” but the title I’m using is a direct translation of the Japanese title, Gedo Senki. Anyway, here is the section of Yomiuri’s interview with Ghibli Studios producer Toshio Suzuki relevant to the issue I care about: why Hayao Miyazaki was against his son directing this film! (Interview is from 12/26/2005)
UPDATE: More info on the film in English at the Ghibli site by the book’s English translator. And apparently someone already posted a translation of this interview, but mine is much better.
Q. Why was Goro-san chosen as director?
Suzuki: The precondition of all this was the future of Ghibli. Isao Takahata is 70. Hayao Miyazaki is almost 65. Together they’re 135! Add my age in there and it gets close to 200 (lol) ! At this rate it will be the end of Ghibli. However, this company was created because they wanted to make movies as a pair, and I am also satisfied with this. There is a part of me that thinks “this might be enough” but we also have a responsibility to the young people who are a part of the studio, after all. However, Hayao may be a genius on the creation end, but he is not necessarily good at teaching. If you drive with him in the passenger side, you’ll understand. He keeps saying stuff on the side, so most people end up getting neurotic about it. I have seen it in the production stage many times, since different people were slated to direct “Kiki’s Delivery Service” (1989) and “Howl’s Moving Castle,” but eventually Hayao took the helm. Of course there is no ill-will from Hayao. But there are actually people who ended up with ulcers (lol). That is why I thought of Goro. With him, I figured it might go well.
Q. But, he has no animation production experience…
Suzuki: That didn’t bother me. Even when he created the Ghibli Museum following Hayao’s drawings, he might have had landscaping experience, but he didn’t have any construction experience, did he? First of all, I think that if anyone can observe they can draw. That comes from when I was making the magazine “Animation Monthly.” I would have editors who normally did not draw do self portraits for their editor’s notes. They all said it was impossible at first, but once they started carefully observing their faces, they were able to finish drawing [the self portraits]. What’s more, there was enough appeal to have them work their hardest. Goro often drew caricatures during meetings, so I thought that he, as someone who can observe, could draw pictures.
Q. Did Goro always have an interest in animation?
Suzuki: I don’t know. Normally, people dislike working near their fathers, but there was probably an interest in his father’s work somewhere. I felt that when he accepted the job at the Ghibli Museum.
Continue reading Interview with Producer Toshio Suzuki of “Ged War Journal” – Suzuki finally tells tells us: “Why Goro?”