The Incomparable

194: A Real Imaginary Friend

 

  Kiki's flagging on broomstick and she [TS]

  has a cat now she's over a town which is [TS]

  a place where people live she's [TS]

  encountering problems with weather and a [TS]

  there which is here come some sea gulls [TS]

  watch out for the boot keep it a bit [TS]

  uncomfortable number 194 my 24-team [TS]

  welcome back to the uncomfortable [TS]

  podcast I'm your host Jason Snelling [TS]

  we're back to talk about another one of [TS]

  the movies of hayao miyazaki the great [TS]

  japanese animation writer director [TS]

  producer everything we did a whole [TS]

  episode about him that was just the only [TS]

  two person episode ever of the cover was [TS]

  just me and John talking about miyazaki [TS]

  movies and then we did the whole episode [TS]

  about my neighbor totoro with this very [TS]

  panel and I wanted to get the band back [TS]

  together because we had such a great [TS]

  time to talk about my favorite miyazaki [TS]

  movie [TS]

  kiki's delivery service joining me to [TS]

  talk about Kiki are John siracusa hi [TS]

  John [TS]

  I'm ready is I i have no doubt you're [TS]

  ready we're not talking about Game of [TS]

  Thrones you know that right away what we [TS]

  know the scene where the cat murders [TS]

  that guy is just wow it was surprising [TS]

  gigi is coming that that's a steve lets [TS]

  you heard there I Steve know it's so [TS]

  good to be back in weird weird japan we [TS]

  get is smitten [TS]

  it's nice to be back here and and of [TS]

  course are our fourth member of our [TS]

  little of miyazaki movie club Marlon man [TS]

  I hi guys how's it going good to have [TS]

  you back [TS]

  that's great to be here everybody watch [TS]

  the movie has every seen the moving [TS]

  going to watch the movie now seeing this [TS]

  one couple three times [TS]

  yeah yeah I watched it uh I watched it [TS]

  today and i watched it with the Japanese [TS]

  audio track on the subtitles for i think [TS]

  only the second time although to be fair [TS]

  it was the last two times I watched him [TS]

  i watched it that way but i have it i [TS]

  feel like i have the disney dub version [TS]

  ingrained in my mind and that when we [TS]

  talk about anime this is always the [TS]

  issue is [TS]

  no what's the real version and there [TS]

  really isn't a real version unless you [TS]

  speak Japanese because you're either [TS]

  relying on the subtitles to tell you [TS]

  things is what we had that moment where [TS]

  my wife and I were watching it and [TS]

  saying oh well that's different in the [TS]

  in the in this version and we tried to [TS]

  describe a certain level of authority to [TS]

  the subtitles i'm not sure we can do [TS]

  that either so you definitely cannot [TS]

  because I don't know much Japanese but i [TS]

  know enough Japanese to know when the [TS]

  subtitles are incorrect very incorrect [TS]

  often [TS]

  yeah i was looking on i think i think [TS]

  the wikipedia page even says like when I [TS]

  was suspicious about the let's have some [TS]

  hot chocolate and I was like that's [TS]

  coffee that's because why is she putting [TS]

  a lot of sugar in her hot chocolate is [TS]

  the book that most coarse ground hot [TS]

  chocolate I've ever seen in my life [TS]

  it's actually oval teed is that the boys [TS]

  in the town there's a disco right yeah [TS]

  you don't catch that all this done [TS]

  yeah well we can't have that would be [TS]

  crazy and i have no idea what they [TS]

  actually said but I even just minor [TS]

  things where the subtitles always spell [TS]

  things out where people are addressed by [TS]

  name or title [TS]

  okay dad I'll be right there and the [TS]

  actual dialogue is ok I feel fortunate [TS]

  in that apparently the there was quite a [TS]

  bit of controversy over the original [TS]

  disney dub of this although it [TS]

  apparently was okayed by miyazaki and [TS]

  dance studio ghibli is a good leader [TS]

  jiggly jiggly [TS]

  hey Benny you couldn't pronounce that [TS]

  you can I just I just I was reading that [TS]

  same thing today and it sounds like [TS]

  before you fire off the Horn I guess [TS]

  there was on there's 1i think pretty [TS]

  important plot point that sounds like it [TS]

  was completely different and yeah yeah [TS]

  yeahs the cat a cat related blood point [TS]

  captain yes exactly [TS]

  that's a really important one that [TS]

  changes the movie without what I had was [TS]

  it turns out i guess the 2010 disney dub [TS]

  where they actually yes scaled back some [TS]

  of the bombass that they added in and [TS]

  got rid of that particular messed up [TS]

  plot point and it works a lot better now [TS]

  i think and that's not the version i [TS]

  have i've got the you know whatever the [TS]

  previous DVD is what i have and this is [TS]

  a movie also that has been released on [TS]

  blu-ray in essentially every country in [TS]

  the world except the United States so [TS]

  far as i can tell [TS]

  so that's really nice thanks a lot [TS]

  disney disney yeah it kills me i will we [TS]

  didn't do this for a while because I was [TS]

  just waiting for that blu-ray to come [TS]

  out and it's like no no sign of it don't [TS]

  know what's going on [TS]

  once you once you get the gospel from [TS]

  siracusa and decided that it's time to [TS]

  watch it in whatever version you watch [TS]

  subtitled instead of dubbed it ain't [TS]

  easy to do by conventional means in the [TS]

  u.s. almost say about that yeah well you [TS]

  can buy me the DVD you can't buy the [TS]

  disney DVD and watching japanese with [TS]

  english subtitles and Howard Howard the [TS]

  subtitles they get well and get your own [TS]

  ego to like open subtitles what's your [TS]

  go-to for that job [TS]

  yeah fansubs usually are almost always [TS]

  better than the official subtitles [TS]

  because you can choose when you're [TS]

  picking your fansubs you can pick the [TS]

  pedantic fansubs who were going to do [TS]

  literal translations and then it's gonna [TS]

  read kind of like I mean it doesn't make [TS]

  sense to pass the time but you could be [TS]

  talking like that car [TS]

  this is exactly the literal translation [TS]

  of what they're saying you have to [TS]

  figure out exactly like it would be like [TS]

  a translation of some French think it [TS]

  would be like a lightning delivery mail [TS]

  and be like I think they mean email you [TS]

  know think that's you have to figure [TS]

  that way or you can do the fan subs are [TS]

  trying to catch the spirit of adore you [TS]

  mean you can just pick your fansub crew [TS]

  who you think does a good job I and get [TS]

  the experience you want out of it but it [TS]

  sounds like the subs on the disney [TS]

  version are based on the script for the [TS]

  the original dub that was only available [TS]

  on a laserdisc and on like Japanese [TS]

  airplane and so it's not based on the [TS]

  actual like it its it's got like oh the [TS]

  humanity which is not you notice that [TS]

  was in the subs of mine and I think it's [TS]

  yeah it's not in the dub it was enraged [TS]

  out of a job that I saw although i guess [TS]

  it was in the original one [TS]

  let's see the thing with all these [TS]

  movies is like movies that are are aimed [TS]

  at children are good for children if you [TS]

  have children you will find yourself [TS]

  inevitably watching the doubles because [TS]

  little children can't read yeah and even [TS]

  though i've had my children watch many [TS]

  subtitled movies where I pipe literally [TS]

  sat on the couch and read them the [TS]

  subtitles and just have them watch it [TS]

  that way [TS]

  most of the time to watch in English and [TS]

  so at this point I've seen this movie [TS]

  dubbed more times than I've seen it [TS]

  subtitled by far because my kids used to [TS]

  watch it over and over and over and over [TS]

  again and i have to say as far as [TS]

  dubs go this is a pretty good dub all [TS]

  things considered I mean it's very [TS]

  different from the original version and [TS]

  in the beginning I resented it because [TS]

  of that but like totoro there is a [TS]

  certain charm to the dub to this movie [TS]

  Matthew Lawrence notwithstanding I like [TS]

  the fact that the second that this 2010 [TS]

  DVD doesn't you know doesn't use the [TS]

  disney disney pop songs that were [TS]

  inserted at the beginning and the end [TS]

  and goes back to the Japanese songs and [TS]

  right because that kind of rubbed me the [TS]

  wrong way there are a lot of there are a [TS]

  lot of differences in this movie between [TS]

  the the English dub and and just reading [TS]

  with the subtitles i think the cat is [TS]

  actually the biggest one right because [TS]

  GG right is this high-pitched you know I [TS]

  have a cat kind of voice and it's phil [TS]

  hartman in English up and Gigi says so [TS]

  much less to yeah he says a lot and he's [TS]

  a wisecracker an animal sidekick and me [TS]

  that's kind of a big deal really because [TS]

  I mean isn't he effectively supposed to [TS]

  be sort of the representation of kikis [TS]

  childhood there are sort of immature [TS]

  thoughts on court according to that fact [TS]

  that we are apparently read on the [TS]

  internet yes but I'm I don't entirely [TS]

  like that that maybe have been our [TS]

  intention when a tournament to phil [TS]

  hartman like it it's totally different [TS]

  and you can you can reject it and say [TS]

  well that's not how this movie is [TS]

  supposed to be but I still feel like [TS]

  phil hartman works as phil hartman in [TS]

  the context of the dub it works but it [TS]

  is real different I mean we're watching [TS]

  it in in the subtitled version uses a [TS]

  lot less it has a much more feminine [TS]

  voice I mean I guess I'm i don't i'm [TS]

  guessing GG still of a gendered boy I [TS]

  don't know [TS]

  well I is he has children later Lily it [TS]

  seems pretty clearly to be a girl [TS]

  well be normative the money shot circuit [TS]

  city is not feeling adoption service is [TS]

  also part of her it was the fifties and [TS]

  world war two hadn't happened was a [TS]

  complicated time [TS]

  but-but-but-but another sigh I don't [TS]

  want you know go crazy here but there's [TS]

  a lot that hinges on like what you [TS]

  think's going on with that cat and she [TS]

  told anybody says a lot less and GT [TS]

  really reads less as a wiseacre than [TS]

  english version and much more is like [TS]

  kind of [TS]

  overabundance of caution not a pessimist [TS]

  exactly but almost like the kind of [TS]

  nagging like what super-ego I guess you [TS]

  know that's kind of like telling her you [TS]

  will be careful what you're doing here [TS]

  but he goes with the flow much more in [TS]

  the original Phil Hartman does fill the [TS]

  role of you know [TS]

  c-3po oh my goodness should be going to [TS]

  the asteroid field blah blah right but [TS]

  there's almost no way that you can [TS]

  construe him as sort of a part of her [TS]

  subconscious and in that feeling away [TS]

  anyways she does not have that sort of [TS]

  wisecracker e-science and that's what [TS]

  that's what he's offering seems to be in [TS]

  a different movie because her reaction [TS]

  him is not the appropriate reaction that [TS]

  you would be you would expect to have 44 [TS]

  you know for his character and in the [TS]

  dubbed version you know he's great [TS]

  though I i gotta say i absolutely love [TS]

  his character in this even though he's [TS]

  basically a feline Paul Lynde in fact I [TS]

  didn't even recognize the magical [TS]

  apartment [TS]

  originally I was trying to place the [TS]

  voices like a screw it i'm gonna go with [TS]

  Poland and that worked out fine for me [TS]

  because he gets all the best lines i [TS]

  think this is his last voiceover [TS]

  performance that he did I mean the last [TS]

  performance it was was those last [TS]

  episode of newsradio but i think this [TS]

  was his last voiceover and you know yeah [TS]

  there are moments where you can tell [TS]

  like like there's the scene where at the [TS]

  very beginning where keys mom wants her [TS]

  to use use her broom once once Kiki use [TS]

  her old broom and not this new broom the [TS]

  key is made and kikis like it's old its [TS]

  stupid you know it's very teenager kind [TS]

  of thing to say and in the original the [TS]

  least what the sub says is she turns to [TS]

  G&G is like yeah you should use your [TS]

  mom's room and in the enemy in the dub [TS]

  it's like I don't know i think your [TS]

  broom is kind of crappy you should you [TS]

  you know let's take let's take the old [TS]

  one right it's just your broom is nice [TS]

  use your moms so intent yeah yeah yeah [TS]

  so it's a different it's just very [TS]

  different where he's he's acting as a [TS]

  character whereas in the original it [TS]

  does read sort of like this is the you [TS]

  know I know you're rebelling but you [TS]

  should just take it from your mother go [TS]

  ahead it's just different very different [TS]

  we could probably talk in large broad [TS]

  strokes about the story the story's [TS]

  pretty terrible without ruining the [TS]

  whole thing anything [TS]

  yeah let's let's little not much as [TS]

  usual after two not [TS]

  much not much happened that's what I [TS]

  said on our first miyazaki podcast I [TS]

  said that this is one of those movies [TS]

  where there is no real antagonist it's [TS]

  just sort of things happen and as I said [TS]

  at the time sort of like the weather the [TS]

  weather is an antagonist here and [TS]

  circumstance only very briefly I mean at [TS]

  any any given thing that would probably [TS]

  be like a horrible you know a time for [TS]

  something awful to happen in a regular [TS]

  disney movie or some other animated film [TS]

  is more or less resolved in a couple of [TS]

  seconds like his propeller takes off and [TS]

  you're expecting like something horrible [TS]

  to happen and you know next scene it [TS]

  cuts to the next scene is just sitting [TS]

  there with a propeller it's always [TS]

  realistic in a way that we said this in [TS]

  total episode that in the way the total [TS]

  was realistic not so much and that is [TS]

  magical flying things or that they're [TS]

  witches or anything like that but the [TS]

  characters behavior a little evil ways [TS]

  and the things that happened or sort of [TS]

  the mundane things that happen in life [TS]

  sometimes your mother gets sick [TS]

  sometimes people travel from place to [TS]

  place and pick vegetables and move into [TS]

  an old house sometimes you move to a new [TS]

  town you meet people you make friends [TS]

  you get your feelings hurt like but [TS]

  nothing it with the exception of the [TS]

  very end of the movie nothing out of the [TS]

  ordinary that might not happen in real [TS]

  life happens in this movie and you're [TS]

  always expecting it to be like well this [TS]

  has to be heightened drama or [TS]

  exaggerated action or surely something [TS]

  terrible or amazing or fantastic is [TS]

  going to happen and again until the very [TS]

  end which is still vaguely plausible [TS]

  kind of disaster type scenario it is [TS]

  very sort of run-of-the-mill and that I [TS]

  think is what draws me so much to this [TS]

  movie is that it feels it feels more [TS]

  like real life in a relaxed sort of way [TS]

  that lets you connect with the things [TS]

  that are happening you're just saying [TS]

  all these things could have or have [TS]

  happened to me with again with the [TS]

  possible exception of the end even [TS]

  though I'm not a witch or whatever i'm [TS]

  just not accustomed to these these [TS]

  gentle movements minutes every time I [TS]

  see something like we see key lighting [TS]

  the fire from the point of view inside [TS]

  the oven and the grandmother is looking [TS]

  on behind her sort of benevolently and I [TS]

  I keep finding myself thinking look at [TS]

  she's gonna push you in [TS]

  yeah that all of you are so they can [TS]

  burn the wig not not that kind of movie [TS]

  I know but it's it's that kind of stuff [TS]

  has been so ingrained for all the [TS]

  animated features i watched my entire [TS]

  life like something terrible is going to [TS]

  happen to parents gonna die [TS]

  you know she's gonna lean too far off [TS]

  over the side of the bike and shred her [TS]

  ear off on the road to heaven watching [TS]

  watching these movies with my kids when [TS]

  they were little and we we all watched [TS]

  it as a family today with the subtitles [TS]

  on which is fun because again they're [TS]

  all they all can do it now but watching [TS]

  when they were little you know my both [TS]

  of my kids my son especially but both of [TS]

  them when they were like really scary [TS]

  moments are there were really bad people [TS]

  they would hide or they wouldn't like it [TS]

  and one of the great things about these [TS]

  miyazaki movies and especially about [TS]

  Kiki is there's nothing like that in [TS]

  here it's a great it's a really great [TS]

  fun movie but there that that is not [TS]

  there isn't a villain who is doing [TS]

  villainous things it's just it's it's [TS]

  very different and it ended you know the [TS]

  whole movie feels different because of [TS]

  it she has no enemy that she's bad right [TS]

  at any point right yeah i don't know i [TS]

  don't have enough to if it's an anime [TS]

  thing but it definitely is like miyazaki [TS]

  thing that they're very spacious about [TS]

  making this story I mean one other way [TS]

  that it's like totoro to me at least in [TS]

  my own head is that you know childhood [TS]

  growing up really your whole life but [TS]

  especially up through your teen years [TS]

  you're just constantly confronted with [TS]

  things that just kind of makes sense and [TS]

  you know and whether there's all kinds [TS]

  of stuff especially intro we're like we [TS]

  said before like did that really happen [TS]

  or not know maybe it doesn't matter in [TS]

  some ways in the movie it's just that [TS]

  for a kid [TS]

  there's so much mystery to stuff that [TS]

  happens there's so many things that you [TS]

  can't understand you try to base on a [TS]

  previous experience and that [TS]

  spaciousness of not having somebody [TS]

  tried to poison you with an apple or not [TS]

  trying to throw you into an oven [TS]

  there's a lot of space for this to be [TS]

  about the kind of personal terminally he [TS]

  says as much i need i read one of the [TS]

  things an introduction to the maybe the [TS]

  manga of this where he said you know [TS]

  that this is it's it's not difficult to [TS]

  go out and be on your own and make money [TS]

  it's difficult to have like [TS]

  self-realization until I grow up that's [TS]

  the hard part and I think that's that [TS]

  spaciousness really works in these [TS]

  movies once you once you get past [TS]

  expecting an anvil to fall on somebody [TS]

  you know things like in the pacing of [TS]

  this movie and most of his movies like [TS]

  most anime it has a focus on kind of [TS]

  sensory experiences as several many many [TS]

  scenes in movies involved but even if [TS]

  you just look at the pacing of like he [TS]

  just showed three shots and that didn't [TS]

  include the main character that had no [TS]

  I'll our music going over them just as [TS]

  sort of a way to transition you from one [TS]

  day they weren't establishing shots or [TS]

  whatever it's like so many scenes in [TS]

  this movie if you tear it apart you're [TS]

  like wait a second that like someone had [TS]

  to sit there and draw that scene that [TS]

  scene in that scene and between this 60 [TS]

  seconds there's no dialogue and like not [TS]

  like why is that even in the movies like [TS]

  we got to make it fast you gotta cut you [TS]

  have tighter it's got to be action [TS]

  action we got a dialogue scene right you [TS]

  know and this movie is not like that and [TS]

  and i think the lingering on those [TS]

  things it's not it's not like a Malik [TS]

  film like he's not lingering on you like [TS]

  a tree growing out from an acorn [TS]

  something like it's not it's not that [TS]

  level but it is very much influences the [TS]

  pace and experience of watching this [TS]

  movie maybe not for kids maybe only for [TS]

  adults but i watch it and you know if I [TS]

  haven't seen a movie in a long time i'm [TS]

  just always amazed that sort of how it [TS]

  how just unwind and just sort of rolls [TS]

  out in front of you and it had its own [TS]

  pace sort of at the pace of life instead [TS]

  about the pace of like narrative there's [TS]

  a particular scene in that in that vein [TS]

  that really stood out for me which is [TS]

  when there's very deliberate long seen [TS]

  if Kiki at the bakery counter just [TS]

  staring out the window sort of your [TS]

  flight and reflections of people walking [TS]

  by and see if it's there it's its total [TS]

  silence and she's watching you know that [TS]

  the boy on the bike pulls up and the [TS]

  girl gets on the bike and drives on and [TS]

  it's just it but that's it that's their [TS]

  version of an action scene like we're [TS]

  getting married of things like because [TS]

  now it's like what happens [TS]

  she's bored she's inside she has to work [TS]

  the girl that the boy comes up in the [TS]

  scooter the girl who's better dressed [TS]

  than she is gets on the bike gets on the [TS]

  bike sidesaddle and they go off together [TS]

  and she remains inside like that and yes [TS]

  there are many scenes in here that have [TS]

  no dollar but that's like an action [TS]

  scene is like oh we are developing the [TS]

  character we're showing we are showing [TS]

  how she feels [TS]

  by showing what she sees even though she [TS]

  has a slight expression the entire time [TS]

  sort of like bringing bringing you into [TS]

  the inner life of this girl without [TS]

  giving you a voiceover even as an action [TS]

  scene though I mean it's just so many [TS]

  frames where there's just nothing [TS]

  happening nothing's moving thats quiet [TS]

  there's silence and you would never see [TS]

  that many frames go by without something [TS]

  happening in a an american animated film [TS]

  and I love that about it i think it's [TS]

  great i wrote that particular bit down [TS]

  because it just struck me you know this [TS]

  is so so different from what I'm used to [TS]

  you know growing up watching handlebar [TS]

  Berra cartoons & you think of the [TS]

  running joke about how you keep running [TS]

  past the same window over and over and [TS]

  there's so much like unnecessary [TS]

  I mean a positive way unnecessary luxury [TS]

  to the pacing of the scenes but also the [TS]

  incredible amount of detail and the [TS]

  glistening water and stuff but I mean [TS]

  how many cartoons have you watched where [TS]

  it's just people eating for a few [TS]

  seconds or like Kiki waking up and you [TS]

  hear you when she wakes up in a room and [TS]

  she hears i just noticed this time [TS]

  watching it like I think it's that she [TS]

  had like a boat going by and she rolls [TS]

  over and look at the sheet uncovers GG [TS]

  and she kind of stirs a little bit and [TS]

  then crawls back under the sheet [TS]

  it's just a delightful little little [TS]

  tone not necessary to anything about [TS]

  pushing the plot forward but you know in [TS]

  the same way it's like you're saying [TS]

  Steve the earlier Steve I think it's [TS]

  hard for somebody like me to readjust [TS]

  when you're expecting that ridiculous [TS]

  amount of pacing but you know the the [TS]

  scenery and the background and the [TS]

  activity and that most mundane to you i [TS]

  guess you could say is is really as I [TS]

  want a character in the movie it's so [TS]

  important that this not be pasted that [TS]

  way and then when it does happen you get [TS]

  to that amazing you know third act and [TS]

  suddenly it's like an explosion of [TS]

  activity it's like the end of totoro [TS]

  you're like wow this is like a whole [TS]

  different movie now there's stuff [TS]

  happening really underscores that even [TS]

  even in the middle of a the actual [TS]

  action scenes they have for example when [TS]

  they decide to do action even if it's [TS]

  just like oh she's leaving home and [TS]

  she's going along and she's like you [TS]

  know floating on her broom and then it [TS]

  starts to rain and that tiny sequence of [TS]

  it starts to rain zoom along the top of [TS]

  the thing going it's a couple seconds [TS]

  long or whatever but they do a good job [TS]

  again with going down the hill on the [TS]

  bike leaning into the turns that is a [TS]

  very well done exciting action scene [TS]

  it's like boy where it's as if the [TS]

  camera is like still and lingering in [TS]

  common with the action scenes come the [TS]

  camera knows exactly what to do to make [TS]

  the action scenes exciting in short [TS]

  bursts building up to the big finale on [TS]

  but even in the middle like when they [TS]

  when they need to do that they do it [TS]

  very very well and you know and go back [TS]

  to real life and it its it's like her [TS]

  life where it's mostly just the mundane [TS]

  part of living your life punctuated by [TS]

  these significant events it's great that [TS]

  they can they can do something that sort [TS]

  of action-packed without necessarily [TS]

  having a whole bunch of craziness going [TS]

  on [TS]

  like during that sequence where she [TS]

  leaves home that you're talking about i [TS]

  just made a note this flying sequence [TS]

  actually feels dangerous and it really [TS]

  does because they do such a good job of [TS]

  making her seem like she's unsure on her [TS]

  broom and she's clearly unbelievably [TS]

  high up in the air and it just you watch [TS]

  that and there's not that much going on [TS]

  relatively on screen but yet you know i [TS]

  was getting vertigo watching the thing I [TS]

  liked to seen the the in terms of a [TS]

  hanna-barbera style animation the thing [TS]

  that i noticed i mean when she goes and [TS]

  visits her friend painter in the [TS]

  countryside I had that moment its like a [TS]

  this is Miyazaki's like finally the [TS]

  countryside I could do my all my totoro [TS]

  stuff like a big trees and water [TS]

  glistening and and you know that's nice [TS]

  and and you know field stretching out to [TS]

  heels in the background but early on [TS]

  there's the scene where she's the first [TS]

  person she encounters when she's on her [TS]

  broom is this other witch who's who's [TS]

  bitchy right she's like a nice night [TS]

  isn't it well it was this terrible but [TS]

  uh there's kiki is learning to fly and [TS]

  at one point the the witch asked her to [TS]

  turn off a radio and she reaches Davis [TS]

  exact noted she reaches down to turn off [TS]

  the radio and the broom Bob's down and [TS]

  she has to compensate and get it back to [TS]

  come back up because just the act of [TS]

  leaning forward like that it's like [TS]

  taking your hands off the steering wheel [TS]

  it you know she's not an expert at [TS]

  keeping level and then she bobs back up [TS]

  and it's a little moment but it you know [TS]

  that that's a lot of animation work to [TS]

  do that and yet it feels so much more [TS]

  real because then you realize she is [TS]

  struggling to keep it together and you [TS]

  know it's not easy for her but you know [TS]

  again if you're coming quarters and as [TS]

  an animator you would never show [TS]

  something like that because it gives you [TS]

  hints about the physics of flying broom [TS]

  and you know and it's not in a straight [TS]

  line and and yet we see it in in this [TS]

  movie and and i love that i absolutely [TS]

  love that that's the luxury of miyazaki [TS]

  movies is that you know like so that [TS]

  first of the miyazaki movies on is the [TS]

  traditional ones they have beautifully [TS]

  painted background which are more or [TS]

  less static they may pan across them or [TS]

  like zoom in on me [TS]

  whatever right and those are beautiful [TS]

  like paintings in and of themselves and [TS]

  you have the character animation / and [TS]

  you know no matter how minor the scene [TS]

  in a feature-length miyazaki movie [TS]

  that's no matter what the scene is some [TS]

  person put their entire life and being [TS]

  into that scene so I'm not the note that [TS]

  i have in this is the but you have to [TS]

  which is flying alongside each other and [TS]

  then in a lesser movie any lesser [TS]

  animated movie the two people will be [TS]

  flying alongside each other and talking [TS]

  and they would never be that Bob and [TS]

  then if you watch it with the daily note [TS]

  that has it she bobs when she adjusts [TS]

  the radio when she comes back up she [TS]

  really just her dress because she wants [TS]

  to regain her composure so that you can [TS]

  continue having a conversation and some [TS]

  guy had to animate those you know 200 [TS]

  frames of animation or whatever it is [TS]

  and like eat he or she poured their [TS]

  heart and soul into that animation and [TS]

  thought about I mean occupy key frame to [TS]

  do whatever and that like there are no [TS]

  like oh and this is just a scene where [TS]

  this dialogue so don't worry about it or [TS]

  this isn't a big same route are going [TS]

  better or in this scene bridge in this [TS]

  scene we're just worried about the [TS]

  background so don't worry about like [TS]

  every single moment you know and that's [TS]

  the luxury of these movies like you know [TS]

  they just poured every ounce of time and [TS]

  money and effort into it it's like the [TS]

  you know this able to get apple hardware [TS]

  whatever someone sweats over every [TS]

  little detail in a future like miyazaki [TS]

  someone supposed to every little detail [TS]

  kids are not going to notice this but it [TS]

  allows adults to rewatch these things [TS]

  again and again and pick out new things [TS]

  every time I saw that cumulative effect [TS]

  what you're describing and you know it [TS]

  when you're saying that i'm thinking [TS]

  like in any other movie the two broom [TS]

  sticks with literally be parallel and [TS]

  equidistant the entire time the two [TS]

  characters are talking and you know it [TS]

  now I'm thinking about that more now and [TS]

  I'm realizing like from through the [TS]

  entire movie there's one thing that's [TS]

  always sustained that adds to her [TS]

  character something you don't see a lot [TS]

  which is that she really has to [TS]

  concentrate to fly you know usually [TS]

  which hop and she's going on a chopper [TS]

  and taking off and in this case where [TS]

  you can really tell that it's taken [TS]

  especially at the end when she's [TS]

  actually like my favorite scene in the [TS]

  movie where she's sweating because [TS]

  you're spiring to try and be able to fly [TS]

  which is going to mojo back [TS]

  but that whole sense all the way through [TS]

  that you know what a weird balance it is [TS]

  though that we could see this 13 year [TS]

  old girl who has trouble flying or never [TS]

  liked that worried that she's gonna like [TS]

  you know flying door [TS]

  heller blade or something there's not [TS]

  that constant sense of danger I'm kind [TS]

  of worried when when she in the credits [TS]

  when she's right in front of pacing [TS]

  tambo and his little bicycle airplane i [TS]

  have a little worried about hurting [TS]

  people that someone actually yes [TS]

  somebody's very enthusiastic kind of [TS]

  just like just don't take your eyes off [TS]

  the ball here to here you get chopped up [TS]

  is a very enthusiastic young man that's [TS]

  what I worry about it but not until that [TS]

  point I think my biggest moment of [TS]

  concern is in that end sequence where [TS]

  she's getting along maybe a foot above [TS]

  the ground [TS]

  oh yeah that there's sort of a star wars [TS]

  trench sequence that goes on really [TS]

  really just like she's on a skateboard [TS]

  at that moment right she's like she [TS]

  doesn't land on the ground but she's [TS]

  she's flying inches off the ground and [TS]

  the camera is low downright the [TS]

  perspective there is work where we're [TS]

  low at ground level and we're watching [TS]

  her just kind of skitter across the the [TS]

  the street to get to that to the airship [TS]

  she's got that stance of like those [TS]

  knobs that drive there [TS]

  suzuki motorcycles down the freeway with [TS]

  their bare feet up on the back of the [TS]

  tail [TS]

  also she's um I early on talking about [TS]

  how she flies in the way it works when [TS]

  she first takes off she you know she [TS]

  kind of goes sideways and she hits a [TS]

  tree and then she hits another tree and [TS]

  and in the ne in the subtitle version [TS]

  you see the she you see you go over one [TS]

  tree right and and uh and then another [TS]

  tree shake so there's an implied [TS]

  collision and then the father says oh [TS]

  she's you know now she's over the lake [TS]

  she'll be fine but you don't see you [TS]

  don't you don't see her take off into [TS]

  the horizon flying straight like any [TS]

  other movie would write like she's [TS]

  writing herself now and she's figured [TS]

  out how to fly [TS]

  no she was nowhere in sight she's not [TS]

  going straight she's going sideways she [TS]

  doesn't have it together and then and [TS]

  it's funny because then you see your go [TS]

  past the one tree and you're like well [TS]

  now what and the other tree shakes and [TS]

  you're like no she's got again but in [TS]

  its much played much broad much more [TS]

  broadly in the Disney dub version where [TS]

  the whole way you can actually hear i [TS]

  think GG and there's a little bit of [TS]

  Kiki kind of like you know not that dro [TS]

  there we go again right there's there's [TS]

  many ways but more dialogue in the [TS]

  american version because the Japanese [TS]

  versions of all these films they trust [TS]

  the audience understand what's going on [TS]

  about having characters you know what [TS]

  having characters just you know spell [TS]

  out what's going on or have the [TS]

  reassuring line of dialogue to make sure [TS]

  you know what's happening or that you [TS]

  know what here comes with it [TS]

  that's that seems to be the way they [TS]

  take anime and bring it to America like [TS]

  well obviously we need our characters to [TS]

  talk more soon as characters aren't on [TS]

  the screen and they can add lines to [TS]

  them because the mouth what you want to [TS]

  see the mouth moving like they're [TS]

  off-screen it's like yeah start putting [TS]

  a dialogue so the kids can follow along [TS]

  and that the Japanese movies just trust [TS]

  kids and adults and everyone to be able [TS]

  to understand what's going without [TS]

  saying anything and took to their credit [TS]

  like they have like long sequences in [TS]

  this movie where for example she [TS]

  delivers the herring pine the rain and [TS]

  it's wet and tombos waiting for her and [TS]

  she comes back home and she has a couple [TS]

  words with a sauna going up the stairs [TS]

  but there's a long sequence where she [TS]

  just kind of like silently returning and [TS]

  walked into her room and then walks up [TS]

  to her bed and then does the big flop on [TS]

  the bed because again totally realistic [TS]

  and that whole long sequence doesn't [TS]

  have any words or even facial [TS]

  expressions let you know what she's [TS]

  thinking but they trusted like you will [TS]

  understand her situation you know what [TS]

  she's thinking when she flops headfirst [TS]

  onto the bed it is not a shock because [TS]

  that's exactly what we all expected to [TS]

  do at that point because we are with her [TS]

  emotionally through the entire sequence [TS]

  and it's not because there was a [TS]

  voiceover or there was yelling or [TS]

  screaming back and forth or anything [TS]

  like that [TS]

  also i have a twelve-year-old daughter [TS]

  and I've seen that happen in my house [TS]

  narrow in fact my daughter was like oh I [TS]

  do that Maggie [TS]

  yup yup you do I honestly I think the [TS]

  Japanese version is funnier when she [TS]

  takes off and hits the trees [TS]

  I think it's funny that it's absolutely [TS]

  silent and everybody's tensely watching [TS]

  if she's gonna be able to do this and [TS]

  she has this chino she's got an audience [TS]

  which is I mean talk about the worst [TS]

  thing in the world it's nice that [TS]

  everybody comes and says goodbye to her [TS]

  but then they have to watch it she tries [TS]

  to fly and then and then after all of [TS]

  that and sheets the tree but she writes [TS]

  herself and it's kinda like okay it's [TS]

  gonna be okay and she goes over the [TS]

  other trainer like all right she's on [TS]

  her way and then the other tree shakes [TS]

  and it's like oh no and it's subtle but [TS]

  it's really really funny and it's more [TS]

  sticky and me in the dubbed version i [TS]

  mean i don't wanna make this all about [TS]

  subs and dubs but i think it's funny [TS]

  that it's a different kind of humor and [TS]

  I i liked it in the good news is i think [TS]

  they scale that back that broad comedy a [TS]

  little bit in the 2010 version because i [TS]

  don't recall there being a whole lot of [TS]

  chatter [TS]

  on during a sequence but just hitting [TS]

  the trees and then the bells ringing [TS]

  that's not hear the bells ringing she [TS]

  hits that last tree but i don't remember [TS]

  hearing GG say anything at all [TS]

  time for a break for this week's sponsor [TS]

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  you i fix it for supporting five-by-five [TS]

  and the uncomfortable like Indiana Jones [TS]

  though the whole way that you're going [TS]

  to get the audience to identify with [TS]

  this character is it can't look easy [TS]

  it's actually has to be vulnerable and [TS]

  she has to not do well in many things so [TS]

  like she's setting off on an adventure [TS]

  and if you want the audience to feel [TS]

  like this is an adventure because it's [TS]

  not like going to save the kingdom or [TS]

  you know anything like that she's just [TS]

  going to first of all she's leaving home [TS]

  with 13 you have to make that feel more [TS]

  fraught that does like oh they used to [TS]

  do this because seems crazy you leave [TS]

  the moment 13 but she's a witch named [TS]

  the special thing and she's like she's [TS]

  on her broom on her own [TS]

  destination unknown that has to feel [TS]

  like an adventure and from the very [TS]

  beginning it feels like an adventure [TS]

  because just getting off the ground is [TS]

  an adventure just leaving town [TS]

  successfully adventure and then it and [TS]

  rain is rain adventure rains an [TS]

  adventure like what do you do when it [TS]

  rains you don't have any place to go you [TS]

  going to turn around and go back home [TS]

  and you know go like your father [TS]

  whispering here you can always come back [TS]

  home if you want to you know like it you [TS]

  have to identify with her vulnerability [TS]

  right off the bat and so it does feel [TS]

  like an adventure to if you were just to [TS]

  write down the events what happens [TS]

  that's not much of an adventure but it [TS]

  really feels like it you know sleeping [TS]

  with the cows waking up in a new place [TS]

  on the train coming into the town across [TS]

  the water with the gulls like that's not [TS]

  much happening but you feel it through [TS]

  her because you immediately identify [TS]

  with her as in overhead yeah when she [TS]

  gets to the city and and this is my ah [TS]

  before i brag about it to talk about [TS]

  setting here because this is this is a [TS]

  fascinating thing and that this is a [TS]

  movie when you watch totoro you're [TS]

  watching a movie about Japanese people [TS]

  in Japan when you watch kiki's delivery [TS]

  service [TS]

  you're watching japanese movie in [TS]

  Japanese or originally at least maybe [TS]

  dubbed in english about characters who [TS]

  are in an undefined northern european [TS]

  country where a lot of the writing is in [TS]

  English or in a fake Germanic kind of [TS]

  language in fact there's there's even [TS]

  some english language [TS]

  stuff happening in the background of the [TS]

  japanese version to imply that this is [TS]

  Europe or something Europe ish and the [TS]

  look of it is according to wikipedia you [TS]

  know it was a mostly based on stuff in [TS]

  Sweden I've actually been the city looks [TS]

  like Stockholm a lot of the stuff in the [TS]

  countryside looks like this B which is [TS]

  um on this in Scotland which is an [TS]

  island in the baltic sea I've been to [TS]

  both of those places there there's a [TS]

  there's a scene where she's walking down [TS]

  the street at one point that I i pointed [TS]

  out of myself i have been on that street [TS]

  like I can tell what the references are [TS]

  but it's also fascinating because it's [TS]

  like it there's some some cognitive [TS]

  dissonance there it's like a weight i'm [TS]

  used to seeing these japanese animated [TS]

  movies about Japan and that's not what [TS]

  this is this is this is I can't even [TS]

  know that what's the name of the of the [TS]

  bakery it's like this for you do keep on [TS]

  just more good sport gooder right it [TS]

  would yeah right [TS]

  it's it's not it's not Japanese all the [TS]

  writing is not it's sort of fascinating [TS]

  how you you got to think about like how [TS]

  this was was playing for a Japanese [TS]

  audience that you know that's all of the [TS]

  non-japanese writing and sending a [TS]

  signal that this is happening in in [TS]

  Europe so I thought that was I thought [TS]

  that was really interesting to it makes [TS]

  this feel very different in that way [TS]

  from and it's storybook here up kind of [TS]

  thanks to rebook mid century Europe but [TS]

  it's definitely not like totoro where [TS]

  you know you're in Japan and this is [TS]

  about the Japanese countryside all [TS]

  settings are realistic in that integral [TS]

  like it's a house in the country and you [TS]

  have right and rice fields and that's [TS]

  what it looks like it here even though [TS]

  this is an amalgam kind of its like a [TS]

  composite character of Health European [TS]

  cities but it is a real living City that [TS]

  isn't that is not the enemy nor is it [TS]

  your friend it's just a city where [TS]

  people work where people do the things [TS]

  in there are people who were Kurt to you [TS]

  and there's there are you know strangers [TS]

  on the street and their people who are [TS]

  nice to you and their friends and their [TS]

  classes and there's like it is it like [TS]

  it is an entire working city and after [TS]

  watching this movie so many times like I [TS]

  can't imagine any adult who wouldn't [TS]

  want to live in that city because it is [TS]

  ideal lot it is idealized to integrate [TS]

  they have everything they have the [TS]

  beautiful scenery that nice people they [TS]

  have good bakeries you can live in the [TS]

  woods and drink resetar birds [TS]

  yeah right which is why would you [TS]

  deliver stuff yeah yeah I'm not not not [TS]

  that well that's and a part of Stockholm [TS]

  but it's [TS]

  modeled after is the old town in the [TS]

  centre-right is there's the whole city [TS]

  and then there's the part where the [TS]

  tourists like me go and and say wow this [TS]

  is so quaint and beautiful and that's [TS]

  what this movie is showing right it's [TS]

  the beautiful village ii old European [TS]

  streets and things like that and then [TS]

  and then beautiful countryside when we [TS]

  get out to where the painter is going to [TS]

  paint Kiki but definitely not naked in [TS]

  the village definitely is it has it [TS]

  vaguely Germanic feel although tombos [TS]

  clothes are more flaming League a [TS]

  Frenchman I think interesting well i [TS]

  think you're going for Sweden or Denmark [TS]

  but yeah sure it's yours is that is that [TS]

  a Swedish look I don't know Europe [TS]

  well I found at one point one of the [TS]

  flags is like a yellow it's one of those [TS]

  would cross is like you see in the [TS]

  Scandinavian countries but it's like [TS]

  yellow one purple and I'm like all going [TS]

  up cot flags flags we don't recognize it [TS]

  crazy flag is that well when I'm when I [TS]

  would have been in Scandinavia it's like [TS]

  okay is this the yellow one the blue or [TS]

  is this the yellow on the red or is this [TS]

  the white on the blue I don't know [TS]

  because they're like I'm color blind to [TS]

  see if the guys don't make everything in [TS]

  X or even come on don't do that but but [TS]

  purple yellow and purple like I'm [TS]

  confident is not an actual country [TS]

  that's the made-up country that Kiki [TS]

  lives in apparently but so anyway when [TS]

  they get to the once you get to the town [TS]

  she causes a traffic jam and almost an [TS]

  accident and and i noticed for the very [TS]

  first time that a bus zooms by her that [TS]

  is with the label simply to do is really [TS]

  on it that made me laugh and then and [TS]

  then and tombo basically gets her out of [TS]

  trouble with the police by saying help [TS]

  beef somebody stole my something and and [TS]

  she runs the other way which I i like [TS]

  that moment of you know she is here she [TS]

  is a little desperate right i mean she [TS]

  is trying to make it and and you get [TS]

  that sense like when it later on when [TS]

  it's evening you know she needs to find [TS]

  a way she could tries to go to the hotel [TS]

  and they're like you know what are you [TS]

  talking about you don't have any [TS]

  identification you're just a kid sitting [TS]

  silently with the uneaten sandwich [TS]

  yes well done until until the cat eats [TS]

  as the Sun as the sun goes down you [TS]

  don't need her to talk to the cat back [TS]

  and forth for an entire scene of [TS]

  dialogue oh what are we going to do you [TS]

  I don't know [TS]

  just a bum about you don't need to do [TS]

  that you just need to have her sit there [TS]

  with your arms at your side with food in [TS]

  front of her not eating it and have the [TS]

  Sun going down and then just maybe have [TS]

  the cats a Kiki that's all you need you [TS]

  don't need to spell out what's going on [TS]

  so all that desperation and the feeling [TS]

  when she when she has that moment where [TS]

  the cop is so you stay right here and [TS]

  she's like I'm gonna go this way it's [TS]

  that it's like she's yes he should [TS]

  probably stay right but she's like it's [TS]

  going to be complicated it's gonna ruin [TS]

  her chance and it's again it's it's not [TS]

  a really nasty kind of she's desperate [TS]

  and needs to find a way to survive but [TS]

  that's what's happening here is she's [TS]

  disobeying the police to do think she's [TS]

  worried about most with the cop is that [TS]

  he's going to tell her parents [TS]

  yeah yeah yeah she wants to get on with [TS]

  her life she wants with this new life [TS]

  that she's dedicated herself to doing [TS]

  yeah and also not have her parents find [TS]

  out that she started a wreck also john [TS]

  you talk about that the the beautiful [TS]

  moments a little tiny details that some [TS]

  animator somewhere spent the there's a [TS]

  moment where tambo is in in that scene [TS]

  where he reveals that he cleverly made a [TS]

  diversion [TS]

  he is looking at her and riding his bike [TS]

  and almost runs into a garbage can [TS]

  yeah and has to adjust and go around the [TS]

  garbage can it's just like you don't [TS]

  it's amazing detail that's like that is [TS]

  detail of from a live-action world but [TS]

  they animated the whole thing and you [TS]

  can feel you again you can feel the [TS]

  physics of it you can see that he has to [TS]

  swerve many as to get back his bike back [TS]

  to straight and the b-bumps the garbage [TS]

  can and it and she wants the garbage can [TS]

  but he doesn't like he doesn't like [TS]

  Harpo Marx it into the garbage can know [TS]

  that he's trying to is trying to keep [TS]

  his composure you know I know it sounds [TS]

  silly but it's like I'm still burning [TS]

  off you know 40 years of of watching [TS]

  american cartoons and you know I get a [TS]

  little while and it's funny and it's [TS]

  real and then the movie goes on and [TS]

  tombos interest in her this is this is [TS]

  the you know I more cliche is that we [TS]

  this movie avoids that armors Atomos [TS]

  interest in her is because she is flying [TS]

  it's not while look at this gorgeous new [TS]

  girl that's flown into tent like it [TS]

  the in every other movie that the [TS]

  females only worth is how is how nice [TS]

  she looks and so that the first if you [TS]

  if there's some sort of something that [TS]

  happens at first sight it's like wow [TS]

  look at her like it even something like [TS]

  you know how to train your dragon where [TS]

  what's your name comes walking slow [TS]

  motion with explosion behind [TS]

  I'd like the whole point is she's [TS]

  beautiful and beautiful is is the way [TS]

  women are valuable and therefore and I [TS]

  mean that's fine for what it is but like [TS]

  the in this movie [TS]

  tambo is interested in her because she [TS]

  can fly literally fly and he is obsessed [TS]

  with flying and yes he's obviously you [TS]

  know it [TS]

  interested in our and kind of a [TS]

  boyfriend-girlfriend kind of way as well [TS]

  but that is not the plot of this movie [TS]

  that's not how this movie's gonna be [TS]

  resolved it's not important to this [TS]

  movie and he has a legitimate interest [TS]

  in her that is based on something that [TS]

  she can do that he can't he's just so [TS]

  flying around for pete's sake [TS]

  yeah well there's gonna be a huge party [TS]

  at the Flying Club the aviation club [TS]

  yeah and I've tried at the first couple [TS]

  times the movie I was lumping tambo in [TS]

  with the rich kids but now if you want [TS]

  to look closely like he is he's well off [TS]

  but he's not like the giant house on the [TS]

  cliff overlooking to see well off like [TS]

  his he lives in the sort of middle-class [TS]

  part of town and any place overlooking [TS]

  to us buyers to they all live on the [TS]

  cliff of what I'm talking like the one [TS]

  where they bring the little toy cat [TS]

  where that was like actually i own this [TS]

  entire Peninsula ok for the fashion [TS]

  designer woman who is like the fashion [TS]

  designer woman is not his mother right [TS]

  his mother just a regular person he's [TS]

  got a propeller on his bike his friends [TS]

  cars could piss like is probably the [TS]

  rolls-royce but a beat-up rolls-royce [TS]

  like you know that his friends going so [TS]

  yeah there's this definitely class [TS]

  structure going on here at this point of [TS]

  the movie I i really like that they [TS]

  don't make a big deal about the fact [TS]

  that she's which I mean it's just [TS]

  witches exist in this world and people [TS]

  know about it seems like their influence [TS]

  may be fading you know at least in the [TS]

  big cities but you know the time frame [TS]

  is modern it's like my grandmother told [TS]

  me right at least they have like [TS]

  electric ovens you know so it's not it's [TS]

  not easy but we're not going wrong in [TS]

  the past when which is in talking cat [TS]

  still roamed the land sort of territory [TS]

  key now there's airplanes and electric [TS]

  ovens but they're also old ladies who [TS]

  are suspicious of the electric ovens but [TS]

  that's a good part in the beginning of [TS]

  this movie like when this movie starts [TS]

  you you know from the posters or [TS]

  whatever that's gonna involve the witch [TS]

  riding on a broomstick but if you like [TS]

  my kids into the posters if you just [TS]

  bring a little kid into this clean and [TS]

  you see the mom making potions and stuff [TS]

  like that [TS]

  the movie has to eventually established [TS]

  like the rules of the universe [TS]

  and right up to the point where Kiki you [TS]

  know straddle the broom to leave her [TS]

  house and her hair starts ripping like [TS]

  that you're not sure what's up you're [TS]

  like well as witches and I guess they [TS]

  have dresses it seems like a normal [TS]

  family and they were gonna go camping [TS]

  and yes the moms potions or it's not a [TS]

  big deal but then it's like nope you can [TS]

  actually fly and it's magic is dramatic [TS]

  and it's beautifully animated and you [TS]

  know that is an exciting moment I think [TS]

  in the film for a little kid because [TS]

  they don't know what the rule if you [TS]

  don't show them the poster ahead of time [TS]

  with you shouldn't they don't know what [TS]

  the rules this world are up front and [TS]

  the animation when she takes off is is [TS]

  beautiful and and wonderful and not at [TS]

  all mundane like the act of flight is [TS]

  acknowledged for what it is like this is [TS]

  amazing and everyone who sees you do it [TS]

  to like she just flew did you see I mean [TS]

  it's not like they shouldn't be not [TS]

  falling over like they would be [TS]

  realistically speaking but it is it is [TS]

  given credit as as a important [TS]

  impressive thing through the how long [TS]

  they spend on it and how well it's [TS]

  animated the I was I I'm gonna mention [TS]

  the bakery now and I was trying to prep [TS]

  by its duty upon yeah but it's [TS]

  apparently pronounced gucci keep on [TS]

  which okay ponyo location which is taken [TS]

  from rock-scissors-paper fruit energy [TS]

  balagia haagen-dazs Tanya's bakery what [TS]

  they did in the dub they call the good [TS]

  cooking pan bakery which I thought was [TS]

  clever because they tried to try to get [TS]

  the same sounds into an english we're [TS]

  not the I like so there's all this all [TS]

  connects because for some reason a lady [TS]

  with a baby left the pacifier at the [TS]

  bakery and what let's talk about the [TS]

  first lady with the baby massively [TS]

  pregnant Osan oh yes well that's what i [TS]

  was going to say it so a giant huge [TS]

  pregnant lady comes out of the stores [TS]

  like a lady forgot your uh and so we [TS]

  meet us on oh yeah so what we're in the [TS]

  fifties I know they had two separate [TS]

  beds like i was at Ozzie and Harriet [TS]

  have the separate beds and they have the [TS]

  beds together and I was someone had the [TS]

  best I don't know the history of i [TS]

  cannot tell anybody [TS]

  listen Ricky yeah I seem to recall that [TS]

  like saying the word pregnant on early [TS]

  television was somewhat frowned upon and [TS]

  like in general like acknowledgement of [TS]

  the human reproductive process took a [TS]

  long time to come into live-action [TS]

  television for adults in our country can [TS]

  you think of another car [TS]

  tune that acknowledges human [TS]

  reproduction is a great showing a [TS]

  massively I mean maybe tom and jerry did [TS]

  it because they did a lot of raunchy [TS]

  stuff they're having and pretend to be [TS]

  pregnant at some point I don't know but [TS]

  like it she is it like an ad of the [TS]

  people must move your style is right but [TS]

  she's more or less the anatomically only [TS]

  slightly exaggerated gigantic pregnant [TS]

  moment in a cartoon for children and [TS]

  that shouldn't be impressive because [TS]

  that's how we all got here but so much [TS]

  of it [TS]

  cartoons for children or any program for [TS]

  children does not acknowledge how people [TS]

  come to be at all and this movie doesn't [TS]

  shy away from it and there it is and [TS]

  it's a very important part of the movie [TS]

  because she is one in a long line of [TS]

  potential role models for Kiki which we [TS]

  should get to at some point listing [TS]

  those out and I think that is an [TS]

  important part of the movie that I'm at [TS]

  sad that it's surprising or shocking but [TS]

  this is one phase of one possible phase [TS]

  of a woman's life [TS]

  also let's not forget that in most [TS]

  movies if you have a pregnant lady her [TS]

  being pregnant is an important part of [TS]

  the plot because the title character is [TS]

  that why else would she be pregnant is [TS]

  something is going to happen with her [TS]

  pregnancy and you know what happens in [TS]

  the pregnancy in this [TS]

  nothing is worth over the reddit there's [TS]

  you see that she's now had a baby [TS]

  well it's something some respects it's [TS]

  important because that's why she needs a [TS]

  little help around the beach for sure [TS]

  but I mean it's just not you [TS]

  she could say hey I need some help [TS]

  around the bakery I've been meaning to [TS]

  hire somebody but instead she's a giant [TS]

  presently when it's it's not emblematic [TS]

  of some problem in her relationship or [TS]

  or a big source of tension with no with [TS]

  her mate for the child is not a prophecy [TS]

  baby will have to hope they will bring [TS]

  the end of the world that we know John [TS]

  that we know right it's not it's not [TS]

  going to be secretly that's the Kings [TS]

  baby and there's nothing like that one [TS]

  of the things i do notice is that what [TS]

  only one of Gigi's cats kittens [TS]

  yeah black kitten and that black kitten [TS]

  comes with him to learn so that he can [TS]

  be presumably a kitten or a black cattle [TS]

  of the future which and I thought our [TS]

  the baby will be the next gen and I [TS]

  thought no this is not i gotta stop that [TS]

  means gigi is a horrible racist [TS]

  teammates with a white puffy cat needs a [TS]

  black not puffy but he does it once it [TS]

  when one kid got his [TS]

  mastic jeans the other ones are nice and [TS]

  composed and that one is this path [TS]

  station after the thread and fallin also [TS]

  in this universe the boy cats are all [TS]

  black and not puffy and the girl cats [TS]

  are all white and puffy [TS]

  I think that's cool what we learned [TS]

  small sample size [TS]

  yeah those are the only cats we see [TS]

  really so i could be wrong [TS]

  there's another can actually on the the [TS]

  other witches broom stick at the [TS]

  beginning yeah used to be female [TS]

  yes baby back at like stuck stuck up cat [TS]

  stuck-up witch [TS]

  yeah so I sano it was her role that the [TS]

  the panoply of role models that are [TS]

  presented to Kiki throughout this movie [TS]

  she's kind of in the middle here and [TS]

  she's showing the possibilities of [TS]

  motherhood [TS]

  this is one thing you can do is a woman [TS]

  as you can you give birth [TS]

  she's a business owner yes she's [TS]

  assertive I she is is not like as you [TS]

  mentioned not not sort of no pun [TS]

  intended coward by her pregnancy and she [TS]

  is pregnant she's pregnant but continues [TS]

  to to do all the things that she does [TS]

  she's also kind and charitable to Kiki [TS]

  but also expects her to you know to to [TS]

  work and earn her keep [TS]

  you know she's not just sitting in a [TS]

  rocking chair like standing herself and [TS]

  exhaling right exactly and even even at [TS]

  the end of the movie when she gives [TS]

  birth she's standing on the hill [TS]

  weatherhead up to her you know shielding [TS]

  her brow looking at Kiki flying through [TS]

  the air and the husband has the baby and [TS]

  is feeding it right but this is one [TS]

  possible future for Kiki I up until that [TS]

  moment are we even sure that he's her [TS]

  husband [TS]

  yeah it took me a while i think is great [TS]

  i didn't get that was another about on [TS]

  the screen [TS]

  baking is this is a strong silent type [TS]

  clearly it was a particle he's working [TS]

  there to like he's making sure that the [TS]

  two of them have a business together [TS]

  sure I guess what bun in the oven get it [TS]

  went to bakers love each other very much [TS]

  too so maybe he's just helping out at [TS]

  the end but is that how it works is that [TS]

  there's a man and a woman and there's a [TS]

  baby is that I don't know this mayne [TS]

  ever seen as an animated film before [TS]

  interesting but you're right in a lesser [TS]

  film the the thing at the end that it [TS]

  allows Kiki to fly again would have been [TS]

  you know the the emergency pregnancy as [TS]

  as opposed to the Zeppelin you know [TS]

  which of courses for college if it does [TS]

  have a convenient timing was like they [TS]

  have as the movies ending we need to get [TS]

  her into labor she's like okay time to [TS]

  go [TS]

  you know right but I mean yeah it's [TS]

  still totally incidental it just happens [TS]

  to happen at that point it's it's not [TS]

  the focus of the film although she is [TS]

  still rather Zeppelin like come to think [TS]

  of it [TS]

  yeah I think she might have been a [TS]

  second so the first the first throw [TS]

  model the interstate his life is there [TS]

  besides her parents when she leaves home [TS]

  is the other girl in the broom who shows [TS]

  like at the end of your year which [TS]

  training this could be you you know [TS]

  worldly-wise but also a little bit [TS]

  stuck-up and full of herself and she [TS]

  goes into a town that smaller than the [TS]

  town to keep you will eventually end up [TS]

  in there is a difference in the dialogue [TS]

  between English and Japanese of as to [TS]

  whether kinky like is this town big and [TS]

  impressive to Kiki does the stuck-up you [TS]

  only think it's big and Kiki doesn't [TS]

  believe that or whatever but this is [TS]

  she's seeing a potential of her future [TS]

  self and deciding perhaps that she [TS]

  doesn't want to end up like that whereas [TS]

  when she sees asano this is another [TS]

  possibility that she may not want to [TS]

  look like that either but it is a a [TS]

  nicer possibility yes but it's funny [TS]

  it's like almost like you know what you [TS]

  can have one which every town it's like [TS]

  a mime or something it's like we can [TS]

  have one of these in town it's not [TS]

  really that like overwhelmingly weird [TS]

  the thing that really differentiates [TS]

  arisen that she's a witch is that she's [TS]

  a pumpkin [TS]

  you know what i mean and she doesn't [TS]

  include provincial right yes I mean yeah [TS]

  yeah she's a country mouse and the the [TS]

  witch with a green eyed cat has clearly [TS]

  she's figured out her trade and it's [TS]

  very proud of having done that and again [TS]

  key expires that again that's just a [TS]

  little bit of pot pushing forward of [TS]

  like how much she really wants to [TS]

  succeed at this she wants she wants to [TS]

  be a big kid she's been waiting for this [TS]

  thing to happen and and i think that i [TS]

  don't know i think that that they do a [TS]

  nice job of not over doing that with her [TS]

  character but it really well establishes [TS]

  that she's very motivated to try and [TS]

  make it in this place even she has no [TS]

  reason to think that she would succeed [TS]

  there she's not swept along by the plot [TS]

  either every part of this movie she is [TS]

  an active participant in making happen [TS]

  she decides that she wants to leave even [TS]

  though she had previously planned the [TS]

  next night she decides it's going to be [TS]

  clear night full moon I want to leave [TS]

  now she tries to take her broom and like [TS]

  her mother [TS]

  search the last little bit of motherhood [TS]

  before she leaves you know like she her [TS]

  actions drive this plot forward her [TS]

  decisions and her wanting to do things [TS]

  she's not like suddenly caught up in an [TS]

  adventure that she's swept along in or [TS]

  what [TS]

  she liked it you know compared to like [TS]

  kind of billboard like has adventure [TS]

  thrust upon him she makes all these [TS]

  changes in her life happen but through [TS]

  food deciding to do something if I were [TS]

  that helicopter dad though I mean I [TS]

  guess maybe the cats are familiar or [TS]

  something but i would have really given [TS]

  her driving skills I would have tried to [TS]

  talk her out of driving with a cat on [TS]

  the broom yeah you can get back the [TS]

  vision on that how that goes once you [TS]

  teach your daughter how to drive and how [TS]

  and how accepting this issue of your [TS]

  instruction well she did at least listen [TS]

  to his admonition that she should make [TS]

  the cat to in the radio while she yeah [TS]

  that's right the cat is there is the [TS]

  kind of that song that is such a great [TS]

  pop song which wondering what the [TS]

  Japanese Japanese only the Japanese one [TS]

  yeah although I i'm curious about what [TS]

  the theme song is saying but I it's got [TS]

  to be something that's totally on the [TS]

  nose it's a very fifty sock-hop gonna [TS]

  know it's from it isn't it from I [TS]

  thought I run the fact that essentially [TS]

  is actually a pop song from the [TS]

  seventies yeah but the style the Royal [TS]

  is a a fifties saw cop yeah well I mean [TS]

  it in the seventies and even Japan loves [TS]

  to make their own invitation versions of [TS]

  you know fifties American about a woman [TS]

  who's going to tell her boyfriend's [TS]

  mother about him and get him in trouble [TS]

  and admonished I think it's the thrust [TS]

  is what's called what's the song called [TS]

  rogue group called i was on youtube you [TS]

  can go and don't have a confront what's [TS]

  the song like that the the song that [TS]

  they replaced it with in the previous [TS]

  one is it just puts it like the most in [TS]

  most cases i don't like when they [TS]

  replace the Japanese song with an [TS]

  English with an entirely different songs [TS]

  it's usually terrible but the songs this [TS]

  one are not they're not super terrible [TS]

  its jail [TS]

  yeah it say that it's an incredibly [TS]

  generic happy disney pop right around [TS]

  the not but that insulting [TS]

  yeah they're not insulting there not [TS]

  knowing that that the lyrics are not [TS]

  insulting Lee ridiculous right I'm [TS]

  actually disappointed that those that's [TS]

  it that's an actual pop song i was i was [TS]

  totally thinking the lyrics were like [TS]

  along the lines of kikis flagging not [TS]

  broomstick engine has a cat could be [TS]

  your actual silver a town which is a [TS]

  place where people these encountering [TS]

  problems with where they're a [TS]

  the riches here come see girls watch out [TS]

  for the boot keep it going to get you [TS]

  can't turn the radio down because here's [TS]

  another witch but yeah guess that's not [TS]

  it they are light with the exposition [TS]

  label I appreciate that [TS]

  sorry I'm trying to imagine what the [TS]

  bridge of that song is about crows in [TS]

  some way by good and they can memorize [TS]

  faces and pick us left in this year in [TS]

  August has learned to deal with them [TS]

  yeah in those scenes with the speaking [TS]

  of the crows like this is another thing [TS]

  in the in the grand tradition of totoro [TS]

  where again that the faces in this movie [TS]

  are miyazaki faces they're not realistic [TS]

  human looking faces there you know kind [TS]

  of in-between they're not they're not [TS]

  taught entirely cartoonish but the [TS]

  animals are frighteningly realistic like [TS]

  they look like they're all like little [TS]

  cow [TS]

  yeah the cow the crows the goat who [TS]

  wants the corner into a road just like [TS]

  frighteningly dead on realistic has been [TS]

  terrifying and again it's like that's [TS]

  you know how it a little kid powered a [TS]

  child see a bird squawking your face it [TS]

  would be terrifying when you see burn up [TS]

  close like that they're scary little [TS]

  dinosaurs [TS]

  it's terrifying when you're an adult I [TS]

  hate him hate birds [TS]

  well and there's those talons on that [TS]

  thing is it's sort of scratching at her [TS]

  when she falls into the tree that it [TS]

  really is very scary all the somebody's [TS]

  basis now for some reason to keep [TS]

  thinking of house moving castle a tour [TS]

  or howl's moving castle and what's the [TS]

  one with mom and castle in the sky like [TS]

  I love the straight-on it's almost like [TS]

  his Kubrick shot is a shot of somebody [TS]

  looking at the camera looking extremely [TS]

  determined with their face set whether [TS]

  that somebody just got punched in the [TS]

  stomach [TS]

  whether it's somebody's trying to fly [TS]

  something that's you know I mean there's [TS]

  there's a certain kind of me I don't [TS]

  know that's an amazing or miyazaki thing [TS]

  but I is his characters are artists [TS]

  imbued with their silence but their [TS]

  faces just have so much purposefulness [TS]

  to them you know you don't get that with [TS]

  Fred and Barney I'm gonna I'm gonna [TS]

  mention something that i noticed this [TS]

  time I think that that I haven't noticed [TS]

  before which is when she gets when when [TS]

  key goes with the the artist back to the [TS]

  woods to her artists retreat with the [TS]

  crows [TS]

  parkrose alright we've got off on the [TS]

  wrong foot last time I hope you don't [TS]

  pick my eyes out this time haha I'm my [TS]

  cabin deep in the woods i'll show you my [TS]

  etchings yeah seriously there is she's a [TS]

  very does the artist is a very sensual [TS]

  person is what I'm saying these little [TS]

  boys don't have legs that look like this [TS]

  although it bothers me a little bit that [TS]

  she's basically a very tall may from [TS]

  totoro she's also kind of hot and that [TS]

  make it very uncomfortable yeah that [TS]

  makes me uncomfy about I was she says [TS]

  these these legs I'm like or the boobs [TS]

  you could have mentioned the boobs and [TS]

  not the legs but ok this is not a boy [TS]

  you picked up here hitchhiking and [TS]

  another one of miyazaki's really big [TS]

  laugher here this explosion of left i [TS]

  love that I love that take that win it [TS]

  when it's somebody I'm thinking very [TS]

  seriously about this and I said [TS]

  something very serious long pause and [TS]

  then haha ah i love that that is so [TS]

  great [TS]

  actually I realize that's an anime true [TS]

  but that's going to actually sort of [TS]

  bothers me because there's so much [TS]

  realism in these movies and then that [TS]

  just that that consoles me out of it [TS]

  there's a little bit like like it works [TS]

  in the scene like for example with [TS]

  whether the propeller bike crashes and [TS]

  like are you okay like that is a place [TS]

  where there is tension you're worried [TS]

  but then once you see everyone's okay [TS]

  there is a release that much like that [TS]

  part's realistic that's what he told [TS]

  about the you know the artist too [TS]

  because I felt like that was Kiki being [TS]

  very serious and the artist is like [TS]

  totally deflate services like now it's [TS]

  fine you know that's you're worried [TS]

  about too much too much [TS]

  there's a bit earlier that when she has [TS]

  the flu and she asked if she's gonna die [TS]

  and no you have to responsible [TS]

  oh yeah oh oh yeah laughing a little kid [TS]

  you know that kid cracks you up when [TS]

  they say something like most adults are [TS]

  better at holding it in like when your [TS]

  kid something cute and silly like that [TS]

  you don't have right in their face but [TS]

  osanna was really good areas and hostess [TS]

  it's just so over-the-top accountant me [TS]

  out of it so I was gonna say we turn our [TS]

  faces [TS]

  it looks to me like when the the artist [TS]

  is sketching keys face that we see more [TS]

  detail in the sketch of a canyon face [TS]

  then the actual faces are in the moon [TS]

  because they're because they're stylized [TS]

  then you don't need that many lines like [TS]

  that's that that's the economy of the [TS]

  miyazaki faces there I'm [TS]

  able to view such incredible emotion [TS]

  with so few lines like that's the [TS]

  artistry of it and when she drives it is [TS]

  a sketchy like we don't you know you see [TS]

  all these details like whoa where's that [TS]

  coming from like you don't need those [TS]

  days and we don't see that level of [TS]

  resolution if you live in this world you [TS]

  see the full resolution of people but we [TS]

  we don't see that so I thought that was [TS]

  what was her name Ursula right [TS]

  personally have the artist so she she is [TS]

  another possibility for Kiki's future [TS]

  saying yeah he is an independent woman [TS]

  living on her own you know chasing her [TS]

  artistic music became self-sufficient [TS]

  confident a little bit eccentric able to [TS]

  indulge in her eccentricities and and [TS]

  unique but you know and not living in [TS]

  the city living outside the city but [TS]

  occasionally traveling into it and she [TS]

  comes in a little bit like a pumpkin [TS]

  with a straw hat and a big backpack too [TS]

  but that's okay [TS]

  and I that seems they have what there is [TS]

  another section of the movie where it's [TS]

  like what cut all this out why is this [TS]

  here getting on the bus but there hurry [TS]

  up the bus is late walking onto the bus [TS]

  sitting in the back of the bus and [TS]

  getting to share some candy has Kiki [TS]

  ever had candy before in her life we [TS]

  don't know bubblegum she even know what [TS]

  that is passing over the little gumballs [TS]

  eating them walking up the really big [TS]

  hill getting to the top of the really [TS]

  big hill turning around and looking at [TS]

  the town below you like there's like [TS]

  seven scenes and they're like what's [TS]

  going on this i know they're traveling [TS]

  background cut to her house we need to [TS]

  have a dialogue that brings no this is [TS]

  the movie like this this trip back with [TS]

  this moment is what is what this entire [TS]

  movie is about its you can get you can't [TS]

  cut that out and just bring them right [TS]

  to the cabin where they can have a [TS]

  conversation and you're gonna get the [TS]

  cabinet's like to talk about her losing [TS]

  her magic so I guess that's a plot point [TS]

  but the movie is happening when they're [TS]

  when she's getting the gumballs in the [TS]

  bus the movie is happening when when the [TS]

  bus is pulling away and it's viewed out [TS]

  the window and the bus lurches and you [TS]

  can see the scenery go up and then down [TS]

  like that that's this movie for me all [TS]

  those parts was also going outside the [TS]

  the and getting a little genetic I you [TS]

  know was reading up a little bit and it [TS]

  makes it sound like the people can read [TS]

  this on Wikipedia but there are some [TS]

  travails with taking this original book [TS]

  there wasn't a director attached to it [TS]

  for a long time miyazaki was busy with [TS]

  totoro and they're trying to decide what [TS]

  to do with this and apparently the book [TS]

  is a pretty straightforward but it's [TS]

  episodic like here's the story [TS]

  here's another story at all in parallel [TS]

  they're mostly it sounds kind of [TS]

  independent [TS]

  an encyclopedia brown kind of thing and [TS]

  then and-and-and miyazaki introduces the [TS]

  one who when he attached himself to it [TS]

  as director is the one that added the [TS]

  whole ending that brings it all together [TS]

  but originally I guess jacket that that [TS]

  it was basically just about this is [TS]

  shallower was a kids story with em with [TS]

  a character who's a witch who delivers [TS]

  things and she can have various [TS]

  adventures that are shallow nature and [TS]

  miyazaki turned into a coming-of-age [TS]

  story basically yeah yeah and so we give [TS]

  it some of the episodic stuff with like [TS]

  the heavy package and all of that and [TS]

  the unholy lucky and that awesome dog [TS]

  when windows that dog great i love that [TS]

  a chef and sort of depressing friends [TS]

  people all the whole family whole family [TS]

  is talking about how he's basically [TS]

  is talking about how he's basically [TS]

  the plant one foot in the grave thank [TS]

  you buddy but he's smarter than they [TS]

  think yeah that's right he's a little [TS]

  dog he moved slowly that's well hit me [TS]

  in the in the isn't in the subtitle [TS]

  version isn't like that amazing dog that [TS]

  fantastic dog that fabulous dog [TS]

  something like that yeah he they take [TS]

  him [TS]

  they underestimate the family does Jeff [TS]

  the dog and just because he slowed [TS]

  doesn't mean he doesn't know exactly [TS]

  what's going on and he you know he [TS]

  rescues GG from the other it is a nice [TS]

  smile about Hillary yeah with when gigi [TS]

  is pretending to be a toy they make him [TS]

  you know comically toy like and stiff [TS]

  and then when when Jeff like puts him [TS]

  down on the ground he's a real cat again [TS]

  and runs away like a real cat right it's [TS]

  just like the doggies dog ever it was so [TS]

  great the way with so gently [TS]

  it really looks really look like a dog [TS]

  now I don't I gotta jump in here the ok [TS]

  so so she let me just ask is is for [TS]

  practical purposes is Gigi really [TS]

  talking to kiki is Gigi in this case [TS]

  talking to Jeff is it doesn't matter [TS]

  because like I I this is the first time [TS]

  i watched where I thought I got a little [TS]

  bit little bit six cents with it and I [TS]

  was thinking maybe she doesn't really [TS]

  talk maybe that's all just in Key said [TS]

  and then the two versions know he's like [TS]

  my cock state-owned he definitely well [TS]

  first off he definitely talk to other [TS]

  animals i think that's I think that sort [TS]

  of assumed in this is that the animals [TS]

  all can talk to each other that's not [TS]

  just kicking my engineer them talking to [TS]

  each other but because we realize like [TS]

  what I talked to this and then with the [TS]

  dog we see it early on there's a seam [TS]

  where at least in the subtitle there's [TS]

  an old an old woman I think who says [TS]

  something like oh well he said this and [TS]

  I think it's referring I wish I'd [TS]

  written it down [TS]

  I think it's referring to G and I was [TS]

  like haha i think this is implying that [TS]

  some people can hear the cats some you [TS]

  know old cat ladies and witches can hear [TS]

  the cats when they talk scrapbookers the [TS]

  impression that she she could understand [TS]

  the cat only as long as she needed to [TS]

  understand the cat for his assistance [TS]

  she's kind of coming into the world and [TS]

  and growing up at that at the point [TS]

  where she suddenly has sort of made the [TS]

  transition [TS]

  too but that's not when he stops talking [TS]

  to restarting her when she loses [TS]

  confidence and she loses her powers and [TS]

  her ability to fly you know when she [TS]

  becomes but she's not she's lost her [TS]

  confidence because she's the reality of [TS]

  her situation in the fact that she's [TS]

  kind of alone in the big world has come [TS]

  to her [TS]

  well that's so my theory and focuses on [TS]

  past shows is that when she loses her [TS]

  magic is essentially her hitting puberty [TS]

  like yep we're gonna go all the way and [TS]

  yeah you know she got her period that's [TS]

  that's what I was wondering what I was [TS]

  thinking yesterday i 100% like what [TS]

  that's what it's a stand-in for higher [TS]

  she wants to lay down its bigger because [TS]

  like it's you know it all comes to a [TS]

  head at that point it's like childhood [TS]

  is ending and here is your here's your [TS]

  outward biological sign of that and it's [TS]

  her treatment of thombo should have been [TS]

  a dead giveaway and and now it all comes [TS]

  to a head and you have to realize you [TS]

  there's no going back you have to figure [TS]

  out this new world you have to put what [TS]

  it is that's making you upset seeing [TS]

  those rich kids what's making you feel [TS]

  like you don't fit in and or do you just [TS]

  have to work but some people don't have [TS]

  to work but you do but then what what [TS]

  you know like all those things and those [TS]

  things are happening in her head she is [TS]

  not dramatic about she's not writing in [TS]

  her diary and and bawling constantly and [TS]

  screaming at people it's all like it and [TS]

  it's aight thanks so much more realistic [TS]

  and more affecting that way and that's [TS]

  when she starts to lose her magic stuff [TS]

  and what's the first thing you should do [TS]

  if she wants she tries to regain it was [TS]

  running down the hill like I gotta I [TS]

  gotta get it back i got it like and you [TS]

  can't you can't go back that way you can [TS]

  only you can only go forward and trying [TS]

  to taiji get into that whether it's the [TS]

  Japanese GG or the or the you know Phil [TS]

  Hartman one I don't think either one of [TS]

  them ties in that well because like it [TS]

  you know so everything is in the [TS]

  american one when she gets her powers [TS]

  back at the end she can hear Phil [TS]

  Hartman again and then japanese one she [TS]

  can't hear full of you can't hear Jeezy [TS]

  again she just sounds like a cat and an [TS]

  economist and version of the disney tub [TS]

  he does you don't hear ya Hartman he's [TS]

  gone [TS]

  yep didn't say meow didn't say that he [TS]

  said but she like I don't like I don't [TS]

  think that's integral because I think [TS]

  all you all you need to know is that she [TS]

  has come through the other side that [TS]

  she's got her her magic power you know [TS]

  she is she's doing its self [TS]

  actualization that should come through [TS]

  that and whether she still needs [TS]

  got to be there or not I don't think [TS]

  it's that big of a deal because even in [TS]

  the japanese one she's not leaning on [TS]

  the cat and he's not like her dad or her [TS]

  ego out there talking he's just kind of [TS]

  there as part of the movie but it's not [TS]

  a big interview like the two of them are [TS]

  not a team he is the whites cracking [TS]

  sidekick you get even [TS]

  yea even in the japanese one he is not [TS]

  like integral so they they didn't [TS]

  connect GG to her in a way that admit [TS]

  that it makes him symbolic of something [TS]

  that she has to leave behind i don't [TS]

  think the Japanese one I agree I agree [TS]

  with you I think I think it's actually [TS]

  kind of weird to see that connection [TS]

  because I I don't [TS]

  yeah I don't we left sort of wondering [TS]

  well why does he stop she talking again [TS]

  at the end I'm you know I I sounds [TS]

  non-canonical but I mean that makes it a [TS]

  lesser movie to me for him to be hurt [TS]

  again [TS]

  you don't wanna wait wait but we don't [TS]

  know the rules of the universe getting [TS]

  back to whether he's talking or not we [TS]

  don't know if the rules of the universe [TS]

  are as described in things like well you [TS]

  know it's not not witch magic the letter [TS]

  here and it's actually because they were [TS]

  raised together or whatever like that [TS]

  really sort of like dicks think of the [TS]

  dust mites in totoro but that's a [TS]

  different universe where like this [TS]

  universe we were established the adults [TS]

  can see and accept magical things we're [TS]

  into her own and not as never [TS]

  established in total there is no adults [TS]

  and as a witch flying by and we all see [TS]

  it acknowledged that yes there are such [TS]

  things as witches and yes they can fly [TS]

  like the rules are clearly established [TS]

  that magic is part of this realistic [TS]

  world now whether the cat physics that I [TS]

  don't know but like in totoro that's all [TS]

  like you could say you know [TS]

  no adults have pay any attention to that [TS]

  that could all be in their heads and a [TS]

  perfectly fit so I feel like once you [TS]

  have a world where witches are flying [TS]

  around talking cat is not out of the [TS]

  question at all but it is sort of [TS]

  tentative is the relationship between [TS]

  key and gigi is the fact that he stops [TS]

  talking at some point clearly feels like [TS]

  well this is because she's transitioning [TS]

  she's growing up and at the end for him [TS]

  to come in and speak again it just feels [TS]

  like you know oh we couldn't we couldn't [TS]

  make the kids it makes it a double [TS]

  vanities different movie i don't i don't [TS]

  agree because i think that she again I [TS]

  feel like the shutdown of his voice is [TS]

  when she loses confidence and so the way [TS]

  i read this is she she's not losing chef [TS]

  lose the ability to fly she loses it [TS]

  temporarily and then she gets it back [TS]

  and those two things happening [TS]

  mauritania slee to me i think i connect [TS]

  them and I say this is not you know the [TS]

  world has gotten her and she's never [TS]

  going to hear the cat again but she's [TS]

  going to be able to fly again how is [TS]

  that she gets the one and not the other [TS]

  so she came back because she's grown as [TS]

  a person and now she's she's she's [TS]

  flying for her own internal inspiration [TS]

  it all depends on why you think she [TS]

  could hear the cabinet being right if [TS]

  you think she could hear the cat because [TS]

  it was part of her witch's powers then [TS]

  you feel like she when she gets her [TS]

  powers back against your comments about [TS]

  you hear the cap but if you if you think [TS]

  that she hears the cat when she's [TS]

  younger because it's just a way that [TS]

  young it's sort of like the total like a [TS]

  way young people comfort themselves with [TS]

  something imaginary and suddenly she [TS]

  finds herself growing up to the point [TS]

  where it's like you know what I don't [TS]

  believe in Santa anymore and office on [TS]

  the cat is just a meowing thing then you [TS]

  don't want her to hear the cat at the [TS]

  end because that would be a regression [TS]

  and that's why I think what Marilyn's [TS]

  coming from [TS]

  I thought I thought the key yeah [TS]

  definitely i'm free i thank god for four [TS]

  years of college I I felt like it wasn't [TS]

  like an imaginary friend that but was an [TS]

  imaginary friend that was we real kind [TS]

  of and then and then when it's called a [TS]

  friend Mario enough friend which one of [TS]

  my imaginary friend that is real is a [TS]

  friend that i think that's that's a [TS]

  contradiction in terms of topping hang [TS]

  on just made club is is the cat but the [TS]

  real forget really talking about with [TS]

  the whole movie though basically being [TS]

  her growing up it to me it felt like she [TS]

  gets her flying back that's good there [TS]

  are some things you know that you can [TS]

  maybe revisit as you get older and [TS]

  there's some things will never be the [TS]

  same again and me the cat was one of [TS]

  those things that you know that's just [TS]

  how it's not how it is now you're not [TS]

  gonna be able to your cat's about you [TS]

  but it shouldn't be because she no [TS]

  longer has the magic ability has to be [TS]

  because the cat was never talking to her [TS]

  and it was just something that children [TS]

  do to play pretend to comfort themselves [TS]

  during her transition that's why it was [TS]

  so shocking when you know why you just [TS]

  meowing why are you talking like a cat [TS]

  it's like the cat has always been [TS]

  talking there's never been a Santa you [TS]

  just you didn't know that or it could [TS]

  simply be that when she was young she [TS]

  had a need to understand what the cat [TS]

  was telling her and now she doesn't [TS]

  here's what i would say she can't she [TS]

  shouldn't lose the ability to hear the [TS]

  cat and fly at the same time they should [TS]

  be there too much in sync and there's no [TS]

  occasionally they happen at the same [TS]

  time it would be better if she can still [TS]

  talk to the cat and then at the end when [TS]

  she has grown up and succeeded and he [TS]

  is his cat family and all that that [TS]

  maybe then she can't hear him anymore [TS]

  and it's a sign that she's growing up [TS]

  because they happen simultaneously [TS]

  you're in this weird part where it's [TS]

  like you know why did why did these two [TS]

  things happen and does she get both mile [TS]

  my logic in that situation she gets both [TS]

  of them back but there's a third there's [TS]

  a third part to this that I hope we can [TS]

  semi agree it was part of what makes [TS]

  this so great is that you know in in a [TS]

  lot of other movies that were told in [TS]

  this way with the style with this story [TS]

  it would have been something that [TS]

  tactically said she's ok so there's that [TS]

  we should also point out the wonderful [TS]

  inversion of that the heartbreaking [TS]

  scene where she can't fly [TS]

  she's looking up at the sky and she sees [TS]

  this up and going yeah combo in it and [TS]

  it's just a perfectly encapsulates the [TS]

  sort of feeling of being 13 years old I [TS]

  mean and losing your mojo but it kind of [TS]

  green road Zeppelin's are encompass my [TS]

  my 13 year old self perfectly you don't [TS]

  know where that Zeppelin's going you [TS]

  don't know how inflated this up it's [TS]

  gonna be me right into things that might [TS]

  be a little kid big way that sometimes [TS]

  it's pointing up at we're down the [TS]

  sexual desire like not sure why [TS]

  yeah you don't know it's like snow and [TS]

  then you fly into the Clocktower and [TS]

  deflate land on a building [TS]

  how many inches or how long but the but [TS]

  the thing is it's kinda cool though they [TS]

  don't really hit the accelerator on the [TS]

  whole like oh she's saving a man and [TS]

  it's the love of her life and that you [TS]

  know I didn't get that out of this and i [TS]

  love that I you know because you could [TS]

  so that all up way too tightly where [TS]

  it's like oh now she's discovered like [TS]

  she's got to save a boy and that now old [TS]

  in a muscle top now she's really in the [TS]

  post-credit sequence would be their [TS]

  wedding but it is not their weddings the [TS]

  Flying Club she's out there on the broom [TS]

  flying they're all flying it that the [TS]

  the prize at the end is that she gets to [TS]

  be a person in society with friends [TS]

  yeah she's it finally a degree we're [TS]

  getting married now married now [TS]

  well thatthat's throughout that I mean [TS]

  that that's one of the fascinating [TS]

  things that rings so true it's it defies [TS]

  all logic and yet simultaneously rings [TS]

  true which is that scene where she [TS]

  they've survived their ridiculous bike [TS]

  propeller incident and um and they're [TS]

  laughing and then the kids in the car [TS]

  drive up and he he's buddies with them [TS]

  he's buddies with her [TS]

  he thinks this is all going to be fine [TS]

  and she's like I'm out of here right and [TS]

  then she buy and then she goes back and [TS]

  she she plants herself and this is she's [TS]

  she it is this is I mean this is being a [TS]

  teenager right it's she is amazingly [TS]

  lonely and yet when given the option to [TS]

  get involved in this [TS]

  she was she's like no way and walks away [TS]

  to be she's walking away from people and [TS]

  then being sad that she's alone which is [TS]

  so illogical and yet so completely true [TS]

  it's a good movie and you know it's a [TS]

  thing there's there's so many like these [TS]

  these kind of money shots in miyazaki [TS]

  movie one of the things I think you have [TS]

  to make your peace and and I think Josh [TS]

  but this very well in the past is it and [TS]

  probably in better words than this but [TS]

  that you have to make your peace with [TS]

  the fact that there's gonna be stuff [TS]

  that comes up in these movies it's never [TS]

  really fully explained and there's never [TS]

  know you could sit there and you can [TS]

  have these Talmudic debates about it but [TS]

  a big part of what makes these kinds of [TS]

  music these movies so magical and again [TS]

  i'm thinking of how i'm thinking of [TS]

  castle in the sky i'm thinking about all [TS]

  these movies are not princess monokey [TS]

  but just be these things that happened a [TS]

  certain way and that's that's just how [TS]

  it is but it's you know how the [TS]

  characters react to that and I don't [TS]

  know that makes it still makes it so [TS]

  great and keeps it to you to use that [TS]

  word that so overused magical like why [TS]

  did that happen we don't know why it's a [TS]

  movie yeah I love that the big probably [TS]

  the biggest single blow to Kiki at least [TS]

  in the middle part of the movie is she [TS]

  goes through all the trouble to to make [TS]

  the the dreadful sounding herring and [TS]

  pumpkin pie [TS]

  oh man for grandma goes out fishes out [TS]

  the firework and Stokes up the old brick [TS]

  oven and cook the thing up and put in [TS]

  all this work and then there's the whole [TS]

  panic or she has to go in the rain and [TS]

  probably the worst blow to her is the [TS]

  fact that it in the whole film is the [TS]

  fact that she gets there and the girl [TS]

  says I hate grandma's supplies and slams [TS]

  the door in your face and that was it [TS]

  another two role models for her the old [TS]

  widow woman who lives by herself but has [TS]

  still has a certain dignity and lives [TS]

  with her friends / lover Bertha right [TS]

  just got four right and the horny [TS]

  twisted lady that loves footage exactly [TS]

  crash and cases i'll take your broom [TS]

  dear [TS]

  so she can go down the hallway and [TS]

  pretend to ride the broom [TS]

  she's a wild about lighter than air [TS]

  travel she's [TS]

  bullet that was a great scene where [TS]

  she's she's caught on the broomstick [TS]

  again they don't show her sneaking over [TS]

  there whatever they just cut her and [TS]

  what she's doing she's on the broom [TS]

  pretending to be which is so that her [TS]

  granddaughter it's the same girl that [TS]

  she saw the same rich girl what they saw [TS]

  in tombos group of friends and you know [TS]

  she got what she sees her later and [TS]

  that's I think that's really what kills [TS]

  her at the end when when he calls her [TS]

  over and she realizes that that's the [TS]

  girl who was so horribly ungrateful [TS]

  after all the work program and she's all [TS]

  beautifully dressed up and it's her [TS]

  birthday party and there is a party and [TS]

  she's not going to be going to run [TS]

  because she's drenched now and that girl [TS]

  is is ungrateful and this is all like at [TS]

  that moment she feels like her lowest of [TS]

  low but later on they you know the sort [TS]

  of the snootiness of that girl are the [TS]

  girls on it [TS]

  sports she's spoiled she's [TS]

  unappreciative that's what one of the [TS]

  things that brings Kiki around [TS]

  understanding i don't want to be that [TS]

  girl like that's that's one of that you [TS]

  know that there's females in every [TS]

  single age range she encountered [TS]

  encounters female to female to female [TS]

  from someone's her age 21 slightly older [TS]

  to you know the personalized like [TS]

  they've got the entire age range of [TS]

  women mapped out and every one of them [TS]

  keys looking at and again you never see [TS]

  this movie talk about you don't see [TS]

  movies female protagonist and even if [TS]

  you do see it the female protagonist is [TS]

  in a world of men and this shows [TS]

  Oh a girl and what she sees in the world [TS]

  is all the other women because that's [TS]

  what she's trying to figure out who am I [TS]

  going to be what am I gonna be like [TS]

  she's not going to look at them to the [TS]

  men to figure this out and it you know [TS]

  it's so shocking just because everything [TS]

  water movies is man and about men in the [TS]

  world of men and women as accessories or [TS]

  or it's about or it's about showing up [TS]

  that bitch like that's the other thing [TS]

  if you're gonna know if you're going to [TS]

  have known with women in it is going to [TS]

  be the central working girl thing where [TS]

  you've got to have this this this big [TS]

  tension between the underdog that we [TS]

  love and this hottie person who needs to [TS]

  be brought down because they're making [TS]

  this person feel bad and and that that [TS]

  is used for the amount of effect is [TS]

  necessary here but then it doesn't turn [TS]

  into something whether doing like a you [TS]

  know death becomes her kind of [TS]

  one-upmanship in fact the reaction that [TS]

  Kiki has is not what I expect from her [TS]

  right so she goes to all this trouble [TS]

  goes through the rain with this terrible [TS]

  hearing and pumpkin pie we with a [TS]

  picture of a fish on it and and just [TS]

  like I hate grandma's you close the door [TS]

  close the door and instead of keeping [TS]

  like boy you know what what an awful [TS]

  person that was [TS]

  she says wow I can't believe she's [TS]

  related to that nice lady i love that [TS]

  that is so great because that's what [TS]

  that's what she's not personally [TS]

  offended [TS]

  she feels bad for for granny that's who [TS]

  she feels bad for like right she's so [TS]

  nice and this person is not but she [TS]

  feels also like lower than low like the [TS]

  trans the disparity because she's the [TS]

  delivery girl she's drenched she's and [TS]

  they also doesn't like our overriding [TS]

  robe is unfashionable yeah it's just and [TS]

  she tries like she's so hard like all [TS]

  but it's wet now it's like I work really [TS]

  hard to the food came through ok you [TS]

  know give it a try like she's so she's [TS]

  so good Kiki and like and she's forced [TS]

  it to do all these things it's just you [TS]

  know and Jason you mentioned before like [TS]

  out your loan and when invited you you [TS]

  turn down the invitation then you feel [TS]

  alone [TS]

  it's that a similar scene like that [TS]

  which also ranked true to me early on in [TS]

  the movie where tambo gives her the [TS]

  invitation says miss which on it yes and [TS]

  in english in the movie [TS]

  yeah getting an invitation to be to go [TS]

  to a social event is like the most [TS]

  terrifying thing that could happen to [TS]

  her and she immediately runs to her [TS]

  current mother figure and says it's not [TS]

  so much like I have to deliver that have [TS]

  to look at the invitation is the crisis [TS]

  yeah i've been invited to a party I have [TS]

  no idea what I'm going to do and I've [TS]

  seen that play out like candy but that's [TS]

  the way yeah that that is the that is [TS]

  the crisis and you know and like what [TS]

  you mean or is this is exactly what you [TS]

  wanted didn't you want to have friends [TS]

  like that's not how it works when you're [TS]

  13 years old [TS]

  that's right by the way my favorite [TS]

  detail in the movie is during that scene [TS]

  where she's completely soaked and she [TS]

  lands at the big house to deliver the [TS]

  pie and you can tell how soap she is [TS]

  because her humongous bow is suddenly [TS]

  obeying the laws of physics whole rest [TS]

  of the film is gigantic and is one scene [TS]

  it's just drooping around the top of her [TS]

  head it's a magical waters pouring added [TS]

  it's wonderful and our asano her staring [TS]

  at mother figure fills that role as well [TS]

  in that after this all happens and after [TS]

  this disaster is gone out in the sauna [TS]

  knows that it's been a disaster and [TS]

  those also knows enough to stay away [TS]

  asanas next move in orchestrating keys [TS]

  life from a distance in a motherly way [TS]

  but not too heavy-handed is to send her [TS]

  to deliver something to tambo the boy [TS]

  waiting for for a while I in in a [TS]

  reasonably clever way basically you know [TS]

  he's taking bread from her own bakery [TS]

  and paying key to deliver it [TS]

  him and setting up that you know that [TS]

  encounter well first she feeds oatmeal [TS]

  and honey scalding oatmeal and honey to [TS]

  a cat right warned him she said it was [TS]

  hot everyone what do you want [TS]

  well obviously he can't understand her [TS]

  either cat he just can't help himself [TS]

  but you don't you don't say don't burn [TS]

  your tongue and then hand you know a [TS]

  bowl of scalded milk to an animal with a [TS]

  brain the size of a thumb [TS]

  it's just even if it could talk [TS]

  she's not know just not done Thank [TS]

  templin over the old ladies I like me [TS]

  she goes back to the old ladies I [TS]

  thought that the old ladies things going [TS]

  to be over but instead they say Baker [TS]

  cake with yu-gi-oh sweet official key [TS]

  logo and was that it was at a bread Kiki [TS]

  that the Baker lady had put in the [TS]

  window though the Baker husband did it [TS]

  because I that's not a senior so she [TS]

  when she's awake she's supposed to be [TS]

  coming back for the party right and what [TS]

  you see is the husband pacing back and [TS]

  forth isn't working and at first you [TS]

  think it's because he's worried about [TS]

  her which she is and that you mean his [TS]

  keys like two lines in the movie but his [TS]

  character is fully revealed by the [TS]

  things that I'm doing and the second [TS]

  thing is that you realize that he's the [TS]

  one who made the big bread key sign and [TS]

  he's excited for her to see it when she [TS]

  when she comes back and so right when he [TS]

  sees it she's coming he runs and hides [TS]

  because he doesn't want to be there when [TS]

  she comes like he's too embarrassed that [TS]

  I made this for you but he's excited [TS]

  about her seeing and so when when she [TS]

  sees it looks at it he casually strolled [TS]

  in like 10 big deal just made a thing [TS]

  for you and she jumps on him and give [TS]

  him a hug all no dialogue all happening [TS]

  through window from an outside shot [TS]

  completely amazing [TS]

  you wouldn't even see that in adult [TS]

  live-action films they be like what's [TS]

  going on there i don't understand like [TS]

  watch the movie [TS]

  everything is there a movie that's [TS]

  what's the movie there's an airship at [TS]

  the end i just i love the fact that you [TS]

  know this dirigible has been forced to [TS]

  land there and apparently the entire [TS]

  town has gone original crazy [TS]

  yes we see it on the TV in the bakery [TS]

  and the two ladies are watching it as [TS]

  you do is the fifties rigid airship [TS]

  madness [TS]

  it was isn't the fifties I never really [TS]

  got a grip on what the time fit only get [TS]

  from the look at the cars that's more or [TS]

  less the arrows supposed to be [TS]

  yeah and the end that seventies pop song [TS]

  that sounds like it's from a cop any [TS]

  duty duty but I you know I I I you know [TS]

  I love I love a good separate movie i [TS]

  have to admit i do love that [TS]

  I is strange because there's this is the [TS]

  opening line of dialogue in the movies [TS]

  like and the airship might be passing [TS]

  overhead or it might not be all right [TS]

  okay and we get the we got an exciting [TS]

  airship scene where there is actually it [TS]

  does damage to the to the buildings of [TS]

  course the most noticeable building in [TS]

  town gets hit by the hit by the airship [TS]

  i find it funny that everybody is really [TS]

  worried about tambo who is dangling from [TS]

  the airship but not worried about the [TS]

  entire like cabin full of people who are [TS]

  also on the air she was fine fine but [TS]

  we'll be fine [TS]

  certainly there safe because they're [TS]

  inside the like you know the thing [TS]

  yeah but if it specials every guy does [TS]

  elliot yeah I'm sure it's not like it's [TS]

  not like the pink paint caught on fire [TS]

  there is a nice line that it that is it [TS]

  we're full of helium so it won't explode [TS]

  like it's not gonna be like a Hindenburg [TS]

  thing if we die it's going to because we [TS]

  smashed into something like the ground [TS]

  with but was it at the end where she's [TS]

  saved tambo and you can see them in [TS]

  there in the cabin they're still up [TS]

  there clapping and they're all excited [TS]

  and celebrating [TS]

  meanwhile they're hanging between two [TS]

  high building yeah you you expect almost [TS]

  like Prince that Italian Job moment [TS]

  where it's like okay I've got a plan [TS]

  thanks but I know how we're gonna get [TS]

  out of here it's like I don't know [TS]

  slowly let allowed to deflate and hope [TS]

  that it just kind of sag Cinderella see [TS]

  they're out of combat at that point so [TS]

  they can just kick in this God right [TS]

  that's that's good did Randy knowledge [TS]

  area is right i imagine the key would [TS]

  then like go up and shuttle them down [TS]

  bit by bit or something maybe it doesn't [TS]

  seem like she's got a real grip on that [TS]

  push broom at that point that she would [TS]

  have to get a bit much better broom that [TS]

  was just a broom that was available to [TS]

  her but she still got it at the end haha [TS]

  what a great sequence [TS]

  yeah and that's when it sits silent [TS]

  she's on the brain with silent and then [TS]

  there's like you know the the lucky [TS]

  silence while followed by the the sound [TS]

  the bristling it's like a oh yeah where [TS]

  it comes to life basically like it's [TS]

  gotta have already said she flies fly [TS]

  and you expect her to you know [TS]

  sky-rocket in perfect formation instead [TS]

  she slams into the nearest building ball [TS]

  bounces off another one with regular [TS]

  she's lost with their foot yeah yeah and [TS]

  they do it sounds against they have the [TS]

  crowd booing oh you know the crowd noise [TS]

  going on the announcer and everything [TS]

  like that and all that fades out as [TS]

  tambo falls and as she catches them so [TS]

  that the the climax of the movie they [TS]

  fade everything out including the [TS]

  background cacophony of crowds that you [TS]

  didn't realize I was was there until [TS]

  they turn it off which is the best way [TS]

  to use the one thing i do here is that [TS]

  is her making her connecting with his [TS]

  hand as she grabs and that's all you [TS]

  here which is great so here's here's [TS]

  something that my son notice that I've [TS]

  never really thought about in all of my [TS]

  times watching this movie but this time [TS]

  today he noticed it which is as soon as [TS]

  she soon as she catches tambo and saves [TS]

  him everybody cheers and there's like [TS]

  confetti or a ticker-tape parade [TS]

  everywhere and he's like why is there [TS]

  confetti [TS]

  where did that come from and I'm like I [TS]

  have no idea in this town they always [TS]

  have it ready have it ready it's like [TS]

  the fireworks [TS]

  it's like the fireworks at the end of [TS]

  Return of the Jedi or it's like well you [TS]

  know normally we don't shoot off [TS]

  fireworks here on the exams or the [TS]

  x-wings have it is but we gotta decide [TS]

  good happens we've got some fireworks to [TS]

  fire off but if the sign is a big city [TS]

  man it either it's confetti or it's like [TS]

  really light rubble from the building's [TS]

  maybe they were ready to celebrate this [TS]

  is there a to celebrate the Zeppelin [TS]

  maybe and put it had yeah those are [TS]

  shreds of the cabin crews shirts they're [TS]

  trying to fashion a rope to get down [TS]

  know it crashed the plane crashed into a [TS]

  building that had lots of paperwork and [TS]

  the paperwork out shredded and blown out [TS]

  and there was landing what it would be [TS]

  my special movie in the eighties [TS]

  business movie made 89 right so like [TS]

  it's like the end of war game someone [TS]

  else throw paper in there at the end of [TS]

  every day the movie anyway watch for [TS]

  that there's sudden sudden celebratory [TS]

  confetti you get a letter from the mpaa [TS]

  there's a couple questions we have got [TS]

  to be new mall we looked a little bit [TS]

  more people through when you and the [TS]

  other the other standard speaking of [TS]

  standards is that in miyazaki movies and [TS]

  eighties movies in particular miyazaki [TS]

  movies you have to have an incredibly [TS]

  heartwarming and affecting sequence that [TS]

  the credits roll over right if they [TS]

  throw the Dean in the pool [TS]

  not the same not the same at all like [TS]

  I'm always amazed at integrated you drop [TS]

  a police car to like not good enough [TS]

  pretty awesome and I have the grad and [TS]

  the details of the way of going over the [TS]

  side of the deck oh yeah that's been the [TS]

  one person that's still in the pool that [TS]

  you see just kind of slowly moving here [TS]

  from the splash [TS]

  no detail is too small because some guy [TS]

  spent three weeks on that and then at [TS]

  the end we get the letter back to her [TS]

  parents that we were promised at the [TS]

  very beginning her mother still if [TS]

  distracted will have one of her test [TS]

  tubes explode with black smoke and she [TS]

  gets the letter saying i'm fine i'm [TS]

  doing ok we discovered that it takes [TS]

  roughly three days to rebuild a clock [TS]

  tower sure that there are very [TS]

  industrious people look at the town that [TS]

  strap and essentially all that confetti [TS]

  was just rubble from them already trying [TS]

  to fix up the tower there are already [TS]

  people are soon as we have results it [TS]

  was the actually the wrapping of the new [TS]

  tower than it already been kept stepping [TS]

  that's the pair had just cut the ribbon [TS]

  was that fast [TS]

  that's right well Tom but was following [TS]

  that all happened like think about these [TS]

  movies that have the credit sequences [TS]

  what would the movies be like if they [TS]

  didn't have the credit sequence like if [TS]

  the movie actually ended and they just [TS]

  showed names / black and I was it like [TS]

  how would how would you feel about the [TS]

  movies differently if you know it [TS]

  totoro I mean to her as a smaller one [TS]

  this one has won a whole bunch of the [TS]

  the i mean i can cancel this guy has one [TS]

  as well [TS]

  or maybe it's just too pretty cries when [TS]

  I way I always feel like that that part [TS]

  of the movie is a shorthand way to give [TS]

  you a satisfying ending it wouldn't work [TS]

  if you cut it out but you don't have [TS]

  time to do everything that's in the [TS]

  credit sequences it's like it's almost [TS]

  like cheating with like a montage like [TS]

  we don't want to show a montage and we [TS]

  don't want to have some silly scene [TS]

  where they exchanged two lines of [TS]

  dialogue to be established but we just [TS]

  want to show like and this is what [TS]

  happens in the immediate future of these [TS]

  characters I in a way that doesn't feel [TS]

  weird because we tried to rush into try [TS]

  to have multiple things that wouldn't [TS]

  work but I think everybody like flies in [TS]

  on the credit sequence like who doesn't [TS]

  like that whose heart is not worn by [TS]

  saying that sequence in the credits and [TS]

  you don't go like that ending the movie [TS]

  was weird I thought they rushed at the [TS]

  end when they tried to show what [TS]

  happened to the character shoes ended [TS]

  like no one ever feels that way i don't [TS]

  know why more movies don't use this but [TS]

  I guess Marvel movies accepted but like [TS]

  the animation equivalent of that that [TS]

  whole animal house thing Dean wormer [TS]

  went to prison where he was prepared but [TS]

  it's but it's not that ham-fisted like [TS]

  this they're not like like the things [TS]

  are seeing are essential to the story [TS]

  you're not wondering what happened to me [TS]

  just want to be like because you already [TS]

  know Kiki is going to be okay but you [TS]

  also want the payoff scene of seeing it [TS]

  but let's you be very economical with [TS]

  cutting it off when the story's done [TS]

  and in the case of liquid total it's a [TS]

  little bit more luxurious but in this [TS]

  case when you see her Dashiell on the [TS]

  broom in the credits come up you like [TS]

  wow that was that was really the end is [TS]

  over that's it that was I think it's [TS]

  great i think they could they could [TS]

  probably have avoided that by making the [TS]

  ending a little less abrupt but well I'm [TS]

  like a sauna gives birth we know she was [TS]

  really no she goes into labor [TS]

  we assume everything came out ok but [TS]

  just in case you're wondering here's [TS]

  asano she's there now here's the baby [TS]

  here's the dad they're happy they're [TS]

  watching key they know she's happy like [TS]

  it's all the things that you want to [TS]

  know our our reality after the movie [TS]

  ends that you can assume they are but [TS]

  they give you the payoff like here you [TS]

  go here's a picture of her and the baby [TS]

  and you know this is with us what [TS]

  happened anyway but just seeing them [TS]

  makes you happier than just be thinking [TS]

  I bet she had the baby now on it but [TS]

  that's wonderful especially with totoro [TS]

  where you i mean the the genius stroke [TS]

  of courses showing me show the family [TS]

  show them then you show the total rows [TS]

  and then you show the implicit kind of [TS]

  interaction of them to you know I did [TS]

  that I think that's particularly [TS]

  delightful in total that was critical [TS]

  because you have to have mom came home [TS]

  somewhere yeah i mean that but that's [TS]

  the first thing on sequences her coming [TS]

  out of the cab or whatever with arms [TS]

  wide open and the kids running towards [TS]

  or like you know that's why I'm going to [TS]

  get well yeah the payoff a little bit [TS]

  and so on this one another sequence here [TS]

  like earlier on the movie key is looking [TS]

  at shoes and the window shoes that she [TS]

  can't afford while she's in the city and [TS]

  she just sits there staring at them for [TS]

  a while and I think like some people [TS]

  come by behind or whatever and the [TS]

  credit sequence she's still staring at [TS]

  choosing the window we're just showing [TS]

  that yes there are still going to be [TS]

  things that you want that you can have [TS]

  because you don't suddenly become the [TS]

  richest most powerful princess in the [TS]

  entire world you get everything you want [TS]

  but while she's staring at the shoes one [TS]

  of the people who passes by her is a [TS]

  mother with a little girl and the little [TS]

  girls dress like II the hero of the town [TS]

  and she her head turns and she's like [TS]

  whoa you know that's that's quite a [TS]

  complicated payoff out of like they [TS]

  don't show her and now she's got those [TS]

  red shoes she wanted up she still at the [TS]

  window looking at the fancy shoes but [TS]

  also she's admired and looked up to [TS]

  about a little girls and their dress [TS]

  like she is that is fairly that's a [TS]

  fairly complicated thing to put into [TS]

  kids movie for a kid to unpack but i [TS]

  think that like gets through to them the [TS]

  key would be a great halloween costume [TS]

  for a twelve-year-old girl by the way [TS]

  they wanna wait for that matter [TS]

  sure big but not that much girly about [TS]

  big bow big dark robe you know room is [TS]

  black with a last-second throw together [TS]

  kind of it's still a good with costumes [TS]

  were both students everybody would know [TS]

  who you were [TS]

  anybody who's seen this movie really go [TS]

  big bow key sure it's kinky [TS]

  yeah Steve you have not seen this movie [TS]

  before [TS]

  that's correct and i have now seen it [TS]

  twice both times with the dub I i would [TS]

  I i watched it again today just to kind [TS]

  of you know having it fresh in my mind [TS]

  and i decided i'd rather watch the [TS]

  double right sit down and watch it with [TS]

  the kids are rather watch the japanese [TS]

  version or watch with the kids and I [TS]

  think kids both wanted to watch it so we [TS]

  said watch it together [TS]

  so what's what's your what's your [TS]

  verdict and what's their verdict about [TS]

  it as new new viewers i thought it was [TS]

  great [TS]

  uh yeah i really enjoyed it at once I [TS]

  you know kind of got over the fact that [TS]

  you know no one's going to be stabbed at [TS]

  something horrible with the oven and [TS]

  this is so much you know even even just [TS]

  things like that you expect the painter [TS]

  to have you to give up the cat with more [TS]

  of a fight you know or you know Gigi [TS]

  having a tougher time getting away from [TS]

  the dog but you know once i once I got [TS]

  past that I really kind of I sort of [TS]

  like luxuriating in the slow pace of the [TS]

  thing and just kind of appreciating the [TS]

  animation as it comes [TS]

  I given though how sort of gentle and [TS]

  quiet and and not fast cut things were I [TS]

  kind of expected the kids to get up and [TS]

  leave after a while but they didn't they [TS]

  watched they joined it didn't say much [TS]

  during the film the boy enjoyed the the [TS]

  the cats antics [TS]

  mmm big a fan video here i think i think [TS]

  the the phil hartman I mean we sound so [TS]

  snooty talking about you know watch in [TS]

  Japanese or whatever but i mean the the [TS]

  dubbed version is great it's really [TS]

  really good i would not wanna I would [TS]

  not want anybody to think like don't [TS]

  show this to your kids unless they can [TS]

  speak Japanese because it is really [TS]

  great and the heart and character might [TS]

  you know my daughter's got a GG you know [TS]

  plush toys she loves the phil hartman g [TS]

  character i would not would not worry [TS]

  about robbing a six-year-old of that [TS]

  experience because they'll speak [TS]

  Japanese yet my daughter made the [TS]

  observation early on and she's sitting [TS]

  in the room right now so she's pregnant [TS]

  be very [TS]

  mr. i'm talking about her but at any [TS]

  rate yeah one of the one of the few [TS]

  things that was mentioned is really [TS]

  early on when she's getting ready to go [TS]

  and she wants dad to pick her up i like [TS]

  when she was little she pointed out [TS]

  she's having some notes through she [TS]

  pointed out she is not a [TS]

  thirteen-year-old she acts more like an [TS]

  eight-year-old which I thought was [TS]

  fairly percent but from the dads are one [TS]

  of you like I mean my daughter is seven [TS]

  and she does that exact same thing and [TS]

  wants me to pick her up over i had like [TS]

  I used to and I do it pretty much [TS]

  opposed that dad doesn't like you get [TS]

  your backs are snaps you're gonna tap [TS]

  and you know that eventually presently [TS]

  you won't be able to do this anymore but [TS]

  you keep trying to do it i mean that [TS]

  that seems a little bit for the parents [TS]

  more than romantic I i will tell you [TS]

  that that seemed means a lot more to me [TS]

  now with a 12 year old daughter than it [TS]

  did when I was watching with a six-year [TS]

  a it means a lot more right but it's a [TS]

  great moment as a pair but it's also key [TS]

  that you see Kiki be a kid right [TS]

  yes she's about to go out riding this [TS]

  big adventure where she's she can't be [TS]

  anymore it's got to get that lonely [TS]

  getting in the last little bits like I [TS]

  mean that and that's why the dad [TS]

  whispering are you know you can always [TS]

  you can always come home if the domain [TS]

  like yeah right so yeah I think I heard [TS]

  her say that and I thought oh no the [TS]

  sort of Japanese over-the-top miss of [TS]

  some of these things is is gonna sort of [TS]

  throw her off but really it was it was [TS]

  deserve a point so in the end and [TS]

  actually ended up working i think very [TS]

  well yeah everybody enjoyed it i thought [TS]

  it was great [TS]

  I'll probably watch it a few more times [TS]

  and and like it more because I can tell [TS]

  this is one of those growers yes it is [TS]

  and i want to i want to reinforce that [TS]

  that that what you said about we can be [TS]

  we can be snooty about this I i find it [TS]

  interesting if you think you know a [TS]

  movie to watch to turn off the the [TS]

  English dub and watching japanese with [TS]

  subtitles [TS]

  it gives you a different perspective on [TS]

  the movie which i think is interesting [TS]

  for a movie that that you've watched a [TS]

  lot but yes i'm at i'm a gigantic phil [TS]

  hartman fan i think i love almost well [TS]

  not everything you did cuz he did some [TS]

  really crappy movies but he did a lot of [TS]

  amazing stuff and this is a really fun [TS]

  performance from him and if all you do [TS]

  is listen to the japanese version with [TS]

  subtitles [TS]

  you're missing out on a a different but [TS]

  good experience [TS]

  so I just wanted to make a quick i mean [TS]

  i challenge you to find that manager [TS]

  John come up with a handful but there's [TS]

  not that many non american movies I'd [TS]

  say foreign not American movies in [TS]

  movies are not in English you're not [TS]

  gonna find that many movies that are [TS]

  that are survive the dubbing process [TS]

  better than these miyazaki movies [TS]

  I mean they're not perfect but they are [TS]

  so much better than a than a bunch of [TS]

  them i mean even watching we're watching [TS]

  now let's say we weren't watching this [TS]

  because this wouldn't be appropriate [TS]

  watching the anime x-men today and like [TS]

  you know it's I you know it's good but I [TS]

  mean but something John whenever you [TS]

  talk about how sometimes the characters [TS]

  are actually saying anything and then [TS]

  but you know in the english version they [TS]

  feel the need to add things to remember [TS]

  back at all about comfort movies all [TS]

  your yoga master and you've got all [TS]

  these unnecessary grunts and try and [TS]

  fill everything like mouth movement with [TS]

  some kind of sound and and i have to say [TS]

  like you know it would be a really real [TS]

  disservice if we made people think that [TS]

  this isn't okay to watch that because it [TS]

  is there there are I think the Toros [TS]

  another one is just obviously so [TS]

  fantastic their other there are a few [TS]

  such moments in this dub like there's a [TS]

  scene where she's at the mirror and she [TS]

  opens her mouth real life she says yeah [TS]

  yeah look it comes off a little weird [TS]

  but instead they are very very well to [TS]

  deal with the distance [TS]

  disney's deal with the distribution of [TS]

  their stuffs of the studio ghibli stuff [TS]

  is the my understanding is they're not [TS]

  allowed to change the video at all and [TS]

  so right dubs like your force like they [TS]

  basically said no we can't touch a [TS]

  friend but can we cut out that part [TS]

  where she has her mouth open for an [TS]

  extended period of time because there's [TS]

  no syllable in English that does that is [TS]

  like no you actually can't change the [TS]

  video but what you can do is you know [TS]

  what we have traditionally done and make [TS]

  her draw out somewhere so I'm so glad [TS]

  that there because like with a with [TS]

  nausea they did that terrible warriors [TS]

  of the wind thing where they just chop [TS]

  the video to bits i think that's kind of [TS]

  what drove the future deal which said [TS]

  you can distribute our movies in America [TS]

  you but you cannot change the frame of [TS]

  the video right that's a good movie [TS]

  question for anybody who's who has [TS]

  watched the Japanese which i guess is [TS]

  all of you except me i understand that [TS]

  when Disney did the dub they also [TS]

  changed a lot of the music cues they [TS]

  made it's a bit more bombastic not just [TS]

  that the opening and closing songs but [TS]

  also some of the actual score is that [TS]

  scaled back in the japanese version or [TS]

  is it still have the same i'm not that I [TS]

  noticed i think i mean the beginning in [TS]

  any music or different is their middle [TS]

  part they said that they added there is [TS]

  there is little bit yeah there's that [TS]

  the tinkling kind of song i think maybe [TS]

  around the time that she's on the bike [TS]

  with it there's actually a different [TS]

  middle song in the japanese one that's [TS]

  not that's not as dramatic as a song [TS]

  they put in the english but i think it's [TS]

  about it it's just different [TS]

  I mean this is the interesting thing is [TS]

  they're just different there and neither [TS]

  of them and then again neither of them [TS]

  is the definitive because the definitive [TS]

  is your Japanese you understand Japanese [TS]

  you understand Japanese culture and you [TS]

  watch the movie and I can't do that so I [TS]

  be really curious to hear your take [TS]

  Jason on the 2010 version that i watched [TS]

  because it sounds like all the things [TS]

  that they deliberately removed from the [TS]

  original disney dub were smart boobs [TS]

  this is why i'm waiting for the blu-ray [TS]

  because i assume the blu-ray will be [TS]

  that same that same take on it and and I [TS]

  want to get this in HD and I think [TS]

  that'll be that'll be graded it does it [TS]

  sound so sure did Lucas is part of that [TS]

  initiate it sounds like they backed off [TS]

  it sounds like they really heard [TS]

  the criticism of some of the changes or [TS]

  whether they heard that from fans or [TS]

  they or I imagine some of it might be [TS]

  John Lasseter because he's now in a [TS]

  position of authority at Disney and his [TS]

  Lordships music and he worships miyazaki [TS]

  so I think maybe even Lassiter's like [TS]

  can we do some things can we fix this a [TS]

  little bit before we put it out again [TS]

  and and so I think that's cool because [TS]

  it sounds like they they've made it and [TS]

  they've used that good dub and brought [TS]

  it back a little to make it a little [TS]

  more like the original here's a pro tip [TS]

  for watching the you're watching a [TS]

  subtitled versions of these movies [TS]

  miyazaki movie studio ghibli movies in [TS]

  general [TS]

  turn off the subtitles during the [TS]

  credits because in these movies the [TS]

  credit sequences are often you know [TS]

  knows it was a great example like a [TS]

  little mini movies in and of themselves [TS]

  and their framed with the Japanese [TS]

  credits which you can't read fine just [TS]

  pretend they're a nice little art [TS]

  they're framed with the action in the [TS]

  credits you know just so and when they [TS]

  put the American credits on they have to [TS]

  cover the action and totally destroyed [TS]

  the composition of all the frames turn [TS]

  off the subtitles during the credits to [TS]

  turn them back on with the movie starts [TS]

  wandering the grounds and I wish that [TS]

  was the default mode like not that I [TS]

  don't want to see the English names of [TS]

  these people or whatever but that's [TS]

  that's part of the movie and I feel like [TS]

  they are altering the video by saying [TS]

  well there's a block of japanese text [TS]

  over here [TS]

  Kiki's over there and we're gonna put [TS]

  these English names right over Kiki no [TS]

  don't do that whereas whereas in the [TS]

  dubbed version they just take out the [TS]

  Japanese and replace it with English [TS]

  were right so they also mess up the [TS]

  composition on that is true they do [TS]

  because they don't fit the same as good [TS]

  as the worst one though it's not as it [TS]

  goes like this beautiful little mini [TS]

  tone poem of credits and there is no [TS]

  place to put English words anywhere made [TS]

  and they do and it's terrible so turn [TS]

  them off [TS]

  alright one other question about the [TS]

  original Japanese is the naked line in [TS]

  there I don't know enough Japanese it's [TS]

  in the subtitle version is really nice [TS]

  is that doesn't tell you anything but I [TS]

  imagine it would be because like again [TS]

  that's like it comes to see my actions [TS]

  etching not invited yeah that's under I [TS]

  was just frankly amazed she wants she [TS]

  wants to do a drawing with me in it says [TS]

  Kiki and his responses naked and its [TS]

  just oh tu so nasty it's it's just it's [TS]

  got such a rye feel to it I was [TS]

  surprised that they kept it intact in [TS]

  the Disney version because it's that's [TS]

  it that's a pretty good entendre right [TS]

  there but it if that is in the movie [TS]

  though which I can imagine it would be [TS]

  because again the Japanese an artist [TS]

  puritanical we are about this it's still [TS]

  a it fits into the theme of the movie [TS]

  because it's a certain point like the [TS]

  idea of her seeing herself as a sexual [TS]

  being other people seeing her that way [TS]

  or that being a possibility and not just [TS]

  being a giggle worthy thing is part of [TS]

  the act of growing up and like that [TS]

  touch on it just barely there and that's [TS]

  that's how it begins like you just can't [TS]

  nobody touch on just barely just another [TS]

  thought on there in that respect when [TS]

  the cat stop stalking its around the [TS]

  time that he hooks up with the the hot [TS]

  female kitty [TS]

  so maybe that's his story that you see [TS]

  in this is so Randy Garcia on Twitter [TS]

  want heat while listening to us said to [TS]

  me it's not the key grows up [TS]

  it's the g grows up and is no longer [TS]

  interested in human so that i crack [TS]

  that's very cat right there to like that [TS]

  cats are never interested in humans so [TS]

  yeah they start out I know what he [TS]

  learned his lesson [TS]

  John you had something yes I'd like this [TS]

  this is also my favorite miyazaki movie [TS]

  uh I don't remember when I first saw it [TS]

  but it was probably way back in the [TS]

  eighties and I think I first saw it like [TS]

  at home you know like by myself during [TS]

  the summer is just one of those one of [TS]

  those lazy summer day kind of moves from [TS]

  89 so i'm not too sure it's even got [TS]

  here until like 90 91 something I I [TS]

  don't remember where I even where I saw [TS]

  it like it was definitely one of those [TS]

  kind of relaxing movies you just like [TS]

  are surprised by your sort of let it [TS]

  happen and it's just grown and grown on [TS]

  me over the years and my plan with my [TS]

  kids that I executed was the image but i [TS]

  would i would in dr. ate them with many [TS]

  movies that i'm dr. with this was a big [TS]

  one like the two things I was leaning [TS]

  heavily were basically like Star Wars [TS]

  and miyazaki and of all the miyazaki [TS]

  this is the movie that I kept showing [TS]

  them like first of all this is you can [TS]

  show this like total you can show this [TS]

  to a two-year-old like you can show us [TS]

  that to anybody and most kids will not [TS]

  be frightened by over and i just showed [TS]

  it to them constantly and both my son [TS]

  and my daughter because it is such like [TS]

  I knew that what they were going to see [TS]

  for their entire lives were sort of [TS]

  Western action movies with male [TS]

  protagonists that are just like we all [TS]

  know what that's gonna be like [TS]

  everything they see is going to be like [TS]

  that including Star Wars for that matter [TS]

  like it's all going to be like that [TS]

  have so many so few go tues for [TS]

  realistic depictions of young self [TS]

  actualized females that I just saturated [TS]

  them to the degree now that i think my [TS]

  seven-year-old daughter every time I [TS]

  bring movies like I want to see that [TS]

  again like she's smoothie thousands of [TS]

  times and I strongly encourage every [TS]

  parent of sons or daughters to get this [TS]

  movie to get Toto and just to show them [TS]

  constantly so that they're burned into [TS]

  your children's DNA is because until it [TS]

  once they enter that wider world all [TS]

  they're gonna see is the generic like [TS]

  there's just so few good examples of [TS]

  this and it kills me that this issue of [TS]

  them and I maybe I'm burning my children [TS]

  out in this movie but this movie is a [TS]

  parenting tool I feel like come on daddy [TS]

  watch a princess tonight I believe me [TS]

  when i say the princess you're never [TS]

  going to stop that like she has seen all [TS]

  the other movies I some people feel the [TS]

  same way about frozen but I feel even [TS]

  more strongly about these movies that [TS]

  they are they are sort of just gentle [TS]

  and even-handed and just just good like [TS]

  they're not educationally but just [TS]

  couldn't lose you can I want this movie [TS]

  to be part of like the internal [TS]

  emotional landscape of my children [TS]

  essentially and so I've done I've done [TS]

  that through repetition I hope and [TS]

  that's how i feel about these movies and [TS]

  I'm essentially willing to to trust my [TS]

  children trust them with my children I i [TS]

  agree with everything you said but I [TS]

  also want to add that they're weird [TS]

  which is great haha no I'm seriously so [TS]

  many there's so much can you know and [TS]

  like we're joking about like expecting [TS]

  you know like a bank vault to fall in [TS]

  somebody's head or something but I mean [TS]

  you know we got the way we are from [TS]

  watching certain kind of cartoon a [TS]

  reading a certain kind of comic over and [TS]

  over and over and I think you could do [TS]

  worse than introducing something like [TS]

  this when they're ready for it yet [TS]

  spirited away when they're ready for it [TS]

  because I mean what happens in these [TS]

  movies like you know like you're making [TS]

  funny a John because I'd finally seen [TS]

  nautica and that in Prince monokey were [TS]

  to that and I mean I guess I'm glad we [TS]

  waited awhile because they're both like [TS]

  declar they're a little their little [TS]

  rougher you have the correct they are [TS]

  but oh my god princess [TS]

  they're both so goddamn weird if they're [TS]

  just extremely extremely stress it's [TS]

  very difficult to even explain what [TS]

  happens in some sequences because [TS]

  Stephen describing what combination of [TS]

  fantastic animals this looks like it's [TS]

  impossible and its kind of bleeding but [TS]

  it's not it's all soup [TS]

  you're weird but i think that's really [TS]

  good i really like my daughter started i [TS]

  started showing her Marx Brothers movies [TS]

  where like she's gonna have absolutely [TS]

  no idea what's happened but she she asks [TS]

  talk about a gift a kid who wants to [TS]

  watch duck soup like I want her to sit [TS]

  there and have a process what's going on [TS]

  in this and and and nana I'm not mean I [TS]

  mean it merely just as like some kind of [TS]

  an sa80 study program but i think the [TS]

  idea of putting things in front of your [TS]

  kids they don't expect that they're [TS]

  gonna have to ask questions about or [TS]

  just wonder about i mean it's it's just [TS]

  so easy to sit down and I'm the [TS]

  trash-talking a hero or something but [TS]

  it's just so easy to sit down and walk [TS]

  through that same little Candyland game [TS]

  of these same 35 movies that all their [TS]

  friends have seen and I like the idea of [TS]

  challenging them to like see something [TS]

  that doesn't on the face of it make a [TS]

  lot of sense i'm an old guy and I don't [TS]

  understand all of it so I think that's a [TS]

  really good exercise when they're ready [TS]

  for it I think it's a really good idea [TS]

  and like the internal landscape of all [TS]

  their friends are going to be beauty and [TS]

  the beast aladdin snow white monster [TS]

  high like like about like move some of [TS]

  these are really good but great are very [TS]

  much like you can describe this movie on [TS]

  the playground and it'll make sense and [TS]

  how many movies do they see where they [TS]

  were there is ineffable quality to it I [TS]

  don't just say magic but there's nothing [TS]

  inevitable about it was like we kind of [TS]

  just got to see it to really get it [TS]

  yeah and the kids don't appreciate all [TS]

  these nuances of these movies were [TS]

  discussing but I really do feel like [TS]

  they internalize them and that like that [TS]

  I basically what I'm trying to do is [TS]

  like I want the inside of my children to [TS]

  be something different in some small way [TS]

  than the inside of a other children [TS]

  because i want to give them an [TS]

  experience that they wouldn't have is [TS]

  they're all that experience they were [TS]

  talking about they're gonna get that [TS]

  whether we do it or not like there's [TS]

  nothing we can do to stop them from from [TS]

  getting on it's like worrying if they'll [TS]

  discover french fries right it's like [TS]

  you know the they will get on the air [TS]

  desert-like don't we're not gonna give [TS]

  our child deserves well good luck with [TS]

  that like it that you know it's the [TS]

  world is going to happen to them all you [TS]

  can do and you get a specialist I say [TS]

  start young like you get such a small [TS]

  window of time to 34 years old to make [TS]

  any sort of impression online and also [TS]

  just blaming it from an adult [TS]

  perspective showing them that I like [TS]

  these movies i watch them without them [TS]

  sometimes they come down when they can't [TS]

  sleep in the same you're watching [TS]

  miyazaki movie and I think that has an [TS]

  effect they're saying these are just [TS]

  kids movies that we watch these movies [TS]

  and daddy watches to like they're good [TS]

  for everybody [TS]

  you get so few chances to do so do you [TS]

  have a miyazaki movie on a loop and then [TS]

  when an infrared beam is triggered game [TS]

  of thrones flips over to the miyazaki [TS]

  movies come down the stairs that are our [TS]

  stairs are very creaky and i was able to [TS]

  pause the night when we heard one kid [TS]

  coming down it looks like John's playing [TS]

  journey but he hits a button in and [TS]

  Microsoft Excel comes up you know I mean [TS]

  like I really running along but like [TS]

  there's one like unfortunate side effect [TS]

  of a good thing a good thing is [TS]

  realizing that it matters what we showed [TS]

  that show our kids like it's a good [TS]

  thing i'm really glad that like you know [TS]

  there was a there was a time when you [TS]

  couldn't just have commercials disguises [TS]

  TV shows like in the seventies that was [TS]

  a thing for a while the eighties that [TS]

  one away [TS]

  I guess I guess I just feel like it's [TS]

  adjusted to to amplify with John saying [TS]

  that there's there's so many things you [TS]

  could do like I've probably there's com [TS]

  definitely comics I've read with my kids [TS]

  comics ever with my kids this week that [TS]

  she's probably too young to be reading [TS]

  and I don't feel great about that but in [TS]

  the case of this movie script what I say [TS]

  that because I want her to be exposed to [TS]

  stuff that's beyond the incredibly broad [TS]

  darkly drawing outlines of what [TS]

  constitutes children's entertainment [TS]

  because it's really depressing if you if [TS]

  you really look at the landscape that's [TS]

  out there of what you're supposed to be [TS]

  consuming when you know I mean like [TS]

  clone wars clone wars i think is awesome [TS]

  I like it better than three of the style [TS]

  person because it's really good but it's [TS]

  also it's it's it's really predictable [TS]

  and I just think the idea of like [TS]

  throwing stuff to your kid that is not [TS]

  dangerous but there's not that much like [TS]

  my smokes probably little much for a [TS]

  young kid spirit whale a little much for [TS]

  a young kid but I don't know I just feel [TS]

  like giving your kids the chance to have [TS]

  stuff we don't sit around read [TS]

  fairytales so much as we did when I was [TS]

  a kid so there's nothing if you're going [TS]

  to be in this media landscape giving [TS]

  them start putting stuff in their path [TS]

  that they're going to think about and [TS]

  maybe they'll have a question a year [TS]

  from now that they don't have today but [TS]

  adding the transition to parenting [TS]

  lesson but i just think that's such a [TS]

  great opportunity like John says you [TS]

  don't have forever or even even live [TS]

  action movies for adults get like that [TS]

  for the actresses that are out there [TS]

  what roles do they have for women [TS]

  that I that they are the hero of the [TS]

  story unequivocally but no no any sort [TS]

  of qualifiers no restaurant I mean like [TS]

  zero gravity wasn't hundred local things [TS]

  happen to some Republican gravity and [TS]

  she was kind of like more like an inner [TS]

  struggle like nausea go straight up [TS]

  she's the hero of the story and over in [TS]

  it not in not in a you could substitute [TS]

  a male character be the same story [TS]

  because it wouldn't she's also she's a [TS]

  female she acts like a female she's also [TS]

  you know she has like it's I don't just [TS]

  dont even cie I maybe I'm not thinking [TS]

  well stop that someone knows it will [TS]

  throw it out maybe like is there a [TS]

  live-action movie that is a [TS]

  straightforward action/adventure movie [TS]

  with a female hero to agree that the [TS]

  Nazca is and I don't even think there is [TS]

  that hope so i got hopes for Lucy it's [TS]

  not something she'll be watching anytime [TS]

  soon but i gotta i don't know i think [TS]

  she's got to go like it you know be the [TS]

  killing machine and that one like there [TS]

  are certain things that were allowed to [TS]

  have and i would say that i would hold [TS]

  nas ago and and Kiki for that matter is [TS]

  to movies that could never fly as a [TS]

  Hollywood live action movie classic is a [TS]

  good action movie too though that's the [TS]

  thing is like it isn't just that I think [TS]

  a lot of people think Miyazaki's all [TS]

  like giant avoid smiling faces and it's [TS]

  it's not I mean he's only seen her on [TS]

  key and you haven't seen mine okay and [TS]

  and not-so-good you can be forgiven for [TS]

  thinking that but you're missing a big [TS]

  part of the picture there I just like [TS]

  the fact that everything here isn't [TS]

  handed to the kid that's watching on a [TS]

  platter right i mean there's weirdness [TS]

  there are there are themes that are [TS]

  really subtle as far as you know growing [TS]

  up and hand the whole puberty aspect of [TS]

  it which they will be picked up on for [TS]

  quite some time but there's there's a [TS]

  lot of stuff that goes on that they [TS]

  actually have to piece together [TS]

  themselves to start just you know what [TS]

  why did this person why did that go that [TS]

  way why did that person to what they did [TS]

  why would they motivated separate why or [TS]

  why is she why is she I can tell like [TS]

  kids can tell that she's upset or sad [TS]

  but they will take a long time before [TS]

  very why why is she upset because she [TS]

  doesn't explain why her she's gone away [TS]

  and eventually like that's the party [TS]

  movies the kids won't get until they are [TS]

  themselves 12 and go oh now I recognize [TS]

  why she shuts down when the kids pull up [TS]

  in the car right and that's too [TS]

  sophisticated for this point I really [TS]

  like watching this with the kids tonight [TS]

  because even though they they would [TS]

  laugh at the occasional you know funny [TS]

  cat joke and wouldn't say much about [TS]

  what's going on in the film [TS]

  you can watch their faces and you can [TS]

  kind of see the gears turning or once in [TS]

  a while you'd see like a little subtle [TS]

  smile appear on a face at an appropriate [TS]

  point and it's just it's really fun to [TS]

  kind of see the brain started to work [TS]

  while they're watching a movie instead [TS]

  of just you know things flowing by [TS]

  adults should watch this movie because [TS]

  it is i think many seems like it [TS]

  sometimes you think your kids get more [TS]

  than they do right it was a very often i [TS]

  will add my kids hate this as all kids [TS]

  should we'll ask them why did character [TS]

  X what is characterized feeling now and [TS]

  why I kind of hate you for asking it now [TS]

  they absolutely they absolutely do not [TS]

  know the answer sometimes they can tell [TS]

  what the person is feeling of his [TS]

  animation i can tell she's not happy or [TS]

  sad or whatever but they have no idea [TS]

  why and they're not going to such an [TS]

  awful thing to do to your kids Jon [TS]

  that's like saying show your work i [TS]

  asked them gently and I don't lean on it [TS]

  and yes and yes they do hate it and they [TS]

  can either be something similar is what [TS]

  it's all about things a young girl could [TS]

  do in the city to earn over [TS]

  no I don't know what I'm trying to do [TS]

  what I'm trying to do is the kinds of [TS]

  things we could do naked I'm I'm trying [TS]

  to gauge whether they are actually [TS]

  following along to the degree you hope [TS]

  they aren't his thing is they don't they [TS]

  don't understand like I mean many adults [TS]

  don't understand why you ask it if you [TS]

  like to try this with your adult friends [TS]

  pause the movie and ask them you'll be [TS]

  very depressed by those answers well [TS]

  anyway which I know that John I mean the [TS]

  one simple question to ask the end it [TS]

  sounds silly but sometimes I yeah i'll [TS]

  turn and see what you do that why did [TS]

  you do that just know what you think he [TS]

  did that he did that because he was mad [TS]

  he did it because he was sad [TS]

  well you know didn't turn out the way we [TS]

  expected like it better than me [TS]

  no but I think sometimes asking i have [TS]

  the motivation thing that's what I love [TS]

  and again any great story [TS]

  I mean you know i'm always pulling up to [TS]

  the high level but I got I'm always the [TS]

  most fascinated by stories as [TS]

  representing something that starts in a [TS]

  certain state and eventually more or [TS]

  less ends in another state and what we [TS]

  learn about somebody who's faced with [TS]

  something that seems impossible [TS]

  that's what makes a great story so when [TS]

  your face when were in life where face [TS]

  it was something impossible like how do [TS]

  we handle it like not great a lot of the [TS]

  time and along the way you are your [TS]

  integrity as a person is constantly [TS]

  tested by all these opportunities to try [TS]

  and handle this in a way that feels like [TS]

  it's going to be less stressful or [TS]

  whatever and I think someone's along the [TS]

  way it's it's worth you know you don't [TS]

  sit down and turn it into some kind of [TS]

  afterschool special but you could you [TS]

  could do it on there [TS]

  equestria girls you can you just sit [TS]

  there and go like you know why why is [TS]

  this why is this person behaving in the [TS]

  way that they are do you think anyway [TS]

  and having bought a son and a daughter [TS]

  when i asked the two questions of the [TS]

  nine-year-old son and a seven-year-old [TS]

  daughter it is shocking how much more [TS]

  the seven-year-old daughter is able to [TS]

  understand what's going on in the [TS]

  emotional world of the characters on the [TS]

  screen i mean i know that's a stereotype [TS]

  but I've got the two kids and I guess [TS]

  the two kids the questions and despite a [TS]

  three-year age difference the [TS]

  seven-year-old knows why that girl or [TS]

  boys upset and the nine-year-old if he [TS]

  knows he's not saying so that brings us [TS]

  to the end of our show and i would like [TS]

  to thank my lovely gasps for once again [TS]

  spending some time talking about a [TS]

  miyazaki movie with me Merlin man it was [TS]

  great to have you back [TS]

  thanks man it's a it's always a joy to [TS]

  be here appreciate it I'm glad youwere [TS]

  you could take the time and i love i [TS]

  love talking about these crazy crazy [TS]

  miyazaki movies with you it's great [TS]

  sluts thank you for a for coming in for [TS]

  watching this movie for the first time [TS]

  and thus I thank you for making me watch [TS]

  this movie for first and second time i [TS]

  really enjoyed it you I didn't make you [TS]

  I mean you volunteered to do and [TS]

  bridging all right okay then i have to [TS]

  get the band back together that sure [TS]

  you're a little bit up here you're right [TS]

  i did i'd pick that's all right to [TS]

  define time and I'd I feel like my my my [TS]

  horizons have been expanded yet again [TS]

  prognosis of miyazaki yeah [TS]

  yep yep and John syracuse I would've [TS]

  done without you thanks for being here [TS]

  wouldn't miss it my favorite miyazaki [TS]

  movie i know i'm with you i'm right [TS]

  there with you [TS]

  and so that wraps it up if you liked [TS]

  this podcast check out episode 84 which [TS]

  is me and John talking about miyazaki [TS]

  and this gang in episode 144 talking [TS]

  about my neighbor totoro so thanks [TS]

  everybody out there for listening to the [TS]

  uncomfortable [TS]

  we'll see you next time [TS]