![]() The problem was never with Studio Ghibli - some of its best films were made during this period. For just over 15 years, Studio Ghibli’s films were licensed for American release by Disney, to middling financial success. (He was known as Harvey Scissorhands for a reason.) But Suzuki’s power play worked, reflecting Ghibli’s ability to stand up to an even larger giant. Miyazaki won that battle, an impressive feat considering Weinstein’s propensity for ordering sweeping cuts to the films he released through Miramax. Miyazaki’s producer Toshio Suzuki, in response, presented Weinstein with a samurai sword and a note: “No cuts.” In America, animation was for families, and families might not want to sit through a two-hour epic. ![]() Ghibli should have been rejoicing - the Japanese studio had inspired legions of ardent admirers in other countries, and its creators wanted to break through to a larger audience.īut producer Harvey Weinstein felt Princess Mononoke should be edited down for a Western audience. The Walt Disney Company had the release rights, just as its animation studio was reaching creative and financial highs with the Disney Renaissance. Hayao Miyazaki’s visceral masterpiece Princess Mononoke was scheduled for an unusually wide release in the United States. ![]() Studio Ghibli’s legacy can be best summed up in a story that’s become legend. To celebrate the arrival of the Japanese animation house’s library on digital and streaming services, we’re surveying the studio’s history, impact, and biggest themes. May 25 to 30 is Studio Ghibli Week at Polygon.
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