相关人物

kiki jiji
Tombo Ursula
Mrs. Osono Mr. Osono
Kokiri Okino
Madame Bertha
Madame’s Granddaughter Kiki’s first customer
Clocktower caretaker Miss Dora
Lily

 

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电影信息

General Information

* Original Japanese Title:

魔女の宅急便

Majo no Takkyubin
(Literally “Witch’s Express Delivery”)

* Other Titles:
Kiki’s Delivery Service (English title of Japanese version)
Kiki’s Delivery Service (Buena Vista English version)
Nicky, La Aprendiz de Bruja (BV Spanish version)
* Running Time: 102min 46sec (J); ~103min (E)
* Production Budget: ¥800 million (initial plan)
* Production Period: April 1, 1988 – July 17, 1989 (J)
* Number of Cels Used: 67 317
* Number of Colors Used: 462
* Aspect Ratio: 1.85:1 (Vista size)
* Sound: Dolby Stereo (J); Dolby Digital (E)

Release Information

Japan 

  • Version: Japanese dialogue
  • Opening Date: July 29, 1989
  • Opening Screens: 138
  • Showing Period: 77 days
  • Admissions: 2 640 619
  • Film Rental: ¥2.17 billion

Hong Kong 

  • Version: Cantonese dub
  • Opening Date: Jan 20, 1990
  • Showing Period: about 27 days
  • Film Grosses: about HK$4.04 million
  • Film Classification:
    Category I – suitable for all ages


United States & Canada 

  • Premiere: May 23, 1998;
    Seattle International Film Festival;
    English (BV) dub was shown
  • Opening Date: (No commercial theatrical release;
    shown in various film festivals)
  • Video Release Date:
    Sep 1, 1998 (VHS, English dub)
    Sep 22, 1998 (Bilingual Laserdisc)
    Sep 29, 1998 (VHS widescreen, English sub)
  • MPAA rating: G (General Audiences)

Spain 

  • Opening Date: (No theatrical release)
  • Video Release Date:
    Early Apr, 1999 (VHS, Spanish dub)

Original Staff Credits for Japanese Version
Executive Producers : Yasuyoshi Tokuma Mikihiko Tsuzuki Morihisa Takagi
Planning : Tatsumi Yamashita Hideo Ogata Iwai Seto
Original Story : Eiko Kadono
Published by Fukuinkan Shoten Publishers
Produced,
Written &
Directed by
: Hayao Miyazaki
Music by : Joe Hisaishi
Music Director : Isao Takahata
Songs : “Rouge no Dengon” (Message of Rouge)
“Ysashisa ni Tsusumaretanata”
(If I’ve been Enveloped by Tenderness)
By Yumi Arai
Character Design : Katsuya Kondo
Directors of Animation : Shinji Otsuka Katsuya Kondo Yoshifumi Kondo
Key Animators : Yoshinori Kanada Makiko Futaki Masako Shinohara
Masaaki Endo Toshio Kawaguchi Atsuko Otani
Megumi Kagawa Atsuko Fukushima Toshiyuki Inoue
Noriko Moritomo Koji Morimoto Yoshiharu Sato
Natsuyo Yasuda Sachiko Sugino Hiroshi Watanabe
Hiroomi Yamakawa Yoshiyuki Hane Chie Uratani
Masahito Sekino Toshiya Niidome Akiko Hasegawa
Animation Checkers : Yasuko Tachiki Hitomi Tateno
In-Between : Ritsuko Shiina Kazutaka Ozaki Akiko Teshima
Takao Maki Riwako Matsui Kumiko Otani
Keiko Watanabe Eiichiro Hirata Naoko Takenawa
Akiko Yamaguchi Nobuko Sato Shiro Shibata
Nobuhiro Hosoi Kazumi Okabe Aki Yamagata
Hiroyuki Morita Masako Higashi Keiko Nagai
Hitoshi Kagiyama Ako Takano Sumie Nishido
Rie Fujimura Kiyoki Makita Emiko Iwayanagi
Yu Ito Ryo Suzuki Masako Sakano
Hiroko Tezuka Akoko Matsushima Yuka Endo
Katsumi Hiroe Takuya Iinuma Yurie Sudo
Machiko Niiya Mayumi Omura Makoto Koga
Tatsuji Narita Hiroyuki Kanbe Nagisa Miyazaki
Tazuko Fukutsuchi Yumi Kawachi Yuko Aoyama
Toshihiro Hamamori Hideaki Maniwa Tatsuya Tanabe
Akihiko Nomura Yoshie Hayashi Koichi Taguchi
Yukari Yamaura Katsusuke Konuma Akiko Ishii
Ninji Takahashi Koji Ito Akio Watanabe
Hiroki Ikehata Kasumi Hara Akihiro Yuki
Yoshie Kawahashi Yuriko Saito Yoshimi Kanbara
Masahiko Adachi Masayuki Shibuya Etsuko Shino
Suzuko Mano Ichiro Izuki Keiichi Suwada
Supporting
Animation Studios
: Doga Kobo  ·  Oh Production  ·  Studio Hibari  ·
Animation Torotoro  ·  Studio Muku  ·  Nakamura Production
Art Director : Hiroshi Ono
Background : Kazuo Oga Satoshi Kuroda Kazufiro Kinoshita
Kiyomi Ota Kyoko Naganawa Yoko Nagashima
Kazuo Ebisawa Yutaka Ito Kiyoko Kanno
Hidetoshi Kaneko Midori Chiba Ken Tokushige
Yuko Matsuura Yuji Ikehata
Studio Fuga:-
(Tushiharu Mizutani Kenji Kahiyama Miyuki Kudo
Kumiko Ono)
Painting in Film : “Ship Flying Over the Rainbow”
Painted by students of Hachinohe City Minato
Junior High School Handicapped Children’s Class
Still Photo of
Painting
: Junichi Ochiai
Harmony Process : Noriko Takaya
Special Effects : Kaoru Tanifuji
Symbol : Akiko Hayashi
Color Stylist : Michiyo Yasuda
Ink & Paint Checkers : Yumi Furuya Teruyo Tateyama Noriko Ogawa
Ikuyo Kimura Yuki Hisada
Assistant
Color Stylist
: Yuriko Katayama
Ink & Paint : IM Studio:-
(Michiyo Iseta Reiko Aonuma Michiko Shibata
Hideko Sato Eiko Fukuma Yoko Tanida
Mariko Konuma Rumi Fukaya Eiko Hirokiri
Mieko Nakano Kazue Hiranuma Yukari Tajima)
Studio Killy:-
(Norichika Iwakiri Naomi Takahashi Nobuko Watanabe
Tatsuko Kubota Harumi Machii Toshiko Tawara
Mayumi Watanabe Mieko Asai Yuriko Kudo
Miyoko Oka Kazumi Kobayashi Ritsuko Osaki)
Trace Studio M:-
(Fumiko Ito Mika Tanifugi Taeko Omi
Tsutomu Muta Michiko Nishimaki Masami Nishizaka
Yukari Yokoyama Izumi Maeno)
Ryu Production:-
(Reiko Yoshida Mioori Sugawara)
Domusha:-
(Chieko Omachi Masuko Sugamuma)
Yukimi Toyonaga Junko Yoshikawa
Studio OZ  ·  Studio Fantasia  ·  Toy House  ·
Kyoto Animation
Technical Support : Taiyo Shikisai  ·  Stac
[Dolby Stereo]:   Continental Far East Inc.  ·  Mikio Miro
Camera Supervisor : Juro Sugimura
Camera : Studio Gallop
Yasukiro Shimizu Katsuya Kozutsumi Hisao Kazemura
Kendi Akazawa Toru Kobayashi Yasuyoshi Hayama
Jyosaku Nishiyama Tomishi Arakawa Hiroaki Edamitsu
Hiroshi Tamura
Title : Kaoru Mano Akira Michikawa
Editor : Takeshi Seyama
Assistant Editor : Hiroshi Adachi
Recording Supervisor : Naoko Asari
Dialog Editor : Fujio Yamada
Sound Engineer : Shuji Inoue
Sound Effects : Kazutoshi Sato
Sound Effects
Assistants
: Hironori Ono Norio Kobayashi
Assistant Director : Sunao Katabuchi
Production Manager : Eiko Tanaka
Production Desk : Toshiyuki Kawabata Hirokatsu Kihara
Production Assistants : Toshitaka Hayami Tomoaki Nishigiri Yuji Kitazawa
Hiroyuki Ito
Recording Production : Omnibus Promotion
Recording Studio : Tokyo T.V. Center
Recording Assistance : Shoichi Tamaasa Telescreen
Lab : Toei Chemical Industry
Publicity Producer : Masaya Tokuyama
“Kiki’s Delivery Service” Production Committee:
Tokuma Shoten:-
(Hiroyuki Kato Akira Kaneko Atsushi Miura
Michio Yokoo Toshio Tsuboike)
Yamato Transport:-
(Akiji Ota Hiroshi Tojo Yoshifumi Kitanoguchi)
Nippon Television Network:-
(Yasuharu Urushido Takeo Mutai Munayoshi Yokoyama
Seiji Okuda)
Production Assistance : Animage Editorial Department  ·  Group Fudosha
Production Coordinator : Yoko Umemura
Supporting Entity : Dentsu
Production : Toru Hara
Studio Ghibli
Associate Producer : Toshio Suzuki
Additional Staff Credits for English (BV) version
Voice Casting & Direction : Jack Fletcher
Adapted by : John Semper Jack Fletcher
ADR Consultant : Miyoko Miura
ADR Engineer & Editor : Ernie Sheesley
Music arranged &
adapted by
: Paul Chihara
Voice Soloist : June Angela
Music & Sound Effects
Editor
: Bill Komar
Re-recording Mixers : Terry Porter Dean Zupancic
Post Production Facilities : The Bakery Recording Studio
Screenmusic Studios
Buena Vista Sound Studios
Opening Song : “Soaring”
Words by Sydney Forest, June Angela, Maurice Gainen
Music by Sydney Forest & Jon Taylor
Performed by Sydney Forest
Produced by Donald Markowitz & David Vanacore
Closing Song : “I’m Gonna Fly”
Words & Music by Sydney Forest & Jon Taylor
Performed by Sydney Forest
Produced by Russell Kunkle
Production Assistants : Laurie Bean David Beron Chris Brady
Mark Caballero Lydia Quidilla
Special Thanks to : Steve Alpert Chris Carey Velina Hasu Houston
Tony Sheppard Kristine Snyder Vicki Spensieri
Distributed by : Buena Vista Home Entertainment
Additional Staff Credits for Spanish version
Translation : Luis Soldevila
Adapter & Dubbing Director : Antonio Villar
Musical Director : Santiago Agiurre
Songs Adapter : María Ovelar
Studio : Estudio Aibara S.A.
Casts


Japanese Voices 

Kiki & Ursula: Minami Takayama
Jiji: Rei Sakuma
Kokiri (Mom): Mieko Nobuzawa
Osono: Keiko Toda
Tombo: Kappei Yamaguchi
Madame: Haruko Kato
Barsa: Hiroko Seki
Okino (Dad): Kouichi Miura
Masa Saitou Hiroko Maruyama
Chika Sakamoto Yuuko Tuga
Mika Doi Yoshiko Kamei
Yuko Kobayashi Keiko Kagimoto
Tosiko Asai Yuriko Fuchizaki
Kikuko Inoue Takaya Haji
Tomomichi Nishimura Kou Taguchi
Kouichi Yamadera Sinpachi Tsuji
Akio Ohtsuka Tsuuyou Ikenaga
Brady Russell Sharone Amann
Ken Larson

English (BV) Voices 

Kiki: Kirsten Dunst
Ursula: Janeane Garofalo
Jiji: Phil Hartman
Tombo: Matthew Lawrence
Osono: Tress MacNeille
Barsa: Edie McClurg
Madame: Debbie Reynolds
Dad: Jeff Bennett
Radio Announcer: Corey Burton
Senior Witch: Debi Derryberry
Mom: Kath Soucie
Ket: Pamela Segall
June Angela Lewis Arquette
John Demita Julia Demita
Fay Dewitt Eddie Frierson
Susan Hickman John Hostetter
Sherry Lynn Scott Menville
Matt Miller

Spanish Voices 

Nicky: Cristina Yuste
Yiyi: Iñaki Crespo
Úrsula: Yolanda Mateos
Tombo: Nacho Aldeguer
Osono: Laura Palacios
Barsa: Matilde Conesa
Madam: Lola Cervantes
Kokiri: Carolina Montijano
Okino: Antonio Villar

Award List
  • Best Animated Film; 44th Mainichi Film Competition
  • Best Japanese Film of the Year, Voted by Readers; Kinema Junpo
    (a prestigious Japanese movie magazine)
  • Special Award; Japan Academy Award
  • Tokyo Metropolitan Cultural Honor
  • 7th Annual Money Making Director’s Award
  • Gold, Japanese Film; 7th Annual Golden Gross Award
  • Special Achievement Award; The Movie’s Day
  • Special Award: The Erandole Award
  • Best Film and Best Director; Japan Cinema Association Award
  • Excellent Movie; Japanese Agency of Cultural Affairs
    (a government agency under the Ministry of Education)
  • Best Anime; 12th Annual Anime Grand Prix

Note: The English romanization of some Japanese names may be inaccurate.

 

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影片信息

原名 ……………. 魔女の宅急便
中文名 ……………. 魔女宅急便
英文名 ……………. Kiki’s Delivery Service
俄文名 ……………. Ведьмина служба доставки
製作 ……………. 徳間書店 大和運輸 日本電視放送網
制作時間 ……………. ’88.4.1~’89.7.17
全片時間 ……………. 102分46秒12
原稿數量 ……………. 67,317張
使用色數 ……………. 462色
配給 ……………. 東映
首映時間 ……………. 1989.7.29
挿入歌 ……………. 虹の上をとぷ船
製作 ……………. 徳間康快 都築幹彦 高木盛久
企画 ……………. 山下辰巳 尾形英夫 瀬藤祝
制作 ……………. 原徹 スタジオジブリ
プロデューサー補 ……………. 鈴木敏夫
プロデューサー ……………. 宮崎駿
監督 ……………. 宮崎駿
作画 ……………. 大塚伸治 近藤勝也 近藤喜文
演出補 ……………. 片渕須直
脚本 ……………. 宮崎駿
原作 ……………. 角野栄子
撮影 ……………. スタジオぎゃろっぷ 杉村重郎 清水泰宏 小堤勝哉 風村久生 赤沢賢二 小林徹 羽山泰功 西山城作 荒川智志 枝光弘明 田村洋
音楽 ……………. 久石譲
音楽演出 ……………. 高畑勲
挿入歌 ……………. 「ルージュの伝言」 「やさしさに包まれたなら」
作詞・作曲・歌 ……………. 荒井由美
美術 ……………. 大野広司
録音演出 ……………. 浅梨なおこ
調整 ……………. 井上秀司
効果 ……………. 佐藤一俊
効果助手 ……………. 小野弘典 小林範雄
編集 ……………. 瀬山武司
編集助手 ……………. 足立浩
キャラクターデザイン ……………. 近藤勝也
作画 ……………. 大塚伸治 近藤勝也 近藤喜文
原画 ……………. 金田伊功 二木真希子 篠原征子 遠藤正明 河口俊夫 大谷敦子 賀川愛 福島敦子 井上俊之 森友典子 森本晃司 佐藤好春 保田夏代 杉野佐秩子 渡辺浩 山川浩臣 羽根章悦 浦谷千恵 関野昌弘 新留俊哉 長谷川明子
動画チェック ……………. 立木康子 舘野仁美
動画 ……………. 椎 名律子 尾崎和孝 手島晶子 牧孝雄 松井理和子 大谷久美子 渡辺恵子 平田英一郎 竹縄尚子 山口明子
佐藤伸子 柴田志朗 細井信宏 岡部和美 山懸亜紀 森田宏幸 タカハシプロダクション 坂野方子 手塚寛子 松島明子 動画工房 成田達治 神戸洋行
福土多鶴子 河内由美 浜森理宏 真庭秀明 野村暁彦 中村プロダクション 田名部節也 田口広一 アニメトロトロ 山浦由加里 石井明子 伊藤広治
スタジオ雲雀 小沼克介 高橋任治 渡辺明夫 オープロダクション 池畠博基 斉藤百合子 結城明宏 カボチャ村 原佳寿美 川崎良江 神原よし美
グループどんぐり 安達晶彦 渋谷政行 石割悦子 真野鈴子 スタジオムーク 福井一夫 中込輪 大下久馬 風戸聡 フィルムマジック 広江克己
スタジオコクピット 大村まゆみ メルヘン社 古賀誠 スタジオディーン 須和田啓一 東誠子 永井恵子 鍵山仁志 高野亜子 西戸スミエ 藤村理枝
槇田喜代子 岩柳恵美子 伊藤優 鈴木亮 遠藤ゆか 飯沼卓也 須藤百合枝 新屋真智子 林良江 宮崎なぎさ 青山佑子 伊月一郎 今井雪子
背景 ……………. 男鹿和雄 黒田聡 木下和宏 太田清美 長縄恭子 長嶋陽子 スタジオ風雅 水谷利春 神山健治 工藤美幸 大野久美子 アトリエブーカ 金子英俊 メカマン 徳重賢 海老沢一男 伊藤豊 菅野紀代子 松浦裕子 千葉みどり 池畑祐治 男鹿美由紀
挿入画「虹の上をとぶ船」 ……………. 八戸市立湊中学校養護学級共同作品より
同スチール ……………. 落合淳一
ハーモニー処理 ……………. 高屋法子
特殊効果 ……………. 谷藤薫児
シンボルマーク ……………. 林明子
色彩設計 ……………. 保田道世
仕上検査 ……………. 古谷由美 立山照代 小川典子 木村郁代 久田由紀
色彩設計助手 ……………. 片山由里子
仕上 ……………. IM スタジオ 伊勢田美千代 青沼麗子 柴田美知子 佐藤英子 福間栄子 谷田陽子 小沼真理子 深谷るみ 堀切栄子
中埜三恵子 平沼和枝 田島ゆかり スタジオ・キリー 岩切紀親 高橋直美 渡辺信子 久保田瀧子 町井春美 田原とし子 渡部真由美 浅井美恵子
工藤百合子 岡美代子 小林和美 大崎律子 トレーススタジオM 伊藤二三子 谷藤美加 近江妙子 牟田努 西牧道子 西坂麻宰巳 横山由香里 前野泉
龍プロダクション 吉田玲子 菅原みど り 童夢社 大町智恵子 菅沼満寿子 スタジオOZ 豊永幸美 吉川潤子 高砂芳子 スタジオファンタジア
トイハウス 京都アニメーション ルンルン
技術協力 ……………. 太陽色彩 スタック
タイトル ……………. 真野薫 道川昭
台詞編集 ……………. 山田富二夫
制作担当 ……………. 田中栄子
制作デスク ……………. 川端俊之 木原浩勝
制作進行 ……………. 逸見俊隆 西桐共昭 北沢有司 伊藤裕之
録音制作 ……………. オムニバスプロモーション
録音スタジオ ……………. 東京テレビセンター
録音協力 ……………. 玉麻尚一 テレスクリーン
現像 ……………. 東映化学工業
宣伝プロデューサー ……………. 徳山雅也
「魔女の宅急便」製作委員会 ……………. 徳間書店 加藤博之 金子彰 三浦厚志 横尾道男 坪池義雄 ヤマト運輸 太田明二 東條弘 北之口好文 日本テレビ放送網 漆戸靖治 務台猛雄 横山宗喜 奥田誠治
制作協力 ……………. 徳間書店「月刊アニメージュ」編集部 グループ風土舎
コーディネイトプロデュース ……………. 梅村葉子
協力 ……………. 電通
配役
キキ ……………. 高山みなみ
ウルスラ ……………. 高山みなみ
ジジ ……………. 佐久間レイ
コキリ ……………. 信沢三恵子
おソノ ……………. 戸田恵子
トンボ ……………. 山口勝平
老婦人 ……………. 加藤治子
バーサ ……………. 関弘子
オキノ ……………. 三浦浩一
斎藤昌 丸山裕子 坂本千夏 津賀有子 土井美加 亀井芳子 小林優子 鍵本景子 浅井淑子 渕崎ゆり子 井上喜久子
土師孝也 西村知道 田口昂 山寺宏一 辻親八 大塚明夫 池永通洋 江崎プロダクション Brady Russell Sharone Amann
Ken Larson
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片头曲歌词

RUUJU no dengon (Message in Rouge)
“Majo no Takkyuubin” opening theme (1989)

ano hito no MAMA ni au tame niima, hitori ressha ni notta notasogare semaru machinami yakuruma no nagare 

yokome de oikoshite

ano hito wa mou kizuku koro yo

BASURUUMU ni RUUJU no dengon

uwaki na koi o hayaku akiramenai kagiri

uchi ni wa kaeranai

* fuan-na kimochi o nokoshita mama

machi wa Ding-Dong toozakatte-yuku wa

asu no asa MAMA kara denwa de

shikatte-morau wa My Darling!

ano hito wa awateteru koro yo

BASURUUMU ni RUUJU no dengon

teatarishidai tomodachi ni

tazuneteru kashira

watashi no yuku saki o

* Repeat

In order to meet my boyfriend’s mama,now, I’m boarding
the train alone.As twilight draws near the streets ofstores and houses
and moving cars, 

I glance sideways in passing.

About this time my boyfriend should’ve

noticed

the message in rouge in the bathroom.

Unless he gives up being a fickle lover

soon,

I won’t return home.

Uneasy feelings are left behind as

the town is rapidly receding away.

Tomorrow morning, I’ll have your mama

telephone

and give you a scolding, my darling!

About this time my boyfriend should be

flustered about

the message in rouge in the bathroom.

I wonder if he’s asking questions

to random friends,

where have I gone to?

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片尾曲歌词

Yasashisa ni tsutsumareta nara (If enveloped in tenderness)
“Majo no Takkyuubin” ending theme (1989)

chiisai koro wa kami-sama ga itefushigi ni yume o kanaete-kuretayasashii kimochi de mezameta asa waotona ni natte mo 

kiseki wa okoru yo

KAATEN o hiraite

shizuka-na komorebi no

* yasashisa ni tsutsumareta nara

kitto

me ni utsuru subete no koto wa

MESSEEJI

chiisai koro wa kami-sama ga ite

mainichi ai o todokete-kureta

kokoro no oku ni shimai wasureta

taisetsu-na hako

hiraku toki wa ima

ameagari no niwa de

kuchinashi no kaori no

* Repeat

KAATEN o hiraite

shizuka-na komorebi no

* Repeat

When I was little, God was thereand wonderfully, granted my dream.On mornings when I wake upwith kindly feelings, 

even though I’ve grown up,

miracles happen!

Opening the curtain, tranquil

sunlight filtering through the trees,

if it envelops me in tenderness,

surely

everything reflected in my eyes will be

a message.

When I was little, God was there

and every day he delivered love.

Inside my heart, I had forgotten

my precious box [of good memories].

The time to open it is now.

In the garden after the rain,

the smell of gardenias,

Opening the curtain, tranquil

sunlight filtering through the trees,

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电影情节

小魔女琪琪已经十三岁了,而根据魔女的习惯,在十三岁时需要独自一人去外地生活修行一年。虽然琪琪对于生活和飞行还不是太懂,但还是在一个晴朗的满月之夜,带着父母和朋友们的祝福跟黑猫吉吉一起踏上了离家之路。

琪琪兴奋地飞着,途中邂逅一位即将修业完成的前辈魔女,谈到了魔女该怎样生存的事,这时琪琪才发现自己其实并没有生存的基本技能。正在发呆,忽然轰
隆一响,琪琪竟然遇上暴风雨,眼前只见一列货运火车,正好有个开了天窗的窗口,琪琪二话不说就钻进了去。湿淋淋的身体加上长途飞行的疲惫,不一会儿就睡着
了。

突然一阵急痒,琪琪从睡梦中惊醒,原来是底下的牛在舔脚,探出头看看,琪琪这才发现竟然已经到了她心目中向往的海边。琪琪飞往海边的大城市,海鸥在
一旁飞翔。看到一座美丽的钟塔,琪琪不知不觉爱上了这座城市。向钟塔飞去,与看守钟塔的老伯伯打了声招呼,确认这座城市还没有魔女,琪琪决定住下来了。

琪琪在街上愉快地飞着,却因为大意而差点造成交通事故,琪琪被警察责备了,并被要求通知父母。就在这时,一位名叫蜻蜓的男孩帮助琪琪溜开,但琪琪却因无法忍受他那随便的态度而飞走了。

由于没有身分证,琪琪不能住旅馆,准备另觅一座城市。后来琪琪替怀孕的面包店老板娘苏诺太太给顾客送婴儿奶嘴而受她的热情招待。苏诺太太很喜欢琪琪,在得知琪琪没有住处后,就让她住了下来。

由于没什么专长,她只好利用妈妈的扫把做起了速递服务,其余的时间便帮助怀孕的苏诺太太在店里帮忙。

琪琪终于开始了她的新生活,打扫房间过后,琪琪上街采购生活用品。却遇见穿着美丽衣裳的女孩们,琪琪羡慕不已。回程看到街头橱窗中一双打折的美丽红鞋,可却因为生活费有限而不得不忍痛作罢,却又再次碰到了蜻蜓,琪琪生气地走开了。

刚进家门,就有第一位客人拜托琪琪送生日礼物,那礼物竟是与吉吉长得一样的猫玩偶,装在一个鸟笼中。。琪琪因为过于兴奋,不小心被乱气流吹离了航
道,鸟笼掉到森林中,落在乌鸦巢旁。她被乌鸦误认为偷蛋贼而赶了出来,却发现猫玩偶不见了,回头找又遭乌鸦的攻击。琪琪没法子,只好让吉吉暂时充当猫玩
偶。

琪琪将东西送达目的地后,赶紧回森林找寻失落的玩偶,结果在一间小木屋中找到了,屋子的主人是一位女画家,正在描摹乌鸦。归还时却发现玩偶的颈部被
乌鸦咬破了。作为交换条件,琪琪负责打扫房子,画家则负责缝补。天色渐渐暗了下来,琪琪终于可以去解救吉吉了。经过了一天的愉快、惊恐、无奈和兴奋、琪琪
过了疲累却充实的一天。

翌日下午,琪琪正在柜台前打瞌睡,终于打电话有人要求琪琪去送东西了。琪琪正看着地图,蜻蜓却送来了飞行俱乐部舞会的邀请函来,使琪琪相当兴奋。琪
琪应客人的要求来到一位夫人家,夫人想送鲱鱼南瓜派至孙女的舞会,但因电烤箱失灵而烤不好。夫人为了不让琪琪白跑而坚持付钱给琪琪,琪琪不好意思,看还有
一点时间,便使用一旁的旧式烤箱。没想到夫人家的钟慢了10分钟,琪琪赶紧上路,出门时天空已是乌云密布,没多久就下起雨来。琪琪冒雨送东西至舞会,孙女
却一副嫌恶貌,并气冲冲地关上大门。蜻蜓在面包店门口等着,因时间太晚终于走了。琪琪默默地回家,已经没有心情再去参加舞会了,到房内倒头就睡。

琪琪患了重感冒,在苏诺太太妥善地照顾下终于康复了。吉吉也认识了新朋友白猫莉莉小姐。苏诺太太拜托琪琪送东西给可坡里先生,却遇到了蜻蜓,更没想
到蜻蜓就是可坡里,他们成了好朋友。蜻蜓给琪琪看新完成的人力飞车,这是一辆脚踏车加上螺旋桨改装的“飞车”。蜻蜓载着琪琪到海边去看飞艇,路上差点出车
祸,结果螺旋桨解体,脚踏车也摔烂了。他们俩坐在海边望着飞行船聊天,蜻蜓的朋友开车来问他要不要参观飞行船,琪琪却因看到那个恶孙女而不高兴地走了。

琪琪提不起劲,孤单地过了一整天,突然发觉她听不懂吉吉的话了。琪琪大惊之下,马上抓起扫帚飞行,可是法术变得好弱喔……她努力要恢复,却不小心把
扫帚弄断了。她十分沮丧,挂了蜻蜓打来的电话,重作新的扫帚。一天,画家来到她家拜访,看琪琪无精打采,提议到她的小木屋住一晚。到了小木屋,琪琪看到一
幅天马行空的画,画家请琪琪当画中主角的模特儿。她们谈到画画和法术的心路历程,琪琪颇有感触。

隔天琪琪打电话回面包店,苏诺太太说上次的夫人又找她了,她便在回程时去一趟。夫人送琪琪一个蛋糕,感谢上次她的帮忙,琪琪深受感动。当时电视正在
转播飞行船起飞,却因一阵暴风出了意外,固定的绳索被吹掉,飞行船像个气球般飞了上去,绳索将蜻蜓和一辆警车一起拉上去。琪琪立刻去现场看情况。过了一会
儿警车掉了下来,蜻蜓更显得岌岌可危。琪琪向旁边的老伯伯借了一把刷子,冲向飞行船。飞行船失去稳定,撞到了钟塔。钟塔的老伯伯想帮蜻蜓的忙,可惜没有成
功。眼见蜻蜓快要撑不住,琪琪苏诺太太却在此时要生产了!面对记者的采访,蜻蜓显得十分兴奋,琪琪仅偎着吉吉微笑。

片尾

蜻蜓试航人力飞机,琪琪在一旁骑着刷子飞行,蜻蜓的朋友们在地上向他们招手。苏诺太太生了小baby,吉吉和莉莉也有了爱情的结晶。琪琪与大家成了
好朋友,更妙的是在琪琪欣赏橱窗美丽的服饰时,却看到有小朋友模仿她的服装呢!琪琪写信回家,说她开始有信心了,很喜欢这个城市。

On a grassy knoll in the town of Karikiya, thirteen-year-old Kiki
listens to a favorable weather report for the next few days on a small
radio. She quickly considers what she just heard. Her mind made up, she
rushes home. There, she runs into her mother, a witch who specializes in
chemistry and medicinal potions, and Mrs. Dora, an elderly woman who is
there to pick up a potion. Kiki excitedly tells them both that she has
decided to leave that evening, instead of next month, due to good
weather and a full moon. She rushes upstairs to prepare.

Mrs. Dora recalls when Kiki’s mother first arrived in Karikiya on her
thirteen birthday and Kiki’s mother, Kokiri, replies that it is a
tradition that when a child turns thirteen and wishes to become a
practicing witch, she must leave her home and travel to a new town for a
year. However, Kokiri is unsure if Kiki is prepared for the journey.Up
in her room, Kiki packs while her close companion, the black cat Jiji,
tries to caution her not to rush into things. But Kiki has decided and
when she hears her father’s car pull up with the equipment for their
planned camping trip next week, she rushes to the window to tell him the
good news. Flustered, her father nonetheless runs to the phone and
dials all the neighbors with the change of plans.

As her mother helps her get ready, Kiki complains that she must wear a
black dress, instead of her favorite purple. Kokiri explains that
witches have always worn such outfits during this time, and that her
inner soul is more important than her outward appearance.

Under the shining full moon that evening, people gather to send Kiki
off. Kissing her mom and dad good-bye, Kiki sets herself on her mother’s
broom with her father’s transistor radio and Jiji at her side, and
lifts off into the night sky…

Kiki wants to live in a city by the ocean, so as soon as she is
airborne, she heads in that direction. On her journey, she comes across
another witch and cat. The second witch tells Kiki that she is a
fortune-teller and is close to the end of her year of training. When
asked what her “speciality” is, Kiki replies that she has just started
and has not yet made a decision. They fly on together for a little
longer, until the second witch banks down to her town and Kiki flies on
into the night…

…and right into the teeth of a fierce storm. Caught totally
unprepared, she desperately looks for a place to land, deciding on a
freight train parked on the tracks below. Kiki sets down in a hay bale
and decides to rest until the storm stops.

She is awakened the next morning by the cows below as they feed on
the hay. She and Jiji climb atop the boxcar and Kiki is amazed at the
sight of the ocean before her. She sees a town by the sea and
immediately heads toward it. As Kiki approaches the city from the sea,
she waves to the fishermen in the bay and flies up to the clock tower.
The caretaker there is surprised to see a witch, and tells Kiki that she
is the first witch he has seen in some time. Delighted that the town,
called Koriko, does not have a resident witch, Kiki decides that this is
where she shall spend the next year and goes down into the city proper
to survey. She blithely sails down the main street, nearly getting
clobbered by a bus (look carefully at the sideboards as it goes by) and
generally causing traffic havoc as she tries to bring herself under
control. Settling down before a group of stunned onlookers, Kiki
introduces herself and Jiji and says that she loves their town and hopes
to live here.

A police officer comes up and berates Kiki for reckless flying. He
takes out his notebook and asks Kiki her name and address to report her
actions to her parents. Suddenly, someone yells “thief” and the
policeman, with a warning to Kiki to stay put, rushes off to
investigate. Kiki has no such intention, and ducks out as soon as the
officer is out of sight.

As she and Jiji walk down a side street, a young boy on a bike come
up beside her. The boy, Tombo, informs Kiki that he yelled “thief” to
get the cop to leave. He says that he saw her flying and that he had
never seen a witch before. Kiki ignores him at first, but when a group
of friends drive by and jibe him for chasing girls first thing in the
morning, Kiki brusquely thanks him for her help, but states that she did
not ask for it and it is rude for him to talk to her without first
being properly introduced. He continues to try and engage her in
conversation, but she jumps on her broom and flies off.

After her encounter with Tombo, Kiki sets out to find a place to
stay. She tries the local hotel, but being only thirteen she cannot
secure a room by herself. Sitting underneath a statue, Jiji tells Kiki
to find a new, friendlier town. From across the street, the baker Osono
emerges from her shop and calls out to her customer, who inadvertently
left her baby’s pacifier behind. However, the woman is out of hearing
range, and Osono apologizes to her other customers and says she must
leave the store to return it.

Seeing this, Kiki comes up and offers to deliver it for her, so Osano
does not have to leave her bakery customers. Kiki takes the pacifier
and leaps off the ledge…and flies off, much to Osono’s amazement. Kiki
delivers the pacifier to the lady, who hands Kiki a letter, and then
returns to Osono’s Bakery to deliver the letter. Kiki makes to leave,
but Osono invites her to stay for some coffee. Kiki tells Osono that she
does not think the town is very friendly. Osono replies that she likes
witches and offers Kiki a place to stay at the bakery for the night.

Later that night, Kiki takes stock of her finances. Though Jiji still
feels that leaving for another town might be a wise idea, Kiki decides
to stay a little longer. Night falls…

The following morning, Kiki offers to help out in the bakery. She
tells Osono that her experience the other day makes her think that a
delivery service might be an excellent way for her to earn a living for
her year’s stay. Osono and Kiki agree that, in exchange for Kiki helping
out around the bakery, Osono will give Kiki free room and board until
she can build a clientele.

Kiki spends the afternoon cleaning her new home and then she and Jiji
go out to shop for housewares and supplies. On the way home, they run
into Tombo and his friends. Once again, Tombo tries to engage her in
conversation, but Kiki runs off.

Once she gets back to the bakery, Osono informs her that she has a
customer who would like to hire her services. Kiki drops off her goods
and rushes downstairs. The new client, Maki, is a regular customer of
Osono’s and wishes to hire Kiki to deliver a birthday present of a
stuffed black cat doll in a birdcage to her nephew’s party.

Kiki lifts off just as Tombo appears on his bike and asks Osano if
she knows the witch girl…Kiki climbs high in the sky and heads for
Maki’s nephew’s home. They meet up with a flock of geese, and Jiji tells
Kiki that the geese are reporting a big wind coming and that they are
going to climb to avoid it. But before any of them can take action, the
gust slams into them all, knocking Kiki from the sky and causing her to
crash into the forest below. She lands near a crow’s nest, and the birds
angrily attack her, thinking her an egg-thief. She and Jiji escape,
only to realize that the cat doll was left behind. They turn back, but
are driven off by the crows. Since they cannot wait for nightfall to
search, Kiki puts Jiji in the cage and tells him to substitute for the
doll until she can go back and get the doll. Kiki delivers the doll and
immediately returns to the forest whilst Jiji questions the wisdom of
the plan…

In her searches, Kiki finally comes across the doll in the window of a
cabin. She sees no one, and calls out. A voice answers from the roof,
and Kiki scrambles up to find a young girl, Ursula, drawing a picture of
a crow. Ursula explains she found the doll and returns it to Kiki, who
is dismayed to find that the crows ripped it. Ursula says she will fix
the doll if Kiki does something for her…

Back at the house, Jiji is doing his best to act like a stuffed doll…

Kiki arrives at the house, and Jiji and the stuffed cat trade places…

Kiki tells Jiji about Ursula and that Ursula asked her to model for
her. When Jiji asks if Kiki will be naked for the picture, Kiki calls
him an idiot.

It is a quiet day at the bakery. Kiki is worried because she has
generated no business and they are having to live off of pancakes. Jiji
does not mind, but Kiki warns him that he might soon look like a
pancake. Kiki soon gets a phone call from a customer for her delivery
service to perform a job later that day.

Tombo appears and purchases a pastry, receiving Kiki’s trademark warm
customer service. Undeterred, Tombo informs her that he is a member of
an Aviation Club and that he would be honored if she would attend a
formal gathering they are giving that evening. Another delivery customer
appears, and Kiki ignores Tombo to take care of the new arrival. Tombo,
unperturbed, informs Kiki that he will be by at 6pm should she decide
to attend.

Kiki speaks to Osono, unsure as to whether to attend the party and
again depressed to only have her black dress to wear. Osono tells Kiki
that the dress shows off her beauty and that she should attend. She asks
how the delivery business is doing, and Kiki realizes she has a
delivery to make in a few minutes and rushes out. After making her first
delivery, she heads to her second client.

Arriving at a large mansion, she is escorted by Bertha to meet the
Madam of the house, who is distressed because her electric stove will
not heat and she cannot cook the herring-and-pumpkin pot pie she wants
delivered. She pays Kiki anyway, since it was not Kiki’s fault the pie
is not ready.Kiki does not feel right in taking money for a job
unfinished, however, and recommends they use the old fire-driven stove,
since she knows how to work one. It needs to be cleaned and prepped
first, and Jiji reminds Kiki that she needs to get back to the bakery
for the party. Kiki replies that she has plenty of time. Until Madam
points out that the clock is ten minutes slow… The pie is done and Kiki
rushes off to deliver it through a rainstorm. She delivers it to the
Madam’s granddaughter, who is less then thrilled to receive it.

Back at the bakery, Tombo take a final look at his watch before
leaving. Above, out of view in the rain and mist, Kiki is on final
approach. She lands, but is soaked to the bone and decides that she
cannot go to the party looking like she does.

The following morning, Kiki awakes with a fever and severe cold.
Osono makes some warm gruel. She also tells Kiki that Tombo came by and
asked to visit her, but that Osono correctly assumed Kiki did not want
to see him right then and politely declined for her. She tells Kiki to
rest for the remainder of the day.

The next morning, Osono has another delivery for Kiki to the Kopori
residence. She notices that Jiji seems to have finally made friends with
Lily, the cat next-door and heads off to make the delivery. Lost, she
is looking around when Tombo appears. He asks if she is out for a walk,
and she replies she is looking for the Kopori residence. Tombo replies
that his last name is Kopori, and that he will be right down. Looking at
the slip, Kiki realizes that Mrs. Osono set her up.

Kiki apologizes for not making the party, but Tombo is too excited
showing her the reason they held the party – to celebrate their new
self-propelled flying machine. He explains that the wings and fuselage
are being built someplace else. Tombo asks if she would like to come see
the dirigible down at the beach, and Kiki agrees. Tombo decides to take
their bike/power source out since he needs to train. Kiki states she
has never been on a bike before, and is unsure what to do.

They launch into the street on a wild ride (showcasing some of the
awesome artistry that is Studio Ghibli) and end up flying off a ledge
and soft-landing into the grass. Both are unharmed, and Kiki actually
bursts out laughing with relief at making it. Tombo asks her if she used
her magic during their “flight”, and Kiki replies that she is unsure.

On the beach, Tombo asks Kiki what it was like when she first flew,
and Kiki replies she was too young to remember. Kiki admits that Tombo
is a nice guy and not the juvenile delinquent she first thought him.
Tombo laughs, remarking his mother happens to think that he is a
delinquent, too fixated on the skies. A car of Tombo’s friends pulls-up,
and they tell Tombo they are giving tours of the dirigible. Tombo is
anxious to go, and invites Kiki, but she declines.

Back at home, she comments to Jiji that even though she just became
friends with Tombo, she was already being spiteful to him. Jiji walks
off, however, without responding.

At dinner that evening, Kiki berates Jiji for being late, and Jiji
replies with a meow. Suddenly, Kiki realizes she can no longer talk with
Jiji. She tries to fly on her broom, but fails. She runs outside and
tries again and again, but she just ends up breaking the broom.

The next morning, Kiki informs Osono that her magic is exceptionally
weak. She can no longer fly or communicate with Jiji. Osono asks if her
powers will return, and Kiki is unsure. They all go outside to watch the
dirigible pass and see Tombo waving to them from the gondola. Tombo
calls Kiki that afternoon asking if she had seen him on the dirigible.
Kiki asks him not to call her again and hangs-up the phone.

Kiki returns to her room to start work on a new broom when Ursula
shows up to visit. Kiki plays the hostess while Ursula asks how the
delivery business is going. Kiki quickly states she is taking some time
off, but Ursula suspects it is something else.

Ursula and Kiki head out into town to run some of Ursula’s errands.
She invites Kiki and Jiji to come back to the cabin with her. Kiki
agrees, while Jiji decides to stay behind with Lily.

They take a bus and then hitchhike the rest of the way, with Ursula
upset that the driver thought she was a boy with legs like hers. Once
inside, Kiki is amazed to see the latest painting Ursula is working on.
Ursula explains that Kiki was the inspiration for painting it, but that
she cannot get the face right. She asks if Kiki will sit and be a model
for the face in the painting.

As she sketches, Ursula explains that her “gift” sometimes leaves her
as well and she has to go do something else until it comes back. She
explained that she had decided to become an artist when she was
thirteen, but that she soon grew disenchanted with her work. She
realized that she was just imitating the work of others, and had to
create her own style. They talk more throughout the night, and Kiki
begins to feel better.

At the bakery, the television reports that the dirigible “Spirit of
Freedom” has completed repairs and will be departing for the South Pole
that afternoon.

Osono is on the phone with Kiki, informing her that the Madam wants Kiki to stop by if she can.

At the madam’s house, she gives Kiki a cake as a thank you for her help with her granddaughter’s present.

On the television, a large wind gust catches the “Spirit of Freedom”
and starts to whip it around. The mooring crew tries to bring it under
control, but the dirigible breaks free and rises upward, shedding the
mooring crew until only Tombo and a patrol car used to help anchor the
dirigible are left hanging. Seeing the images on television, Kiki rushes
off to help him.

Tombo loses his grip and slides down the rope. His impact breaks the
bumper free of the patrol car, which falls to the plaza below. On the
dirigible, the crew start to release helium from the rear to try and
balance the dirigible, which is not standing on it’s nose. Kiki grabs a
broom from a street sweeper and tries to lift-off, but with no luck.
Concentrating her energy and focus, she finally succeeds and takes off
to rescue Tombo.

The dirigible, helpless in the wind, drifts towards the clock tower.
People on the clocktower try and grab Tombo as the dirigible grows
closer, but the nose crashes into the tower itself and the dirigible’s
rear, now heavier due to the helium release, crashes down on the other
side of the square. The impact snaps the bumber off, and Tombo is left
dangling from the end of the rope, his grip slipping.

Kiki, still struggling with controlling her flight, tries to grab Tombo, but she is unable as Tombo’s hand slips off the rope.

Kiki dives down in chase and catches his outstretched arm. The two settle softly onto a safety net to the cheers of the crowd.

Back home in Karikiya, Okino and Kokiri read the latest letter from Kiki.

“Father. Mother. How are you?” Jiji and I are both very well. My work
is on the right track and I am confident. It’s been hard sometimes, but
I love this town.”

 

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电影印象1

Billboard Magazine

May 2, 1998

page 69

Disney Looks To Expand Mainstream Presence Of Japan’s Anime

Anne Sherber

NEW YORK — After years during which publicity about Japanimationfar
exceeded its sales, the cartoon genre is poised for a real growthspurt.

Last summer, an _anime_ feature on DVD, Manga Entertainment’s
“GhostIn The Shell,” flew through PolyGram Video’s distribution network
toreach the top of Billboard’s sales chart. Major suppliers have seen
begun releasing anime titles on DVD.

Now the category has caught the attention of huge Japanese
toymakerBandai, which has launched a home video division and plans to
enterthe Japanimation market.

And there’s the Disney factor. Michael Johnson, president of
Disney’sBuena Vista Home Entertainment, says the studio spent four
yearspursuing Japanese moviemaker Ghibli, as well as the head of
itsanimation division, Hayao Miyazaki, called by some “the Walt Disneyof
Japan.”

The end result: Disney is Ghibli’s anime representative in the
U.S.Disney also gets first look at any of Ghibli’s live-action
productbrought here.

Plans stretch beyond Japanimation. Johnson says Buena Vista is
workingclosely with Disney’s Miramax subsidiary to release a Ghibli
title,”Mononoke Hime,” in theaters this summer. Miramax is also
consideringa remake of Ghibli’s “Shall We Dance?,” an American arthouse
hit.

But the first video release, which arrives Sept. 1, is aimed
atcarving a new foothold in the anime trade. Ghibli’s “Kiki’s
DeliveryService,” a cartoon for young audiences, has been dubbed into
Englishusing the voices of actors Kirsten Dunst, Phil Hartman,
DebbieReynolds, Janeane Garofalo, and Matthew Lawrence. Another cast
isbeing assembled for “Castle In The Say,” scheduled for release
nextyear, Johnson says.

Disney is springing for high-profile talent to bring
Ghibli’sJapanimation home to Americans, but without altering the plot.
Johnson says, “One of the understandings that we have with them is that
theoriginal story lines are maintained.”

Buena Vista will treat lightly in a market that has had a
reputationfor striking graphics — and strong violence and sexual
content. Thestudio plans to market its titles in their own display to
keep them out of anime sections in video stores. In fact, Buena Vista
has beenreluctant to identify the Ghibli product as anime.”

Anime is one of those strange, generic words,” says Johnson. “Thisis
not typical, 24-frames-per-second anime with static backgrounds.These
films have kinetic backgrounds and are more subtle in theirlook.”
Johnson maintains that Buena Vista will put the full force ofthe company
behind the Ghibli releases.

Simultaneously, it hopes to educate consumers about
Japanimation.”We’ll use the press, point-of-purchase, and our
distribution system,”he adds. “We’re working with a lot of synergy,
which means we’llget it broadcast on some [sic] our networks, including
the DisneyChannel.”

The deep pockets of Disney and Bandai are hard to beat.
However,unfazed anime executives say they welcome the attention that is
boundto follow. “I don’t [sic] they’d be coming into the market if
theydidn’t think that it was a growing market,” says Mike
Pascuzzi,director of sales for Central Park Media. “As they make their
presencefelt, they’ll help to expand the marketplace.”

Buena Vista’s reticence about the word “anime” is
understandable.Vintage, made-in-Japan TV shows, such as “Speed Racer”
and “Astro Boy,” notwithstanding, most Japanimation isn’t geared for
kids.

Says Kara Redmond, director of marketing of the American Anime
labelfor Urban Vision in Los Angeles, “There is every single genre
ofanime product available that you might find on television.” And muchof
it would require V-chip.

The difference is that most retailers carrying anime don’t
categorizethe titles on store shelves to identify content. They rely on
the18-25 males who are the prime consumers of Japanimation, in videoand
comic books. Children are often left out of the mix. “We have toeducate
the buyers in the stores,” says Redmond.

This cult status derives from anime’s beginnings. When Central
Parkbegan distributing titles seven years ago, recalls Pascuzzi,
“therewas very little competition. It was still pretty much an
undergroundmarket, with a lot of bootleg product.”

A lot has changed since, say the large music and video retailers
thatcater to Japanimation fans. “Anime is very strong,” notes John
Souza,video buyer for retailer Trans World Entertainment in Latham,
N.Y.”It’s a bigger category than exercise or sports.”

Anime suppliers are taking lessons from their mainstream cousins
onhow to build revenue. While Japanimation is almost always
exclusivelypriced to sell, Central Park has announced a rental-like
depth-of-copyprogram that rewards retailers that meet goals with free
goods.

Hollywood world approve Manga’s step into new technology. Manga
saysit’s preparing a DVD version that takes full advantage of the
format.

Yahoo

May 18, 1998

Company Press Release

ADVISORY/Buena Vista Home Entertainment Presents the
Acclaimed Japanese Animated Film: Hayao Miyazaki’s “Kiki’s Delivery
Service”

First Title in International “Animation Celebration” Series Premieres May 23 at the Seattle International Film Festival

–(ENTERTAINMENT WIRE)– Re-Voiced by All-Star Cast Including Kirsten
Dunst, Phil Hartman, Matthew Lawrence, Debbie Reynolds and Janeane
Garofalo

Hayao Miyazaki’s (dubbed “the Walt Disney of Japan”) enchanting and
highly celebrated No. 1 box office smash hit, “Kiki’s Delivery Service,”
the delightful, coming-of-age tale of a young witch named Kiki, makes
its worldwide debut at the Seattle International Film Festival, on May
23 in its all new, English-dubbed version.

Following this honor, “Kiki’s Delivery Service” will appear at other
distinguished festivals around the country, including the Florida
International Film Festival and the Nashville Independent Film Festival,
both on June 13, among others, before its exclusive home video release
on September 1 from Buena Vista Home Entertainment.

The first in a series of animated films to be released on video by
BVHE as part of its international “Animation Celebration,” through which
some of the world’s greatest masterpieces of animation will be brought
to international audiences for the first time, “Kiki’s Delivery Service”
is considered to be a modern classic in Japan.

Adhering to its exceptionally high standards, the division has gone
to considerable expense to dub “Kiki’s Delivery Service” for
English-speaking audiences so that millions more can share in the
experience.

One of the most highly regarded animated family films of all time,
“Kiki’s Delivery Service” is the 1989 creation of legendary animation
director Hayao Miyazaki, whose films are brilliantly imbued with
compelling characters, intricate plots and stunning animation.

A wonderous tale filled with magical and heartwarming adventures,
“Kiki’s Delivery Service” tells the story of Kiki, who, at age 13, must
leave home and put her extraordinary flying skills to work by serving a
new community for one year.

Taken in by a wonderful lady baker, Kiki launches her special
delivery service, magically conveying pastries and other packages
throughout the town. In so doing, she comes face-to-face with the
meaning of her independence, inner strength and sense of self-reliance.

Incorporating a celebrity vocal ensemble of high-flying proportions,
the newly-dubbed “Kiki’s Delivery Service” features Hollywood teenage
sensation Kirsten Dunst (“Jumanji,” “Little Women”) as the voice of the
bright, independent young Kiki; funny-man Phil Hartman (TV’s
“Newsradio”; Kiki’s hilarious black cat Jiji, and Matthew Lawrence
(“Mrs. Doubtfire,” TV’s “Boy Meets World”) as her inventive and
energetic friend, Tombo.

Adding additional “spirit” to the all-star cast are Hollywood legend
Debbie Reynolds (“Mother”) as the caring grandmother figure, Madame, and
comedienne Janeane Garofalo (“The Truth About Cats & Dogs”) as
Kiki’s quirky artist friend, Ursula.

“Kiki’s Delivery Service” will be available in VHS and CLV laserdisc
formats in digitally-mastered Hi-Fi stereo sound and will be
closed-captioned for the hearing-impaired. Rated “G” by the Motion
Picture Association of America, “Kiki’s Delivery Service” has an
approximate running time of 104 minutes.

A part of The Walt Disney Co. [NYSE:DIS – news], Buena Vista Home
Entertainment has been the recognized industry leader for 10 consecutive
years.

NOTE: For review cassettes or artwork, please call 818/295-4609.

Kidscreen Retail

May, 1998

Buena Vista announces launch date for first Miyazaki vid title

Kiki’s Delivery Service_, and extremely popular children’s animated
feature created by Japanese anime master Hayao Miyazaki in 1989, is due
to be released in English for North American video sell-through in
September by Buena Vista Home Entertainment. Dubbed versions will roll
out worldwide later in the year.

The release of _Kiki_ is the second installment in a worldwide
distribution deal signed in 1996 between The Walt Disney Company and
Tokuma Shoten Publishing for Miyazaki’s nine-title library. The first
property to be released under the deal was the adult-oriented animated
feature film _Princess Mononoke_, which was distributed theatrically
last year by Disney’s Miramax unit. The top-grossing domestic film in
Japan in 1989, _Kiki’s Delivery Service_ centers on the coming of age of
a teenaged witch who must leave home and serve the community in order
to preserve her magcial skills. Set in an ocean-side village that
resembles old world Europe, the story espouses the values of
independence and self-reliance.

“It’s a wonderful story for young girls,” says Michael Johnson,
president of Buena Vista Home Entertainment Worldwide, who adds that
test screenings of _Kiki_ have been particularly well recieved by girls
age six to 14.

Permitting that the works to come out of Miyazaki’s Studio Ghibli
appeal to more divergent audience demographic than that traditionally
associated with Disney properties, Johnson says Buena Vista viewed the
distribution deal “as a way to enhance our product line and create a
relationship with somebody who is a real powerhouse in Japan.”

Miyazaki, a pioneer of Japanese anime who is often compared favorably
to Walt Disney himself, does not display as darkly violent and overtly
sexual themes in his work as to his national counterparts. Still, Buena
Vista is doing its best to form a line of distinction between Miyazaki’s
and other forms of anime, which in one extreme case has been blamed for
causing children to experience convulsions.

“You’ll never hear the word ‘anime’ attached to Miyazaki’s stuff
around here,” says Johnson, adding that _Kiki_ “has a much deeper
texture to it, a higher visual quality; it’s much brighter than most
anime. Frankly, it’s more like Disney than any other type of Japanese
animation.”

Although Disney has promised to maintain the English adaptations of
Miyazaki’s work as true to the originals as possible, _Kiki_ has been
“localized” for North American audiences through the addition of English
voices and an expanded musical score, according to Johnson.

The English voice of Kiki was provided by Kirsten Dunst, who starred
in _Jumanji_ and _Interview With the Vampire_, while other voice talent
included Janeane Garofalo, Phil Hartman and Debbie Reynolds.

Admitting to having a strong personal appreciation for Miyazaki’s
work, Johnson says he thinks there will be a healthy worldwide demand
for _Kiki_ in the video sell-through market. “It’s not going to sell 10
million units,” he proffers, “but I’d be happy with half of that. A good
story is a good story. So the opportunity for it to travel might be a
little wider than anyone ever expected.

“We’re going to use festivals to build up the Miyazaki name. We’re
looking at cross-character merchandizing, and there may be some
broadcast potential for it within The Walt Disney Company, although
we’re not positive yet whether it will be on the Disney Channel or ABC,”
he says.

As for how merchandising will shape up for _Kiki_, Johnson says
discussions have been limited to the publishing area so far. “We’ll
probably have to establish the film and the character first, and then
the consumer products will come in behind it,” he says.

Consumer Retailer Magazine

June 29, 1998

‘Upcoming VHS Releases’

Kiki’s Delivery Service

Buena Vista

Highly regarded animation director Hayao Miyazaki crafted this
delightfultale of Kiki, a 13-year-old witch-in-training, who learns the
value offriendship, trust and hard work. While animated in the familiar
Japanesestyle, Kiki’s Delivery Service doesn’t have the sex and violence
of otheranime titles, and it’s a fun outing for the whole family.

Order: 7/21, Street: 9/1, SRP: $19.95

Entertainment Weekly

August 7, 1998

n444 p81(1)

CHILDREN’S HOUR. (video releases)

A slew of high-profile kids’ tapes hit shelves this month and
next–including Disney’s made-for-video Pocahontas sequel,
straight-to-tape Teletubbies cassettes, a Scooby-Doo video feature, and
Disney’s first venture with leading Japanese animator Hayao Miyazaki,
Kiki’s Delivery Service, the English-language version of which features
the voices of Kirsten Dunst and Phil Hartman. “Video consumption picks
up dramatically after summer vacation,” Disney senior VP of marketing
Bob Chapek notes, a truth increasingly driven by back-to-school buying
at groceries and mega-marts. Besides, says Columbia TriStar exec VP Paul
Culberg, “if you wait until Thanksgiving, you’re fighting with
Armageddon.”

Daily News

August 4, 1998

New York Now | Movies

Coming Toon, Japan’s Top Anime Films

Nine of master Hiyao Miyazaki’s features will be released here

By LEWIS BEALE

Daily News Staff Writer

He’s the Walt Disney of Japanese animation, a force whose films
routinely outgross movies like “Aladdin” at the Nipponese box office.
Now he’s coming to America.

Nine feature films by Hiyao Miyazaki, Japan’s foremost animator, were
recently purchased by Disney. Eight will be released on video by Buena
Vista Home Entertainment, Disney’s video arm, and one will make it to
theaters later next year.

The first release, debuting Sept. 1, is “Kiki’s Delivery Service,”
the story of a 13-year-old witch who uses her flying skills to open a
delivery business. It was a No. 1 smash in Japan.

“Princess Mononoke,”a 14th-century fable involving a battle between
gods and man, will be theatrically distributed next year by Disney
subsidiary Miramax. The film, whose English-language version will
feature the voices of Gillian Anderson, Claire Danes and Minnie Driver,
has earned $150 million in Japan — it is the second-highest-grossing
film in that country’s history, topped only by “Titanic.”

“Disney is picking up on [Japanese animation] because they think it’s
the next stage in animation around the world,” says Bruce Apar of Video
Business Magazine.

Compared to Disney’s output, Miyazaki’s work is leisurely paced
(”Mononoke” runs 133 minutes — an epic length by animation standards),
more story driven and nonmusical. Many films also have a distinct
ecological subtext.

“There’s an epic nature to [Miyazaki’s] stories, but also a certain
naivet·and innocence,” says Scott Martin, Miramax’ executive in charge
of production for “Princess Mononoke.”

Miyazaki’s work is barely known outside Japan.

One film, “My Neighbor Totoro,” about two girls who are befriended by
a mythical creature, opened here theatrically in 1993 and sold more
than 500,000 cassettes since it was released on home video the following
year.

But though Miyazaki has been courted by other foreign distributors —
including Fox and Warner Bros. — he has refused in the past to license
his films for fear they would be cut or altered.

“We have not done anything to change these films but dub them. We
have added some new songs, but we have remained true to the original,”
says Michael Johnson, worldwide president of BVHE.

Johnson admits Miyazaki’s work may initially appeal to a niche
audience — one familiar with anime (Japanese animation). But, he says,
“we’re going to try to go beyond that audience here. Anime . . . is
about cutting-edge humor, violence, sexual overtones. None of that
exists in the Miyazaki product. [We will be] taking it out of the anime
category by packaging it differently, presenting it differently to the
public.”

Will this approach work? Bruce Apar feels “Disney is looking for a
cataclysmic change in the market, where [Japanese animation] becomes the
really hip thing.”

Says David Wharff of West Coast Entertainment, one of America’s
largest video chains: “It seems like they’re not really pushing the
title to the industry that much right now. [‘Kiki’s’] will be a moderate
hit. It won’t be a ‘Lion King’ that [ships] 25 million copies, but it
can do something like ‘Totoro,’ which is a consistent seller.”

Johnson is equally cautious. His company plans to release a Miyazaki
title every six months, but those plans are dependent on how well “Kiki”
does.

“It’s a build philosophy,” he says. “We hope people discover this, and retailers are patient enough to stay with this product.”

Village Voice

September 2, 1998

Tooning In

Disney Imports a Japanese Auteur-Animator

by Elisabeth Vincentelli

Disney is not known for heralding directorial authorship, least of
all when it comes to animation: try naming the director of The Little
Mermaid or even a classic like Dumbo. It’s the corporate brand name that
sells the movies. And yet, last year, the company acquired the rights
to distribute the entire oeuvre of Hayao Miyazaki, Japan’s premier
auteur-animator. Miramax will release the director’s latest film,
Princess Mononoke, in theaters next year (the movie is second only to
Titanic as Japan’s all-time box office champ); the remaining titles will
go straight to video in brand-new dubbed versions, starting with this
week’s release of 1989’s Kiki’s Delivery Service.

Born in 1941, Miyazaki is a beloved icon in his home country–though
he’s called “the Disney of Japan,” he’s been vocal about his distate of
Disney movies. After working on various TV series, he made his
directorial feature debut in 1979 with Lupin III: Castle of Cagliostro, a
breathless caper complete with secret stairways, a captive princess,
and Indiana Jones-like hijinks. Miyazaki’s artistic breakthrough came in
1984’s Nausicaa of the Valley of the Wind, whose title character, the
first of the director’s trademark headstrong heroines, leads her village
in a battle for ecological survival. In 1986’s Laputa–Castle in the
Sky, slated for video release next year, a young girl fights off the
factions lusting after her “levitation stone” (flight is a Miyazaki
obsession, and there are airborne scenes in all his movies).

My Neighbor Totoro (1988; Fox Video, 1993) may be the director’s
best-known film. Two young sisters meet a mythical forest creature who
helps them cope with their ailing mother’s absence. Buoyed by Joe
Hisaishi’s imaginative score (he also works with Takeshi Kitano), Totoro
neatly encapsulates Miyazaki’s main obsessions: the need for balance
between man and nature, and the trials of spiritual and moral
development.

Though Miyazaki can orchestrate impressively precise action scenes
(Kiki’s arrival in the city provokes chaos in the streets; 1992’s
philosophical adventure movie, Porco Rosso, includes magnificent aerial
dogfights), his movies usually unfurl at a leisurely pace. The director
allows for reverie and for a sense of wonder to bloom. Humor, always
present, tends to be gentle slapstick, unobtrusively punctuating an
otherwise contemplative rhythm.

Drawing thousands of each movie’s animation cells himself, Miyazaki
composes every shot with a painter’s eye. Influenced by Jonathan Swift
(Laputa–Castle in the Sky is named after a floating island in Gulliver’s
Travels), Jules Verne, and Lewis Carroll, he smoothly integrates the
fantastical and the mundane. Nobody gets crushed by falling pianos in
Miyazaki’s movies (he finds Disney too violent), but cats shaped like
buses roam the countryside. A humanist concerned with rites of passage
and periods of transition, Miyazaki avoids cheap moral lessons and the
safe distance of cynical wisecracks. Being marketed by Disney, in fact,
might be the greatest irony in the career of a director who can appeal
equally to four-year-olds and admirers of Yasujiro Ozu.

The Rafu Shimpo

August 31, 1998

Anime Magic of Hayao Miyazaki Comes to America on Sept. 1

The animation film “Majo no Takkyubin” (”The Witch’s Express
Delivery”) will be the first of a series of animation works by Japan’s
legendary director and producer Hayao Miyazaki to be introduced to the
American public on Sept. 1.

Americans may be more familiar with another of Miyazaki’s works, “My
Neighbor Totoro”, which was released in the United States in 1994.

“Majo no Takkyubin” which will be titled as “Kiki’s Delivery Service”
in America, is being released through a 1996 agreement with Disney and
Miyazaki’s company, Studio Ghibli in Japan. Disney has agreed to dub a
number of Miyazaki’s works in various languages and distribute them in
the United States, Europe and South America.

The American release of “Majo no Takkyubin” will feature the voices
of Kirsten Dunst (”Little Women,” “Jumanji,” “Small Soldiers”) as Kiki;
Matthew Lawrence (”Boy Meets Worlds” [sic]) as friend Tombo; Jeneane
Garofalo (”The Truth About Cats and Dogs”) as Ursula; Debbie Reynolds
(”Singing in the Rain”, “Mother”) as Madame; and the late Phil Hartman
(”Saturday Night Live,” “The Simpsons”) as Jiji, the sarcastic black
cat.

Miyazaki’s latest work, “Princess Mononoke” is scheduled to be
released soon after “Majo no Takkyubin.” “Mononoke,” which debuted in
1997, broke the all-time box office record previously held by “E.T.” It
has since gone on to receive Japan’s Academy Award for Best Film and was
Japan’s submission for an American Oscar in the Best Foreign Language
Film category.

Although Miyazaki may not be a household name in America, his works
are well-known within America’s entertainment industry, and he is
credited with inspiring and influencing a number of American animators.

Among them include artists at Pixar which created “Toy Story”; Barry
Cook and Tony Bancroft, directors of “Mulan”; and Hendel Butoy, who
worked on “Rescuers Down Under.”

 

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