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In 2002 Studio Ghibli released NEKO NO OGANESHI, a smaller considered film as visual impact, since it has been made with a limited budget and subcontracted in a large part to the Korean DR-Movie. The direction was submitted to Hiroyuki Morita. And also for Toshio Suzuki's studio was the moment to bring on the screen a novel of the western literature. In fact HOWL NO UGOKU SHIRO is a free adaptation of the well-known book of Diana W. Jones. This was one of the best efforts made by Ghibli's staff. A masterpiece, a landmark of the animation history. A perfect screenplay by Hayao Miyazaki, a wonderful background styling by Yoji Takeshige, and a great and fluid animation by Kitaro Kosaka, Takeshi Inamura, and Akihiko Yamashita (storyboard artist and key frame supervisor on the amazing GIANT ROBOT's OVA series). And we don't have to forget that a slice of the success also goes to the music performed by New Japan Philharmonic Orchestra and to composer Joe Hisaishi, who is one of the many irreplaceable collaborators of Miyazaki. It almost immediately became Japan's highest box-office ever. The main staff includes great names such as Shinji Otsuka, Makiko Futaki, Masako Shinohara and Kenichi Yamada (I/B animator until 1996). Several addittional firms supported the production, Madhouse, Oh! Production and Doga Kobo among others. Despite the trend of subcontracting, the animation process was fully made in Japan, with no support of Korean facilities. Another short anime film that shows the extremely well-known Ghibli's imprint was NASU ~ SUMMER IN ANDALUSIA. But this is a Madhouse production! In fact the character design was achieved by Kitaro Kosaka, who's grown between Oh! Production and Miyazaki's Studio.
As for the preceding film Toshio Suzuki got the rights of a book of a non-Japanese author, since the Japanese appreciate for a long time the animate transpositions of works coming from the western literature (remember the Nippon Animation's World Masterpiece Theater?). With great surprise the direction of GEDO SENKI (TALES OF EARTHSEA) is submitted, and not certain to want of Miyazaki, to his son Goro to its debut in the animation. In despite of negative critics from rewievers this long-length feature was in the top ten for many days. The staff of key animators including veteran such as Megumi Kagawa, Yoshiyuki Momose and Hideaki Yoshio (Ghibli's member since 1995). For the first time even Korean animators such as Kim Dong Jun and Jang Gil Yong, did some key frames. A staff of some 40 artists took care of background painting, also including personal of DR-Movie (today one of the most rated studios in Seoul). Toshiharu Mizutani, Hiromasa Ogura, Kazuo Oga, Park Jong Im, Ko Hyo Soon, are among the most famous. Main production facilities were Oh! Production, Gonzo and Gainax.
To 4 year-old distance from the amazing HOWL a Miyazaki's new film was produced. It's about an enchanted goldfish who befriends a little boy named Sosuke. Peculiar characteristic of GAKE NO UE NO PONYO was the absolute absence of CGI. In fact, the computer was exclusively used in painting more of 17.000 sketches that they were achieved for the film. The art-director Noboru Yoshida supervised a team of 20 young artists hocked in the realization of the backgrounds. The impressive action scenes bring the signature of Atsuko Tanaka and Makiko Futaki, both among the few veterans to have maintained a respectful role in Studio Ghibli and both collaborators of Miyazaki from the establishment of Telecom. Further to Anime ToroToro as support facility, for the first time were also involved Tatsunoko and Brain Base. The animation, taken care of by Akihiko Yamashita, Megumi Kagawa and Kitaro Kosaka with the supervision of Katsuya Kondo, was absolutely fluid. As well as, the wonder of colors conceived by Michiyo Yasuda is among the most beautiful things that she has done for Ghibli. In terms of quality, this movie was one of the maximum efforts of the Japanese animation. Despite it was released in well 481 cinemas, a record for an animated movie, the film it boxes a lot less than the precedents. Tendency that it has taken beginning from HOWL. Will it be for the theme, since the film was destined to a children's audience, or for the competition of Pixar's works, beloved by Japanese people? The film was also released in US theaters on August 15, 2009, but had a modest success.
In these years, Ghibli is become effigy of quality, an undisputed institution amongst worldwide animation companies. It brought to success disparate genres with an eye of respect to the family audience, aiming on noble sentiments such as friendship, sincerity, and respect. Today, its partnership with USA (started with the foundation of Topcraft), is real reinforced, due to the recent Disney's agreement. But the next film has not struck the media, of it for the choice of the director, the young Hiromasa Yonebayashi, of it for the subject, "The Borrowers" of the late English authoress Mary Norton. Now the road is in slope and a sole interrogative remains: who will be the successors of Miyazaki and Takahata?
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