One problem we hadnвЂ™t anticipated was that Disney would use the translations to вЂњcorrectвЂќ perceived problems with the films themselves. But what about the things Japanese people say that nobody else says and that there just arenвЂ™t equivalents for in other languages? Or the Japanese words that even Japanese people have trouble defining that Hayao Miyazaki likes to use in the titles of his films?Дisney was our distributor in the U.S. ThatвЂ™s doable, though native speakers donвЂ™t all agree on what sounds natural. Beyond that, you want the translated dialogue to sound natural to a native speaker who doesnвЂ™t know Japanese. But then the question arises, what exactly is a proper translation?ДЄt a minimum of course you want to avoid outright mistakes. Also, the language in the scripts of GhibliвЂ™s films has the kind of depths of meaning and artistic beauty that deserve a proper translation. Seeing it done right was a matter of personal pride. I have an academic background and always wanted to be a translator (of poetry and novels). I was determined that the translations of the films of Studio Ghibli would be done properly.

They are far more tolerant of linguistic errors than a native speaker would be. Another problem is that Japanese people love English and are too comfortable with their version of it. The main problem in the film industry is that no one checks the translations. Books have been written illustrating the biggest bloopers. In this excerpt from the book, he writes about the challenges of translation, and the hurdles that author Neil Gaiman faced while writing the English-language screenplay for Princess Mononoke. In his new memoir, Sharing a House with the Never-Ending Man: 15 Years at Studio Ghibli, Alpert details his experiences working with Miyazaki, dealing with Hollywood executives (including the notorious Harvey Weinstein), and bridging his own cultural gaps in order to properly preserve the films. Working closely with founders Hayao Miyazaki, Toshio Suzuki, and Yasuyoshi Tokuma, the вЂњresident foreignerвЂќ played a key role in making the studio a known entity around the globe. In 1996, Studio Ghibli and its parent company Tokuma Shoten hired an American, Steve Alpert, as the head of the animation companyвЂ™s international division. For more, head to our Studio Ghibli guide page.

To celebrate the arrival of Studio GhibliвЂ™s library on digital and streaming services, weвЂ™ve surveyed the studioвЂ™s history, impact, and biggest themes.

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