In most films, when a child is dropped off at an orphanage, it’s seen as a bad thing. They’re usually downtrodden and mistreated, and wistfully awaiting adoption or escape. This isn’t the case in Earwig and the Witch.
The first feature film by legendary Japanese animation house Studio Ghibli (Spirited Away, Pom Poko, My Neighbor Totoro) in almost seven years – and its first fully 3D computer-generated feature – follows Earwig, a young girl who has grown up in an orphanage and has everyone wrapped around her little finger. She couldn’t be happier – until she’s adopted by a witch.
Based on a book by Diana Wynne Jones (whose novel Howl’s Moving Castle was also adapted by Studio Ghibli), Earwig and the Witch is an eccentric, colourful and ultimately joyous story of magic, stubbornness and family. The English-language version of the film features the voices of Richard E Grant, Kacey Musgraves, Dan Stevens and Taylor Paige Henderson.
Broadsheet chatted to director Gorō Miyazaki (via a translator) about making the leap from hand-drawn animation to 3DCG (computer generated), about pivoting from a career in landscape gardening, and what it’s like working with his father, Studio Ghibli founder Hayao Miyazaki.
How did you decide on Earwig and the Witch as your next project?
It all started when I was given the original Earwig and the Witch novel and [my dad] Hayao Miyazaki and [studio co-founder] Toshio Suzuki suggested I adapt it into a movie. The author of the original novel, Diana Wynne Jones, is a favourite of mine, and when I read the book, I found it really interesting. In traditional fantasy novels, young girls taken in by frightening witches are often exploited, driven to depression, and await their rescue by a prince, but that’s definitely not the case with Earwig. In fact, she manipulates the witch … and tries to realise her own wishes. It’s the fact that she’s not a typical goody-two-shoes child, but rather a miscreant one, that drew me to her.
What do you think makes Earwig different from other main characters in children’s stories?
Earwig retaliates if she’s wronged and will use others to her own advantage. She’s sometimes seen as a selfish, wicked child, but she’s not just simply a miscreant. When dealing with difficult adults, she doesn’t just take it all on the chin. She’s a girl with the power to overcome difficulties – the type who would buckle down and crawl out from the bottom of a pit. I love the sight of her overcoming those kinds of hardships.
This is the second Diana Wynne Jones work to be adapted by Studio Ghibli – what do you like about her work, and do you think there's something about her stories that make them a good match for Studio Ghibli?
What I find appealing about Diana Wynne Jones’s works are her masterful stories, enchanting story settings and the characters she creates. I really love how all of her eccentric characters are so blatant about their quirks, are full of energy and go about their lives while staying true to their desires. I think these characters, who don’t like to fit the mould of the average person and are slightly odd, have an affinity with [Studio] Ghibli.
The animation style for Earwig and the Witch looks quite different to Ghibli’s previous projects. What has changed, both in look and in the process of animation, and what drove this decision?
Prior to Earwig, I directed a TV series, Ronja, the Robber’s Daughter, with another studio. As I learned about the possibilities of CG animation on that project, I decided I wanted to create a fully CGI work next. At the same time – and this is something that Toshio Suzuki also said to me – I figured even if [Studio] Ghibli were to continue making hand-drawn animations, being able to produce 3DCG animations at the same time would also expand the studio’s future prospects. The tools used for hand-drawn animations versus 3DCG ones may be different, but I believe there are no differences in the overall production process. The process of writing scenarios, drawing up storyboards, coming up with settings and working at it bit-by-bit is no different.
This is the first feature film by Studio Ghibli using 3DCG – is this because this animation style suited the story? What has the response been?
We had decided to use CG, regardless of the project, but we also felt Earwig had the perfect story for our first full-length foray into 3DCG. The reasoning behind this is due to the small number of characters and the limited number of sets required. While I am aware some people are critical of it being CG, despite being a [Studio] Ghibli film, I am also thrilled to hear that many children love Earwig.
Will all future Studio Ghibli films use 3D?
I believe hand-drawn animations will be our main style – as it has always been –as we gradually venture further into CG as well. In other words, I don’t think we will choose one or the other.
Did you encounter any issues in making this film?
[Studio] Ghibli didn’t have any structures or systems in place to produce feature-length CG films, so we had to start putting those in place first. Also, since we were not accustomed to the process, it took a long time to get the production on track.
You have grown up around animation. What challenges does making an animated film now pose, compared to those of a previous generation?
I think the biggest challenge is that absolutely everything already exists. As such, the act of creation becomes somewhat of a collage. This is exactly why I believe it is up to the creator to decide on what they want to put into their creations.
What was it like working with your father on planning the movie? Are there any challenges that come with working in the family business?
When it came to Earwig, it was Hayao Miyazaki who suggested I adapt it to film. He had no other input aside from that, partially because it was a 3DCG endeavour this time as well. Working with family is extremely bothersome because, from the perspective of being your father’s child, you need to think about how you can escape from your parent’s control and free yourself.
You had pursued a career in landscape architecture – what prompted you to change to animation?
I got my start when I joined Studio Ghibli to work on the construction of the Ghibli Museum through the request by Toshio Suzuki. After the Ghibli Museum opened … Suzuki invited me to get involved in animated films. That was the exact turning point. Perhaps Suzuki manipulated me in much the same way Earwig does to others.
Earwig and the Witch is screening now in Japanese with subtitles as well as dubbed in English. Find a session and watch the trailer here.
