Studio Ghibli films, as well as pre-Ghibli films by its directors-most notably, Miyazaki’s Nausicaä of the Valley of the Wind, Howl’s Moving Castle, Castle in the Sky, and The Wind Rises his son Gorō’s Tales from Earthsea and Isao Takahata’s The Tale of Princess Kaguya-have a long history of imaginatively adapting both famous and lesser-known literary works into films that play with the literature they adapt. He was referring to the narrative and ethical complexity of his films, in which what it means to be good, bad, male, female, young, or old all become blurred, rather than separated by a binary-but he was also, indirectly, referring to the literary quality of many of his films. One of his most celebrated films, Kiki’s Delivery Service, indeed, has a fairly optimistic ending. Miyazaki, then 47 and still early in his stunning career with the animation studio, Studio Ghibli, did not mean that his films have dark or unhappy endings. “I gave up on making a happy ending in the true sense a long time ago,” the Japanese animator and film director Hayao Miyazaki told the novelist Ryu Murakami in 1988.
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