Studio Ponoc's Comeback: A Look at 'The Imaginary' and the Creative Process

– Studio Ponoc, a brainchild of former Studio Ghibli staff, is back in the limelight with their third full-length feature film, “The Imaginary.”
– Initiated after Studio Ghibli’s closure in 2014, Studio Ponoc continues the enchanting legacy of its predecessor, focusing on character-driven narratives and stunning visuals.
– “The Imaginary” showcases an unseen world of imaginary friends, unraveling their ambitious dreams, hidden qualms, and their deep bonds with their human counterparts.
– Continuing the legacy of Ghibli’s iconic artistry, “The Imaginary” is as visually striking as it is narratively engaging.

Interview with Yoshiaki Nishimura: The Creative Process behind ‘The Imaginary’

A Chance Encounter with the Unseen: The Creative Team’s Journey into the Imaginary World

It’s always a fantastical journey when one can dip their toes (or should I say, their animation pencils?) into the world beyond the tangible – the realm of the imaginary. And not just any measly illusion, mind you, but a complex society of unseen companions who are as whimsical as they are emotionally profound. Studio Ponoc, descended like a superhero sidekick from the legendary Studio Ghibli, paints this ethereal tapestry with their third feature film, “The Imaginary”.

Riding on the coattails of Ghibli’s legacy and armed with their own creative vision, Studio Ponoc is like the hip younger cousin bringing an edgy, modern twist to the family gathering. And if we’re talking visuals, they’re more like Michelangelo was when he was given a blank ceiling in the Sistine Chapel: absolute genius. “The Imaginary” is nothing short of remarkable, with visuals that will make eyeballs around the world have their own little heart palpitations in awe.

So, to Yoshiaki Nishimura and the talented maestros at Studio Ponoc, I say: Prepare your acceptance speech for the Visual Wonder of the Year award… or don’t; the rest of us are too starstruck to debate the matter.

Welcome to Studio Ponoc’s newest magical world: The Imaginary. Born from the creatives behind Studio Ghibli, this young studio has embraced Ghibli’s heritage of stunning visuals and captivating narratives to create a whimsical tale. Dive into a unique community populated by imaginary companions, rich in emotions and connections, as brought to life by the extraordinary talent of Yoshiaki Nishimura.

Studio founder Yoshiaki Nishimura is the creative mastermind behind The Imaginary, as a scriptwriter and producer. More than a decade under the guide of industry legends Hayao Miyazaki and Isao Takahata has enriched his filmography with notable titles like The Tale of the Princess Kaguya, When Marnie Was There, and The Boy and the Heron.

Join us in an in-depth conversation with Nishimura as he shares valuable insight into the technical artistry of The Imaginary, his philosophy as a producer, and tracks the currents of the Japanese animation industry.

The enchantment of animation: what makes it irresistible?

Animation, more than passion, is a powerful tool that I believe can facilitate a good and fulfilling life for children. This belief guided me to the world of animation. For me, and I believe it was the same for maestros Hayao Miyazaki and Isao Takahata, animation is a powerful narrative medium capable of impacting many lives.

Bringing Britain to life in The Imaginary: how was it done?

To breathe life into animated characters and places, accuracy in detail is key. In order to recreate an authentic UK environment, we relied on location hunting through videos and photographs, and even commissioned a UK-based doctor to provide footage of British hospitals, despite the travel limitations posed by the pandemic.

How has combining traditional and computer animation enriched the film?

Our use of computer animation was minimal, but it was an essential tool where the story demanded it. The focus is not the blend of 2D and CG, but the depth achieved through the juxtaposition of light and shadow. Our collaboration with French animation studio, Poisson Rouge, enriched the film’s texture and added a new dimension.

From Isao Takahata’s long-delayed The Tale of the Princess Kaguya to Studio Ponoc: how does production timing affect the creative process?

While Princess Kaguya took eight years to finish, production length isn’t necessarily good or bad. It’s the balancing act between time, budget, and creative satisfaction—an intricate juggle that’s guided by intuition. The objective always remains the same: to create a masterpiece.

What precious lessons did you carry from Studio Ghibli’s Miyazaki, Takahata, and Suzuki to Studio Ponoc?

The time spent with Miyazaki and Takahata at Studio Ghibli was invaluable. The most significant takeaway was their firm belief in the transformative power of film. They held steadfast in their conviction that a great film could shape a child’s worldview and affect their life positively. This belief is deeply ingrained in the fabric of our studio.

As Japanese animation gains global popularity, have you observed any significant shifts in the industry? How do these trends influence Studio Ponoc’s creative direction?

It’s heartening to see Japanese animation ascended in global popularity. However, I’m concerned that the industry is favoring adult-targeted content due to business considerations. Whilst Studio Ponoc’s focus on children’s content is being perceived as non-mainstream, we remain firm in our commitment to create transformative content for our young audience. That will never change, regardless of where the world is heading.

Studio Ponoc’s Comeback: A Look at ‘The Imaginary’ and the Creative Process