Mary and the Witch’s Blossom
Meari to Majo no Hana) is an Japanese animated characteristic films and produced by Studio Ponoc and directed by Hiromasa Yonebayashi and produced Yoshiaki Nishimura.
Information technology premiere in
on July 8, 2017, past Toho while the English-language dubbed and subtitled version was released concurrently in the United states on January 19, 2018, past GKIDS.
The pic began life following the retirement of Hayao Miyazaki and the shutting down of the production side of Studio Ghibli in 2014. Hiromasa Yonebayashi, manager of
The Secret Earth of Arrietty
When Marnie Was At that place, and producer Yoshiaki Nishimura, who worked alongside Isao Takahata in
The Tale of the Princess Kaguya, had left Ghibli to found Studio Ponoc on Apr 15, 2015, to produce this film. Additionally, 80% of the staff that were involved in this film had previously worked at Ghibli.
Information technology is based on 1971 British children’s story
The Piddling Broomstick
past Mary Stuart (1916 – 2014). It was originally released in Nippon on 1975 as
Small Magic Broom
(Translation by Kyoko Kakegawa / analogy by Akahoshi Akira Mamoru) and republished on 2017 due to the release of this pic adaptation. It was chosen
Mary and the Witch’s Flower, New Translation
(Translation by Toshiya Echizen, Yuki Nakata ) and was published by Kadokawa.
The picture was publicly announced with its poster visual on December 14, 2016, and its lead vocalism actor
was announced on February 23, 2017. Yuki Amami and half dozen other cast members were announced on May 23. Actors Sugisaki, Amami and Kamiki have had prior feel performing in previous Studio Ghibli works.
Magic Scientific discipline
Rainbow of Magic
Residents of Red Manor
Backside the Scenes
Mary Smith moves into the northern English country estate of her Dandy Aunt Charlotte. The bored, friendless girl tries to brand herself useful through chores, but repeatedly messes up. A local boy named Peter teases her for her clumsiness and wild red pilus. Tib-cat and Gib-cat, Peter’s cats, lead Mary to some mysterious glowing flowers. The gardener identifies the flowers as “wing-by-night”; legend has information technology that witches covet the bloom for its magical power. The adjacent day, Gib-cat disappears. Tib-cat leads Mary to a broomstick only she accidentally bursts a fly-past-night bulb on it. The seedling releases magical power, making the broomstick come to life and enabling Mary to ride it like a witch. The Little Broomstick whisks Mary away to a circuitous of buildings in the clouds, known as
Head mistress Madam Mumblechook assumes Mary is a new educatee with Tib-cat equally her familiar, and takes her on a tour of the higher. She introduces Mary to
Doctor Dee, the college’s renowned chemistry teacher. Mary finds herself able to perform advanced spells such as invisibility. Madam and Doctor Dee become convinced that Mary is a prodigy because of her performance as well as her red pilus, which is a distinguishing characteristic among the best witches.
Mary admits that her magical ability comes from fly-past-nighttime, and that Tib-cat belongs to Peter. Madam’s attitude changes then but she lets Mary return habitation once Mary turns over Peter’south accost. That night, Madam sends a bulletin to Mary, informing that she’due south kidnapped Peter, and demands that Mary bring the fly-by-night bulbs to her. She and Tib-cat quickly fly dorsum to Endor with the bulbs, but Madam and Doctor Dee imprison her in their transformation lab. Mary finds Peter locked in with her, and discovers that Doctor Dee has been experimenting on animals, including Gib-cat, transforming them into fantastic creatures. From the spell book she took from Madam’s office, Mary uses a spell to undo the transformations and unlock the lab. They endeavor to escape on the Piffling Broomstick, but Peter is recaptured.
The Picayune Broomstick takes Mary to an isolated cottage on a tiny isle that seems to be alive. Inside the cottage, Mary finds notes on spells and a mirror that Great-Aunt Charlotte uses to contact her. Through visions, Charlotte reveals that the cottage was her old abode, and she used to be a red-haired pupil who excelled at Endor. Ane solar day Charlotte institute fly-by-night on the campus, leading Madam and Doctor Dee to obsessively pursue a project to utilize the bloom to transform all humans into witches. When their experiments failed, Charlotte escaped Endor, taking the flower with her. Charlotte begs Mary to use her last bulbs to render home, only Mary vows to rescue Peter.
Rainbow of Magic
Mary returns to Endor and finds Madam and Doctor Dee trying to transform Peter into a witch. The experiment fails again, leaving Peter trapped within a gelatinous monster. Mary gets the spell volume to Peter, and he uses it to disengage the failed experiment and all of Madam and Doctor Dee’southward research.
Mary and Peter fly domicile, with her throwing abroad her last bulb and proverb she does not need magic.
- Mary Smith (メアリ・スミス ,
- The redheaded, blueish eyed, freckled 11-year old protagonist of this tale. She is curious and innocent in the ways of the globe. She’s forlorn and unsure of herself when she outset moves to her Aunt Charlotte’due south Red Manor.
- Mary’s adventure begins when she discovers a mysterious glowing blossom called the “fly-past-night”. The magic released from these flowers empowers Mary’s broom, which allows her to take flight where she ends upward traveling to
Endor University. Shenanigans ensues.
- Peter (ピータ ,
- A 12-year old newspaper male child who resides at the grounds of the Red Manor. He flees with Mary to the Endor University. He holds a dark clandestine.
- One of Peter’south cats who lives in Red Estate. He has black fur and emerald light-green eyes. He enjoys Mary’s company.
- A greyness female person cat owned by Peter.
Residents of Red Manor
- Charlotte (シャーロット ,
- The kindly mistress of the Cherry Manor and Mary’due south groovy aunt. She watches over Mary.
- Flanagan (フラナガン ,
- Manager of the broomhouse at Endor University. He appears to be an anthropomorphic mouse. He has a strong fascination with brooms and later saves Mary and Peter’s life.
- The housekeeper who works at the Ruby Estate. A person Mary relies on for emotional support.
- The gardener in the Scarlet Estate. He teaches Mary the secret of flight with a broomstick.
- A professor and “magic scientist” and a secondary antagonist at Endor University. He studies magic transformations and cavorts with Madam Mumblechook.
- Madam Mumblechook (マダム・マンブルチューク ,
- The headmistress or primary and a master antagonist of Endor University. A stern and intimidating woman who seeks Mary for her transformation magic experiments.
Behind the Scenes
At the end of 2014, the animation production department of Studio Ghibli was dissolved post-obit Hayao Miyazaki announcing his retirement in September 2013. In March 2015, Hiromasa Yonebayashi publicly expressed his desire to direct a third moving-picture show for Ghibli, hoping to move away from a project like
When Marnie Was There
to a more action-based picture similar [[Ponyo]].
On April 15, 2015, Yoshiaki Nishimura, producer on
The Tale of the Princess Kaguya
When Marnie Was At that place, still an employee of Ghibli and the designated successor of Toshio Suzuki, established a new company, Studio Ponoc. “Ponoc” is Serbo-Croatian word, roughly translating to “midnight” to signify “the beginning of a new mean solar day.”
In Feb 2016, Nishimura and Yonebayashi, returning from the 88th University Awardsfor
When Marnie Was There, discover out that Studio Ghibli’s production offices was completely empty and would not be returning. Shortly thereafter, as what many had suspected: Yonebayashi would direct a 3rd feature film, but inside Studio Ponoc.
“Starting from nothing was quite scary, but in starting from zero there is promise as well,” Nishimura says. This sense of a new showtime was used to rally talent from Ghibli and elsewhere, and Nishimura recognized that without the cooperation of others, his goal of a new studio would take been impossible; without the Ghibli make to rely on, the upstart studio would need to grow from its own drove of talent.
Following Miyazaki’s method of adapting children’south books, Yonebayashi decided on adapting
The Lilliputian Broomstick
by Mary Stuart. When asked what inspired them to arrange this book, Nishimura responds:
“Well, there are iii reasons: first, after we left Studio Ghibli and founded Studio Ponoc, we wanted to have an energetic main character and a fantasy setting. The concluding picture show Yonebayashi-san directed at Studio Ghibli – When Marnie Was At that place – was a very tranquility picture nearly the internal thoughts and emotions of a girl. But Managing director Yonebayashi’s speciality is actually dynamic action, which he learned as an animator nether director Hayao Miyazaki, something he developed into a real talent. I thought “which motif volition permit the kind of fantasy setting we’re looking for?” I read a lot of immature adult literature and fantasy looking for stories, and nigh all of these stories involving magic feature characters using magic to solve hard problems, but in this book – in “The Little Broomstick” – the main graphic symbol, Mary, says “I’thousand going to open this door only I won’t use magic – no matter how much time information technology’ll take, I’ll do it on my own, without magic” and I thought “this should exist the heroine we use for our movie”.”
“The second reason is, this theme of not using magic to solve a trouble – it fit into the state of affairs that I and Yonebayashi-san and others at Studio Ghibli faced: we were now no longer nether the “magic umbrella” of Studio Ghibli and needed to complete a film on our own. And then the feeling that nosotros needed to stand up on our own 2 feet was role of it.”
“Lastly, there is one other motif in The Little Broomstick – the magic flower, the fly-by-night. This is the flower that gives magic power to normal humans. We treated this as Prometheus Burn – something that humans shouldn’t actually have, something that wreaks destruction if they get too close to it. That relates to the challenges we face in this present day, in our own lives.”
Mary and the Witch’s Blossom
is an accommodation of British writer Mary Stewart’due south 1971 children’s book
The Little Broomstick. Information technology was kickoff published in 1975 in Japan and re-released with a new translation by Kadokawa in 2017 to back-trail the film’due south release. The film’south screenplay is by Riko Sakaguchi (The Tale of Princess Kaguya) and director Hiromasa Yonebayashi.
Pre-production began in a building in Musashino, Tokyo, Japan in Dec 2015. Ponoc’s operation began smoothly, starting with advertising support from JR Nishi Nihon, regional subsidiary of the JR rail group. The studio also hired Yoshiyuki Momose, one of the pillars of Studio Ghibli. Around this time, Yonebayashi broke the news to Miyazaki that he was moving forward with the film’s production. “He was happy,” Yonebayashi explained. “Miyazaki isn’t someone who shows their feelings easily, so it was surprising.”
“I would like to create films inherited from the spirit of Ghibli” elaborated Nishimura. “At that place are a lot of studios that brand proficient films, but few that are responsible and reflect on the image and values they convey through their productions. It is for this reason that we felt compelled to create our ain studio.”
They would try to apply the iii points that Miyazaki taught them:
- A movie must be fun.
- It must be interesting.
- Information technology must make a profit in lodge to exist able to make some other ane.
“This fourth dimension we wanted to make a moving-picture show with a protagonist who acts before thinking… This applies to starting a new studio as well; information technology was important we take action without thinking too much.”
The film’s production was composed of eighty% of Ghibli’s production staff. Much of the picture’s style and storytelling was greatly affected by Ghibli. According to Director Yonebayashi, “We employed lots of hand drawn animators for Mary and we are confident that we fully employed their strength and power for the paw drawn animation. With the short films we are trying to employ lots of paw drawn animation and lots of CG animation too, and it is our challenge to mix these two medias. Hand drawn animation and computer graphics.”
The biggest challenges the animators faced was animative the fantastical characters and creatures assuredly. “One is when Mary enters Endor College and the headmistress appears in the water – that was very tough to breathing. The other 1 was when the animals are freed, transformed back into their original animal shapes and freed, escaping the cave where they were imprisoned. There were and then many different animals, each with slightly different movement, so that was a real challenge. Each of these is only a few moments of screen time, but they took about two months to finish. There were many scenes like that, that were difficult to animate. Only what I put a lot of effort into were the scenes where Mary loses her magic power and has to rely on just her human ingenuity and strength, and with renewed determination runs to the rescue simply on her own ability.” Yonebayashi explains further.
When creating the grapheme of Mary, Yonebayashi considered themes of transformation from within, “Initially Mary has an inferiority complex about her ginger red hair and she was so unhappy that she would curse herself in the mirror – just somewhen through her adventure they don’t matter to her. Initially she was thinking only of herself but somewhen she discovered that she was able to cede herself to save other people. That was the theme when I was designing these aspects.”
“Also in that location is a symbol on Mary’southward palm that indicates when she is granted power, enormous power. But when she really needed the power the well-nigh she was unable to use it, she would just encounter a petty scar on her palm. Nevertheless, she would turn her palm into a fist and proceed to become forward. We wanted to portray her conclusion. That even when she loses the magical ability she is adamant to become ahead. We thought that this was of import and would resonated with a lot of audiences.”
In December 2016, Studio Ponoc unveiled the first teaser of
Mary and the Witch’south Flower. The release appointment was ready for July 8, 2017.
In January 2017, Hayao Miyazaki visited Ponoc’due south offices to encounter his quondam collaborators, who have dubbed the studio as the “next generation of Ghibli”. “On Arrietty, Mr. Miyazaki oftentimes told me that I did non understand anything while looking at my
genga” Yonebayashi humorously explained. “But this fourth dimension, he simply came to chat.”
Additionally, the ending credits contained a “Thank yous” message addressed to Hayao Miyazaki. For this reason, the moving-picture show is sometimes described equally “the second Studio Ghibli” or the successor to Studio Ghibli.
Voice recording began in May 2017. Hiromasa Yonebayashi, who enjoys working with talent he previously collaborated with at Studio Ghibli, hired
(she voiced Sayaka in
When Marnie Was In that location) and Yûki Amami (Granmamare in [[Ponyo]]). They also hired popular phonation talent
equally Peter, who not just appeared in the mega-blockbuster
Your Name, but also voiced Sho in
The Hole-and-corner World of Arrietty, Markl in
Howl’s Moving Castle
and Boh in
Mary and The Witch’s Bloom
grossed $2.4 1000000 in the United States and Canada, and $38.half-dozen one thousand thousand in other territories (including $27.vi million in Japan, $3.eight million in Republic of korea, $two.9 million in China and $2.six million in France), for a worldwide total of $41 million.
In Nippon, the film opened at 2nd place, grossing ¥428 million ($three.9 million) during its opening weekend; this was an increase compared to Yonebayashi’south previous picture show,
When Marnie Was In that location
(2014), which had grossed ¥378.86 million in its offset weekend.
In the United states of america, the film held a special Th night preview on January xviii, 2018, where information technology grossed $one.2 million from 573 theaters. It so stayed at 161 theaters over the weekend and grossed $329,097, bringing its iv-day gross to $1.5 one thousand thousand. Critical response
On review aggregator Rotten Tomatoes, the picture show has an approval rating of 86% based on 69 reviews, and an average rating of vi.9/ten. The website’s disquisitional consensus reads, “Mary and The Witch’s Bloom honors its creator’s Studio Ghibli roots with a gentle, beautifully animated story whose simplicity is rounded out by its entrancing visuals.” On Metacritic, the motion picture has a weighted average score of 73 out of 100, based on 19 critics, indicating “generally favorable reviews”.
Shelia O’Malley of RogerEbert.com gave the movie a rating of 3 stars out of four and stated that “the total lack of inner conflict in Mary might be why Mary and The Witch’south Flower-as transportive and entertaining equally it is-feels a little slight”. Nevertheless, Moira Macdonald of The Seattle Times noted that although the film “isn’t quite a masterpiece” and “the screenplay needs a polish”, she concluded that the film is “a joy to look at: a visual adventure, and a continuation of a remarkable legacy”.
Composer Muramatsu Takatsugu, who besides scored Yonebayashi’s concluding motion-picture show
When Marnie Was There, is in accuse of the soundtrack for
Mary and The Witch’due south Flower. Joshua Messick, 1 of the world’s leading performers of the Hammered Dulcimer, participated in the score recording.
|Character||Japanese Vocalism histrion||English Voice actor|
|Mary||Hana Sugisaki||Cherry Barnhill|
|Madam Mumblechook||Yuki Amami||Kate Winslet|
|Medico Dee||Fumiyo Kohinata||Jim Broadbent|
|Flanagan||Jiro Sato||Ewen Bremner|
|Peter||Ryunosuke Kamiki||Louis Ashbourne Serkis|
|Miss Banks||Eriko Watanabe||Morwenna Banks|
|Red-haired Witch (Younger Great-Aunt Charlotte)||Hikari Mitsushima||Teresa Gallagher|
|Zebedee||Kenichi Endō||Rasmus Hardiker|
|Lite Fairy||Saori Hayami||Rebecca Louise Kidd|
|Director, Screenplay||Hiromasa Yonebayashi|
|Animation Managing director||Takeshi Inamura|
|Banana Cartoon Director||Akira Inoue, Akihiko Yamashita|
|Art Manager||Tomotaka Kubo|
|CG Manager||Yū Karube|
|Cardinal Animation||Akira Honma, Akiyo Okuda, Asako Matsumura, Atsuko Otani, Atsuko Tanaka, Atsushi Tamura, Eiji Yamamori, Emi Ohta, Fumie Imai, Hideki Hamasu, Hirofumi Masuda, Hiroko Minowa,Hiroomi Yamakawa, Hiroshi Kawaguchi, Hiroshi Shimizu, Izumi Seguchi, Kazutaka Ozaki, Kazuyoshi Onoda, Kiyotaka Oshiyama, Mariko Matsuo, Masafumi Yokota, Masashi Ando, Minoru Ohashi, Naoya Wada, Ryosuke Tsuchiya, Sachiko Sugino, Satoko Morikawa, Shigeru Fujita, Shinichiro Yamada, Shinji Hashimoto, Shinji Otsuka, Shinya Ohira, Shūjirō Ami, Susumu Mitsunaka, Takaaki Yamashita, Takashi Hashimoto, Takayuki Hamada, Tatsuzou Nishida, Toshihiko Masuda, Toshio Kawaguchi, Yoshiyuki Momose, Yūichi Takahashi, Yūko Tani|
|Line Examination||Atsuko Okui, Atsuko Shibata, Chūzan Kuno, Hironobu Horikoshi, Junji Yabuta, Kanae Ouchi, Minori Tsukagoshi, Shūji Takahashi, Taku Kaneku, Toshiyuki Fukushima, Yoshiaki Kayaba, Youichirou Satou, Yūsaku Ishimi,|
|CG||Ayano Kameda, Hisashi Akimoto, Jae-Youp Sang, Tomoe Hitō, Yoshifumi Takegawa|
|In-between Animation||Ai Kaneko, Aiping Wang, Akane Ōtani, Akiko Ikeda, Akiko Teshima, Asami Ishikado, Asami Ishiura, Asuka Sekiya, Aya Takahashi, Ayaka Miyamoto, Ayaka Muroga, Ayaka Saitou, Ayaka Yamamoto, Ayaki Ono, Ayano Yagi, Bo Rum Lee, Byeong Jae Lee, Chihiro Watanabe, Chizu Takanuki, Emi Nakano, Emi Sakamoto, Fumie Kaneko, Fuyuko Iwata, Hae Jin Jung, Hai Xia Rong, Haruka Itou, Harumi Miyamoto, Hee Eok Kwak, Hiroko Kando, Hiroko Tezuka, Hiromi Matsuda, Hiromi Niwa, Hisako Yaji, Hotaka Hashimoto, Ikuko Akiyoshi, Jae Eun Bae, Ji Young Cho, Jin Rui Li, Jinko Tsuji, Joo Ey Choi, Junji Kobayashi, Kaede Maruyama, Kana Yamamoto, Kanae Tanaka, Kanako Satō, Kanako Takeuchi, Kanata Yanagisawa, Kaori Itou, Kaori Matsushima, Kaori Miyakawa, Katsu Miyazaki, Katsuyuki Takahashi, Keiko Tomizawa, Keiko Watanabe, Keimon Oda, Keizō Suzuki, Ken Anzai, Ken Imaizumi, Kengo Sunohara, Kim Boksim, Kiyoko Kawasaki, Kiyoko Makita, Koji Matsuda, Kumi Miyaguchi, Kumiko Ohta, Kumiko Tanihira, Kyung Mi Ham, Maiko Fujiwara, Maiko Matsumura, Maiko Nogami, Maki Toyoda, Manami Sugimoto, Masakiyo Koyama, Masateru Yoshimura, Masaya Saito, Masayasu Horiuchi, Masayo Tamaki, Maya Fujimori, Mayumi Ohmura, Mei Yamamoto, Mi Kyung An, Michiko Oda, Minami Nakamura, Mineko Suzuki, Misa Koyasu, Misaki Shiohira, Misuzu Ichinose, Mitsuki Murao, Mitsumori Matsuzaka, Mitsuna Ishihara, Mitsunori Murata, Miyuki Abe, Mizuki Kokubun, Momo Yamamoto, Nana Hashiguchi, Nanako Egami, Natsumi Morishita, Natsumi Uno, Natsumi Yamaguchi, Nobuhide Kariya, Noriko Endō, Nosuzu Yasumoto, Nozomu Ichijo, Reiko Mano, Rie Eyama, Rie Nakagome, Rieko Matsuoka, Riko Matsuo, Ritsuko Shiina, Ryoka Furuya, Ryōsuke Murahashi, Ryun Sung Jo, Sae Fukushima, Saki Yamada, Sara Sakoe, Seiko Higashi, Seong Beom Kim, Seong Jin Ho, Seong Yeon Lee, Setsuya Tanabe, Shiki Amaha, Shin Ōba, Shiori Ariga, Shiori Fujisawa, Shota Sugihara, Shūto Enomoto, Sumie Nishido, Sumie Noro, Sun Ha Hwang, Sung Il Kim, Takahiro Nawa, Takashi Nagashima, Takashi Okamura, Takeshi Ohkoshi, Takumi Morito, Takuya Suezawa, Tatsuki Ujihira, Tomoko Nakajima, Tomoko Sugata, Tomoyuki Kojima, Wei Sunday, Yaeko Kodama, Yasuaki Honda, Yasushi Tokuda, Yayoi Toki, Ying Ping Zhao, Yohei Nakano, Yoriko Mochizuki, Yoshie Fujiwara, Yoshie Hayashi, Yoshiko Arahata, Youko Tanaka, Young Lim Lee, Yū Furuki, Yu Fen Cheng, Yue Zhao, Yui Okano, Yui Ōzaki, Yuka Chōmei, Yuka Katsuya, Yukari Umebayashi, Yukari Yamaura, Yuki Masutani, Yuki Nakano, Yuki Takahashi, Yukiko Kunitake, Yukimi Shimamoto, Yukina Orii, Yumiko Taguchi, Yuri Nakao, Yuzu Hori, Zhi Ping Gao|
|Background Fine art||Akane Iwakuma, Akemi Higashi, Akio Shimada, Akira Kuramoto, Ayae Kanbe, Hiroshi Ohno, Hiroshi Satō, Ikuko Kogayu, Jun Okabe, Kazuo Oga, Kikuyo Yano, Kiyomi Oota, Kōsuke Hayashi, Kurumi Katayama, Kurumi Suzuki, Miho Tokita, Naomi Kasugai, Naoto Imamura, Noboru Yoshida, Noriko Kohinata, Saki Yamaguchi, Sō Senoo, Takashi Omori, Tatsuya Kushida, Toshie Honda, Yohei Takamatsu, Yoko Kamiyama, Yoshiaki Honma, Youichi Nishikawa, Youji Takeshige, Yu Xuan Liu, Yuka Nitta, Yumi Ishii,|
|Animation Cooperation||Actus, GONZO, Comics Wave Film, Video Studio, JCSTAFF, Aiken, Shinei Video, Studio Takurake, Nakamura Productions, Color, etc.|
|Special Thank you||Hayao Miyazaki, Isao Takahata, Toshio Suzuki|
|Product Committee||“Mary and the Witch’south Flower” Production Committee (Nippon Television receiver Network, Toho, Dentsu, Hakuhodo DY Media Partners, Walt Disney Nihon, Lawson, KADOKAWA, Color, Yomiuri Television Broadcasting, Kenon, Amuse, DN Dream (Partners, LINE, Yomiuri Shimbun, Sapporo Goggle box, Miyagi TV, Shizuoka Daiichi Television set, Chukyo TV, Hiroshima TV, Fukuoka)|
|Special Sponsors||Morinaga Milk Industry, JA Mutual Aid|
Morinaga Milk Industry
– A special TV commercial was broadcast nationwide, and a tie-in packaged product was released in tardily June 2017. Morinaga Milk Industry sponsored special preview screenings in three cities – Tokyo, Nagoya and Osaka.
JA Mutual Aid
– From June 1, 2017, to July 31, 2017, a personalized visual was fatigued past director Hiromasa Yonebayashi to all applicants for the sponsor’s special site’southward quiz. Original goods were given out by lottery to the correct answers, and from the end of June TV commercials.
Homo Observation Multifariousness Monitoring
– A Television set special called
Incommunicable Vocalization Actor Audition
was broadcast on July 13, 2017. Actors Sugisaki and Kamiki as well as Yuki Kaji participated in the role of Flanagan hosted the outcome.
“Sectional Interview – Mary and The Witch’s Flower managing director Hiromasa Yonebayashi and producer Yoshiaki Nishimura”, Flickering Myth.
“Hiromasa Yonebayashi on Mary and the Witch’s Flower: “We want to make films that requite people courage”, BFI.
“Mary and the Witch’s Flower: Film Creation”, Buta Connexion
“Interview: The Producer and Director of Mary and The Witch’southward Flower”, Anime News Networks.
“Mary and the Witch’s Flower” Official Soundtrack, YesAsia.
Hammered Dulcimer on “Mary and the Witch’s Flower”
Mary and the Witch’s Bloom