In July 1997, in Japan, Princess Mononoke, one of the most famous achievements of Studio Ghibli. An animated film which benefited from a distribution on American soil, under the guise of Disney. A firm known for modifying foreign productions in order to satisfy a large audience. But a man interposed between this “Disneyization” and the film by Hayao Miyazaki: Neil Gaiman.
a “disneyisation” narrowly avoided
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His name may not mean anything to you, and yet Neil Gaiman is a great lay of fantasy literature. Winner of a Hugo Prize and a Nebula Prize, in particular, he is the author of the series Sandman, a saga published by DC Comics. And if his name resurfaces today, it is thanks to the memories of Steve Alpert, entitled “Sharing a House with the Never-Ending Man: 15 Years at Studio Ghibli“.
At the end of the 90s, Alpert was then at the head of animation for the international branch of Studio Ghibli. He works hand in hand with Hayao Miyazaki and aims to transcribe as faithfully as possible the works of Japanese genius abroad. Problem, Japanese / English translations at the time were potentially inaccurate, due to the inaccuracies tolerated by the Japanese.
But Alpert, who denounces his academic past, wishes to faithfully transcribe all the depth and beauty of the texts of the studio’s achievements. Miramax, the production and distribution company founded by the Weinstein brothers and bought by Disney in 1993, in charge of the distribution of the film on American soil, was offered Neil Gaiman by Quentin Tarentino in person. Gaiman then becomes the author of the English script for Princess Mononoke and must therefore participate in round tables including Alpert and Miramax.
The discussions are done in the company of lawyers and begin in New York. Miramax wants the film to be fully dubbed, a method which then becomes popular with foreign films broadcast on US soil. Problem, Disney uses translation for commercial purposes, to satisfy American spectators by changing names or by filling in the blanks.
Additions which are not from the original script and which are used to allow American spectatorss to better understand history as a whole. For Princess Mononoke, Miramax will try to do the same. So, at the said meeting in New York, a woman working for Miramax will find out why Ashitaka is described as a prince.
The answer is simple: because he is a prince. Only, the woman from Miramax believes that the image he sends back, that of a man living in a muddy village in the middle of nowhere and wearing rags, is not that of a prince. But Gaiman will not be dismantled:
“We know that he is a prince because everyone mentions him as Prince Ashitaka. He is a prince because his father was king and he will be king in turn when his father dies. The directors told us that he is a prince. He’s a prince, that’s how it is. “
The discussion did not stop there, however. The woman then had to consider that a prince could not live in misery. However, his title and his living conditions are two completely different things.
Gaiman continues: “Look, the fact that he’s a prince is important to the plot. It’s part of his character. This is what Mr. Miyazaki decided. We are supposed to adapt this film for an American audience, not change it. “
Miramax does not budge: “But the audience will not understand that he is a prince. “
Gaiman: “Of course they will understand. The audience is not stupid. And if they are, they wouldn’t understand the rest of the movie either. “
The subject was then closed and Gaiman was able to write his script. A script described as “incredible” by Alpert, who also raves about this translation, not literal, like the expressions added, so that the public does not feel excluded by the scenes visible on the screen . Only, Gaiman was forced to make some changes to satisfy Harvey Weinstein, then head of Miramax. Several new lines have been added to give more information to spectators, about the deer god and the emperor, among others.
Neil Gaiman was able to face Disney to avoid the film being too heavily modified. However, changes were still made to the script to please the Hollywood giant. But thanks to his speaking, Gaiman was able to allow Hashitaka to keep his title of prince, which Miramax wanted to see disappear, to facilitate the understanding of the film.
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