Toshio Suzuki: As for the manga verson of Nausicaa Mr Moebius read.. I don't know how he came to read it. Anyway one day he came to the office saying he wanted to see Miyazaki
Narrator: Miyazaki and Moebius had held each other in high regard for years. They met up in Paris to do this interview while they were there for an exhibit of 300 original drawings of theirs.
Hayao Miyazaki: Mr Moebius' Arzach you know… Yes, Arzach, I think he created it in 1975. I first saw it around 1980. It had a great impact on me. By then, unfortunately, my style was fairly established. So I couldn't use it as effectively as I'd have otherwise done in my creative development. But it's definitely true that I created Nausicaa with Moebius' influence.
Mr. Moebius: When I saw Princess Mononoke and even more so, Spirited Away, I was struck by the fact that I couldn't see a producer, any producer in the world, going along with the script, and that's the genius of Mr Miyazaki
Hayao Miyazaki: My producer never objects. As long as I finish on time, he's says, though.
Mr. Moebius: What struck me, right from the start. Is the fact that Mr. Miyazaki… How can I put it? For most of his fantasy films he found inspiration in Europe. His perception of Europe is very remote. It's idealized. It's very much enamoured. At the same time, films such as Totoro, Mononoke and Spirited Away also represent some sort of homecoming… That's very moving.
Hayao Miyazaki: I believe one's view of the world and one's technique are indivisible. As far as technique is concerned, we basically use the method learned from European painting, which revolves around light and dimension. We draw using that method. When it came to the bathhouse in Spirited Away, we had to depict uniquely Japanese things. I wasn't sure if we could capture. The Japanese objects using the European technique. But my team showed an amazing capability which we did not know we all had for depicting traditional Japanese objects. Together with our technique learned from Europe, our inherent capabilities came out in each scene. Some pictures were like nothing we'd drawn before. The two elements normally clash. But in this film each was given its own place and worked in harmony. It was a marvellous experience we had while making the film.
Mr. Moebius: At the press conference Mr. Suzuki said that Mr Miyazaki always likes to break apart the system in which he operates but his main concern is his audience, pleasing his audience. So there's a sense of adventure here mixed with a concern for the viewer.
Hayao Miyazaki: Our work… I don't want to see it as a business. But I always bear in mend that our work matters only if it entertains the audience. The 21st century is a tricky time. Our future isn't clear. We need to reexamine many things we've taken for granted. Whether it's common sense or our way of thinking we need to reconsider each norm. Int the frilled of entertainment and children's films too. We must question the format we've been following. You can't just create a baddie from a mould, then beat him. We must not make a film in the easy way.
Mr. Moebius: It's obvious in his work. It's consistent… this concern, this respect for his audience.
Hayao Miyazaki: Of course inside me I have negativity, despair or hopelessness. In fact a lot of hopelessness and pessimism. But I don't feel like expressing it in my films, which children see. I'm more interested in what drives me to make a happy film or what makes me feel happy. I ask myself that very much.