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What Working on Princess Mononoke at Studio Ghibli Taught Me
In the middle of one of their most crunched productions, Studio Ghibli’s masters showed a young French animator the ropes.
Their encounter would eventually lead to a conversation intermediated by a translator, an ad hoc animation critique, and, some years later, a job on Miyazaki’s 1997 classic Princess Mononoke, which has been remastered and re-released in Imax for the first time this week. Encinas remembers Miyazaki muttering to himself as he flipped through the pages: “Okay, first part, yeah, might be okay…” Then he pulled out sheets of thin, nearly transparent yellow paper, the kind Japanese animators use for corrections, and began to doodle. And Yasuo Ōtsuka, who mentored several generations of Japanese animators including Miyazaki and Takahata, would come in once a week to assign short exercises to Encinas and his fellow studio newcomers — with group critiques and corrections at the end.
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