Resident composer Joe Hisaishi is at it again with one of his better, more recognizable Ghibli scores. The soundtrack too is essential in setting up the atmosphere. Add to that the cheeky yet fun character designs and some lovely airborne scenes and you can rest assured that the Ghibli magic is fully present, even without all the fantastical extras. The blue skies, the romantic Italian setting and the amazing attention to detail that characterizes Ghibli's films make for a visual treat. It's clearly a little less complex and fluid than Miyazaki's Kaze Tachinu, but the film just oozes style. There he runs into Fio, a young female architect who plans to help Porco with his mission.Įven though the film is more than 20 years old the animation still holds up today.
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Porco's plane fails him, forcing him to sneak back into Italy to upgrade his machine and get rid of the American once and for all. He leads a pretty good life, until an American pirate shows up and challenges Porco to a one-on-one battle. He flies around the Adriatic sea, taking up odd jobs while saving local residents and cruise ships from pirates. Porco Rosso tells the story of Porco, a rogue airplane pilot. Both elements combined make for a unique film within Miyazaki's oeuvre. In part it lies with Porco, the main character of the film, a jet fighter turned pig (the only truly fantastical element present), in part with the Adriatic setting that gives the film an extra warm and melancholic layer, lying comfortably on top of the feel-good atmosphere. But never was it so apparent as in Porco Rosso.Īnd though the airplanes in Porco Rosso make up a big part of the film's background, its true charm is found elsewhere. From a flying Tonari no Totoro to the broom of Kiki, from islands and airships in Laputa to the flying machines and bugs of Nausicaa, it's clear that Miyazaki had a soft spot for all things airborne.
And as it turns out, time has been particularly gentle to this one.Įver since Miyazaki ( Ponyo) brought the Ghibli brand to life, he indulged in sneaking flying machines and monsters into this film.
Porco Rosso is a very different film in style and scope, but I always considered it to be one of Miyazaki's best. But a little over 20 years ago Miyazaki already dedicated a film to one of his biggest passions: the airplane. On a project like this, a lot of it is about pleasing yourself, so it was going to be doing whatever it takes to make the posters as good as it could be.It was only just a few weeks ago that I went to watch Kaze Tachinu, Hayao Miyazaki's latest (and final) feature film. We also had to rewatch all the films pretty quickly to get ideas. Time constraints: It just meant we needed to hit the ground running, with some extra late nights working and going in on weekends. Visual influences: In this case, when looking for ideas and doing research, I saw an image from di Lauro that suggested to me the idea of a layered system using different backgrounds. I like the idea of crafting something where the main elements are locked in and work, and then spending that extra time to craft little moments of surprise around. I love the way he drew the big brother riding the bike on the side and the chocolate bars. He expects that my ideas and suggestions are worked out properly and I expect that he surprises me and throws a twist that makes my ideas even better.įavorite details: I think di Lauro really nailed some great small details in The Goonies poster. di Lauro is someone I really love working with, so the back and forth of the process was really smooth. Once our three-part layering system had been decided as a template, it was re-watching all the films again to see how they fit the system. The ultimate aim was to pay homage to the original source material while bringing in visual elements that felt new and different.Ĭhallenges: The most challenging part was also the most fun. Like the cave, suburbs and pirate boat for The Goonies Trash Island, the park and the city of Megasaki for Isle of Dogs and the beach, plane and fair tents for Porco Rosso. Each poster has a three-part layering system that divides three environments from the films. Reasoning: I had worked with illustrator Massimiliano di Lauro before, and we had focused on main characters in our last poster series, so this time around, I wanted to focus on some of the backgrounds in these films.
They can end up being a personal reflection of what I like in the films, and therefore, what I think like-minded audiences will also appreciate. What’s fun about doing posters for older films is that they can veer from the norm a bit, since a lot of people already know these children’s movies.
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Responses by Martin Dupuis, art director, Les Évadésīackground: The purpose of the project was to advertise special screenings of these films at the Cinéma du Parc, a local movie theater in Montréal.