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Spurred, as she grows up, by her great and refined beauty, a series of increasingly noble admirers come with fanciful tributes to solicit her as their bride, but she sends them all away on impossible errands, only to find herself rueing her own foreshortened time on earth. More commonly titled The Tale of the Bamboo Cutter, it concerns the eponymous farmer’s discovery inside a luminous bamboo shoot of a tiny girl whom he and his wife raise as their daughter, with financial assistance provided by nuggets of gold he finds in further shoots of bamboo taking these as a sign, they name her Princess Kaguya, meaning ‘shining light’. Five years later, they had 30 minutes of storyboard. “It’s that simple: I really want to see Isao Takahata’s last movie,” he says in the making-of doc. Instead it fell on young first-time producer Nishimura Yoshiaki – not unfairly, as he’d spent 18 months back in 2005-06 trying to motivate a reluctant Takahata to undertake the project. Suzuki Toshio, Ghibli’s third founding musketeer, declined to produce the film because he couldn’t give Takahata the requisite 24/7 attention – during this period he produced Tales from Earthsea (2006), Ponyo (2008), Arrietty (2010), From up on Poppy Hill (2011) and The Wind Rises (2013). And since Miya-san is responsible for Studio Ghibli, whenever I do any work I have tended to create a great deal of trouble for him by, among other things, causing delays in production schedules.”Īnd not only for Miyazaki. Takahata himself, in the epilogue to Starting Point, writes: “Miya-san has always aggressively tried to assume responsibility for various things, but at some unknown point I – the giant sloth – began to sneakily avoid responsibility. He sounded like this: paku, paku.”) “With Paku-san,” he adds, “you can be guaranteed that at several points in the production he will begin yelling, ‘I can’t possibly make this film!’” (Why ‘Paku-san’? “The story is that every day he would arrive just barely on time, drinking tap water and wolfing down bread. “By nature he is a real slugabed sloth… the descendant of some giant sloth that once crawled the plains of earth in the Pliocene era,” says Miyazaki of his friend, colleague and inspiration Paku-san in Starting Point, the first volume of Miyazaki’s collected writings and interviews.
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