The Best Of Milena Velba

From Here Animeclick

entirely a new interview published on the site YamatoVideo Alessandra Tieri, press office of Lucky Red.


"Studio Ghibli ready for landing in Italy"

Interview with Alessandra Tieri , press office of Lucky Red

little lacking. With 2009 approaching, as well as hope for economic recovery and an escape from recession, the wish list of some of us there is the arrival of the films of Hayao Miyazaki directly to the cinema, with the first-class ticket provided by Lucky Red. Before it's up to Ponyo, our favorite masterpiece, then love distance: Totoro, 1988. This is a taste of that - if all goes well - will facilitate the spectacular avalanche of films like Nausicaä (1984) and Porco Rosso (1992). Then space also Isao Takahata, the director and soon forgotten nazionalpopolare (despite its Heidi is the most popular cartoon and broadcast in Italy) which is reserved for a destiny on DVD.

But the cinema is something else. We know. At first you should always make attempts, as the passage of Lupin III - The Castle of Cagliostro in theaters built by Mikado and Yamato. Therefore, the success of Fist of the North.
Let's have a nice gift, then: Start now to prenotare un posto in prima fila per amici e parenti. La prossima primavera, la rivoluzione sarà poetica e fantasiosa come non mai. A voi pubblico l’onere di rialzare le quotazioni nostrane del buon Miyazaki. A noi il piacere di pubblicare questa bella intervista ad Alessandra Tieri di Lucky Red e saperne di più sul mondo del regista giapponese.

- La decisione di distribuire tutti i film dello Studio Ghibli da parte di Lucky Red, è stata puro istinto oppure è maturata nel tempo, dopo le prove di Il castello errante di Howl e I Racconti di Terramare?

Lucky Red ha sempre apprezzato i lavori del maestro Miyazaki. Certo, il successo de La Città Incantata ha aperto le porte del mondo Ghibli ad a wider audience, something from which no provider can ignore. The idea to scan the entire catalog, of course, gained over time, came after the Howl's Moving Castle. It was an extraordinary experience for us in all its stages: from the preview to the World Film Festival of Venice to the preparation of promotional materials along with Studio Ghibli, from the room to the home video. Almost without realizing it, suddenly we were all happily immersed in the world of Miyazaki. So, we decided not to push through ...

- It was a decision that has also taken into account (except future denials by the general public) del mercato cinematografico italiano rispetto, per dire, quello francese che ha dimostrato invece di furoreggiare al solo sentir parlare di monsieur Miyazakì?

C’è da dire che il mercato francese è in generale più forte rispetto a quello italiano per il cinema d’autore. Purtroppo in Italia non c’è stata finora la stessa risposta in termini di pubblico sui film di Miyazaki . Tanto per dare concretezza, La Città Incantata, ad esempio, ha ottenuto in Francia un risultato di box office di quasi cinque milioni di euro, in Italia ha raggiunto 900.000 €.
Il Castello Errante di Howl ha incassato in Francia 6.700.000 €, in Italia solo 750.000€. Da noi l’animazione that it has, to date, a great response from the public is only one signed by the American giants who, besides being directed to an audience of adults and children can enjoy a terrific advertising and promotional campaign worldwide. We say that Miyazaki has been a challenge for us, which we hope to win with the complicity of many fans.

- Lucky Red Is anyone who has cheered more for the entrance of the Studio Ghibli film-distribution in the tradition of our house, usually in the hands of Hollywood animation?

If the answer is that the vote was unanimous, maybe he does not believe ...

- None è più geloso delle proprie opere come i giapponesi, quando si tratta di diritti di distribuzione per il mercato straniero. E lo Studio Ghibli non è da meno, dopo il pasticcio con Buena Vista: trattative lisce come l’olio o avete dovuto seguire indicazioni specifiche? La concorrenza con altre società è stata agguerrita?

Ad un certo punto si sono diffuse molte voci a riguardo. Su molti siti veniva riportata la notizia dell’interruzione delle trattative e veniva dato per certo che fosse sfumato il passaggio dei diritti. In realtà non è mai stato così. Trattative di questo tipo implicano sempre tempi piuttosto lunghi. Di base c’è stata la splendida sintonia nata tra Studio Ghibli e Lucky Red in occasione dell’uscita de Il Castello Errante di Howl. Sintonia nata all’inizio dal rispetto che Lucky Red ha avuto delle indicazioni arrivate dallo Studio e proseguita poi con un dialogo appassionato e biunivoco.

- Come per le versioni dei propri film in lingua inglese, Hayao Miyazaki si è mai fatto sentire fornendo suggerimenti o richieste particolari?

La persona che cura per noi l’edizione italiana dei film Ghibli è Gualtiero Cannarsi, che conosce molto bene l’opera di Miyazaki e che lavora a stretto contatto con lo Studio Ghibli. Certo, non con Miyazaki in persona!

- Il grande successo di pubblico e critica a Venezia 2008 del film Ponyo ha influito Totoro on the slip to next year? Yes

After the critical acclaim and media coverage of Ponyo the Venice Film Festival in Venice, there would be confusion in terms of communication if we had to leave before another film, moreover not new, the same director. The exit of Ponyo is scheduled for March, probably on the 20th. We all hope (fingers crossed!) That is a success. And in the wake of the success of Ponyo ... will Totoro, scheduled for June.

- is already possible to provide readers with a timeframe for the outputs and securities, also in view of the fact that some movies come out to the movies, others on DVD? There is a hint from the public and print what is the most anticipated title among the unpublished?

For the time being the only certainties are Ponyo and Totoro. For the rest, much will depend on the outcome that will get these two movies. Is unfortunately not yet possible to provide a timetable. As for the hottest game ... every day we receive many emails from fans asking about Miyazaki's films: many are on Princess Mononoke, Totoro ... right on many other

- He also mentioned a second time to dub the film in Italian who have already enjoyed some distribution. Can you tell us the reason for this and what will affect the public's expectations?

The decision to re-dub the film is in part due to commercial reasons (we do not have access to materials from other distributors), partly - and especially - in different qualities: having chosen as dubbing director Gualtiero Cannati we are sure that every linguistic choice is done in full accordance with the guidelines of Studio Ghibli, an essential condition for us. Of this, I am sure that fans of Studio Ghibli, which can not be happy.

- is feasible for our home crowd to imagine a marketing campaign in a big way for the launch of Miyazaki's films?

Well, if marketing campaign for in style what do you think of the American giants, the answer can not be negative. This does not mean, however, that we can work well and in depth. The great challenge and ponies, in addition to being a masterpiece, has a reading level that reaches to the youngest. Besides having a huge public success in Japan (something that Miyazaki's films are used) also won the America, which seems to be doing things in style to the film's release. Of course the echo arrives in Italy. We believe in it much, so we will do our best to give visibility to the right film and exploit its full potential.

- As for the DVD edition? It is not unusual read the opinions of the fans and find out how much there is also anxiety about the extras: maybe you take account of this by looking first-hand materials?

The DVD edition will certainly be very accurate, as indeed it did with Howl's Moving Castle and Tales from Earthsea. As for extras, we will do everything in our power to get by Studio Ghibli, new materials, in addition to those already existing.

- What was Miyazaki's films that we finally won and that's your opinion on this film developed, both reserved and imaginative?

I owe my knowledge of the work of Miyazaki, which unfortunately still many gaps in the enchanted city, which remains the film's heart. I think Miyazaki is really a being out of the ordinary. If it was not him ... I would say that straight out of a Miyazaki film! It's amazing the way he painted the world, its ability to enter in each film and read many levels deep.

- remains an open question Isao Takahata, the other big name of Studio Ghibli, guiltily past overshadowed by his colleague. His films are another world. For them only dvd?

The market today does not permit a distribution to the cinema Takahata's films, films that are also of great value and deserve widespread. The public reference, at least at the moment, is a connoisseur of Studio Ghibli, so it seems more just a home video distribution.

- There is something of the past workings Lucky Red, which has left more than satisfied and proud of the work on Miyazaki's films, animated films having to deal with linguistic and cultural backgrounds often poles apart?

Perhaps it is too early to answer this question. Until now, Miyazaki's films that have accompanied the exit in the room are just two, considering Tales from Earthsea, directed by Goro, however.

- You are already at work on a pony? You are aware you have to hand a stunning masterpiece for all ages? Or maybe it's too early to imagine the scenario of the promotional launch?

Of course we are aware. And we're working on since the film premiered in Venice last September. But I do not want to reveal too many cards ...

- eventually, and according to the results obtained by Lucky Red and opinions of non-specialized press, it is your opinion that Miyazaki is still a matter for the chosen few or enter - with difficulty, but with dignity - the taste of a totally foreign to the follies of nippocartoon?

I think Ponyo can establish the transition to a public wider, because it seeks to children and adults.

- Interview by Mario A. Rumor

Posted by Gemini: http://gonagai.forumfree.net/?t=35111874