文档:吉卜力工作室十年史

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　主頁面 吉卜力工作室作品關聯資料集I 目錄　
　 ◄ 「天空の城ラピュタ」雑誌記事再録／掲載データ スタジオジブリの10年一その歴史と現状一 奥付 ►
　主頁面 吉卜力的哲學 目錄　
　 ◄ Ⅰ　我們一直以來思考的事 ——從吉卜力草創期到『千與千尋』 
Ⅰ　我們一直以來思考的事
——從吉卜力草創期到『千與千尋』
吉卜力工作室的十年
 「小工廠」吉卜力——『千與千尋』打敗迪士尼 ► 




吉卜力工作室的十年











　　不曉得各位知不知道，日本人很害羞。所以不論是自我介紹，或是向人說明自己多年來努力的成績，日本人都非常不擅長。連我也是其中一人。
　　因此我今天要講的內容是先用日文寫下，再請人翻譯成英文。因為考量到我不會說英語，如果要用英語說的話，恐怕詞不達意，無法侃侃而談。我的發音不好，不容易聽懂之處還請見諒。，題目是「吉卜力工作室的十年」。我是這間工作室的現場負責人鈴木。我與宮崎、高畑兩位導演同時也是十七年的朋友。接下來，請大家給我一點時間，讓我一一說明。











吉卜力的創立











　　吉卜力工作室的創立契機，乃是『風之谷』在內容和票房上獲得成功之際，也就是一九八五年要製作『天空之城』時，由製作『風之谷』的出版社德間書店主導設立的動畫工作室。之後便以宮崎駿、高畑勳兩位導演為核心，持續製作動畫電影。至於「吉卜力（Ghibli）」一詞的原意是撒哈拉沙漠上的熱風。二次世界大戰期間，意大利的偵察機曾用它來命名，本身是飛機迷的宮崎知道這事，便拿它當作工作室的名字。我記得當時的用意是「要在日本動畫界掀起旋風」。
　　像吉卜力這樣原則上只製作電影版動畫長片，而且是原創作品的工作室，在日本動畫界，不如說在全世界，我想都是極為特殊的存在。為什麼呢？因為無法保證票房一定好，電影版製作風險太大，將重心擺在能夠持續獲得收入的電視動畫影集才是一般的常識。在日本，多數動畫工作室也都把重心放在電視動畫，偶爾才製作電影版作品。而且，日本製作的電影版動畫，其實十有八九都是將風評好的電視動畫改製成電影。說個數據供各位參考，日本每週會產出四十支以上的電視動畫新作。
　　吉卜力也不是一開始就以現在這樣的制度在運作。以下，我想先講述吉卜力的歷史，包括創立之前的階段。
　　說起來，我認識高畑和宮崎這兩位目前吉卜力的核心人物，是三十多年以前的事。當時兩人所屬的東映動畫還在製作電影版的動畫長片。他們參與製作了多部長片，卻不得不隨着時代的浪潮將活躍的舞台移往電視。一九七四年播出的電視動畫影集『小天使』是由高畑執導、宮崎負責作畫的作品，這部堪稱是電視動畫的一個高峰之作。此作品在歐洲電視台播出同樣博得好評，我想應該很多人都看過。
　　不過在產出這一類作品的過程中，他們慢慢得到一個結論：電視這種在預算和時間都大受限制的媒體，畢竟不可能實現自己一直以來追求的貼近真實且高品質的動畫製作——深入描寫人的心理，以豐富的表現力，如實描繪人生的歡喜與悲傷。這結論便成為『風之谷』後成立吉卜力的原動力。投入預算和時間，一部一部傾注全副精力，力求內容全面而周到，且毫不妥協。而且擁戴宮崎、高畑這兩位導演，以導演中心主義製作電影。吉卜力的十年，也許可以說就是一段備嘗艱辛的歷史，它靠着兩位導演卓越的能力及工作人員的努力，一面保持前述的態度，一面讓商業上的成功和工作室的經營並行不悖。老實說，我們誰也沒想到吉卜力會持續到現在。因為創立當初的想法就是，一部成功的話才做下一部，失敗的話就結束。因此，為了減少風險，我們採取不聘用正職，每一部作品招集七十名左右的工作人員，完成後就解散的方式。地點是東京吉祥寺一棟出租大樓中的一個樓層。提出這方針的其實是高畑勳。他在『風之谷』中擔任製作人，那時所展現的實務能力在吉卜力創立之時也發揮很大的功用。此外，『天空之城』也是高畑勳製作、宮崎駿導演的作品。
　　『風之谷』一九八四年在日本公開上映，前往觀看的觀眾達九十一萬五千人；『天空之城』是一九八六年上映，前往觀看的觀眾達七十七萬五千人，兩者分別都獲得很高的評價。我想在場的各位應該也有不少人看過這兩部作品吧？謝謝各位愛護。











受到日本電影界注目的吉卜力











　　接下來吉卜力工作室製作的是『龍貓』和『再見螢火蟲』。這兩部作品其實是於同一時期製作，一九八八年四月以聯映的方式公開上映。『龍貓』的導演是宮崎駿，『再見螢火蟲』是高畑勳。宮崎和高畑的作品同時上映，這是空前絕後的一次，現在回想起來，這是相當耀眼的組合。不過製作現場卻也因此陷入非常棘手的狀態。因為必須同時製作兩部長片，而且希望提升作品的品質。幾乎是不合理的要求，可是現在不做的話，製作這兩部作品的機會不會再來。我便是基於這樣的判斷，繼續推動這除了蠻幹之外什麼也不是的計劃。
　　吉卜力的目的是要製作優良的作品。公司的維繫和發展是其次。這部分與一般的公司大異其趣。『龍貓』和『再見螢火蟲』的聯映計劃也是在這樣的方針下才能實現。這裏我們不能忘記一個人，那就是吉卜力的社長德間康快。他同時也是德間書店的社長，除了出版本業，他還廣泛地拓展事業版圖。因溝口健二的作品而聞名的大映電影公司，現在也由他在經營。
　　社長極少出現在工作室。因為他基本上全權交由現場負責。可是在關鍵時刻他會出面。拍板決定將漫畫『風之谷』改編成電影、成立吉卜力的都是他。『龍貓』和『再見螢火蟲』的兩部聯映在敲定片商之前其實遇上相當大的困難。因為與前面兩部相比，感覺很不起眼。這時也是德間社長親自登門拜訪片商，推銷這兩部作品，才談妥發行事宜。在這些關鍵時刻如果少了德間社長，大概就不會有現在的吉卜力。
　　『龍貓』和『再見螢火蟲』的上映期在日本並非暑假旺季，也因為這樣，首輪的票房成績差強人意。不過，我們確實接到各方對於作品內容極高的評價。『龍貓』囊括了當年度日本國內包括一般電影在內的所有電影獎。『再見螢火蟲』也以文藝電影之姿備受讚譽。吉卜力便靠着這兩部作品，打開其在日本電影界的名聲。
　　沒想到，『龍貓』還衍生出周邊產品。其絨毛玩具大受歡迎。我剛才說「沒想到」，是因為這絨毛玩具是電影上映兩年後才被做成商品。不是電影製作方事先相準它與票房的加乘效應而製作，是某絨毛玩具製造商愛上龍貓，認為「那才應該做成絨毛玩具」，熱心慫恿吉卜力的結果。
　　不論如何，拜龍貓商品之賜，吉卜力的電影製作費得以持續得到填補，此後並自然而然用龍貓當作公司的標誌。在衍生商品計劃方面，現在吉卜力內部正準備設立故事角色商品部，計劃正式推展這項事業。只是，我們始終堅持先有電影，之後才有衍生商品的方針。絕不會為了商品化而決定或是變更作品的內容。











吉卜力第二階段的出發











　　現在言歸正傳。
　　第一部在票房上大獲成功的吉卜力作品是宮崎導演一九八九年的作品『魔女宅急便』。二百六十四萬人走進戲院觀賞，成為當年日本賣座第一的國片。票房和動員人數與以往相差懸殊。不過也因為票房大賣，有關人員之間對於今後吉卜力的發展方向有了熱烈的討論。具體來說就是工作人員的待遇和新人的錄用和養成。
　　日本動畫界通常會有「每畫一張圖多少錢、為一張圖上色多少錢」的工資設定，也就是所謂的「按件計酬制」，當時吉卜力也是採用這種做法。結果導致『魔女宅急便』工作人員的收入約只有一般行情的一半的慘況。
　　宮崎導演提出兩個方案。
　　1. 工作人員正職化及採用固定薪給制度。以工資倍增為目標。
　　2. 定期招募新人並進行培育。
　　當時日本動畫界的狀況與吉卜力完全相反，每況愈下。我判斷在那樣的狀況下，據點的維持、組織的確立、工作人員的正職化、建立養成制度等，對製作優質的作品缺一不可。這是一次明確的改弦更張。可以說是吉卜力第二階段的出發。這時同樣獲得德間社長的支持。
　　現在我要稍微聊一下我自己。我其實是這時才轉到吉卜力擔任專職。若問我之前都在做什麼，就是德間書店發行的動畫專業雜誌《Animage》的總編輯。一九七八年《Animage》創刊之時我就在那裏任職，一九八三年德間書店展開『風之谷』的製作以後，我便一邊擔任雜誌編輯，一邊參與吉卜力的電影製作。日語稱這種情況叫做「穿兩雙草鞋」，意思就是同時身兼二職。雖然非常忙碌，但每天都過得很充實。不過吉卜力的改弦更張改變了我的人生。吉卜力和我都走到無法回頭的關鍵時刻。
　　『魔女宅急便』之後，吉卜力着手製作高畑導演的『歲月的童話』。這部作品製作中的一九九〇年十一月起，如我剛才所說的，吉卜力開始將工作人員轉為正職，同時啟動動畫實習生制度，每年定期性地招募新人。
　　一九九一年上映的『歲月的童話』也把影片發行相關人士的不安晾在一邊，賣座長虹。與『魔女宅急便』同樣成為當年票房第一的國片。我尤其開心的是，宮崎提出的兩大目標——工資倍增和錄用新人——都達成了。不過，同時也有了必須嚴正以待的問題。那就是製作費高飆。其實製作前即已料到了。為什麼呢？因為動畫的製作費大約八〇%是人事費，既然要工資倍增，表示製作費也會自動成長近一倍。
　　「吉卜力第二階段」的新方針必然將相關人士的目光指向宣傳、票房方面。製作費的大幅上漲很難避免。既然如此，只能更有意識、更有計劃地提高觀眾數，好與增幅的製作費相應。在此之前並非沒有這樣想過，但這部『歲月的童話』成了觸發我開始認真投入宣傳的作品。
　　當時吉卜力的最高負責人是原徹，他在當時提出「吉卜力就是三高」：「高成本」、「高風險」、「高回報」。我認為他的意思是：投入大筆資金製作高品質的作品，儘管懷着巨大不安依然要賺大錢。那之後過了四年，這句話到現在依然適用。不過，關於「高回報」的部分，即使真的如願也會馬上投入下一部作品，所以手邊其實並沒有剩錢。至於僱用員工即意謂著每個月要發薪水。吉卜力自己把自己逼進只能不停地創作作品的狀態。註定要不停地創作的吉卜力在『歲月的童話』製作期間又啟動『飛天紅豬俠』的製作。製作期重疊對吉卜力而言是前所未有的經驗。畢竟『歲月的童話』已進入最後關頭。所有工作人員都忙得不可開交，我不知道該如何勻出人力去製作『飛天紅豬俠』。吉卜力裏沒有一個閒人。到頭來，只有宮崎一個人投入『飛天紅豬俠』的製作。宮崎抱怨道：「製作、演出助理和所有的一切全要我一人包辦嗎？」我雖然聽他抱怨，也只能請他一個人自立自強了。











新工作室的建設











　　不知道是不是想要消除這樣的壓力？宮崎突然提議：「蓋一間新的工作室吧！」在最艱難的時刻提出更大的難題以求解決當前的問題，這是宮崎慣常的做法。不過這次他端出的理由確實能打動人。他說，為確保優秀人才，租借的據點不具說服力。要先有了容器，人才會聚攏過來，也才有辦法討論人才培育。工作室已侷促到無法再塞人進來了。近九十名的工作人員擠在三百平方公尺的空間裏工作。不過，當時的吉卜力並沒有錢蓋新的工作室。
　　原先生以不符常識為由大為反對。我則是一方面覺得太亂來，另一方面又認為「總會有辦法的吧」。而對此大表贊同的又是德間社長。他甚至用不尋常的說辭勉勵我：「鈴木，銀行有的是錢。人活在世上就是要承擔重物。」我還記得當時非常感動，覺得原來還有這樣的人生觀啊。原先生留下「我們想法不同」這句話後，便離開了吉卜力。這一年宮崎駿施展三頭六臂的本領，是個不折不扣的天才。他一面製作『飛天紅豬俠』，一面親自畫設計圖，與建設公司開會磋商，繪製完成的預想圖，索取材料的樣本，挑選、決定。一年後，『飛天紅豬俠』和新工作室幾乎同時完成。『飛天紅豬俠』上映後不久，吉卜力便搬到東京都小金井市的新工作室。
　　我要介紹一下現在的工作室供各位參考。工作室佔地約一千一百平方公尺，樓層總面積也幾乎一樣。地上三樓，地下一樓。三樓是美術部門，二樓是作畫和製作，一樓是上色，地下一樓是攝影。一樓設有名為「BAR」的空間，是工作人員交流的地方。算算，我一年只有幾次會在這地方喝酒，平常都是開會或去員工餐廳。這裏最大的特色其實是廁所。吉卜力的女性廁所面積是男性廁所的一倍。雖然男女人數差不多。設備也比較高級。可說透露出設計者宮崎女性主義者的一面。前些時候，有幾位法國的記者朋友來訪，他們也是仔細參觀了工作室之後才離開。另外，綠意盎然、刻意縮小停車場空間等，應該也算是特色吧。
　　言歸正傳。一九九二年夏天，『飛天紅豬俠』公開上映，打敗史匹堡的『虎克船長』和迪士尼的『美女與野獸』，勇奪那一年日本所有上映電影的票房冠軍。











吉卜力的特色











　　一九九三年，吉卜力引進兩台電腦操控的大型攝影機，成立期盼多年的攝影部門。如此才成長為一個擁有作畫、美術、上色到攝影全部部門的工作室，不過這與朝極度分工發展的日本動畫界完全相反。這麼做同樣是基於我們認為在同一個地方緊密合作、進行一貫作業，與作品品質的提升息息相關。
　　一九九三這一年，吉卜力也製作了第一部電視動畫——『海潮之聲』。導演是當時三十四歲的望月智充。這是吉卜力首次由高畑、宮崎以外的人出任導演。製作小組也是以二、三十歲年輕的一輩為中心組成，口號是「快速、便宜又好」。這部七十分鐘的電視動畫雖然得到一定的評價，但最後預算和時間都大幅超出。電視動畫是吉卜力今後的一大課題。
　　一九九四年高畑導演的作品『歡喜碰碰狸』再次成為那年日本國片的賣座第一名。昨天在大廳已上映過，今天下午五點起雷諾瓦廳會再次放映，請各位務必蒞臨觀賞。這是由吉卜力在『歲月的童話』之後聘用、培養出來的年輕動畫師們擔綱作畫、大顯身手之作。而且，吉卜力在『歡喜碰碰狸』中首次採用CG。這一部只有三個鏡頭，今後我們打算因應需要繼續使用。
　　話說，目前吉卜力工作室所屬員工有作畫部門四十六人、上色部門八人、美術部門十二人、攝影部門四人、演出和製作部門十二人、出版和商品開發部門五人，以及董事、管理等其他部門十二人，合計共九十九人。像這樣列出數字就能看出，大部分的員工都是畫畫的人。順便告訴各位，員工的平均年齡是二十九歲。我一再談到，與其他工作室相比，吉卜力作品的成本較高。可是正如我們從這個員工組成可以看出，「絕大多數花掉的錢都在影片上」，這是吉卜力的一大特徵。因為相較於一般公司，吉卜力的間接部門非常少。
　　此外，奉宮崎導演「要給日本兒童觀賞的作品理當由日本人自己製作」的哲學，吉卜力自創立以來，不曾將工作外包給國外，這一點也值得特別提出來。
＊＊＊
　　接着要談有關吉卜力電影的宣傳。為了方便各位理解，我把內容做了相當程度的統整。假使聽起來有如「事情全部照着行銷計劃走」，好像很了不起似的，但其實與事實有些出入。因為很多事是在某種脈絡下自然演變的結果。那部分請斟酌著聽。
　　另外，日本人是最愛漫畫的民族。各位也許早有聽聞，在日本，不論是大人小孩都會看漫畫。同樣的，吉卜力工作室的作品在日本也是超越世代，眾多大人小孩都愛看。主要的觀眾與其說是小孩，不如說是成年人。如果舉『歡喜碰碰狸』為例，看過這部作品的人將近七十％是二十歲以上的成年人。若能先有這樣的概念，我想就能理解接下來要講的內容。











吉卜力的宣傳策略











　　吉卜力工作室的特色可以說是兼顧「內容的評價」和「票房上的成功」。但在政府對電影的保護並不積極的國家，尤其是像日本，即使志向再高、不斷地製作好的作品，但光靠這樣遲早會面臨經營上的問題，很難永續經營。
　　日本的電影界決非一帆風順，而是處在長期低迷的狀態。這情況甚至比法國還更糟。
　　在這樣的情勢下，近來吉卜力的作品卻總能取得一定的票房成績。其關鍵，大致來說有三點。
　　第一，無庸贅言，作品的完成度很高。尤其是，主題的設定總是優先考量現代性。若以『歡喜碰碰狸』來說，畫的雖然是狸子，但會聯想到日本人，成為一部回顧戰後五十年發展的電影。在宮崎、高畑這兩位導演的指揮下，利用高超技術創造出高品質的影像，以補強這樣的主題。倘若內容乏善可陳，就算進行再大的宣傳也不可能持續獲得成功。第二是過去長期累積的成績。吉卜力作品並非全部都在票房上大獲成功。如我在前面所說的，具體來說是從『魔女宅急便』開始。不過，前兩部作品『龍貓』和『再見螢火蟲』對這一次的大獲成功舉足輕重。我要再談一下這個部分。這兩部作品雖然同時上映，但上映當時並沒有創下多高的票房成績。不過在內容上獲得非常高的評價，尤其是日後的錄影帶銷售和電視台播放，開拓出普遍而廣大的支持層，大幅超越一般所謂的動畫迷圈子。可以說，成功培養出一股潛在的對「吉卜力電影」的信任感。因為有這樣的基礎才會有『魔女宅急便』的成功。那之後，漸漸形成「前一部作品內容上的成功幫助下一部作品贏得票房成功」這種幸福的連鎖。
　　第三是以明確的方針展開大規模宣傳。電影在日本並非主要的娛樂活動。平均計算下來，一個日本人一年只看一部電影。單純只是一部好的電影並無法吸引人走進戲院觀看。
　　要突破這個局面必須藉由大量宣傳把電影變成一個活動。吉卜力作品基本上都是在夏天上映，我們會在全國營造出「今年夏天絕對值得一看的話題核心」這樣的氛圍。說是宣傳，但其實不只是一般所謂的電影宣傳。由於現狀是不可能從有限的預算中撥出大筆經費投入宣傳，因此我們一直在尋求各種形式，致力於不花錢的商業合作和推廣活動。
　　首先，我們讓日本民營廣播電視的龍頭日本電視放送網參與製作，因而展開透過電視台所做的大幅宣傳。也就是請日本電視台在眾多節目上免費介紹作品。再來是與由日本數一數二的廣告商博報堂或電通統籌廣告業務的大企業合作，進行聯合宣傳。『魔女宅急便』是與快遞業者大和運輸合作。『歲月的童話』是食品業大廠可果美和兄弟牌縫紐機兩家公司。『飛天紅豬俠』是日本航空。『歡喜碰碰狸』和『夢幻街少女』是大型保險公司JA共濟。這些商業合作創造出的廣告量若換算成金額，與電影的製作費不相上下。因為是合作，企業的首要目的當然是宣傳自己的公司或產品，不過吉卜力作品的情況是，作品本身即具有很強的「社會普遍認知的好印象」，所以企業通常都認為支持吉卜力作品會帶動自家公司形象的提升。因此往往超岀了共同廣告的範疇，會積極強打吉卜力作品的文宣元素，以做宣傳。
　　此外，一般報紙、雜誌等的宣傳也非常重要。我們會委託專業的公關公司，積極與各大媒體的編輯部打好關係，以獲得善意的報導。這種時候，過去的成績同樣很管用。許多第一線的記者、編輯從小就愛看宮崎和高畑的動畫，也因此願意從善意的角度理解吉卜力的作品，這算是我們的一種優勢。平面媒體上若有稍微深入的報導，也會成為強而有力的奧援。
　　吉卜力工作室在進行這一類宣傳時，最小心的就是宣傳目標。即便是日本，提到動畫仍然擺脫不了「屬於兒童」的印象。然而日本電影若未獲年輕女性青睞就別指望賣座，而且同時動員親子觀看也非常重要。因此，吉卜力作品是廣泛瞄準大人小孩，進行全方位的宣傳。這時，強力凸顯那是經得起大人鑑賞的高水準作品就會變得非常重要。











吉卜力作品的進軍海外市場











　　接下來我要談吉卜力進軍海外市場的經過。
　　在此之前，吉卜力作品的海外上映地點主要是香港、台灣等亞洲地區。可是大約從前年起，情況漸漸有所改變。先是『龍貓』在美國的戲院公開上映，接着二十世紀福斯公司發行『龍貓』的錄影帶，寫下五十六萬支的銷售紀錄。這對日本電影在美國的擴展具有劃時代的意義。而且『歡喜碰碰狸』也被選中代表日本角逐奧斯卡的最佳外語片獎。此外，各位也許已有所聽聞，『飛天紅豬俠』確定將從六月二十一日起，在法國六十間戲院公開上映。位於巴黎的UCORE公司是我們的代理商，董事長植木女士非常有想法、做法，事實上此刻她人也在會場，因為她的出色表現，我們才能與CANAL PLUS達成協議，實現這次的公開上映。主角波魯克·羅素是由尚·雷諾擔任配音。我是後來才知道，宮崎導演原來是尚·雷諾的忠實影迷，非常欣賞『碧海藍天』中恩佐這個角色。所以他對此非常開心。
　　今後歐洲和北美地區可能有更多機會看到吉卜力的作品。我們認為只要條件恰當就會接受。能獲得眾多不分國籍、種族的朋友觀賞、喜愛，是創作者最開心的事。然而，要正式在海外上映必須克服種種障礙。經常會遇到的是，一開始就表示想要銷售錄影帶，或是只想在電視上播放。我們始終是以在戲院公開上映為第一考量。
　　此外，不用說，作品的更動根本不在討論的範圍內。然而令人難過的是，我們在製作『風之谷』時，知識和經驗都還不足。這部作品被人擅自改編成糟糕的刪減版，以『WARRIORS OF THE WIND』的片名在美國以外的地區上映。倘若在場的朋友有人看過這部刪減版，我希望您現在立刻忘了它。
　　還有，吉卜力今後也不會先將世界市場納入考慮，譬如說以多國企業的行銷策略製作電影。先為日本市場努力創作，之後才考慮海外市場，我想我們今後依然會持續這樣的想法。











吉卜力的未來











　　我們在預定今年夏天公開上映的新作『夢幻街少女』中做了新的佈局，宮崎擔任製作人、編劇、負責分鏡圖，而由過去在吉卜力作品『再見螢火蟲』、『魔女宅急便』、『歲月的童話』中擔任作畫監督的近藤喜文挑戰初次執導。並在許多地方引進最新的數位科技等，進行技術上的實驗。
　　而繼『夢幻街少女』之後，吉卜力工作室緊接着投入預定於九七年上映的第十一部長片『幽靈公主』的製作。這一部是宮崎導演的作品，片中計劃大膽採用電腦動畫，是吉卜力的全新挑戰。為此，我們在今年六月起新設了「CG製作室」，導入最低限度的CG製作系統，同時向日本電視台借調曾負責製作『歡喜碰碰狸』CG部分的CG導演。此外，第一個年度的投資金額，光是系統部分就大約一億日圓。而『夢幻街少女』使用過、成效不錯的「數位合成」，已決定正式用於這部作品中。我認為，這將可能為過去平面式的動畫表現，帶來強大的縱深感。
　　此外，繼近藤導演之後，為了繼續發掘新導演，今年四月起，我們開辦了動畫導演培訓班「東小金井村塾」。由高畑勳岀任塾長。
　　當然，沒有人能保證吉卜力工作室今後也能達到如以往那樣的發展。每一部作品都是一個新的挑戰，不可或忘。我認為，今後繼續在內容上、技術上，及人的方面不斷革新，是有助於吉卜力繼續保持理想的最重要條件。
　　我的談話在此大致結束。若有疑問，我會就我所能回答的範圍答覆各位。不過我會用日語回答，請原諒。











（安錫國際動畫影展演講稿，一九九五年）











This is a transcription of the speech delivered by Toshio Suzuki during the special programme for Studio GHIBLI
at
Annecy International Animated Film Festival
in the summer of 1995.




 







February 1996
by Toshio Suzuki
Executive Managing Director
Studio GHIBLI




 







Ladies and gentlemen,

I wonder if you know, but the Japanese are shy. So when it comes to introducing themselves or explaining what they have accomplished, the Japanese find it rather difficult. I am, of course, one of such people. As I am not proficient in the English language, my Japanese manuscript has been translated into English to bring out this message to you, and I am very pleased to have this opportunity to talk to you about "the Ten Years of Studio GHIBLI." I am Toshio Suzuki, a producer of the Studio, and a close friend of both Miyazaki and Takahata for more than 17 years.




 







(1) Ghibli - Its Start




 







"Nausicaa of the Valley of Wind" was a great success both in terms of the box-office performance and in its achievement of a high quality work. This success triggered the founding of Studio GHIBLI in 1985 by Tokuma Shoten (Tokuma Shoten Publishing Co., Ltd), the publishing company that produced "Nausicaa." In the same year, the Studio produced a feature film called "Laputa: The Castle in the Sky." Since then, the studio has been specializing in producing theatrical animation films under the direction of Hayao Miyazaki and Isao Takahata. For those who are not aware, the word "GHIBLI" means "hot wind blowing through the Sahara Desert," which was used during the World War II by Italian pilots referring to their scouting airplanes. Miyazaki, a craze for airplanes, knew this, and decided to take this word for the Studio name. "Let's blow a sensational wind into the Japanese world of animation!" was, I remember, the intention behind the naming of GHIBLI.

The presence of this Studio, I believe, is quite unique not only in the Japanese animation industry, but internationally as well, in that the Studio produces, in principle, only theatrical animation films (or feature films) based on original work. Because production of theatrical films entails too big a risk in that there is no guarantee for box-office success, it is common for most animation studios to work mainly on TV animations. This is also true in Japan and many of the animation studios rely on TV animations, producing only from time to time theatrical films, most of which are just theatrical versions of an already popular TV animation piece. Incidentally, more than 40 new animation TV series are being produced every week in Japan.

GHIBLI, of course, did not start out the way it is being run today. Let me explain the history of GHIBLI, including the stages that led to its start.

It was more than 30 years ago that Takahata and Miyazaki, now the 2 leading members of the Studio, met. Toei-Doga, the production studio to which both had belonged at that time, was producing only animation feature films. While they had participated in the production of some theatrical feature films in the beginning, they were caught in the current of time, and they had no choice but to make animations for TV. One of the TV series was "Heidi," aired in 1974, animated by Miyazaki and directed by Takahata, and which made a marked achievement in the world of TV animations. Many of you may have seen this because this was brought on TV in Europe and highly evaluated there too.

While creating such TV series, however, they were gradually coming to realize that it was impossible to achieve what they were truly after through a media called Television where budget was tight and time very limited. What they sought to achieve was animation that is real and of high quality, that probes into the depth of the human mind, and that illustrates the joys and sorrows of life as they really are. This was the motivation that led to the creation of the studio after completing the "Nausicaa of the Valley of Wind." The idea was to dedicate full energy into each piece of work with sufficient budget and time, never compromising on the quality or content. Each film was to be directed by Miyazaki and Takahata, the directors taking command, their decisions having the priority. You may say that the ten years of Studio GHIBLI is a history that has overcome the difficult task of maintaining this posture and still being successful commercially and efficiently managing the studio, with of course the support of the hard wolt="[Blue Ribbon Icon]" align="right"> This page is brought to you by Team Ghiblink . 
the risk to a minimum, no full-time employees were hired. About 70 persons were temporarily hired to complete one film, and when the film was completed, the team was dismissed. The place was simply one rented floor in a building in Kichijoji in the a suburb of Tokyo. All these policies were implemented by Takahata. He was the one who produced the "Nausicaa of the Valley of Wind," and it was his ability as a business manager that contributed so much to the start of the new studio. "Laputa: The Castle in the Sky" that followed was also produced by him and directed under Miyazaki. "Nausicaa," released in 1984, drew 915,000 people to the theater and "Laputa," released in 1986, brought in 775,000 people. Both received high acclaims. I believe many of you have seen those pictures. Let me take this opportunity to thank you once again.




　在1984年《風之谷》上映之後，不論是票房表現或影片的水準方面均獲得了相當大的成功，於是，在德間書店的支持下，1985年，「吉卜力工作室」成立了。同年，吉卜力開始製作《天空之城》，自此以後，吉卜力工作室成為一個專為宮崎駿和高畑勳製作動畫的工作室。 　　「吉卜力」（GHIBLI）這個名字事實上本意是指撒哈拉沙漠上吹的熱風。在二次世界大戰的時候，意大利空軍飛行員將他們的偵察機也命名為「吉卜力」。宮崎駿是個飛行器狂，當然也知道這件事，於是決定用「吉卜力」作為他們工作室的名字。而在這個名字的背後，還有一層含意，也就是希望這個工作室能在日本動畫界掀起一陣旋風!! 　　

　吉卜力工作室是一個相當特殊的團體，不論在日本國內或是國際間都是一樣。因為吉卜力工作室原則上只製作由原著改編，劇場放映用的動畫。由於製作劇場版的動畫必須冒相當大的票房風險，所以一般的工作室通常都以製作TV版動畫為主，雖然偶爾會製作一些劇場動畫，但是大多數也是由著名的TV版動畫改編而成的。（附帶說一句，日本平均每周製作超過40部的TV版動畫！）接下來談到吉卜力的歷史。 　　

　30年前，名叫宮崎駿和高畑勳的兩個年輕人相遇了。那時他們一起在一個叫「東映動畫」的工作室里工作。這個工作室原本也是只製作電影動畫的，但是在時代潮流的影響之下，他們無可選擇地還是做了一部TV的動畫《阿爾卑斯山的少女》，於1974年播出，由宮崎駿製作，高畑勳導演。這部動畫在全世界都廣受歡迎。 　　

　然而，在製作這部動畫的同時，宮崎駿和高畑勳逐漸領悟到，通過電視版這種製作時間和成本都大受限制的動畫形式，是沒有辦法達到表現他們心中真正追求的境界的。他們所追求的，是純粹而高品質的動畫，是能真正深入人心，刻畫人們生命中喜悅與悲傷的動畫。這一股信念，正是他們在《風之谷》成功之後，毅然成立「吉卜力工作室」的根本動機。他們的理想，是將全部精力都灌注在他們的每一部作品之中，絕不犧牲品質向有限的時間和預算妥協。每一部作品都將由宮崎駿和高畑勳製作導演，一切的指示都由導演來下達，導演的決定擁有最高的優先權。吉卜力工作室這十年以來，一直都堅持着這樣的理念，而這可說是宮崎駿和高畑勳這兩位出類拔萃的導演和全工作室人員努力的成果。 　　

　吉卜力工作室的成員們，從來都沒想過這個工作室竟然能一直存活到現在。「我們製作一部電影，如果它成功了，就再做下一部。如果失敗了，那這個工作室就得結束生命。」吉卜力成員們當初就是抱着這樣的心態出發的。為了使風險減到最低，他們沒僱用半個全職的工作人員。在製作一部影片的時候，他們大約會召募七十個左右的人員組成小組，當電影完工之後，小組即自動解散。他們工作的地方，就只有位於東京市郊一間房子中的一層樓而已，而且還是租來的。一切的管理決策都由高畑勳一手包辦，在他的良好經營之下，吉卜力工作室才得已順利地完成《天空之城》的製作，並在1986年上映，成功地吸引了七十八萬名觀眾到電影院觀賞，同時得到了極高的評價。 　







(2) Ghibli, Center of Attention in the Japanese Film Industry




 







The next 2 films that Studio GHIBLI produced were "My Neighbor Totoro" and "the Grave of the Fireflies." Directors were Miyazaki for "Totoro" and Takahata for "Fireflies." The same time release of two works by two of the most talented directors was quite a show, which would turn out to be the first and the last. The process in the making of these films was sheer chaos. The studio was making two long films all at one time, and none of their quality was to be sacrificed. It seemed almost impossible, but it was a chance that couldn't be missed. We knew that if we didn't go ahead now, we would never come across the chance to make them both. Having made that decision, we went ahead with what seemed to be an almost impossible project. To produce good pictures is what the studio is all about. Management and growth of the company come second. This is probably what distinguishes Studio GHIBLI from other studios and, without this policy, the production of these two films would not have been made possible.

In talking about the history of GHIBLI, one person we cannot forget mentioning is Yasuyoshi Tokuma, the president of GHIBLI. He is also the president of Tokuma Shoten Publishing Company, and, besides the main publishing business, he is widely involved in the development of other businesses as well. He is also the owner of Daiei film studio, famous for films directed by Kenji Mizoguchi.

Tokuma seldom visits the Studio, the reasons being that he basically leaves us alone, leaving the decision-making up to us. But when it comes to a time in need, he always comes up to the front line. It was he who made the decision to make Miyazaki's comic "Nausicaa" into a theatrical picture and it was he who established the Studio GHIBLI. It was not easy to realize the release of both "Totoro" and "Fireflies" because both films seemed rather quiet compared to the previous two films. It was then that Tokuma himself went to the distributors, campaigned for the two films, and successfully made an agreement with the distributors to make the release of the two films possible. If any one of his efforts had lacked, Studio GHIBLI would not exist now.

The box office performance of "Totoro" and "Fireflies" were not as good as expected due to the time lag in the release of the films, that is, they were not released during the summer season when a great many Japanese go to the theater. Yet, they received high acclaims from various fields for the superb quality of work. For that year, "Totoro" won most of the picture awards in Japan, including best photography. "Fireflies" was highly praised as a true literary art. With these two pictures, Studio GHIBLI became widely known in the Japanese film industry.

"Totoro" brought us an unexpected gain, too, and that is the big hit of the stuffed Totoro toys. I say "unexpected" because the stuffed toys were marketed nearly 2 years after the release of the film, and they were not intentionally created to promote box office performance. What actually happened was that a stuffed toy manufacturer ardently felt that Totoro was a character that deserved to be made into a stuffed toy and eagerly asked GHIBLI for its permission.

All in all, thanks to the sale of Totoro goods, it now became possible for GHIBLI to continually cover for any deficit in production cost. Totoro was even adopted as the company logo. A plan is under way now in GHIBLI to set up a department to promote the sale of character goods. Needless to say, there is no change in the policy that film productions come first and interest in merchandising come only as its result. We have not, and never will, decide on, or change any part of the picture based on the merchandising value.




　吉卜力工作室接下來的兩部電影是《龍貓》和《再見螢火蟲》，負責導演的分別是宮崎駿和高畑勳。當時兩部電影的製作時同時進行的，整個製作過程簡直是一片混亂。而令人驚嘆的是，即使是同時製作兩部電影，品質卻絲毫沒有降低的跡象，這幾乎是不可能的!!但吉卜力做到了，他們的政策方針是將製作良好的影片擺在第一位，公司的經營和成長則是其次。這就是吉卜力和其他的工作室不同的地方。如果沒有這樣的政策，想製作這兩部電影根本是不可能的。 　

　談到吉卜力工作室的歷史時，有一個人是不得不提到的，他就是德間康快，吉卜力的總裁。同時，他也是德間書店的總裁，除了負責發行業務之外，他也參與了一些公司發展及其他的事務。另外，他也擁有一個名叫Daiei的影片工作室，此工作室一向以製作大導演溝囗健二的影片聞名。 　　

　德間康快很少來吉卜力的工作室，因為他原則上希望吉卜力工作室能自由地發展，自由地做決定。但是在有需要的時候，他總是站在第一線幫忙。當初將宮崎駿的漫畫風之谷搬上銀幕，正是出自他的決定，同時，吉卜力工作室也是由他一手創建的。 

　要將《龍貓》和《再見螢火蟲》這兩部電影發行上映，吉卜力工作室遇到了不小的困難。因為這兩部電影和他們的之前的幾部電影相較，顯得相當的沈悶。當時，德間康快自己不惜風塵僕僕地遊走於發行片商之間，為這兩部片拼命地爭取發行上映的機會。最後在他的努力之下，終於說服了片商。如果缺少了他的任何一點努力奉獻，吉卜力工作室現在早已不在了。

　《龍貓》和《再見螢火蟲》的票房表現並不如預期，這可能是由於錯過了上映時間的關係，也就是說，這兩部片並沒能在暑假這個電影旺季上映。不過，它們超卓的品質卻獲得了各界一致的讚賞。那一年，《龍貓》幾乎包辦了日本所有的電影大獎，甚至還包括了最佳攝影獎。而《再見螢火蟲》則被盛讚為「真正的藝術」。藉着這兩部片，吉卜力工作室在日本電影界打響了極大的名氣。另外，《龍貓》也為吉卜力帶來了意想不到的收穫——龍貓布娃娃竟然大受歡迎。為什麼說是「意想不到」呢？因為龍貓布偶的上市距離影片上映差不多已有兩年之久了，而且他們創造龍貓當初也並不是為了想促進票房。事實上，是有一家布偶製造商看上了龍貓，覺得龍貓這個「人物」不做成布偶實在太可惜了，於是極力央求吉卜力工作室讓他製作布偶。 　　

　總而言之，感謝龍貓產品的銷售成果，吉卜力工作室才能夠慢慢地補回製作費造成的大筆赤字。龍貓後來還被吉卜力當成工作室的標誌。目前吉卜力正在計畫成立一個專門負責銷售電影角色周邊商品的部門。當然，吉卜力的方針仍是以製作電影為第一優先，周邊商品的收益只是一個額外的成果而已。吉卜力從來沒有（將來也不會）為了考慮周邊商品的價值，而改變影片的任何一個部份。







(3) Ghibli - Start of Second Phase




 







Let me get back to the history.

The first film that made a great box office hit was "Kiki's Delivery Service," directed by Miyazaki and released in 1989. Approximately 2.64 million people went to the theater and the film became the number one hit among all Japanese films for that year. The picture outnumbered all previously released films of GHIBLI both in revenue and box office number. Behind all this success, however, there was a big concern: what to do with the company GHIBLI and how to run it. In particular, the terms of employment and the recruiting and development of staff.

In the Japanese animation film industry, it is common to pay according to how many pieces you drew or painted. This is how GHIBLI was paying its staff. As a result, the staff working on "Kiki's" was severely underpaid, receiving only about half the average salary in Japan. Miyazaki made two suggestions:
1. To introduce full time employment term and a fixed salary system thereby doubling the salary of staff.
2. To recruit staff on a regular basis and to promote training.

Despite the improving conditions of GHIBLI, the conditions surrounding the entire animation industry in Japan was declining. To make a quality picture in such an environment, Miyazaki judged that it was important to maintain a base headquarters, to establish a solid organization, to materialize full-time employment term, and to implement a training & development system for staff. It was clearly a change in management policy, or, so to speak, a beginning of the second phase of GHIBLI. Here, too, there was a support from our president Tokuma.

Allow me to speak a few about myself. It was at this time that I joined GHIBLI. Up until then, I was working as the chief editor of an animation magazine called Animage, published by Tokuma Publishing Company. I worked on Animage from its first publication in 1978, and when Tokuma started the production of "Nausicaa" in 1983, I became involved in GHIBLI as well. In Japanese, this would be called having "a shoe for two legs," meaning having two jobs at one time. The days were hectic, but gratifying. When the new management policy was introduced into GHIBLI, my life was changed too. Both GHIBLI and myself had come to a point where there was no turning back.

After "Kiki's Delivery Service," GHIBLI began its production of "Only Yesterday," directed by Miyazaki. And while the work was going on, in November of 1990, full-time employment term materialized, an animation training program was introduced and regular annual recruitment was implemented.

The film "Only Yesterday," released in 1991, became another box-office hit despite staff concern, and just as "Kiki's," this also became number one for the year. But what pleased us most was the accomplishment of two major targets that Miyazaki had proposed: To double the salary and to recruit on a regular basis. In accomplishing these two items, however, one problem emerged: massive increase in production cost. It was something we had anticipated. We were aware that 80% of animation production cost came from the cost of manpower, and if salary had doubled, so will the production cost.

The new policy for GHIBLI in its second phase, therefore, made us look toward further effort in advertising and thereby increasing box-office revenue. If massive increase in production cost was unavoidable, then the only choice left was to conscientiously and strategically plan for increase in box office performance. It is not that we never thought of it, but it was with this "Only Yesterday" that we seriously started to work on advertising.

It was about this time that Toru Hara, the chief executive officer of GHIBLI then, described GHIBLI as having the 3Hs, 3Hs meaning High Cost, High Risk, and High Return. To produce top quality work, it takes high production cost; and though there may be high risk, or apprehension in the course, the benefit or return will be big. I think this is what he had meant. 4 years have passed and this is still true today. But even if there was high return, because all of it goes into the next production, nothing remains in our hands.

To employ full-time employees now meant having to pay out monthly salary. What GHIBLI did was to create a situation where it had to constantly keep working on a production. GHIBLI, destined now to continually producing, went ahead to start on "Porco Rosso," even before finishing "Only Yesterday." This overlapping situation was the first GHIBLI had experienced. "Only Yesterday" was in the final busiest stage before its completion. In a time when every help was needed, how could we bring the staff to start working on a new film. There certainly was no surplus in manpower. The result was Miyazaki having to work alone on "Porco Rosso" at its start. Of course Miyazaki was not happy. "What? You mean I have to produce, direct and assist all on my own?", he complained, but there was no choice but tell him to do it.




　第一部為吉卜力創下極佳票房的電影，是1989年由宮崎駿導演的《魔女宅急便》,《魔女宅急便》吸引了大約264,000,000名的觀眾，同時，它也成為日本全年度最賣座的電影。這部電影所帶來的收益及票房，超過了所有吉卜力工作室之前所作的每一部電影。然而，在這次大成功的背後，吉卜力遇上了另一個問題：吉卜力倒底該怎麼運作比較好呢？尤其是在僱傭關係、工作人員的召募和工作室的發展方面，更是需要考慮的問題。在日本的動畫電影界，一般都是按照所畫的張數來計算員工的薪資，這也是吉卜力給付它的員工薪資的計算方法。然而,《魔女宅急便》的工作小組所得到的薪水卻嚴重偏低，差不多只有日本平均薪資的一半。於是，宮崎駿做了兩個建議：

1.改用全職的僱傭制度以及固定的薪水制度，將工作小組的薪水加倍。
2.固定規律地召募新員工，並且加強訓練制度。

　雖然吉卜力工作室的經濟狀況現在有了改善，但是當時全日本的動畫界卻是處在低迷狀況。因此，想在這樣的環境下仍能維持製作的水準，宮崎駿認為吉卜力需要一個固定的工作總部，用來建立堅固的組織系統、實現全職員工制度的理想、同時進行工作人員的訓練和擴增的計劃。所以可以說，吉卜力的管理經營策略有了很大的轉變，自此之後，吉卜力進入了第二個時期。

　繼《魔女宅急便》之後，吉卜力的下一部作品是《歲月的童話》導演是高畑勳。在這部電影製作工作進行的同時，1990年的十一月，全職制度實施了，而且吉卜力也開始推行動畫訓練的課程，每年固定招收新員工的制度也實現了。

　《歲月的童話》這部電影在1991年公開上映，也創下了極佳的票房。和「魔女宅急便」一樣，它也成為當年最賣座的電影。不過，最讓我們高興的是，宮崎駿的兩個建議全都實現了：加倍的薪水和固定招收新員工。但，這兩個方案付諸實行的同時，也產生另一個新的問題：影片製作成本的大幅提高。這是吉卜力早已預料到的結果，既然動畫製作的成本有80％是來自人力，那麼薪水提高兩倍的結果當然會造成成本大為提高。
所以在這個時期，吉卜力的新政策是━━在廣告方面做更多的努力，並希望藉此來提升票房。如果製作成本的增加是無法避免的話，那唯一的解決之道，就只有利用策略性的手段來提高票房一途了。吉卜力工作室之前並不是沒有想過這個問題，只不過是在「歲月的童話」之後，他們才真正想到要在廣告方面下功夫。

　大約就在那個時候，吉卜力的總執行長指出了吉卜力工作室的「3Hs」狀況。「3Hs」就是指「High Cost」、「High Return」和「High Return」。要製作最高品質的電影，就必須投注很高的製作成本，同時雖然這樣做會有很高的風險，但是得到報酬收益卻是很大的。這大概就是「3Hs」的意義。從這之後到現在已經過了4年，吉卜力仍然維持着這樣的原則。不過，雖然報酬收益很高，卻全部又投注在下一部電影的製作上面了，所以吉卜力到現在還是窮光蛋….

　僱用全職員工的意義，就是吉卜力必須每個月給付員工薪水。吉卜力對這個情況的應變方法，是維持一種不斷工作的狀態，也就是不斷地製作新的電影，現在這已成了吉卜力的宿命了。所以，吉卜力工作室不得不開始「飛天紅豬俠」的製作，而當時「歲月的童話」的製作還尚未完工呢!吉卜力第一次遇上這種兩部電影製作時間重疊的情況，當時「歲月的童話」正在接近完工、最忙碌的階段。在這種非常時節，吉卜力根本不可能撥出員工來製作「飛天紅豬俠」。結果呢，在飛天紅豬俠製作剛開始的時候，可憐的宮崎駿竟然必須自己單槍匹馬地工作。當然，宮崎駿很不高興，「什麼？你是說我必須自己一個人包辦製作、導演和所有的助手角色？…」　雖然他苦苦哀求，但是殘酷的吉卜力仍然……。







(4) Ghibli - Building of the New Studio




 







Whether it was to relieve the stress he was under, Miyazaki out of the blue came up with a proposition: "Let's build a new studio!" It was the Miyazaki way: when facing a problem, try to find a break through by coming up with a much greater problem! But the reasons he gave were convincing. If we are trying to get the best people, a rented office is not impressive enough. Without space people cannot gather; and without a good one, people will not develop. The space GHIBLI was using was already full - approximately 90 people were working in a 300 square meter space. But GHIBLI did not have the money to build a new studio.

Hara was a man of common sense who was opposed to this idea. While I knew the idea of building a new studio was ridiculous, I took it rather optimistically: Give it a try. Tokuma, the president, was totally for it and even sent me a word of encouragement, saying, "Suzuki, there is plenty of money in the bank. There are times when a man must carry heavy loads on his back." I remember a strange rush of emotion that I felt then, realizing what a way to view life. Hara left the studio, saying he could no longer follow.

Miyazaki of this year was a true genius, who presented his talents in many ways. While making the "Porco Rosso," he drew the blueprint of the new studio himself, held meetings with the builders to bring it as close to his image as possible, drew the image drawing of the completed studio, gathered, checked, chose the materials, and made the final decision. One year later, both the film "Porco Rosso" and the new studio were completed almost at the same time. Immediately after the release of "Porco," GHIBLI moved to its new studio in the city of Koganei in the suburb of Tokyo Met.

Just to keep you updated, the site of the new studio where we are now is approximately 1100 square meter wide and the total floor space also occupies about the same. The building has a basement and 3 floors above ground. The third floor is occupied by the art department, second by the drawing and production departments, the first floor by the tracing/painting department, and the basement by the photography department. On the first floor there is a space called the "BAR," which is used as a communication space for all staff. The space, however, is rarely used as a bar, maybe several times a year for drinks, and most of the time is used as a conference room or as a cafeteria space. The most unique part of the building is in the rest room. In GHIBLI, the ladies' rest room is double the size of men's, even though the number of men and women are about the same. The facilities are better in the ladies too. Perhaps this is just one of the ways our architect Miyazaki showed his support for feminism. Other characteristics of the studio is that it has lots of greenery and that parking area was intentionally made smaller.

Let's get back to where we were. In the summer of 1992, the film "Porco Rosso" was released and became the number one box-office hit of the year, surpassing all others released in that year, even Spielberg's "Hook" and Disney's "the Beauty and the Beast."




　宮崎駿在接下了飛天紅豬俠的工作之後，不知是為了消解壓力還是什麼的，提出了一個建議：「嘿!我們來蓋一座新的工作室吧!」這就是宮崎駿一貫的方式：當遇到一個問題的時候，就製造一個更大的問題作為解決的方法!!不過宮崎駿的理由倒是很充分：「如果吉卜力想吸引最好的人才，一間租來的辦公室未免太寒酸了吧!」所以啦，吉卜力工作室的新家終於開始興建啦!

　吉卜力工作室的外貌那一年的宮崎駿真是個天才，在製作《飛天紅豬俠》的同時，他也一個人畫好了新工作室的藍圖，親自和建造商接洽，要求工作室完成時能儘量接近他理想的樣子。一年之後,《飛天紅豬俠》和新的工作室幾乎同時完成.《飛天紅豬俠》一上映，吉卜力就高高興興地搬到新家去了。
新的工作室一共有三層樓，整座建築物最特別的地方大概是休息室了。雖然吉卜力里的女性員工只有男性的一半，但是女生的休息室卻比男生大了兩倍，而且設備也比較好。可能這是我們偉大的建築師宮崎駿，在表現他對女性主義的支持吧!!另外，新工作室的綠地也非常多，而停車的空間被宮崎駿刻意弄得比較小了……呵

　回到主題。1992年的夏天《飛天紅豬俠》上映了，又成為年度票房最佳的電影，甚至連史蒂芬史匹堡的電影《虎克船長》和迪士尼的《美女與野獸》都不是對手。







(5) Ghibli - Its Uniqueness




 







In 1993, GHIBLI purchased 2 large computerized cameras, at which time a photography department was set up, which was something we had long awaited and planned for. With the addition of this new department, GHIBLI now had grown into a studio that had all the departments from animation, art, tracing/painting, all the way to photography. This is completely the opposite direction the Japanese animation industry was moving toward, which is extreme separation of departments. The reason GHIBLI took the direction that it did was the belief that working closely under one roof with a common objective was important in achieving high quality work.

In 1993, GHIBLI produced its first TV animation, "the Ocean Waves." The director was Tomomitsu Mochizuki, 34 years of age at that time. It was the first time a person other than Miyazaki or Takahata had directed a film. The production staff was young, consisted mostly of those in the 20s and 30s. Their motto was to produce "quickly, cheaply and with quality."

This 70-minute TV special received satisfactory results, but in terms of budget and time schedule, had exceeded the plan. TV will be the area of development for GHIBLI.

The 1994 film directed by Takahata, "Pon Poco" also became the year's number one Japanese film. In this picture, most the animation was done by and a great deal of efforts were put into by the young staff who were employed after "Only Yesterday" and who literally grew up in GHIBLI. In "Pon Poco," GHIBLI for the first time used CG, the computer graphics. There were only 3 cuts using CG, but more of it will be used as we find necessary.

Studio GHIBLI now has a staff total of 99: Animation 46, tracing/painting 8, art 12, photography 4, directing and producing 12, publication and marketing 5, and management 12. As you can see from these numbers, most of our staff are in working on animation. The average age is 29.

As I have repeatedly mentioned, GHIBL's production cost may be high compared to other studios. But as you can see from our organization, most of the cost goes into films. This is what makes GHIBLI unique. We are able to do this because, as compared to other companies, we are spending much less on supporting departments.

It is Miyazaki's philosophy that Japanese should create on their own what they want to show to their children. So let me add by saying that in pursuit of this philosophy, the studio has never asked for support from studios overseas.




　1993年，吉卜力購進了兩部大型的電腦化攝影機，同時也設立了吉卜力渴望已久的攝影部門。新增了這個部門之後，吉卜力終於成長為一個具備作畫部門、美術部門、上色部門，及攝影部門的工作室了。這和日本動畫工業界的發展方向完全相反，日本動畫界一般是強調分工要極度精細的。而吉卜力採用相反發展方向的原因，是因為他們覺得大家在一個屋檐下，為着共同的目標而努力，這樣對達到高品質工作是很重要的。
　1993年，吉卜力製作了他們的第一部TV動畫,<海潮之聲>負責導演的是望月智充，時年34歲。他是第一位除了宮崎駿和高畑勳以外，和吉卜力合作執導影片的導演。這部影片的製作群都非常年輕，大部份由20多歲到30多歲的人組成。他們的工作信條是「快速、便宜而又有品質的製片」。

　這部70分鐘長的電視特別節目獲得了令人滿意的成果，但是在預算及製作時間方面，卻超出了計畫中所預期的。所以，電視是吉卜力未來仍需發展的領域。
 
　百變貍貓1994年由高畑勳所導演的《百變貍貓》也成為年度日本國產片的第一名。在這部動畫中，大部份的動畫部份都是由《歲月的童話》之後新加入吉卜力、在吉卜力成熟的年輕成員完成的，而他們也為「百變貍貓」這部影片下了非常大的努力。在「百變貍貓」中，吉卜力第一次使用電腦作畫(CG)。雖然只有3個cut有使用CG，但以後只要有需要，他們會用得更多。
吉卜力現在總共有99位成員：作畫部門46人、上色部門8人、美術部門12人、攝影部門4人、導演及製作部門10人、出版及商品開發部門5人、管理等部門共12人。就如這些數字所顯示的，吉卜力大部份的工作成員都是負責動畫部份的。全體工作成員的平均年齡是29歲。

　前面有提過，吉卜力的影片製作費可能會比其他的工作室來得高。但是從吉卜力的組織架構來看，大部份的經費都花在影片上面了。這就是吉卜力特別的地方。吉卜力之所以能夠這樣做，就是因為他們和其他的公司比起來，花在支撐各個部門的費用要少太多了。

　在宮崎駿的哲學中，他認為日本應該自己來創造他們想讓日本小孩看的東西。所以，遵循宮崎駿哲學的吉卜力，從未向海外其他國家的工作室請求任何的援助。我們現在來談談吉卜力在國外的活動吧!!







(6) Ghibli Goes Abroad




 







Let me now talk about GHIBLI's activities abroad.

Up until now, overseas release of GHIBLI's works had mainly been limited in the Asian region, namely Hong Kong and Taiwan. This has started to change since about two years ago. The first was the release of "My Neighbor Totoro" in the United States. Soon after, 20th Century Fox distributed its home videos that sold over 560,000. This is phenomenal for a Japanese film having gone this far in the US film industry. Moreover, "Pon Poco" was chosen to represent Japan in the Academy Awards as a nominee for Best Foreign Film.

As many of you may already know, in France too, the picture "Porco Rosso" made its appearances in over 60 theaters. The voice of Porco Rosso, the main character, was done by the famous actor Jean Reno. As a matter of fact, it was recently brought to our attention that our director Miyazaki happens to be a great fan of Jean, and loves the character Enzo, which Reno played in the movie "Gran Bleu (Great Blue). " Needless to say, Miyazaki was quite pleased with this casting.

It is our hope to be able to bring to you more of GHIBLI to Europe and North America in the future. As long as the proposition we receive is constructive and rational, we are happy to accept. As creators of animations, it would please us the most to be able to have as great many audiences and to be able to make our audiences happy, regardless of race or nationality. But in order to have our work released properly in foreign countries, there are many hurdles that must be overcome. Many propositions that we receive are such that they want to just sell home videos or they want to air them on TV. Our priority remains that our pictures are made to be shown in the theater.

It goes without saying that we allow no alterations in the work that we produce. It is therefore quite unfortunate that we did not have enough wisdom and experience then when we made the "Nausicaa of the Valley of Wind" because this was, without our knowledge, edited into a short version and released in the United States and other regions under the title "Warriors of the Wind." If any of you have seen this edited version, we'd like to ask you to dismiss it from your minds.

One point I'd like to note is that GHIBLI has not and never will produce a picture with multinational marketing strategies in mind in order that we may capture the world market. GHIBLI will continue its style to create solely for the Japanese audiences. And if situation allows us, we will then look toward the rest of the world.




　到現在為止，吉卜力的作品主要僅限於在亞洲地區發行，也就是香港和台灣兩地。大約在兩年前，這樣的情形漸漸有了改變。首先是「龍貓」在美國的上映。很快地福斯公司取得了發行「龍貓」家用錄影帶的版權，並且銷售量達到560,000卷。在美國的電影界，日本片能有這樣的成績是很驚人的。另外，「百變貍貓」還被選為代表日本角逐奧斯卡最佳外語片呢!

　大家可能也知道，在法國「飛天紅豬俠」曾在六十多個戲院上映，負責配波哥的是一位著名的演員尚雷諾Jane Reno。事實上，宮崎駿本人恰好是Jane Reno的影迷，他非常喜歡Jane Reno在「碧海藍天Gran Bleu(Great Blue)」這部電影中飾演的角色安索Enzo。所以啦，宮崎駿對尚雷諾Jane Reno能在飛天紅豬俠中參加出當然是非常高興的。

　吉卜力希望在未來能將作品推廣到歐洲和北美，只要是有建設性且合理的提案，他們都會很高興地採納。身為動畫的創作師，能讓更多的觀眾欣賞自己創作的影片，並給大家帶來快樂，吉卜力會很高興的，不管觀眾的種族或國籍為何都是一樣。但是為了要將作品在國外發行，吉卜力也遇到了很多困難。他們所收到的很多提案，都是只希望將影片錄成家用錄影帶，或是只想在電視上放映而已。但吉卜力卻希望他們的電影能以在戲院上映為優先，畢竟電影本來就是為了在電影院放映而製作的。

　當然，吉卜力絕不允許任何人修改他們的作品。然而很不幸的，由於他們經驗和思慮的不足，在「風之谷」製作的時候，有人將它改成較短的版本，然後以「Warriors of the Wind」的名字在美國及其他地區上映。

　有一點是仍需強調的，吉卜力從未(今後也是一樣)為了市場的考量，而製作一部適合多國市場的影片。吉卜力將會維持一貫的風格，單純只為日本的觀眾製作影片。如果情況允許的話，他們才會朝其他的國家發展。







(7) Ghibli - Its Future




 







In the "Whisper of the Heart" released in the summer of 1995, GHIBLI tried a new staff composition: Miyazaki was responsible for producing, screenplay and continuity; and Kondo, who was the animation director in "Fireflies," "Kiki's," and "Only Yesterday," challenged as the director in this film. In addition, we are experimenting by implementing the latest digital technologies in various departments. After the completion of "Whisper of the Heart," GHIBLI has started on its production of its eleventh picture, in 1985 "The Princess of Mononoke," to be released in 1997. This picture, under the direction of Miyazaki, will be GHIBLI's new challenge in that a great deal of computer technology will be applied.

For this new challenge, a group specializing in CG has been set up and the least required system for CG system was implemented. At the same time, we invited a CG director from Nippon Television Network, who had worked with us in the "Pon Poco," to join us in the production team. The money we have invested in systems only for the first year amounts to 100 million yen. The digital technology which had shown good results in the "Whisper of the Heart" will be used massively in this picture. The computer technology will definitely give much greater depth into the animation images from what used to be mere flat two-dimensional pictures.

In April of 1995, GHIBLI started a "East Koganei Village School of Animation" in an effort to excavate and develop new directors to follow Kondo. The school master is Takahata.

There is no guarantee that Studio GHIBLI will continue to do as well as it has been. It has never slipped our mind that each picture comes to us as a new challenge. To continue to be innovative in terms of the quality of work, technology, and development of personnel is the first and most important factor in maintaining the essence of Studio GHIBLI.

This concludes my story on GHIBLI. If you have any questions, I would be glad to answer them. You must pardon me, though, for my responses will have to be in Japanese.




　在1995年夏天上映的「夢幻街少女」中，吉卜力嘗試了一個新的製作群組合。宮崎駿負責製作、編劇、繪分鏡表，而曾在「再見螢火蟲」、「魔女宅急便」及「歲月的童話」中擔任動畫導演的近藤喜文，則出馬挑戰導演一職。此外，吉卜力也試着在影片中的各個部份加入了最近的數碼技術。在「歲月的童話」完成之後，吉卜力開始着手製作他們的第十一部影片，「幽靈公主」，此片將在1997年上映。這部由宮崎駿執導的電影將會應用非常多的電腦科技，這是吉卜力的一大挑戰。為了應付這個新的挑戰，吉卜力設立了一個專門的CG小組，也購置了一切CG所需的設備。同時，他們也邀請了一位Nippon Television Network的CG導演加入「幽靈公主」製作小組，這位導演以前也曾在「百變貍貓」中參加製作。
光是影片製作的第一年，吉卜力就在更新系統上投資了一億日元。在「夢幻街少女」中表現優秀的電腦技術將會在「幽靈公主」中大量地使用。電腦技術將會使原來只有2D的平面影像變得更加有深度(景深吧…)。

　在1995年的四月，吉卜力創立了一座「東小金井動畫學院」(小金井是吉卜力所在的一座市鎮)，希望能挖掘出並培養更多像近藤這樣的新導演人才。學校的校長是高畑勳。沒人能保證吉卜力工作室能繼續像這樣順利地發展下去。吉卜力從來沒有忘記，每一部電影對他們來說都是個新的挑戰。持續地在品質、技術及人才培育方面不斷創新，這就是吉卜力工作室存在的理由。
















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