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琦琦 今日少女們的願望和心情
原著「魔女的宅急便（魔女の宅急便）」（作者：角野榮子、福音館書店發行）以溫暖的語辭描寫站在獨立與依賴的夾縫中的今日少女們的願望和心情，是一部相當優秀的兒童文學作品。對昔日故事的主角們來說，歷盡千辛萬苦後所得到的經濟上的獨立就等於是精神上的獨立。時至今日，誠如打工族（Free Arbeiter）、延期償還（Moratorium）、辛苦（Travail）等外來語的大為流行，經濟上的獨立已經不再等於是精神上的獨立。在今日這個時代，所謂的貧困，不再僅止於物質上的匱乏，反倒是用來形容心靈上的貧乏居多。
在這個把離開父母此一成長必經儀式看得不怎麼重要、在人群中生活也只須一間便利商店就可解決所需的年代裏，就某個層面來說，少女們所面臨的獨立問題將變得更加困難，因為，她們必須要想盡辦法發現自己的才能並加以充分發揮，進而努力去實現自我才行。
劇中的魔女主角——十三歲的琦琦只擁有飛天的能力。而且，在這個世界裏，魔女已經不再算是稀奇。她身上背負着到陌生的城市生活一整年、好讓大家都能對魔女有所了解的學習課題。
其中有描寫到一個夢想成為漫畫家的少女、隻身前往大都市奮鬥的情節。聽說現在的日本青少年裏面，立志成為漫畫家的人數多達三十萬人。其實，漫畫家並不算是特別稀奇的職業。比起來，它出道比較容易，生活也不難維持。往往要等到後來在不斷重複的日常瑣事中才開始碰壁受挫，這是當今的寫照。雖然有母親使用過的掃帚守護著、用父親所買的收音機來提振精神，以及一隻如影隨形的黑貓緊跟在後，但是，琦琦的心裏還是害怕孤獨、對人充滿了渴望。這就是當今許多少女的縮影，她們也是在備受父母呵護，甚至接受父母經濟援助的情況下，對於繁華都市有無盡嚮往而渴望能到那裏獨立生活。琦琦的想法太過天真、認識太淺，也正好反映出現今少女們的心態。
在原著作品中，琦琦憑着天生的好心腸解決了所有的難題。同時也因此廣結善緣。既然我們決定要拍成電影，就必須更改部分的內容才行。看到她得心應手地施展魔法的模樣，的確會讓人感到很愉快，問題是，那些在都市裏討生活的少女們的心情應該更加曲折才對。畢竟對大多數的少女來說，要突破自立的高牆並不容易，甚至有許多人在整個過程當中未曾得到任何的祝福。因此，我們想在電影裏進一步探討有關獨立的問題。電影向來就比較逼真而且有臨場感，相信觀眾應該可以從中感受到比原著更加強烈的孤獨感和挫折感才對。
當我們遇見琦琦的時候，浮現腦際的第一個畫面，就是一個少女正在都市夜景的上空飛翔。燈光燦爛。可是，卻沒有任何一盞燈願意給她溫暖……。在天空飛翔的孤獨感。雖然擁有飛天能力意味着可以遠離地面獲得解放，但是，獲得自由也意味着不安和孤獨。而決定靠自己的力量飛上天際的少女，就是這部電影的主角。到目前為止，電視上放映過許多部以魔法少女為題材的動畫，只不過，他們都把魔女當作是少女實現願望的手段。一個個沒有吃過任何苦的魔女就那麼變成了大家的偶像。至於「魔女的宅急便」裏的魔法，可不是那麼簡易方便的力量。
這部電影裏的魔法是有限制的，指的是一般少女都具有的力量，也就是自身所擁有的才能。
當琦琦在街道上方飛翔時，心中除了感受到屋簷下的人群與她有着深刻的關連，同時也比以前更加確信並肯定自我——我們打算要用這種幸福的畫面來做結尾。因為我們相信，這樣的結尾不光只是一個願望，而是整部電影的描繪過程要能彰顯出那樣的說服力才行。
我們製作這部電影的目的，並不是要否定現代少女們的花樣年華，也不會被她們的絢爛所迷惑，而是要向那些在獨立和依賴的夾縫中徬徨猶豫的年輕觀眾致意（畢竟，我們也曾經年輕過，對年紀較輕的工作人員來說，這也是她們目前正面臨的問題）。同時也希望這部電影能夠成為一部傑出的娛樂作品，得到大多數觀眾的共鳴和感動。
（一九八八年四月）
THE HOPES AND SPIRIT OF CONTEMPORARY JAPANESE GIRLS
Eiko Kadono's original story, Majo no Takkyubin 『Kiki's Delivery Service』(Published by Fukuinkan Shoten Publishers Inc.) is a fine work of children's literature warmly depicting the gulf that exists between independence and reliance in the hopes and spirit of contemporary Japanese girls.
At one time the main characters of stories for young people gained financial independence，which was then equal to spiritual independence, after struggling through difficulties. In today's society, however, where anyone can earn money going from one temporary job to another, there is no connection between financial independence and spiritual independence.In this era, poverty is not so much material as spiritual.
In an era when leaving the security of one's home is no longer anything special, and living among strangers means nothing more than going to a convenience store for anything you need, it might be more difficult than ever to achieve a real sense of independence since you must go through the process of discovering your own talents and expressing yourself.
The only unusual thing that the heroine，13 year-old Kiki can do is fly through the sky. Moreover in this world witches are not much more talented than normal girls.She has the duty to live for a year in an unfamiliar town and exercise her talents to make people acknowledge her as a proper witch.
This is like someone who wants to be a cartoonist coming alone to Tokyo. Today there are said to be around 300,000 young men and women who are hoping to make it as cartoonists. Being a cartoonist is not that unusual a job. It is comparatively easy to get started and to make some sort of living. But a characteristic of modern life is that once the needs of daily life are taken care of the real problem of selfrealization begins.Kiki is protected by Mother's old but well-looked-after broom, she has the radio that was a gift from father, and the black cat she is so close to that it is almost like a part of herself, but Kiki's heart wavers between isolation and longing for human company. In Kiki's life we see reflected the lives of so many young Japanese girls today who are loved and supported economically by their parents, but who long for the bright lights of the city, and are about to go there and become independent.The weakness of her determination and the shallowness of her understanding are also reflected in the world of today's young people.
In the original, Kiki solves difficult problems with her naturally good heart. At the same time her circle of allies increases. In filming this we have had to make a few changes. The process of her developing her talent is surely pleasant but the spirit of our young girls living in the capital today is not so simple. The biggest problem for many young girls is the fight to break through the barrier of independence, and there are too many people who feel they have received not a single blessing. We feel, therefore, in this movie that we must give serious treatment to the problem of independence. As movies always create a more realistic feeling，Kiki will suffer stronger setbacks and loneliness than in the original.
Our first image of Kiki when we meet her is of the form of a small girl flying through the night sky over the capital.
Many lights shine, but there is not a single light to warmly beckon her.She is isolated as she flies in the sky. It is usually felt that the power of flight would liberate one from the earth, but freedom is accompanied by anxiety and loneliness. Our heroine is a girl who has decided to identify herself by her ability to fly. Quite a few TV cartoons about little witches have been made before this, but the witchcraft has always merely been the means to fulfill the dreams of young girls. They have always become idols with no difficulties.The witch of Majo no Takkyubin (Kiki's Delivery Service) does not possess that convenient kind of power.
The talents of witch of this film are really little more than those possessed by any real‐life girl.
We are planning a happy ending. As Kiki flies over the town she feels a strong bond between herself and the people who live below, and is happy being herself.We are hoping to make the film persuasive enough that viewers will conclude that the ending is happy, rather than merely wish it to be so.
I feel that this film will fulfill its goal of reaching out with a feeling of solidarity to our young viewers: the young girls living in today's world who do not deny the joy of youth, nor are carried away by it, torn between freedom and dependence (because we were all young men and women once, and the young members of our staff have these very problems now). At the same time I feel that the basic potential of this film as entertainment lies in this point and that it will inspire sympathy in the viewers.
HAYAO MIYAZAKI
