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Visiting Presenter / Music

Whimsical Journeys: The Music of Studio Ghibli

• Date | Sat, Apr 15, 2023
• Time | 7:30pm
• Prices | $15 - $35
• Theater | Peter Jay Sharp Theatre

Expected Run Time is 120 minutes

A Visiting Presenter Event

Description

The Queer Big Apple Corps presents:

WHIMSICAL JOURNEYS

The Music of Studio Ghibli

Henco Espag , Director, QBAC Symphonic Band

Royden Ringer , Assistant Conductor

Mystical. Playful. Mesmerizing. Serene. Dangerous. Majestic. Nostalgic. These words are often used to describe the film scores of Studio Ghibli.

New York City’s own Queer Big Apple Corps (the new name of the Lesbian & Gay Big Apple Corps) returns to Symphony Space with a charming and fantastical concert celebrating composer Joe Hisaishi’s film scores for Studio Ghibli that masterfully blur the lines between music and storytelling. Featuring music from Spirited Away, Howl’s Moving Castle, My Neighbor Totoro, Castle in the Sky, Princess Mononoke and more, this concert captures the innocent wonder and unharnessed feeling of flight that have enchanted movie and music lovers for decades.

This event is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The Queer Big Apple Corps is the new name of the Lesbian & Gay Big Apple Corps. Since its formation in 1979, the band has represented the entire LGBTQIA+ community and brought “The Sound of Love & Joy” to audiences across the United States and Canada.

The Queer Big Apple Corps Symphonic Band has played Lincoln Center’s Avery Fisher and Alice Tully halls, and made its Carnegie Hall debut in 2009, the band’s 30th anniversary year. Over four decades, the band has shared the stage with such luminaries as Harvey Fierstein, Rita Moreno, Liz Calloway, Arthur Laurents, and Liz Smith. Not only has the band performed with the famous, it has performed for the famous: Kathy Najimy, Tony Shalhoub, Annette Bening, and Sutton Foster. A founding member of the Pride Bands Alliance (PBA), the Queer Big Apple Corps also performed with the PBA massed band in both Inaugural Parades for Presidents Bill Clinton and Barack Obama.

Chosen to perform in the 2022 Macy’s Thanksgiving Day Parade, the Queer Big Apple Corps Marching Band has received countless coveted “best band” awards in parades large and small from coast to coast. The band has been seen by millions of people around the world in the 2020 Macy’s Thanksgiving Day broadcast, two Ticker Tape parades, in Pride Night half-time shows for the Brooklyn Nets and NY Knicks and on the field for the NY Mets, and in 15-20 parades and street performances each year.

With more than 250 musicians, color guard, and band aides, the Queer Big Apple Corps proudly celebrates its 44th anniversary this fall, and plans on lifting the hearts of audiences in concert halls and on parade routes for decades to come.

Peter Jay Sharp Theatre

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From Gagaku to Studio Ghibli: The Magic of Joe Hisaishi’s music

The enchanting music of Studio Ghibli films has captivated audiences around the world for decades. In this blog, our contributor BP invites you to explore a brief history of Japan’s musical culture, the evolution of anime music, and the success of Studio Ghibli’s partnership with composer Joe Hisaishi. Through five of the Studio’s most iconic movies and scores, you can read what makes the music so captivating and how Hisaishi draws from different musical cultures to create a universal feeling of nostalgia and magic.

Gagaku: The Musical Precursor to Studio Ghibli Music

Japanese music has a rich and diverse history that spans centuries, rooted in traditional forms such as gagaku, noh music, and shamisen. Particularly, Gagaku, the ancient imperial court music of Japan, has a rich history spanning over a millennium, incorporating both native Japanese and imported instruments from neighboring cultures. There are three main types of Gagaku music: Utaimono (vocal music based on native folk poetry), Kuniburi no utamai (native imperial and Shinto Japanese music), and Tōgaku and Komagaku (music influenced by neighbouring cultures).Gagaku stands out among traditional Japanese music genres with its distinctive melodic and rhythmic qualities, formalized gestures, and restrained elegance, making it a notable presence in ceremonies and rituals and influencing modern Japanese works.

As Japan transitioned from the Edo period into the Meiji era, the country experienced a significant transformation. Marked by the Meiji Restoration in 1868, this transition involved the overthrow of the Tokugawa shogunate and the end of the samurai-led feudal system.. Social, political, and economic reforms during this period laid the groundwork for Japan’s transformation into a modern, industrialized nation and a major global player. Musically, Western instruments and musical styles began to influence Japanese music, giving rise to a fusion of Eastern and Western traditions. This evolution laid the foundation for the unique sounds that would eventually accompany anime and the films of Studio Ghibli.

A hanging scroll by Utagawa Kunihisa 歌川国久 (produced 1801-1818) shows a group of geishas and young attendant playing shamisen and kokyu, seated woman offering cup of sake, courtesan standing and holding fan and long metal pipe. Ink, colour and gold on silk.

The Evolution of Anime Music

The origins of anime can be found in Japan’s early experiments with animation, including works like Jun’ichi Kōuchi’s “Namakura Gatana” (An Obtuse Sword, 1917). These pioneering animations set the stage for the development of the medium, which eventually led to the creation of iconic characters such as Astro Boy (Tetsuwan Atom) in Osamu Tezuka’s manga and its animated adaptation in the 1960s.

The history of anime music in the 20th century is closely intertwined with the medium’s evolution. In the early days, music in anime often consisted of simple and repetitive melodies. However, as anime became more sophisticated and diverse, so did its music. The 1960s and 1970s saw the emergence of iconic theme songs and soundtracks that complemented the storytelling. However, the turning point came with the birth of Hayao Miyazaki’s Studio Ghibli and the collaboration with composer Joe Hisaishi. Hisaishi’s exceptional talent and ability to blend traditional Japanese elements with modern orchestration ushered in a new era of anime music. His timeless compositions have become an integral part of Studio Ghibli’s magic, enriching the storytelling and deepening the emotional impact of each film.

A scene from the oldest surviving anime: Namakura Gatana (1917), a two-minute animation of a samurai testing his new sword.

Joe Hisaishi: The Sound of Studio Ghibli

Joe Hisaishi, born Mamoru Fujisawa, is a Japanese composer and conductor who has enjoyed a prolific career. His partnership with Hayao Miyazaki began in the early 1980s, marking the start of a musical journey that would capture the hearts of viewers worldwide. What sets Hisaishi apart is his ability to create music that becomes an integral character within each Studio Ghibli film. His compositions are deeply emotive, and they transcend language, allowing the music to convey the subtlest of emotions. In addition to his work with Studio Ghibli, Hisaishi has composed music for a wide range of other films, television shows, and video games. Hisaishi’s compositional style defies conventional expectations of Japanese music, often weaving together influences from the Western symphonic tradition, pop, jazz, electronic and new age music, and minimalism.

In 2010, Hisaishi was honored with the Medal of Honour by the Japanese government and was appointed as a Professor at the Japanese National College of Music. During that remarkable year, he clinched his sixth Japanese Academy Award for ‘Best Music,’ adding to his impressive tally of eight Japanese Academy Awards. His exceptional success, recognition, and esteem have rightfully earned him the title of ‘the Japanese John Williams.’

Joe Hisaishi (centre) with film producers Hayao Miyazaki (left) and Toshio Suzuki (right)

Musical Experimentation: Nausicaä of the Valley of the Wind (1984)

Hayao Miyazaki’s Nausicaä of the Valley of the Wind , a cornerstone in Studio Ghibli’s formation, was created during the establishment of the studio in 1985, reflecting a pivotal moment in Miyazaki’s career. Released in 1984, the film is set in a post-apocalyptic world and follows Princess Nausicaä as she navigates the toxic jungle, aiming to understand and coexist with the environment while preventing global catastrophe.

Nausicaä of the Valley of the Wind contributed significantly to Studio Ghibli’s rise and marked the beginning of his enduring collaboration with composer Joe Hisaishi. Hisaishi’s enchanting score, seamlessly blends epic and emotional elements, whilst character themes, especially the uplifting melody linked to Nausicaä, create a profound emotional connection to the protagonist. Like Gagaku’s blend of musical influences, the score features traditional Japanese instruments for cultural authenticity and incorporates Late Romantic orchestration and electronica, offering a modern twist on ancient mythology. Hisaishi’s musical experimentation includes the use of Indian tabla and harp, along with synthesizer sounds representing machinery. The Yamaha Music Entertainment Holdings presents thirteen songs from the movie suited for beginner to intermediate piano.  

Musical Stasis: My Neighbor Totoro (1988)

Set in post-war rural Japan, My Neighbor Totoro’s significance lies in its ability to capture the simplicity and wonder of childhood, as well as its deep connection to nature. Its portrayal of the power of imagination and the bonds of family makes it a beloved and timeless classic in the world of animation. Totoro, the beloved forest spirit within the film (a charming blend of Japanese tanuki raccoons, cats, and owls), has even emerged as Studio Ghibli’s enduring mascot, symbolising the studio’s guiding motto: “Where Imagination Begins.”

The magic of Studio Ghibli’s “immersive realism” derives much of its authenticity from Hisaishi’s evocative score. To understand this, one must grasp the essence of the Japanese concept of 間 “ma,” which directly translates to “emptiness” or “negative space.” Imagine it as the quiet moments in a painting, where what’s left unsaid speaks volumes. Hisaishi’s compositions skillfully emphasises repetition and the spaces between notes, inviting the audience to shift their focus from plot to place, from linearity to the landscape. This unique approach, blending visual and musical stasis, is the very essence of what continues to make the film and its score resonate so profoundly to this day. The official folio for piano presents the four theme songs from the movie arranged for easy piano: “My Neighbor Totoro,” “Hey, Let’s Go,” “Cat Bus and “The Path of the Wind.”

East Meets West: Kiki’s Delivery Service (1989)

Following the success of My Neighbor Totoro , Kiki’s Delivery Service is a charming coming-of-age tale about a young witch and her talking cat. Based on Eiko Kadono’s novel of the same name, the movie explores themes of independence, and self-reliance as Kiki establishes her own delivery service: she learns to accept herself, and her ability to adapt to change while pursuing one’s passions and maturing into young adulthood.

The whimsical and delightful score is characterised by its playful and enchanting melodies that mirror Kiki’s adventures, with Kiki’s theme being a memorable and uplifting melody that reflects her youthful exuberance and determination. Reflecting Studio Ghibli’s signature blending of Eastern and Western influences, Hisaishi used the accordion, mandolin and dulcimer to create a continental European musical atmosphere, as well as a Fairlight synthesiser, used earlier in the soundtrack to Nausicaä of the Valley of the Wind . Available for piano are fourteen songs from the movie, the easy and intermediate version, with English and Japanese editions available for both volumes.

Music as Storytelling: Spirited Away (2001)

Spirited Away is a surreal and magical masterpiece that takes audiences on a transcendent journey into a fantastical bathhouse for spirits. Chihiro Ogino is a young girl who becomes trapped in a magical and mysterious world after her parents are transformed into pigs. To rescue her family and return to the human world, Chihiro must navigate a treacherous spirit bathhouse owned by a formidable witch, Yubaba. Along her journey, Chihiro encounters a variety of unique and often eccentric spirits, forming profound connections and undergoing personal growth, ultimately discovering the importance of courage, empathy, and self-discovery in a captivating and beautifully animated adventure. 

Hisaishi’s score for the film is a hauntingly beautiful and emotionally resonant masterpiece, known for its evocative character themes, such as the opening theme, “One Summer’s Day,” which mirrors Chihiro’s personal growth throughout her adventure. Additionally, the music serves a multifaceted role in the film, confronting the theme of greed when No-Face embarks on a destructive rampage, capturing profound loneliness and melancholy during Chihiro’s train ride, and exploring the complexities of memory with the piece “Reprise.” Overall, Hisaishi’s music not only enriches the storytelling but also maintains an enduring connection to Miyazaki’s cinematic world. Spirited Away’ s soundtrack is available for beginner and intermediate pianists in a folio containing thirteen of the movie’s most iconic songs. The score gives the possibility for the pieces to be performed either solo or in duos.

Final Thoughts

In tracing the enchanting journey from Gagaku, Japan’s ancient imperial court music, to the magical realm of Studio Ghibli, the music of Joe Hisaishi serves as a bridge connecting historical richness with cinematic splendor. Gagaku, with its formalized gestures and restrained elegance, echoes in the essence of Studio Ghibli’s scores, where traditional Japanese instruments blend seamlessly with modern orchestration. Hisaishi’s collaboration with Miyazaki, starting with Nausicaä of the Valley of the Wind , encapsulates this cultural amalgamation, infusing Ghibli films with universal nostalgia and magic. Notably, the enchanting sonic world created by Hisaishi for Studio Ghibli movies, which have captivated audiences worldwide, are available for various instrumentations and levels of proficiency by Yamaha Music Entertainment Holdings. Just as Gagaku resonates through centuries, Hisaishi’s compositions transcend borders, reminding us that the timeless language of music speaks to the core of the human experience and the power of music to invite us to dream and believe in mystic hope. 

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Joe Hisaishi: the genius composer who gave Studio Ghibli its sound

Before the studio ghibli catalogue comes to netflix, here’s what you need to know about the musician who’s been dubbed the ‘john williams of japan’.

Netflix  will be  adding 21 Studio Ghibli films  to their platform from next month, and with the weather getting steadily colder, the timing couldn’t be better. But before you grab a blanket and dive deep into one of the greatest collections of animated cinema in the world, ask yourself: what is it that makes films like  My Neighbour Totoro  and  Howl’s Moving Castle  so special? 

For all the beautiful animation, heartwarming stories and captivating characters, there is another facet of the Studio Ghibli machine that has been just as consistently spectacular: the music of Joe Hisaishi. He’s the master behind the magical sounds in all but one of Hayao Miyazaki’s animated films (his debut feature, 1979’s  The Castle of Cagliostro , which predated Studio Ghibli by six years), and his work is so influential to the overall picture that the studio requests early compositions during pre-production to help to shape the direction and writing.

Try to imagine  Spirited Away  without the twinkling piano melodies of “ One Summer’s Day ”, or Princess Mononoke without the swooping strings and swelling brass of “ The Legend of Ashitaka ”. It’s pieces like these, often drawing on the dynamic, orchestral flow of Impressionist composers like Claude Debussy, that supply some of the lingering emotions that Studio Ghibli is famed for. It’s Hisaishi that conjures up that feeling of being suspended in time, in a peaceful, magical place.

Inform your imminent re-watch of Studio Ghibli’s glorious catalogue by wising up one of the talents that makes that universe so special.

HE’S KNOWN AS THE ‘JOHN WILLIAMS OF JAPAN’

...but he’s also known as the ‘Japanese Quincy Jones’. Joe Hisaishi is actually the stage name of one Mamoru Fujisawa, who decided early on in his career to adopt a moniker that would be more easily recognisable to international audiences. The name ‘Joe Hisaishi’ was inspired by revered African-American producer Quincy Jones, whose name becomes ‘Kuishi’ Jones ,or ‘Hisaishi’ Jones, when translated into Japanese kanji lettering.

In the west, Hisaishi is sometimes referred to as the ‘ John Williams of Japan ’ due to his long-running partnership with Hayao Miyazaki. Like Steven Spielberg and composer John Williams (who scored the likes of  Jaws ,  Jurassic Park , and the  Indiana Jones  series), Miyazaki’s bond with Hisaishi remains strong to this day, with their most recent collaboration coming in 2018 for the Studio Ghibli Museum short  Boro the Caterpillar .

HE’S NOT THE ONLY COMPOSER TO SCORE STUDIO GHIBLI’S FILMS

While Joe Hisaishi is the main musical associate of Studio Ghibli, he’s only rarely scored films not directed by the studio’s co-founder. Notably, the films of Isao Takahata, which include wartime tragedy  Grave of the Fireflies ,  Only Yesterday , and  Pom Poko , were each scored by different people. Hisaishi would eventually score Takahata’s final Studio Ghibli film, 2013’s  The Tales of Princess Kaguya , though it was originally commissioned to a different composer. Of the other Studio Ghibli composers, only Yuji Nomi has scored more than one major release – he worked on both 1995’s  Whisper of the Hear t and 2002’s  The Cat Returns.

HE’S HIGHLY DECORATED

Joe Hisaishi’s won the Japanese Academy Award for Best Music a whopping eight times in his career, and his music features in four of the top 11 all-time highest grossing films in Japan. He seemingly has a knack for working on films that go on to snap up top honours at international ceremonies, too. He provided the score for Takeshi Kitano’s violent yakuza drama Fireworks in 1997, which won the Golden Lion at Venice, while Spirited Away famously won Best Animated Feature at the Oscars in 2003. Departures , meanwhile, was the first Japanese film to win Best Foreign Film at the Oscars in 2008. His score was nominated at the Japanese Academy Awards that year, but he lost out to… himself, for his work on the Studio Ghibli film Ponyo .

Outside of film awards, Hisaishi was also awarded the Medal of Honour by the Government of Japan in 2009 for his services to the arts.

HE’S AN ESTABLISHED ELECTRONIC MUSICIAN

Prior to his film-scoring days, Hisaishi made a name for himself as a solo artist. Inspired by popular Japanese electronic artists like Yellow Magic Orchestra in the 1970s, and American avant-garde musicians like Steve Reich, he released his first album, MKWAJU , in 1981. The album utilised minimal synthesisers and percussive arrangements, and featured famed Japanese composer Midori Takada as a performer.

Several of Hisaishi’s earlier Studio Ghibli scores bear similarities with this style of music, most notably Laputa: Castle in the Sky . The film’s entire score was composed largely on synthesisers, but was fleshed out with live orchestration to satisfy studio demands. Tracks like “ The Levitation Crystal ” present a kind of middle ground between the two styles, fusing minimal electronics with the grand, classical symphonies that we are used to hearing.

HAYAO MIYAZAKI ISN’T THE ONLY DIRECTOR HE’S HAD A LONG-RUNNING PARTNERSHIP WITH

Hisaishi is almost as well-known for his work on the violent crime dramas of Takeshi Kitano, who is internationally recognised for his contributions to cinema as both a director and an actor, but also as a popular comedian and television host (UK readers might know him as the creator and titular ‘Takeshi’ of the game show Takeshi’s Castle ). Hisaishi’s partnerships with both Miyazaki and Kitano ran simultaneously in the 90s, and it’s particularly interesting to hear how well Hisaishi’s music works in each scenario, given the dramatic differences between the two genres. 

In 2019, the compilation Miyazaki / Kitano / Hisaishi was released, commemorating some of Hisaishi’s best musical contributions to the works of the two directors. Tracks like “ Summer ”, from Kitano’s Kikujiro , are among Hisaishi’s most recognisable works, while films like Sonatine and A Scene at the Sea are also responsible for some of Hisaishi’s coveted Japanese Academy Award gongs.

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The Composer Who Turns Hayao Miyazaki’s Humane Touch Into Music

Joe Hisaishi’s scores have helped make Studio Ghibli films indelible. But in concert, the works stand on their own. That’s because “it’s about emotion,” he says.

By Elisabeth Vincentelli

Alfred Hitchcock and Bernard Herrmann, Sergio Leone and Ennio Morricone, Steven Spielberg and John Williams: Some of the greatest filmmakers have cultivated enduring, mutually enriching relationships with musicians. The decades-long partnership between the Japanese animation master Hayao Miyazaki and the composer, pianist and conductor Joe Hisaishi certainly belongs in this hall of fame.

Hisaishi first worked with Miyazaki on the eco-minded science-fiction feature “Nausicaa of the Valley of the Wind,” released in 1984. He has scored every Miyazaki feature since then, composing wonderfully evocative soundtracks for such favorites as the family fable “My Neighbor Totoro” (1988); the tale of young-girl independence “Kiki’s Delivery Service” (1989); the period epic “Princess Mononoke” (1997); and the Academy Award-winning “Spirited Away” (2002), a gem about a headstrong little girl that was the runner-up on The New York Times’s list of the 25 best films of the 21st century so far.

This week, longtime fans and newcomers alike will be able to hear excerpts from those scores and more, when Hisaishi, 71, leads the American Symphony Orchestra in “Music From the Studio Ghibli Films of Hayao Miyazaki,” a series of concerts at Radio City Music Hall starting Saturday. (The performers will also include the MasterVoices choir and the Brooklyn Youth Chorus, as well as the singers Amanda Achen and Mai Fujisawa , who is Hisaishi’s daughter.)

While excerpts from the movies will be projected on a giant screen, Hisaishi’s concerts stand on their own and are not meant to be simply compilations of classic scenes backed by a live ensemble.

“Watching a film is a whole different thing from hearing the music in concert, which gives the audience a different experience,” the composer said through an interpreter in a recent video conversation.

Indeed, Hisaishi built the set list as if he were putting together a single large composition, citing Mahler symphonies as a source of inspiration. “For example, the first movement is ‘Nausicaa,’ the second movement is ‘Kiki,’ the third is ‘Princess Mononoke,’ and so on,” he said.

Hisaishi (who was born Mamoru Fujisawa but goes by a stage name) is also known to make slight tweaks for concerts. “The images are screened so that you relive the emotions you had watching the film,” Marco Bellano, who teaches the history of animation at the University of Padua, Italy, said in a video chat. “But at the same time when Hisaishi plays these compositions in concert, they are not exactly in the same shape, the same arrangements they have in the films. There is a piece from ‘Porco Rosso’ called ‘Madness’ that is identical in the soundtrack and one of the concert versions, but many other pieces are completely different. It’s really remarkable how he really cares about offering a new experience.”

Rest assured that the changes are not drastic and that the concerts preserve the Hisaishi touch. Taken out of “My Neighbor Totoro,” “The Path of the Wind” (which brings to mind another great Japanese musician, Ryuichi Sakamoto ) retains its tender melancholy, while “Bygone Days,” from “Porco Rosso” (1992), is still just as wistful live, halfway between jazz and French chanson.

For James Williams, the managing director of the Royal Philharmonic Orchestra in London, Hisaishi’s contributions are a perfect match for Miyazaki’s universe. “When you see those films, there’s a certain humanity about the story lines, and that’s absolutely reflected in Joe’s music,” said Williams, whose orchestra recently recorded an album of Hisaishi’s compositions. “It connects with people, regardless of their culture, and that’s really powerful. What Joe has done is somehow retain that integrity of Japanese culture, brought in that Western tonal system and found a way for the two to retain their identities in perfect harmony.”

A distinctive appeal of Miyazaki’s films is that they trust viewers, no matter how young, to figure things out on their own. Partly, this means not using music to reinforce character traits or telegraph expected responses from a viewer. Fortunately, this suits Hisaishi. “The music does not need to match every character,” he said. “Rather, it’s about emotion, something the character might be feeling. And at the very deepest of a movie, the music doesn’t need to tell anything related to the character or even the feelings,” he continued. “There’s already something that the audience might be feeling just watching the film.”

“Castle in the Sky,” released in Japan in 1986, neatly illustrates the way the Miyazaki-Hisaishi approach — which also involves knowing when not to score a scene — is different from that commonly found in American animation. In 1999, Hisaishi not only reworked his existing score for that film’s American release, by Disney, but he vastly expanded it, adding music in scenes that previously did not have any.

Hisaishi also refrains from recycling catchy musical phrases over and over within the same movie. “From ‘Howl’s Moving Castle’ on, you find more this idea of leitmotif, but it’s different from the Hollywood style, where the leitmotif appears very clearly and is very easy to remember,” Bellano said. “With Miyazaki and Hisaishi, that melody appears when it’s needed and is not repeated many times.”

Hisaishi does write stand-alone pieces, including symphonies, and has worked with other feature-film directors — most famously Takeshi Kitano, for whom he scored such 1990s high-water marks as “Sonatine, ” “Fireworks” and “Kids Return.”

“I started my career as a minimal composer,” Hisaishi said, “and I use more my melodic side in Miyazaki movies and my minimalist side in Kitano movies — they are closer to what originally drew me to music, style-wise.”

Still, it is his work with Miyazaki that has placed him solidly on the international music map.

Over the decades, the two men developed an intricate working method involving a lot of back and forth. Early in the production process, Miyazaki would give Hisaishi an idea of the story, some sketches, sometimes just a few words. Based on those meager elements, the musician would come up with a so-called image album (which would receive a commercial release down the line). “For ‘Princess Mononoke,’ an early word Miyazaki-san mentioned was tension, as in an arrow’s tension,” Hisaishi said, using the Japanese honorific. He added that this inspired him to write a piece that “eventually became the title theme.” Once the film was ready, Hisaishi would write the score, which could also be released in a symphonic suite version.

The composer has not slowed down. In fact, being home during the pandemic further spurred his creativity — and led to an epiphany of sorts that Hisaishi evoked in terms that felt Miyazakian.

“It took me seven years to write my first symphony, but in 2020 and 2021, I finished two,” he said, referring to “Dream Songs” and “Songs of Hope.” That experience “made me realize I have a mission as a composer. People watch this changing world and are so disappointed: Where is happiness? What is going on? Look at what’s going on in Ukraine,” he continued. “This is not something we expected to happen again in the 21st century. As a composer, I need to see the world as it is, but I also can’t be disappointed: We do need hope for the future.”

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Joe Hisaishi's music for Studio Ghibli

Dan Golding

• X (formerly Twitter)

If there's something at the heart of director Hayao Miyazaki's Studio Ghibli films, it's their loving depiction of nature.

Next time you revisit any of his films, from the enchanting My Neighbour Totoro to the aviation drama of The Wind Rises , watch the trees, the wind, the rain, and the waves.

These are some of the most affecting visions of our environment ever put to film, let alone to hand-drawn animation, a medium that in Miyazaki's command seems to have been made for capturing the feeling of a breeze, of a forest, of a tsunami. Often, this luscious world is seen through the eyes of a child, awestruck at something as simple as a beautiful view of the sea from a cliff, or from the top of a mountain above a forest. Sometimes, in Miyazaki's more environmentalist films, it's something to be fought for and protected. Sometimes, this wilful environment is there to buttress and energise our protagonist.

Miyazaki's wonderful nature is never seen, however, without the sound of composer Joe Hisaishi. The pair have worked together on all of Miyazaki's Studio Ghibli films (Miyazaki's first feature film as director, The Castle of Cagliostro from 1979, is the only one to predate their collaboration), and it is Hisaishi's virtuosic grasp of the full power of the orchestra that aurally propels Miyazaki's worlds. Theirs is a director-composer relationship to rival the most formative in film history, sitting comfortably alongside Alfred Hitchcock and Bernard Herrmann, as well as Steven Spielberg and John Williams. Every frame of Miyazaki's films shows our environment at its most intoxicating, but just as hair, clothes and leaves are squashed and stretched by the animator's wind and rain, they are also enlivened by Hisaishi's brass, his woodwinds, his strings, and sometimes, his celestial choirs.

"The first step is to look at the script, the scenario, and to work out what the world of that film is in the broadest sense," Hisaishi told me in February 2020.

"Each film is very different. Each film is a hard piece of work. It's necessary to breathe a soul into that work each time."

Although Hisaishi's music makes the fullest use of the orchestral palette in finding each film's soul, the piano is as central to his music as nature is to Miyazaki's images. Frequently, while listening to a Hisaishi soundtrack, a peal of piano will emerge out of a fog of orchestra, presenting the listener with a startlingly well-defined melody or romantic turn.

Hisaishi's first soundtrack for Miyazaki was Nausicaä of the Valley of the Wind (1984). Set one thousand years after an apocalyptic war, Nausicaä is one of Miyazaki's most fantastic films, and he cites Tolkien, Asimov and Le Guin as influences. Yet the same concerns with the world around us are already here, even from the beginning. Nausicaä, the princess of the Valley of the Wind, spends much of the film harnessing the power of the wind on her one-person glider, and the common Miyazaki theme of needing to understand and share a life with nature is clearly here. In the early 1980s, Joe Hisaishi was a relative newcomer to the music industry, having recently released an album of art music, and another of electropop-minimalism. It was only in the late 1970s that Hisaishi took on his performance name, too (he was born Mamoru Fujisawa), which was inspired by Quincy Jones. Yet Hisaishi still looks on Nausicaä as one of his favourite Miyazaki collaborations, singling it out as "the film score that I remember with the most affection."

Laputa: Castle in the Sky (1986) was the first film produced by Studio Ghibli, which had been founded just one year previously in Tokyo by Miyazaki and fellow director Isao Takahata, as well as producer Toshio Suzuki. The word 'Ghibli' was selected by Miyazaki from the Libyan Arabic for 'hot desert wind', with the idea that the studio would have a similar effect on the anime industry. That it most certainly did. Laputa tells the story of young orphan girl Sheeta in a steampunk-style nineteenth century who meets a young boy, Pazu. Together, they journey to Laputa, a mythical floating city. Laputa was an early success for the newly formed Studio Ghibli, and today remains widely loved both as an anime and as a work of steampunk.

"It's very important to have a melody that will stand by itself, even without accompaniment," Hisaishi told me. "That makes for the strongest music." This is no truer of any of Hisaishi's music than My Neighbour Totoro (1988), which features a heartwarming story about two young girls and their discovery of a local wood spirit – the titular Totoro – who is part lovable giant rabbit, part amiable imaginary friend, and all-parts one of the most iconic animated characters in film history. Hisaishi's music for Totoro is joyful and exuberant and features an earworm-worthy main tune. Fittingly childlike in its wistfulness, it could easily have also been sold as a pop hit in 1988 Japan, such is the quality of the melody.

Porco Rosso (1992) and Princess Mononoke (1997) both illustrate Miyazaki, Studio Ghibli and Hisaishi's growing maturity and depth as storytellers into the 1990s. Both films are narratively ambitious, telling an anti-war story about an Italian World War One fighter pilot ace who has been transformed into a pig, in the case of the former, and a fantasy epic set in the late Muromachi period of Japan, in the case of the latter. For a studio and creative group who had recently achieved international success with the very child- (and adult-) friendly Totoro, with these films Studio Ghibli illustrated their capacity for a much broader storytelling palette of lost innocence. Hisaishi, meanwhile, produced wonderful scores for both, with Miyazaki writing lyrics for Mononoke's title song.

Picking favourites is always a tough game, but it is certainly very easy to say that Spirited Away (2001) is Studio Ghibli's most successful film. This wonderful story of a young girl who enters the Kami world of Japanese Shinto folklore to save her parents, went on to be the highest-grossing film at the Japanese box office for almost two decades. Today, it remains the only non-English language film to have won the Academy Award for Best Animated Feature. Hisaishi's music takes on yet another quality for Spirited Away , which more than any other Ghibli film confronts themes of death and afterlife. "It was about this world and the next, and death, and the spaces in between," Hisaishi said. "It was very, very complex. It was a difficult one to come to grips with."

Inspired in part as a response to Miyazaki's fierce opposition to the second Iraq War, Howl's Moving Castle (2004) is based on Diana Wynne Jones's 1986 novel of the same name. Though primarily an anti-war parable, Howl's Moving Castle remains a profoundly compassionate film, and a story with no irredeemable villains. Hisaishi's score similarly works through opposing musical powers, placing delicate piano against a backdrop of vigorous waltzes and military marches. Like the film, no force of Hisaishi's is completely in the wrong: they're just working some stuff out.

Ponyo (2008) is perhaps Miyazaki's most visually beautiful film, with both stormy waves that tower above a house on a hill, and an endearingly squishy protagonist goldfish (the titular Ponyo) who, Little Mermaid-like, wants to become human. Hisaishi's music leaps to meet Miyazaki's inspired work, with a soundtrack far more aligned with the orchestral greats of the past than ever before, including deliberate musical nods to Ravel and Wagner. (Ponyo is initially named Brunhilde and at one point rides a flock of fish like Valkyries.) Yet like Totoro, a great tune nevertheless forms the musical heart of Ponyo (and indeed shares the same first three notes), neatly illustrating the magnificent balancing act that underpins the great Hisaishi–Miyazaki double act: childlike heart that inflames an altruistic admiration for the world around us.

Adapted from Dan Golding's album note for One Summer's Day - Studio Ghibli favourites for solo piano by Joe Hisaishi , performed by Tamara-Anna Cislowska.

Dan Golding presents Screen Sounds  on ABC Classic (Monday 3pm-4pm).

Tamara-Anna Cislowska: One Summer's Day - Studio Ghibli favourites for solo piano by Joe Hisaishi

Tamara-Anna Cislowska performs "Merry-Go-Round" from Howl's Moving Castle

Studio Ghibli: Every Musical Collaboration Between Hayao Miyazaki and Joe Hisaishi, Ranked

The films of Studio Ghibli and Hayao Miyazaki are often praised for their incredible visuals, but the music from Joe Hisaishi is also worth praising.

The stories of Hayao Miyazaki and Studio Ghibli are consistently some of the most magical and wondrous to be put to film. While there are a lot of different elements that go into crafting that magic, varying from the hand-drawn animation to the impeccable writing, one of the most important is the music. There have been a handful of composers that have worked on Studio Ghibli films over the years, but only one of them has ever worked alongside Hayao Miyazaki, and that’s the immensely talented Joe Hisaishi .

Miyazaki and Hisaishi make for a phenomenal duo, and they deserve to be considered among the all-time great director and composer pairings, alongside Steven Spielberg/John Williams and Christopher Nolan/Hans Zimmer.

Hisaishi has composed the score for every one of Miyazaki’s films with Studio Ghibli, including the proto-Ghibli film Nausicaä of the Valley of the Wind . While the composer has worked on many films beyond his collaborations with Miyazaki, including the Studio Ghibli film The Tale of the Princess Kaguya , his works in Miyazaki’s films are often his most highly praised and beloved.

Much of this work can also be heard in a new context in the recently-released album from Hisaishi , A Symphonic Celebration , in which the composer worked with the Royal Philharmonic Orchestra from London to bring these songs new life. It’s a real shame that Hisaishi has yet to receive an Oscar nomination for any of his music, and we wanted to do our part in giving the incredible composer the recognition he deserves. While all his scores have something great to offer, here is how they all rank when compared to one another:

10 Porco Rosso (1992)

Miyazaki’s aerial dogfighting film Porco Rosso is often one of his most overlooked. However, the film has a lot of great material to offer its viewers, including a solid score from Hisaishi. While the music of Porco Rosso may be at the bottom of this list, don’t take that as saying that it’s not top-notch.

Hisaishi thrillingly scores the film’s various aerial combat sequences, and yet he still works plenty of emotion and personality into the music as well, especially in tracks like “Bygone Days.”

9 Castle in the Sky (1986)

Laputa: Castle in the Sky , otherwise known more simply as Castle in the Sky , was the first film to be officially released by Studio Ghibli. Hisaishi has proven to be an essential contributor to the magic of Ghibli from the very beginning, as his score for Laputa is one of the best aspects of the film.

The music has a sense of mischief and mystery to it, as shown in “The Girl Who Fell From the Sky,” which builds upon the journey central to the film’s story. Beyond that, the score also carries the perfect amount of gravitas and ambition to match the awe of the eponymous Castle in the Sky itself.

8 Ponyo (2008)

Ponyo is one of the newer films from Miyazaki, relatively speaking, yet it harkens back to the director’s earlier works like My Neighbor Totoro and Kiki’s Delivery Service with its childlike sense of wonder . Hisaishi also stepped up to the plate for Ponyo , as he delivered a nonstop ride of some of his most amusing and catchy music yet.

The angelic vocals on the song “Mother Sea” capture the majesty of the ocean and the life within it. Plus, it’s hard to watch the film or listen to the soundtrack and not have the refrain of “Ponyo, Ponyo, Ponyo, fishy in the sea” stuck in your head for several days afterward.

7 Spirited Away (2001)

This might be a bit of a controversial ranking, as both Spirited Away and the music within it are often considered to be some of the best works ever to come from Studio Ghibli . For good reason, too, Hisaishi’s score for Spirited Away contains some of his most dynamic and exciting music to date. Its placement here on this list is more of a testament to how phenomenal the rest of his scores are, rather than anything particularly wrong with this one.

“One Summer Day” is one of the best accompanying songs in a Miyazaki film, and Hisaishi’s recurring use of the main melody from that song throughout the score is one of the best uses of a theme in any of his scores.

Related: Best Coming-of-Age Movies of the 2000s

6 Howl’s Moving Castle (2004)

Miyazaki’s 2004 film Howl’s Moving Castle is a fan-favorite, and Hisaishi’s score is a central part of what makes the film work so well. While Miyazaki’s filmography is full of magical stories, Howl’s Moving Castle is one of the most whimsical .

The music from Hisaishi matches that aura of fantasy, as the composer introduces some new soundscapes into his work, such as organs, that really do a lot to build out the world. On top of that, the song “Merry-Go-Round of Life” is one of the best from any Ghibli film.

5 Nausicaä of the Valley of the Wind (1984)

Although Nausicaä of the Valley of the Wind wasn’t technically produced by Studio Ghibli, it was from the core creative team that would go on to build the studio, and as such it has retroactively been folded into the Ghibli’s filmography. Nausicaä is arguably the most high-fantasy story that Miyazaki has ever told . It was also his first major collaboration with Hisaishi, and the composer delivered a fantasy score unlike any other.

Instead of relying purely on the classical instrumentation that is often used in fantasy films, Hisaishi embraced electronic soundscapes. With his score for Nausicaä, he plays with all sorts of synthesizers and intermixes them with various acoustic instruments as well. The result is a truly phenomenal and original score in every sense.

4 My Neighbor Totoro (1988)

My Neighbor Totoro isn’t just considered one of Miyazaki’s best, or one of Studio Ghibli’s best for that matter, it is often in the conversation as one of the best animated features ever produced. It’s an all-time classic , and the music from Hisaishi is some of the most instantly recognizable of the composer’s career.

From the opening “Hey Let’s Go” to the song for the Cat Bus, Totoro's theme, the song “A Huge Tree in the Tsukamori Forest” and so many other tracks, every musical motif, theme and passage in My Neighbor Totoro perfectly builds on the environment, story and general mood of the movie.

3 The Wind Rises (2013)

With his score for The Wind Rises , Hisaishi stripped everything back and chose to keep the music as simple as he could as often as he could. He made frequent use of solo instrumentation, such as on the plucked strings on “A Journey (A Dream of Flight)” and the piano on “Nahoko (The Encounter).” This seeming simplicity results in some of the most beautiful songs that Hisaishi has ever written.

It also mirrors Miyazaki’s approach to the film itself, as The Wind Rises is the most grounded and emotional film that the director has ever produced. That doesn’t mean there’s no excitement to the score at all, though, as there is plenty of energy to be found on tracks like “The Refuge” and “The Falcon” as well.

Related: The Wind Rises: Revisiting Hayao Miyazaki's Dream of Flight

2 Princess Mononoke (1997)

Princess Mononoke is, without a doubt, the most intense and adult film that Miyazaki has directed. It’s a complex and often violent story about the dangers of industrialization and the sanctity of nature. As such, Hisaishi was also tasked with creating a score with a bit more of an edge to it than his previous works. He proved his was more than up to the task, especially on songs like “The Demon God,” which sounds like something directly out of a horror movie.

In addition to that, though, Hisaishi also delivers some of his most awe-inspiring songs in the score to Princess Mononoke , specifically in tracks like the primary “Princess Mononoke Theme Song.”

1 Kiki’s Delivery Service (1989)

Finally, nothing can quite beat the warm tones and comfort that comes from the score to Kiki’s Delivery Service . From the gentle piccolo and flute passages in the song “On a Clear Day” to the soaring strings and soothing accordion used throughout the score, the score for Kiki’s Delivery Service never fails to build upon the overall cheerful and heartfelt aura of the film.

The music for Kiki’s Delivery Service is a perfect underscore for the film, and it even manages to thrive on its own two feet as well. It’s the kind of score that you can listen to at any point, and it will immediately transport into a mindset of joy and ease. Kiki's Delivery Service was one of Hisaishi’s early collaborations with Miyazaki, and, with this film, both of them proved that they truly are masters of their individual crafts.

Orchestrating the Dream Worlds of Studio Ghibli: A Short Flight Through the Music of Joe Hisaishi

Millions of children – and adults – around the world have experienced the joy of Joe Hisaishi’s music through his nine film scores for Studio Ghibli, and he holds a special place in my own soul because his melodies comprise some of my first memories of symphonic music as a child. Hisaishi’s compositions are memorable because they tell stories, and his empathetic understanding of characters’ emotions allows him to amplify, through music, even the most simple situations. His highly melodic, polystylistic scores – with influences from Western classical, Japanese classical, and electropop-minimalism – have pioneered new levels of nostalgia, ennui, childlike wonderment, and cinematic tone painting while exploring the profound themes put forward by director Hayao Miyazaki and producer Toshio Suzuki.  

Nausicaä of the Valley of the Wind (1984)

We’re going to start the journey by cheating, because Hisaishi technically began collaborating with Miyazaki on  Nausicaä of the Valley of the Wind  in 1983 before the formation of Studio Ghibli. However,  Nausicaä  happens to be one of Hisaishi’s most epic scores and is emblematic of all the compositional techniques he commonly employs. The film opens with credit slides decorated with bizarre art, ancient cave paintings and mysterious symbols, to introduce the world’s implied history. Hisaishi’s prelude features a timpani roll and brass fanfare which is answered by insect-like skittering in the strings, painting the giant bug-creatures who defend their forest from human armies. Within a minute into the film, the solo piano enters on an authentic Hisaishi melody before drifting to the strings which tonally depict the young princess Nausicaä flying above the deadly pollen spores of the Toxic Jungle after the apocalyptic Seven Days of Fire. I love Miyazaki, but Hisaishi can often say in 2 minutes what it takes Miyazaki to develop in 2 hours. The full score was later worked into a three-movement symphonic poem, and – without spoiling the plot – the end of the first movement accompanies the most intense moment of the film (following the Bachian counterpoint at 4’30” in the video below). Here, the incredible anti-legato restraint – reminiscent of Beethoven’s slow march from his Seventh – pounds the scene passionately into the soul.

Laputa: Castle in the Sky (1986)

The first official Studio Ghibli film,  Laputa: Castle in the Sky , captures Miyazaki’s fascination with flight and his spirit of adventure when Sheeta, the girl who fell from the sky, and the young miner Pazu set off in search of a floating island. Pazu, a skilled trumpeter, plays a fanfare at sunrise every morning to wake his mining town. This subtle moment, along with the Laputa theme, was orchestrated into a Haydn-esque concerto in 2004 for Tim Morrison, principal trumpet of the Boston Pops, in a concert conducted by Hisaishi with the New Japan Philharmonic World Dream Orchestra.

My Neighbor Tortoro (1988)

The most definitive character of the Ghibli universe has to be Totoro, and as such he has his own theme song. Hisaishi wrote Totoro’s “Stroll” (“sanpo” in Japanese) as a children’s march, with lyrics by Rieko Nakagawa, in fantastic, pop-song kind of way. Throughout the film, sisters Satsuki and Mei remain optimistic as their mother recovers from a life-threatening illness, and throughout  My Neighbor Totoro  one can hear the joy that exists not only in Hisaishi’s written notes, but also in his approach to performing. In a 2003 concert titled “A Wish to the Moon”, Hisaishi gestures his musicians to smile before signaling the downbeat for an arrangement of “Totoro”   for nine cellos and piano.

Kiki’s Delivery Service (1989)

Kiki’s Delivery Service  was the first box office success for Studio Ghibli. Miyazaki said in an interview: “Many of my movies have strong female leads – brave, self-sufficient girls who don't think twice about fighting for what they believe with all their heart. They'll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.” Kiki is just that example of a brave, self-sufficient young girl (who also happens to be a witch) who comes of age in a whimsical pan-European seaside town with her sassy cat Jiji. Hisaishi conjures the magic of everyday life through one of his most elaborately orchestrated scores. Hisaishi conducted the piece in the 2008 concert “Joe Hisaishi in Budokan” which commemorated 25 years of Studio Ghibli with over 600 orchestral musicians and choristers.

Porco Rosso (1992)

This comedy-noir tale of an Italian man-pig and his engineer’s daughter Fio in the post-World War I Adriatic is told through Pino Donaggio-esque slow-rag jazz which occasionally morphs into a piano concerto that could hinge the gap between Prokofiev and Shostakovich. A movement from the score, “Madness,” portrays the maniacal minds of the embattled government pilots and rouge pirates. Hisaishi conducted the piece from the piano at the Budokan concert.

Princess Mononoke (1997)

Hisaishi dove into the depths of Romanticism when writing the music for  Princess Mononoke  to present the dualist battle which plays out visually through Lady Eboshi, the modern humanist, and San, the wild environmentalist. The most famous line of the movie is: “You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good. Pledge yourself to neither side, but vow instead to preserve the balance that exists between the two.” The soundtrack highlights how humans coexist with the natural world and specifically how our desire to survive clashes with the natural order of the world. For instance, the taiko drumming represents the plight of the forest spirits as they fight back against human invaders. In this score, we also experience a rare instance of a love theme for the two main characters, Ashitaka and San. The below excerpt is also from the Budokan concert. 

Spirited Away (2001)

After receiving an Academy Award for Best Animated Feature in 2003,  Spirited Away  boosted the studio to prominence with English-speaking audiences, and this film is generally a good place to start if you’re new to Studio Ghibli. Its score is one of Hisaishi’s most intricate, utilizing Japanese instruments like the hichiriki. His sound from this period is so iconic that  The Simpsons pulled off a convincing parody in 2014 . The film’s introduction showcases Hisaishi’s ability to capture ennui and anticipation as the protagonist Chihiro lounges in the back of her parents’ Audi, unaware of, and unprepared for, the journey ahead. Hisaishi recorded an album, Melodyphony , with the London Symphony Orchestra in 2010, which included the opening track from Spirited Away,  titled “One Summer’s Day”.

Howl’s Moving Castle (2004)

Hisaishi orchestrated the main theme from  Howl’s Moving Castle , a waltz called “The Merry-Go-Round of Life”, into a set of Symphonic Variations that follow the trials of Dianne Wynne Jones’ young hatter Sophie as she accidentally gets involved in the complicated life of the wizard Howl. The New Japan Philharmonic, founded in 1972 by Seiji Ozawa, recorded the soundtrack for  Howl’s Moving Castle , in addition to having recorded the soundtrack to  Spirited Away . The Symphonic Variations were performed at the Budokan concert in 2008.

Ponyo on a Cliff by the Sea (2008)

The music of  Ponyo on a Cliff by the Sea  is centered around a children’s march, similar to the one Hisaishi composed for Totoro 20 years before. However, the score is accentuated with an Olympian chorus and motives of the likes of  La Mer  and  Daphnis et Chloé . Listen first though to Ponyo’s theme; the cuteness speaks for itself.

The Wind Rises (2013)

The latest, and likely last, collaboration between Hisaishi and Miyazaki was  The Wind Rises  in 2013. The film is an homage the aeronautical engineer who gave the studio its name, holding quite a bit of sentimental value for Miyazaki. Hisaishi’s score features the mandolin, harmonica, and accordion with Mediterranean rhythms and melodies, which is a bit deceptive for a film about an inventor whose lifework was turned into an instrument of terror. The soundtrack was recorded by the Yomiuri Nippon Symphony Orchestra.

Studio Ghibli is responsible for elevating the genre of animation – previously known for its superficial storylines (Disney fairytales, for example) and hyperbolized machismo heroes (Japanese anime of the 1970s) – to the highest form of creative storytelling. But without Hisaishi’s music, its films would not have been as compelling. Even though the excerpts above stand their own, I encourage you to watch the films in their entirety to understand the pacing of Hisaishi’s scores as they unfold alongside Miyazaki’s animations. If you’ve made it this far, I want to close with what I think is the greatest cinematic collaboration between Miyazaki and Hisaishi. Near the end of  Spirited Away , when Chihiro boards the sea-train with her new friends to an unknown destination, Miyazaki’s surreal landscapes fuse with this silvery piano solo in a moment of forced introspection, both spiritual and transcendent. 

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Top 10 Studio Ghibli Soundtracks

The sounds of Studio Ghibli

Everyone has a favorite film. Now think of it without the soundtrack and how that might change your understanding. Music greatly impacts how an audience interacts with a film. It heightens emotion and helps people react to a character's actions. While some composers purposefully put the music and characters at odds , most of the time it's seamless with the story. RELATED: The 25 Best Feel-Good Movies to Watch When You're Feeling Down No one accomplishes this better than Studio Ghibli 's Hayao Miyazaki and his close friend and composer Joe Hisaishi . Their impact is undeniable because people will listen to Studio Ghibli soundtracks exclusively. A good soundtrack can make or break a film, and Miyazaki and Hisaishi create a dream team of storytelling and music.

From Up on Poppy Hill (2011) - Heartfelt History

From Up on Poppy Hill is a story about childhood, family, and preserving history. Teenagers Umi and Shum both have lost their fathers, and they struggle to learn how to carry on their family legacy, symbolized by the raising of the naval flags and saving the school club building.

Much of the soundtrack is a simple yet lyrical piano melody that combines the silent presence of grief and the light of childhood friendship. The theme repeats itself throughout at different levels of intensity, cueing the audience that even though the two protagonists go through so much, their bond remains constant at the bottom of it all. The soundtrack is sweet with a small-town charm that leaves the audience feeling nostalgic for a life they never had.

Princess Mononoke (1997) - The Fight for Balance

Princess Mononoke centers on three characters, Prince Ashitaka, a wandering prince trying to free himself from a demon’s curse, San, a girl raised by wolves and protector of the forest spirits, and Lady Eboshi, a leader of an industrial town who is trying to give better lives to the less fortunate.

The soundtrack transports the audience into the majestic yet dangerous world of demons and spirits. Trilling winds, long-held low-pitched notes, and dissonant strings grab the audience’s attention and do not let go. It creates an aura of tension and yearning as these characters fight to preserve balance and peace between the different territories. The cacophony of battling voices elevates in the music, almost telling its own story. Princess Mononoke is a mesmerizing soundtrack that combines fantastical elements with an inspiring charge.

Kiki's Delivery Service (1989) - A Young Witch Finds Her Voice

Kiki’s Delivery Service is a coming-of-age story about a young witch who leaves her small country town to pursue a life in the big city as a magical delivery person. The music plucks with a child-like optimism as Kiki explores her new life in the city. The strings and winds sing almost frantically like a child trying to take everything in at once. It is serene and cheerful as Kiki observes the town life from her broomstick, and the audience cannot help but just feel good.

The soundtrack works because it captures the feeling of innocent wonder and melancholy responsibility in a way that touches an audience of all ages. It surrounds the audience with an emotional experience as they cheer for Kiki in her excitement and encourage her in her failings. The music transitions with Kiki during her learning curve and leaves the audience with a feeling of hope for her future.

The Wind Rises (2013) - The Winds of War and Life

A fictionalized dramatization of real-life aircraft designer Jiro Horikoshi , The Wind Rises explores what happens to young people’s dreams in the midst of World War II. Jiro must sacrifice his passion for designing beautiful aircraft at the cost of aiding a bloody war. The soundtrack reflects these emotional sacrifices. Brass trumpets blare military-patriotic music, leading the audience to feel good about serving one’s country.

The acoustic guitar and the strings slow things down to show Jiro and Naoko’s contemplative and innocent love. The winds like the clarinet and flute soar throughout to reflect the exhilarating and unpredictable nature of the wind. Musical form fits the story’s function as the music mirrors the experience of wind rising. Overall, the soundtrack is bright but dampened by the trials of life.

Spirited Away (2001) - Spirit of Growth and Change

Perhaps the most popular Studio Ghibli film, Spirited Away remains iconic in terms of story, art style, and music. As Chihiro and Haku fight to regain their identities in the spirit world, the music takes its own journey. The piano is sentimental, yet filled with an ache for restoration. Like Haku’s river, it flows sporadically as if it is trying to find a secure riverbank. It travels in an insecure direction, reflecting the characters as they venture through the journey of life.

RELATED: On Hayao Miyazaki's 'Spirited Away' and the Anxieties of Growing Up

The music has a deceptive lightness with high-pitched tones and airy melodies, but it is all grounded in a pervasive heaviness which implies the weight of responsibility that Chihiro carries to save herself and her parents. Overall, the soundtrack is memorable because it reflects the human psyche in relatable ways.

Grave of the Fireflies (1988) - A Heartbreaking Tale of Grief

One of the more direct war commentary films done by Studio Ghibli, Grave of the Fireflies tells the story of a young brother and sister as they fail to survive the downfall of Japan in World War II. The entire soundtrack is like a dark lullaby as it mourns the loss of so many lives. A wind instrument plays a haunting solo against twinkling chimes that sound like fireflies. It is jarring with almost no hope. The few breaths of serenity are snuffed out by overwhelming strings and long pauses.

Grave of the Fireflies is a different perspective on childhood innocence. Instead of showing its power in warmth and joy, the film’s soundtrack shows the helplessness of innocence in the face of war and evil. While the music may be hard to listen to without tearing up, it is worth listening to because it brings the audience closer to understanding the value of human life.

Nausicaa of the Valley of the Wind (1984) - Beauty in the Apocalypse

Nausicaa of the Valley of the Wind is about a young princess living in an apocalyptic world destroyed by war. Humans, the earth, and creatures alike are desolate and struggling to find peace in a poisoned environment. Pounding military drums and tender piano highlight Nausicaa ’s pure voice in the midst of darkness. Even with warped, sci-fi overtones, the audience can still feel the heartache in the music.

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"Nausicaa’s Requiem", a hauntingly beautiful melody sung by a child, reminds the audience of the innocence that was lost in the terrors of war. The classical themes fight to form some sort of civility and order in the chaotic world. Even if there is some redemption, in the end, the audience experiences the cost of war and what people’s souls lose along the way.

Laputa: Castle in the Sky (1986) - The Legend of the Lost Princess

Taking to the skies once again, Studio Ghibli’s Laputa: Castle in the Sky involves a lost princess, a special pendant, and a floating castle. The film envisions a steampunk, fantasy world that struggles to find the balance between advancing technology and preserving nature.

The music describing Laputa is mystical, bringing the audience to feel peace and inspiration for a better world. The main orchestral theme is majestic but melancholic as it sweeps the audience up to try and get a glimpse of the glory of Laputa. The audience can almost feel the sun on their skin and wind through their hair as they watch the heroes search the skies. It brings listeners on a journey that only music can and communicates the values of hope, humility, and love without uttering a word. Castle in the Sky is a fantasy film that should be praised for its soundtrack .

Howl's Moving Castle (2004) - Wizards, Waltzing, and Wandering, Oh My

Loosely based on a British novel of the same name, Howl’s Moving Castle examines the consequences of age, war, and love in the world of magic. If there is one thing this soundtrack has, it is energy. Just like Howl’s slapdash nature, the melody picks the audience up and escapades them on a whimsical journey. The chirping flutes and waltz-like rhythm feel like sunshine on a spring day.

RELATED: How 'Howl's Moving Castle' Subverts Expectations of Female Vanity

Nothing describes the power of the soundtrack like the main theme, called “The Merry-Go-Round of Life”. The tune flows around like a fairy-tale but remains grounded with a hint of wistful wandering.

It shows the audience that despite the characters’ willingness to do well in their circumstances to get the most out of life, sometimes it is ok to be sad and reminisce about things lost.

My Neighbor Totoro (1988) - The Joy of Childhood Magic

My Neighbor Totoro whisks the audience away into a world of warmth, magical creatures, and childhood. Sisters Satsuki and Mei go through a difficult transition of moving to a new home to be closer to their hospital-ridden mother. The soundtrack is dreamy and longingly nostalgic as the audience watches the children find joy in the simple things of life. It is almost like the audience can feel the scampering of little feet and the Catbus leaping through the air via the upbeat orchestra.

Yet with all its cheerful tones, the movie also mellows out with a softer, more contemplative side. The bittersweet piano melodies support Satsuki as she carries the burden of being the mother of the house at just eleven years old. The plucking strings and cascading strings help Totoro display his curious and steadfast side. Overall, the music feels like home as it reminds the audience to never let go of their inner child.

NEXT: Every Studio Ghibli Film Ranked From Worst to Best

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Culture & Arts

The whimsical world of studio ghibli, a japanese animation studio tells beautifully realized coming-of-age stories.

Castle in the Sky Studio Ghibli

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For many Americans, classic Disney films defined their childhoods. Yet in Asia, a different animation studio captured the imagination of a generation: Japan’s Studio Ghibli. Founded in 1985 by directors Hayao Miyazaki and Isao Takahata and producer Toshio Suzuki, Studio Ghibli has produced 20 animated films full of the fantastical and whimsical, the realistic and the thought-provoking.

Despite the inclusion of the magical and mystical, the core elements of the films are universal: courage, friendship, love of family, coming of age, caring for nature, and the reality of war. Unlike the action-packed pacing of modern Hollywood films, Studio Ghibli operates at a slower pace, taking in the beautifully lush animated scenes and developing characters’ relationships.

Here we introduce three of our favorite Studio Ghibli films that the family can watch together:

Castle in the Sky (1986)

Pazu, an orphan boy, rescues a girl who falls out of an airship in the sky, her descent slowed by a magical blue pendant. The girl, Sheeta, is chased by both pirates and an army eager to steal her necklace, which they believe will lead them to the floating island of Laputa. The two work together to elude their captors and reach Laputa, a long-lost civilization capable of advanced military prowess but now overgrown with vegetation. The movie is full of action, humor (especially from the family of pirates and their crusty but loving matriarch, Dola), and melancholy as it tackles whether humans should be capable of possessing weapons of mass destruction.

My Neighbor Totoro (1988)

Two sisters, Satsuki and Mei, move with their father into an old house to be near their mother, who is sick at the hospital. While playing outside, younger sister Mei follows two rabbitlike spirits down a tunnel where she lands on the large, gentle Totoro. Later Satsuki finds her sleeping on the ground, the creature nowhere to be found. Later Totoro shows up to both of them in times of need, including when Mei goes missing while delivering corn to their sick mother. The film moves at a gentle pace with little conflict, yet wonderfully depicts familial relationships: the bickering and playfulness between sisters, the caring attention of a father, and the concern the girls have for their mother.

Spirited Away (2001)

Ten-year-old Chihiro and her parents take a detour in the woods and accidentally cross into the spirit world. Then, Chihiro’s parents are enchanted into pigs by the witch Yubaba. With the guidance of the mysterious boy Haku, Chihiro finds a job working at Yubaba’s bathhouse. In her quest to save her parents and return to the human world, Chihiro learns that hard work, persistence, and kindness open many doors. She also learns that people are rarely as bad as they first seem. Some elements may disturb young children, including some blood, smoking, and a greedy monster who will gobble up anything that gets in his way.

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Angela is a former editor and senior reporter for WORLD Magazine. She is a graduate of the World Journalism Institute and Northwestern University’s Medill School of Journalism.

Harvest is a former political reporter for WORLD’s Washington Bureau. She is a World Journalism Institute and Patrick Henry College graduate.

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The Music of Studio Ghibli

The somewhat over-exaggerated news that Japanese animation heavyweight Studio Ghibli is closing (it is in fact just going to restructure) comes just as the DVD of lead-director Hayao Miyazaki’s final feature, the historical biographical epic The Wind Rises, is released. As with the Ghibli's entire output, the film adds yet another dimension to an often overlooked side of the creative powerhouse: its music.

An appreciation of Ghibli usually brings the same themes to the fore: nature, technology, feminism, family and above all, humanity itself. Fans will recall a favourite film or scene, grounded in visual spectacle: that magical moment when Sheeta floats down to Pazu in Castle in the Sky , when the colourfully playful Cat-Bus leaps on to the screen in My Neighbor Totoro , or when the young witch Kiki first soars above the clouds in Kiki’s Delivery Service .

My most memorable moment is less visual in nature: the simple repeated use of Olivia Newton John’s cover of 70s country folk hit "Take Me Home, Country Roads" in 1995’s Whisper of the Heart . The song appears throughout the film in both the original cover at the beginning, and - later - performed the main characters with a violin accompaniment.

It's a relatively small part of the film, but the passionate childlike lyrics (the protagonist writes her own Japanese version complete with original verse, dubbed "Concrete Road") and appropriation of a folk classic works perfectly in the teen setting. That simple piece, along with the rousing string and woodwind led "Legend of Ashitaka" from Princess Mononoke ; the whimsical, childlike delight and wonder-filled My Neighbor Totoro’s Opening Theme ; the bedazzling, slow-building Chopin-esque waltz of "The Merry-Go-Round of Life" in Howl’s Moving Castle ; the jauntily playful "Sootballs" of Spirited Away , and the soaring, accordion-infused "Journey (Dreamy Flight)" from The Wind Rises are my main signposts to this catalogue of incredible works.

Many of these pieces can be attributed to Joe Hisaishi (real name: Mamoru Fujisawa), also noted for his collaborations with Takeshi Kitano (the ridiculously prolific actor/director, and yes, also of Takeshi’s Castle fame). The long-time Ghibli contributor first joined forces with Miyazaki for the 1984 feature Nausicaä of the Valley of the Wind - not officially a Ghibli-piece (the studio had yet to be established), but long since accepted into the fold.

The film is notable for its 80s synth-rock led tracks (such as " Ohmu no Bousou ") often cited as slightly jarring when compared against the mainly traditional orchestral instruments used in the majority of the later films. Amusingly enough, the first ‘official’ Ghibli film, Castle in the Sky (1986), had its original synth-led score reworked with strings for its 1999 US re-release at the behest of Disney. Though Hisaishi, along with many other prominent classical film composers (ie John Williams) leans heavily on the works of early 20th-century composers such as Stravinsky, Prokofiev and Holst (among others), Joe also has significant nods to the less grandiose Debussy and Chopin, allowing the scores to be less imposing, more relatable and better suited for the character-based storytelling of Ghibli.

While his film scores rely on leitmotifs, as most soundtracks do, he isn’t weary of straying away from them and changing rhythms and timings to approach scenes in discernibly different ways, managing to mesh both the sentimental with the eccentric. His works ground the films’ historical and geographic influences, the bustling old late 19th-century houses come complete with matching waltzes and accordions, the futuristic apocalyptic backdrops, likewise with synths, and even the rural, fantasy landscapes are given appropriate grandeur with waves of strings.

If one criticism can be aimed at his method then it would be an over-focus on atmosphere, emotions and characters that causes his pieces to stray from the action taking place on screen. The result moves the music to backdrop rather than running commentary. This actually ties in with the rules of the animation house’s museum , where cameras are banned and instead visitors are encouraged to see the exhibits with their eyes and memorise their experiences, rather than spend time documenting everything for a later date.

The conflict in terms of musical styles in Miyazaki and Hisaishi’s final work The Wind Rises parallels the clash of ideologies in the story – the wonder, freedom and imagination all tied up with designing flying machines – set against the impending backdrop and overriding influence of the military and war. Hisaishi manages to balance both, on tracks such as " Caproni (Engineer’s Dream) " – where buoyant, cheerful pipes and strings are tethered down by the forceful, military weight of the horns and drums. That isn’t to say that the thematic ideas overshadow the character themes, with the various iterations of the stripped back Naoko’s theme resurfacing with dramatic prevalence throughout the film. It’s often hard to imagine that the same creator of such elegantly heart-felt, nuanced melodies could be the same architect of the bouncily silly nursery-rhyme-esque songs of Totoro and its spiritual successor Ponyo.

So next time you tumble down the rabbit hole into the animated wonder of this Japanese animation studio, don’t just focus on the beautifully crafted bursts of colour, fine detail and immersive magic, listen to Hisaishi’s audio mastery, which skillfully moulds, wraps around and projects the themes, characters and emotion onto the stunning canvas of celluloid.

The Wind Rises is released on Blu-ray and DVD on 29 September via StudioCanal.

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Hayao miyazaki's ranking among time's most influential people of 2024 proves he's more relevant than ever.

Hayao Miyazaki is awarded a position on TIME Magazine’s list of 100 Most Influential People of 2024, proving that he is more relevant than ever.

• Miyazaki's timeless storytelling continues to inspire filmmakers worldwide, as evidenced by his rank among TIME's most influential people of 2024.
• Studio Ghibli's impact on American cinema can be seen in Disney films like Wall-E, Up, and even 2019's Coco, inspired by Miyazaki's art style.
• Miyazaki remains committed to creating meaningful, culturally relevant content, rejecting the use of AI in his work and upholding Studio Ghibli's founding goals.

At 83 years old, Studio Ghibli founder, Academy Award winner, and animation legend Hayao Miyazaki was awarded a position on TIME Magazine’s list of 100 Most Influential People for 2024 , proving that he is more relevant than ever.

2024 is shaping up to be a massive year for Miyazaki and Studio Ghibli. The Japanese animation studio recently took home the Oscar for Best Animated Feature at the Academy Awards back in March. The Boy and the Heron, Miyazaki’s autobiographic project that brought him out of retirement, earned the director his second Academy Award.

The Boy and the Heron’s Oscar nominations established Miyazaki as one of the most nominated directors in the Best Animated Features category , tying him with CEO of Pixar Animation Studios, Pete Docter. Miyazaki’s impact on the animation industry is unmatched, not only in Japan, but around the world. His work has inspired filmmakers for decades, which is why his ranking among TIME’s list of most influential people of 2024 proves he's more relevant than ever.

All Studio Ghibli Movies In Order of Release Date (Including The Boy and the Heron)

The story of hayao miyazaki: learning to fly, how hayao miyazaki’s humble beginnings inspired 40 years of brilliance..

Award-winning director Hayao Miyazaki was born to an airplane manufacturer and his wife in the 1940s in Tokyo, Japan. Miyazaki Airplane crafted airplane parts during World War II. While Miyazaki didn’t follow in his father’s footsteps, his love for flying is evident in many of Studio Ghibli’s films . After graduating from Gakushūin University in 1963, Miyazaki received an entry-level position at Toei Animation. During his time at Toei Studios, he met those who would soon be his lifelong partners : Isao Takahata, a future co-founder of Studio Ghibli , and Ōta Akemi, Miyazaki’s soon-to-be wife.

While many consider Studio Ghibli’s first unofficial film to be Horus: Prince of the Sun (1968) , it was actually a monthly manga strip that earned his unique art style recognition. Nausicaä of the Valley of the Wind was originally a manga strip that Miyazaki wrote for Animage Magazine. The manga’s success inspired a full-length feature film, released in 1984. Not long after, Miyazaki and Takahata began a partnership, and Studio Ghibli was born on June 15, 1985 .

Studio Ghibli’s Most Iconic Films from 1985 to 2024

Since 1985, studio ghibli’s whimsical stories of hope have inspired worldwide, multi-generational audiences..

From Studio Ghibli’s first official film, Castle in the Sky (1986), to its most recent, award-winning masterpiece, The Boy and the Heron (2023), Hayao Miyazaki’s impact on storytelling and family-friendly content is nothing short of legendary. My Neighbor Totoro (1988), Kiki’s Delivery Service (1989), and Ponyo (2008) are just a few examples of the light-hearted, imaginative stories that Miyazaki has provided families over the years. However, these films, along with others, are far from shallow, keeping them timeless and relatable for generations to come.

Perhaps the most haunting example of the duality of Studio Ghibli is the 1988 film, Grave of the Fireflies, directed by Takahata. This story follows the journey of protagonists Seita and Setsuko, two orphans who struggle to survive during the concluding months of World War II. Grave of the Fireflies is visually stunning and emotionally dynamic, exemplifying the vast range of Miyazaki and Studio Ghibli’s storytelling , one of the primary reasons why their films are more relevant than ever.

Hayao Miyazaki’s Impact on American Media

Studio ghibli’s unprecedented impact on america’s biggest entertainment conglomerate..

Miyazaki hasn’t only had an impact on Japanese cinema. His storytelling techniques, plot devices, character designs, and iconic art style have inspired American film studios for decades. Over the years, Studio Ghibli has influenced one of the largest media companies in the world , Disney . Miyazaki’s storytelling, art style, world-building, and animation techniques inspired films such as Atlantis: The Lost Empire (2001), Wall-E (2008), Up (2009), and Luca (2021) . Furthermore, Spirited Away (2001) and Howl’s Moving Castle (2004) inspired Disney’s 2019 film, Coco. In 2016, Moana’s Japanese trailer even paid homage to Studio Ghibli by altering its standard trailer format.

American children’s media is facing an epidemic, proving that Studio Ghibli must remain a reference point. Film and television aimed at younger audiences in the United States have become a cash grab. Meaningful stories are traded for endless, unoriginal sequels and remakes, while plots and characters lack depth. Furthermore, studios are underpaying their staff and resorting to using Artificial Intelligence to replace human creativity. When pitched the idea of utilizing AI at Studio Ghibli, Miyazaki responded:

“I am utterly disgusted. If you really want to make creepy stuff, you can go ahead and do it. I would never wish to incorporate this technology into my work at all. I strongly feel that this is an insult to life itself.”

Miyazaki continues to take his audience seriously, as his stories remain fantastical, yet culturally relevant, and purposeful. Children are intelligent, and they deserve intelligent content, but it would be reductive to describe Miyazaki's work as only targeted at children. For example, Kiki's Delivery Service can teach adults how to deal with burnout . Miyazaki, along with his fellow creators at Studio Ghibli, has truly mastered the balance between broadening children’s imaginations with theatrical sequences and providing them with authentic life lessons. Miyazaki’s commitment to staying true to Studio Ghibli’s founding goals is another reason why he is more relevant than ever.

The Future of Studio Ghibli

Hayao miyazaki’s uncertain plans for the future of studio ghibli..

Miyazaki has announced retirement from directing multiple times, but recently returned to spearhead his most personal film , The Boy and the Heron. Studio Ghibli’s most recent masterpiece earned recognition on numerous accounts. His autobiographical film was awarded a Golden Globe and a BAFTA Award for Best Animated Motion Picture, and won an Oscar for Best Animated Feature at the 2024 Academy Awards. While Miyazaki does not plan to retire as director of Studio Ghibli, it is not yet confirmed whether The Boy and the Heron will be his final film as a creative lead.

Hayao Miyazaki’s decades-long career in the animation industry is a beacon of hope for media lovers everywhere. From his commitment to protecting artists to producing quality, engaging content, the founder of Studio Ghibli’s legacy has reached the hearts of millions of viewers worldwide, and one can only hope that Studio Ghibli will continue to thrive for years to come . It should come as no shock that Hayao Miyazaki was ranked among TIME's most influential people of 2024, as he truly is more relevant than ever.

A Ghibli-esque Journey: The Immersive Realism of Studio Ghibli

They say a picture is worth a thousand words. Studio Ghibli’s animation puts two and two together and concludes that a picture can tell a story in just one or two words. Studio Ghibli has been around for over 30 years and is one of the most iconic animation studios in Japan. The studio was founded by directors Hayao Miyazaki and Isao Takahata , with Toshio Suzuki also playing a key role. Studio Ghibli’s movies have earned them worldwide acclaim as well as adoration from fans spanning across the globe.

The art style of the studio is unique, focusing on the precision of brush strokes to create realistic but whimsical scenes. Water droplets cover leaves like dewdrops; flames dance through the smoke rising from an extinguished candle; rain pours down onto upturned faces; smoke curls appear sinuous like hair. Who says that detailed illustrations are only for adults? The stories depicted in these animations are especially suitable for children because they use simple dialogue devoid of complicated verses and put more emphasis on visual imagery. Kids’ movies often get criticized for having bland plots, but I believe that it’s just a matter of perspective. Not all kids’ movies have to be entertaining in order for them to have value. Kids can easily grasp the general idea of the story, and what matters more is that they’re being exposed to ideas from an early age through these pictures and stories.

Related to Studio Ghibli: All Ghibli Studio Movies, Ranked

It is perhaps the environment in which we grew up and spent our childhoods that influences us most profoundly, especially when we were under ten years of age; thus, we tend to associate ourselves heavily with certain cultural events or artists. Certain things might appear ordinary at first glance but leave a strong impression on you during this formative period. The same happens with Studio Ghibli’s animations: such simple narratives give children a lasting impression of the world and themselves.

The misconception that animation is for children stems mainly from its association with Disney, an opinion that will probably continue to be held by many people who have not watched any other form of animation. The art style of Ghibli also differs greatly from Disney’s: while their protagonists are beautiful and well-designed, they have no perfect features or expressions; instead, there are slight blemishes in every character, making them appear more humanized. As a result, it becomes easier to relate to them without being shocked by sudden transformations between laughter and tears of happiness and anger.

In short, Ghibli’s animation may be for children, but it is not ‘just’ for children. The stories and characters leave a deep impression on you as you watch them over and over again, from the age of twelve to twenty-seven or more. When I was watching Ponyo (2008), I remembered that feeling of anxiousness at bedtime but also the excitement I felt when walking through familiar streets in Hong Kong with my family during summer vacations. In fact, most people will find themselves reliving memories from their formative years rekindled by Studio Ghibli.

Studio Ghibli’s movies are about kids who do kid things. The kids in these movies are at the height of their imaginations; they’re precocious and carefree, innocent but mischievous. Like most children, their biggest concerns include bullying, peer pressure, and new school environments while some only focus on family conflicts or interpersonal relationships. They also possess that childlike quality of having no inhibitions when it comes to expressing themselves – whether it be through tears or laughter.

Due to their age, these children blurt out things without thinking about the consequences which adults would find embarrassing to say out loud for fear of negative response or reprisal. For instance, when Mei (Momoko Sakura) is afraid she might get lost in her new neighborhood in Tonari no Totoro (1988), she asks her sister Satsuki (Noriko Hidaka) and father Tatsuo (Yasuko Sawaguchi), “Can you die if you get lost?” or when Kanta (Koji Yakusho) tells his classmate that she smells like a pig in Grave of the Fireflies, we as adults feel embarrassed for him because he has insulted his companion. Yet, none of these children are ‘bad’: they’re just curious about some contemplative matters which older people might find strange or taboo to mention.

Also Read: Grave of the Fireflies (1988): A Love Letter to Brotherhood

The Japanese word to describe this quality is Meromero meaning “blurred,” “indistinct” or the “fuzzy feeling you get when thinking about something.” Meromero is a vague and indiscriminate emotion that pertains to anything and everything: it’s so broad that we can’t describe what we feel. This term is ideal for describing children who haven’t yet learned how to draw distinctions between events and feelings, so they react freely with their hearts as if experiencing them for the first time over again.

In contrast, as we grow up, we learn from our mistakes and become more careful about what we say or do publicly because society expects us to be restrained or even prudent after a certain age. In this sense, Ghibli’s movies teach adults to be less cautious but more flexible in their approach to life. This is true not only for children but also for adults who have never stopped being kids at heart. Whether you’re a parent, a child, an aunt or an uncle; whether you’re male or female; whether you’re rich or poor; whether you’re young or old; Ghibli’s movies are designed to be enjoyed by anyone regardless of their age, gender or social status. This is why Studio Ghibli has such a huge global fan base. Even though I’m currently writing this article on my laptop after my office hours, I can easily switch off my PC and travel back in time to my childhood when watching Ghibli’s films.

Author: Rushang Patel

Studio ghibli links: ghibli collection , wikipedia, trending right now.

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10 Must-watch Whimsical anime of all time

A nime possesses a unique ability to transport audiences to realms where whimsy reigns supreme. These fantastical worlds, often surreal and brimming with wonder, captivate viewers with their delightful narratives and vibrant characters. Let's embark on a journey through the top 10 most enchanting anime universes where imagination knows no bounds.

1. Hakumei And Mikochi

Nestled within this charming series lies a community where diversity thrives, and every individual's uniqueness is celebrated. Amidst miniature treehouses and whimsical forests, Hakumei and Mikochi's adventures teach valuable lessons about the beauty of togetherness.

In the soft-hued landscapes of Moominvalley, everyday occurrences intertwine with magical escapades. Through the lovable Moomin family, viewers are reminded of the importance of cherishing nature's wonders and finding joy in life's simpler pleasures.

3. Howl's Moving Castle

Step into a world where magic and eccentricity collide in Miyazaki's masterpiece. With its endearing characters and surreal settings, this tale enchants audiences while delivering profound messages about self-discovery and the power of love.

Do You Remember Love?: Join Minmay on a journey through space where music becomes a weapon of peace amidst intergalactic conflicts. This dreamlike adventure captures the essence of romance and resilience in the face of adversity.

5. Mary And The Witch's Flower

Inspired by English countryside charm, this underrated gem invites viewers into a world where temporary magic transforms ordinary lives. Through Mary's enchanting journey, audiences discover the magic that lies within every individual.

6. My Monster Secret

Explore high school life with a supernatural twist as Asahi navigates friendships with creatures beyond imagination. With its fresh take on the supernatural, this series blends humour with heartfelt moments, creating a truly whimsical experience.

7. Penguindrum

Enter a realm where reality merges with the surreal, weaving a tale of hope amidst life's complexities. With its poignant narrative and endearing characters, Penguindrum offers a surreal yet touching exploration of love and destiny.

8. Capital Craze Caricature

Delve into the depths of a mirror city where folklore and surrealism collide. Amidst its labyrinthine plot, this dark isekai captivates with its thought-provoking themes and whimsical imagery.

9. Iroduku: The World In Colours

Witness the transformative power of magic as Hitomi embarks on a journey of self-discovery. Through its gentle narrative and creative magic system, Iroduku paints a poignant portrait of healing and connection.

10. Magical Princess Minky Momo

Embark on a heartwarming adventure with Momo as she spreads joy and wonder across Earth. Through her simple yet profound mission, this series celebrates the importance of happiness and imagination in achieving one's dreams.

In these enchanting anime worlds, whimsy intertwines with profound themes, inviting audiences to embrace the extraordinary in the ordinary and embark on unforgettable adventures where imagination knows no bounds.

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10 Harsh Realities of Being a Studio Ghibli Protagonist

Studio Ghibli's best protagonists have the most harsh truths to swallow while on their journeys, including characters like The Wind Rises' Jiro.

Studio Ghibli protagonists often go on fantastical journeys filled with magic and wonder, always captivating audiences with their courage and resilience along the way. However, beneath their fun-filled adventures lies a world loaded with harsh realities of being the hero of their stories.

From struggling with loneliness and responsibilities to facing environmental destruction, wars, and losing what is cherished, Studio Ghibli protagonists go through a lot of hardships that shape their character arcs. Through their struggles, they offer poignant reflections on life and the pursuit of hope amidst darkness.

10 Jiro's Passion for Aviator Engineering Has Destructive Results

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Throughout Studio Ghibli’s rich roster of films, their protagonists frequently face moral dilemmas that challenge their beliefs and values. While it may be a troubling hurdle to get over, these moral dilemmas actually add depth to their character development and enrich their narratives. For example, in The Wind Rises , Jiro must come to terms with the fact that his passion for aviator engineering is fueling a war full of death and destruction.

By facing these ethical jams, protagonists evolve beyond mere archetypes and become relatable figures with whom audiences can relate and empathize. The resolution of these dilemmas, then, moves the plot forward, shaping the protagonist's journey and potentially leading to their redemption.

The Wind Rises

Original title: Kaze tachinu A look at the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II.

9 Seita and Setsuko Struggle To Survive in the Chaos of World War II

Wartime stories are a commonality in Studio Ghibli films. The protagonists being thrust into these situations find themselves having no choice but to be entangled in these tumultuous conflicts. In Grave of the Fireflies , Seita and Setsuko face the brutal realities of war and conflict during World War II in Japan. The film vividly shows the devastating effects of bombings, food shortages, and societal collapse on civilians, especially children. Seita and Setsuko struggle to survive amid the devastation of World War II in Grave of the Fireflies where they face hunger, loss, and the brutality of war.

These experiences force Seita and Setsuko to navigate the horrors of war and possibly emerge as resilient, empathetic characters capable of finding hope amid chaos and destruction. The backdrop of war serves to highlight the universal themes of loss, resilience, and the human spirit, resonating with audiences on a deeper emotional level.

Grave of the Fireflies

A young boy and his little sister struggle to survive in Japan during World War II.

8 Nausicaä's Own People Betray Her

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Betrayal is a compelling source of conflict in any medium and Studio Ghibli has no problem thrusting their protagonists into this dilemma. Nausicaä faces a heartbreaking betrayal from her own people, who prioritize war over peace and endanger the balance of their world in Nausicaä of the Valley of the Wind . She discovers the true intentions of her mentor, Yupa, and the leaders of other kingdoms as they plan to use the ancient Giant Warrior's power to restore order in the post-apocalyptic world.

Nausicaä's trust is shattered when she realizes that the people she admires are willing to sacrifice lives and the environment for their own goals. This forces her to reassess her trust in others and confront the darker aspects of human nature. It adds tension and emotional depth to the story and serves as a catalyst for character growth, prompting her, and other Ghibli protagonists in their respective films, to find inner strength and resilience in the face of adversity.

Nausicaa of the Valley of the Wind

Warrior and pacifist Princess Nausicaä desperately struggles to prevent two warring nations from destroying themselves and their dying planet.

7 Princess Mononoke Shows The Consequences of Industrialization On the Environment

Princess Mononoke 's Ashitaka faces the devastating consequences of environmental destruction when he steps into the conflict between the industrialized Iron Town and the guardians of the forest. He witnesses nature's relentless deforestation, pollution, and exploitation at the hands of human greed and industrial greed. Dealing with the environment's destruction highlights the interconnectedness between humanity and the natural world while driving narrative tension and Ahitaka's development.

Studio Ghibli's portrayal of environmental destruction serves as a cautionary tale, showing the consequences of war, human greed, and exploitation. It adds urgency to the protagonists' quests, as they fight to preserve the beauty and balance of their worlds, while also deepening their connections to their environments.

Princess Mononoke (1997)

On a journey to find the cure for a Tatarigami's curse, Ashitaka finds himself in the middle of a war between the forest gods and Tatara, a mining colony. In this quest he also meets San, the Mononoke Hime.

6 Sophie Sacrices Herself for the Sake of Others

10 things that don't make sense about howl's moving castle.

Whether it's reluctantly bidding farewell to a friend or neglecting their own wellbeing for the sake of another, making sacrifices is a common theme in many Studio Ghibli films. Howl's Moving Castle sees its female protagonist, Sophie, lose her youthful appearance and vitality after being cursed by the Witch of the Waste, aging prematurely into an old woman. Sophie's journey is further marked by numerous acts of sacrifice as she protects and cares for those around her, including Howl and his companions. She puts her own desires and comfort aside to break the curse and ensure the safety of her newfound family, even at great personal cost.

These sacrifices emphasize Sophie's resilience and capacity for empathy, as they prioritize the needs of others above their own. It adds emotional weight to their journeys, as they grapple with the consequences of their choices and the burdens they must carry.

Howl's Moving Castle

When an unconfident young woman is cursed with an old body by a spiteful witch, her only chance of breaking the spell lies with a self-indulgent yet insecure young wizard and his companions in his legged, walking castle.

5 Kiki’s Deliveries Take Her on a Journey of Self Discovery

Another narrative staple of Studio Ghibli, protagonists always find themselves on journeys of self-discovery that allow for profound character growth and emotional resonance. The titular Kiki ventures on a journey of self-discovery as she sets out to become an independent witch in Kiki's Delivery Service . Throughout the film, Kiki faces challenges and obstacles that force her out of her comfort zone and confront her insecurities, fears, and limitations. As she navigates the ups and downs of life in a new town, Kiki learns valuable lessons about self-reliance, friendship, and the importance of staying true to herself.

These journeys of self-discovery serve as the backbone of the protagonists' character arcs, allowing them to confront their fears, insecurities, and limitations. By showing these journeys, Studio Ghibli creates characters that resonate with viewers on a deeply personal level, inspiring introspection and self-reflection.

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A young witch, on her mandatory year of independent life, finds fitting into a new community difficult while she supports herself by running an air courier service.

4 Taeko Grieves Over the Loss of Her Childhood

10 locations that inspired studio ghibli films.

Many Studio Ghibli protagonists experience profound loss and grief throughout their stories, whether it’s the death of a loved one or the destruction of something they cherish. The list of heroes who go through this heartwrenching dilemma is admittedly too long to count. Only Yesterday 's Taeko, for instance, experiences grief as she reflects on her lost childhood memories and the bittersweet emotions surrounding her first love. Taeko struggles with feelings of nostalgia and longs for the simplicity of her youth while realizing that she can never return to those moments again.

Despite being constantly put through this turmoil, these experiences of loss and grief humanize the protagonists, making them relatable and empathetic to audiences. It adds complexity to their personalities, as they learn to navigate the complexities of grief and find ways to cope with their pain while also driving the plot forward.

Only Yesterday

A twenty-seven-year-old office worker travels to the countryside while reminiscing about her childhood in Tokyo.

3 Chihiro Faces Challenges That Make Her Stronger

Studio Ghibli protagonists frequently face adversity, acting as a catalyst for growth and development while propelling the story forward with tension and conflict. These encounters show the protagonists' resilience and determination, making their eventual triumphs all the more satisfying for audiences.

Spirited Away ’s Chihiro goes through many challenges, from navigating the mysterious and perilous spirit world in order to rescue her parents to facing terrifying beings like Chichiyaku and Yubaba. But these adversities allow her to undergo meaningful growth and transformation, evolving from an ordinary young girl into a hero capable of overcoming extraordinary challenges.

Spirited Away (2001)

During her family's move to the suburbs, a sullen 10-year-old girl wanders into a world ruled by gods, witches and spirits, a world where humans are changed into beasts.

2 Haru Has the Fate of the Cat Kingdom Hanging on Her Shoulders

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In The Cat Returns , Haru finds herself with unexpected responsibility when she saves a cat from being hit by a truck. She is soon thrust into the magical Cat Kingdom, where she has to save the Cat Kingdom and its prince from the evil Baron Humbert von Gikkingen. Haru is surely not alone in carrying such a heavy responsibility. Studio Ghibli protagonists often bear significant responsibilities that almost seem too burdensome.

These heavy burdens, though, show Ghibli protagonists' strength of character and moral integrity, making their journeys even more compelling for audiences. It adds tension and urgency to the story, as the protagonists must navigate complex dilemmas and make difficult choices that have far-reaching consequences.

The Cat Returns

After helping a cat, a seventeen-year-old girl finds herself involuntarily engaged to a cat Prince in a magical world where her only hope of freedom lies with a dapper cat statuette come to life.

1 Anna Fights With Feelings of Loneliness and Disconnect

Studio Ghibli protagonists frequently struggle with loneliness as they go on their journeys. Their loneliness is often a result of being separated from loved ones, and feeling unfulfilled or misunderstood by everyone around them. Their experiences of loneliness, while painful, humanize the protagonists and give complexity to their personalities as they navigate the challenges of isolation and yearn for connection and belonging. It also makes their ordeals relatable and empathetic to audiences.

In When Marnie Was There , Anna experiences profound loneliness and isolation after being sent to live with relatives in a rural seaside town. Anna fights with social anxiety and a sense of disconnect from those around her. But her encounters with Marnie, a mysterious girl from a nearby mansion, give her a companionship that alleviates her loneliness.

When Marnie Was There

Anna, a shy 12-year-old girl, is sent to spend time with her aunt and uncle who live in the countryside, where she meets Marnie. The two become best friends. But Anna gradually discovers that Marnie is not quite who she appears to be.

• Category: ID@Xbox

Wishlist Playdew’s Lost Twins II, Coming this Year

• Captivating adventure inspired by Studio Ghibli, featuring vibrant landscapes and intricate puzzles.
• Diverse environments, and engaging puzzles in a mystical realm.
• Breathtaking visuals and immersive gameplay for all ages.

Hey there, gamers! Let’s delve into something truly exciting: the unveiling of Lost Twins II , a highly anticipated puzzle platformer from Playdew, an innovative indie game developer based in Pakistan. This momentous occasion represents the culmination of seven years of hard work and dedication, promising players an extraordinary gaming experience that transcends the ordinary. Step into the whimsical realm of Lost Twins II , where you’ll guide the titular lost twins, Abi and Ben, through a mesmerizing adventure filled with intricate puzzles and unexpected twists. With its focus on exploration and discovery, rather than conflict, Lost Twins II invites players to unravel the mysteries of its dualistic-inspired narrative, where seemingly opposing forces merge to create a harmonious and enchanting journey.

Embark on a Mystical Adventure

Embark on a mesmerizing journey into the heart of Lost Twins II , where wonder and adventure await at every turn. In the mystical realm of Phoenix, a radiant community of sibling phoenixes once flourished, their existence a testament to the eternal dance of life and rebirth. But fate had other plans. A mighty storm, born of unseen forces, tore through their world, leaving devastation in its wake. The once-vibrant phoenixes were frozen in time, transformed into statues of stone, their essence scattered to the winds.

Our story begins amidst this chaos. Twin siblings, Abi & Ben, stumble upon the remains of one such phoenix, hidden within the halls of their parents’ museum. Drawn by a mysterious light, they follow its ethereal trail, leading to the stone phoenix and a portal beyond imagining.

With a burst of radiant energy, you are whisked away to the shattered remnants of the phoenixes’ homeland, where a grand adventure awaits. Joined by the phoenix, now in a transformed state, you’ll embark on a quest to reunite him with his scattered essence and breathe life back into the world of Phoenix.

Discover Vibrant Worlds and Engaging Puzzles

The game unfolds across three primary zones, each offering a distinct environment inspired by the vivid imagination of the twins. From lush forests to majestic castles, players will explore beautifully crafted landscapes while solving puzzles in each zone.

As you progress, you’ll collect feathers to unlock new areas, unveiling the secrets of this enchanting world one puzzle at a time.

Dive into Captivating Features

As you guide the twin siblings through dynamic environments, you’ll encounter a myriad of challenges and delights along the way. With the ability to control both siblings, you’ll navigate through enchanted forests, traverse frozen castles, and explore the whimsical realm of Toyland, all inspired by the captivating worlds of Studio Ghibli. Immerse yourself in the beauty of each landscape with an atmospheric soundtrack that sets the tone for your adventure, while unlocking achievements hidden throughout the game. Solve a variety of puzzles, from logic challenges to spatial conundrums, each offering multiple solutions to spark your creativity. With privacy and offline play guaranteed, Lost Twins II invites you to delve into a world of magic, mystery, and endless exploration.

Featuring stunning visuals reminiscent of Hayao Miyazaki’s iconic style and meticulously designed puzzles, Lost Twins II guarantees an unforgettable experience brimming with wonder and delight for players of all ages. With Lost Twins II , you are invited into a world where curiosity and creativity reign supreme. So, are you ready to embark on this enchanting journey and reunite the lost twins? Wishlist now, and get ready for the release later this year on Xbox.

Wishlist now to be the first to embark on this thrilling journey!

Lost Twins 2