Mary and the Witch’s Flower
Meari to Majo no Hana) is an Japanese animated characteristic films and produced past Studio Ponoc and directed past Hiromasa Yonebayashi and produced Yoshiaki Nishimura.
It premiere in
on July 8, 2017, by Toho while the English-language dubbed and subtitled version was released meantime in the Usa on January 19, 2018, past GKIDS.
The movie began life following the retirement of Hayao Miyazaki and the shutting downward of the product side of Studio Ghibli in 2014. Hiromasa Yonebayashi, manager of
The Clandestine Globe of Arrietty
When Marnie Was There, 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 fifteen, 2015, to produce this film. Additionally, fourscore% of the staff that were involved in this film had previously worked at Ghibli.
It is based on 1971 British children’s story
The Niggling Broomstick
by Mary Stuart (1916 – 2014). It was originally released in Japan on 1975 equally
Small Magic Broom
(Translation by Kyoko Kakegawa / analogy past Akahoshi Akira Mamoru) and republished on 2017 due to the release of this film adaptation. It was called
Mary and the Witch’southward Flower, New Translation
(Translation by Toshiya Echizen, Yuki Nakata ) and was published by Kadokawa.
The moving picture was publicly appear with its poster visual on December 14, 2016, and its pb voice actor
was appear on Feb 23, 2017. Yuki Amami and half-dozen other cast members were announced on May 23. Actors Sugisaki, Amami and Kamiki take had prior feel performing in previous Studio Ghibli works.
Rainbow of Magic
Residents of Reddish Manor
Backside the Scenes
Mary Smith moves into the northern English land estate of her Corking Aunt Charlotte. The bored, friendless girl tries to make herself useful through chores, merely repeatedly messes upwards. A local boy named Peter teases her for her awkwardness and wild red pilus. Tib-cat and Gib-cat, Peter’southward cats, lead Mary to some mysterious glowing flowers. The gardener identifies the flowers equally “fly-past-nighttime”; fable has it that witches covet the flower for its magical power. The adjacent day, Gib-cat disappears. Tib-cat leads Mary to a broomstick but she accidentally bursts a fly-by-dark bulb on information technology. The seedling releases magical power, making the broomstick come to life and enabling Mary to ride it similar a witch. The Little Broomstick whisks Mary away to a circuitous of buildings in the clouds, known as
Caput mistress Madam Mumblechook assumes Mary is a new pupil with Tib-cat as her familiar, and takes her on a tour of the higher. She introduces Mary to
Doc Dee, the college’s renowned chemistry teacher. Mary finds herself able to perform advanced spells such every bit invisibility. Madam and Doctor Dee get convinced that Mary is a prodigy because of her functioning as well as her red hair, which is a distinguishing feature amongst the best witches.
Mary admits that her magical ability comes from fly-by-night, and that Tib-cat belongs to Peter. Madam’s mental attitude changes then just she lets Mary render home one time Mary turns over Peter’s address. That night, Madam sends a message to Mary, informing that she’s kidnapped Peter, and demands that Mary bring the fly-by-nighttime bulbs to her. She and Tib-cat quickly wing back 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-true 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 try to escape on the Little Broomstick, but Peter is recaptured.
The Little Broomstick takes Mary to an isolated cottage on a tiny island that seems to be alive. Within 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 sometime home, and she used to be a red-haired pupil who excelled at Endor. One solar day Charlotte plant fly-by-night on the campus, leading Madam and Doctor Dee to obsessively pursue a project to use the blossom to transform all humans into witches. When their experiments failed, Charlotte escaped Endor, taking the bloom with her. Charlotte begs Mary to use her concluding bulbs to return domicile, but Mary vows to rescue Peter.
Rainbow of Magic
Mary returns to Endor and finds Madam and Doc 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 undo the failed experiment and all of Madam and Doctor Dee’southward enquiry.
Mary and Peter fly home, with her throwing abroad her last seedling and saying she does not demand magic.
- Mary Smith (メアリ・スミス ,
- The redheaded, blue eyed, freckled 11-year old protagonist of this tale. She is curious and innocent in the ways of the world. She’southward forlorn and unsure of herself when she showtime moves to her Aunt Charlotte’s Red Manor.
- Mary’south gamble begins when she discovers a mysterious glowing blossom called the “fly-by-nighttime”. The magic released from these flowers empowers Mary’s broom, which allows her to accept flight where she ends up traveling to
Endor University. Shenanigans ensues.
- Peter (ピータ ,
- A 12-year old newspaper male child who resides at the grounds of the Cerise Manor. He flees with Mary to the Endor University. He holds a dark underground.
- One of Peter’s cats who lives in Ruby-red Manor. He has black fur and emerald green eyes. He enjoys Mary’s visitor.
- A grey female true cat owned by Peter.
Residents of Ruby Manor
- Charlotte (シャーロット ,
- The kindly mistress of the Carmine Manor and Mary’due south great 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 Red Manor. A person Mary relies on for emotional support.
- The gardener in the Red Manor. He teaches Mary the secret of flying 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 principal and a principal antagonist of Endor University. A stern and intimidating woman who seeks Mary for her transformation magic experiments.
Behind the Scenes
At the finish of 2014, the animation product department of Studio Ghibli was dissolved following Hayao Miyazaki announcing his retirement in September 2013. In March 2015, Hiromasa Yonebayashi publicly expressed his desire to direct a third picture show for Ghibli, hoping to move away from a project similar
When Marnie Was There
to a more action-based film like [[Ponyo]].
On Apr xv, 2015, Yoshiaki Nishimura, producer on
The Tale of the Princess Kaguya
When Marnie Was There, still an employee of Ghibli and the designated successor of Toshio Suzuki, established a new visitor, Studio Ponoc. “Ponoc” is Serbo-Croatian discussion, roughly translating to “midnight” to signify “the starting time of a new day.”
In February 2016, Nishimura and Yonebayashi, returning from the 88th Academy Awardsfor
When Marnie Was There, find out that Studio Ghibli’s product offices was completely empty and would not exist returning. Shortly thereafter, as what many had suspected: Yonebayashi would directly a third feature film, but within Studio Ponoc.
“Starting from goose egg was quite scary, but in starting from cipher in that location is hope as well,” Nishimura says. This sense of a new kickoff 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 have been impossible; without the Ghibli make to rely on, the upstart studio would demand to grow from its ain collection of talent.[ii]
Following Miyazaki’s method of adapting children’s books, Yonebayashi decided on adapting
The Petty Broomstick
by Mary Stuart. When asked what inspired them to adapt this book, Nishimura responds:
“Well, in that location are three reasons: first, after we left Studio Ghibli and founded Studio Ponoc, we wanted to have an energetic main character and a fantasy setting. The final film Yonebayashi-san directed at Studio Ghibli – When Marnie Was There – was a very quiet film well-nigh the internal thoughts and emotions of a daughter. But Director Yonebayashi’southward speciality is actually dynamic action, which he learned as an animator under manager Hayao Miyazaki, something he adult into a real talent. I thought “which motif volition let the kind of fantasy setting we’re looking for?” I read a lot of immature adult literature and fantasy looking for stories, and almost all of these stories involving magic feature characters using magic to solve difficult bug, just in this volume – in “The Footling Broomstick” – the main graphic symbol, Mary, says “I’m going to open up this door but I won’t employ magic – no matter how much time it’ll take, I’ll do it on my ain, without magic” and I thought “this should be the heroine we apply for our film”.”
“The second reason is, this theme of not using magic to solve a problem – it fit into the state of affairs that I and Yonebayashi-san and others at Studio Ghibli faced: we were at present no longer under the “magic umbrella” of Studio Ghibli and needed to complete a pic on our own. So the feeling that nosotros needed to stand on our own 2 anxiety was office of information technology.”
“Lastly, there is one other motif in The Trivial Broomstick – the magic flower, the fly-by-nighttime. This is the bloom that gives magic power to normal humans. We treated this every bit Prometheus Fire – something that humans shouldn’t actually take, something that wreaks destruction if they get too close to it. That relates to the challenges we confront in this nowadays 24-hour interval, in our own lives.”
Mary and the Witch’s Bloom
is an adaptation of British writer Mary Stewart’s 1971 children’due south book
The Piddling Broomstick. It was commencement published in 1975 in Japan and re-released with a new translation past Kadokawa in 2017 to accompany the film’s release. The film’south screenplay is by Riko Sakaguchi (The Tale of Princess Kaguya) and director Hiromasa Yonebayashi.
Pre-production began in a edifice in Musashino, Tokyo, Japan in December 2015. Ponoc’s operation began smoothly, starting with advertising support from JR Nishi Nihon, regional subsidiary of the JR rail grouping. The studio too 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’south production. “He was happy,” Yonebayashi explained. “Miyazaki isn’t someone who shows their feelings easily, then it was surprising.”[iii]
“I would like to create films inherited from the spirit of Ghibli” elaborated Nishimura. “There are a lot of studios that brand skilful 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 own studio.”
They would try to apply the three points that Miyazaki taught them:
- A moving-picture show must be fun.
- It must be interesting.
- It must make a profit in social club to be able to brand another one.
“This time we wanted to brand a motion-picture show with a protagonist who acts before thinking… This applies to starting a new studio as well; it was important nosotros accept action without thinking too much.”
The film’s production was composed of eighty% of Ghibli’s product staff. Much of the film’s style and storytelling was greatly affected by Ghibli. According to Director Yonebayashi, “We employed lots of manus fatigued animators for Mary and we are confident that we fully employed their force and power for the hand drawn animation. With the brusk films we are trying to use lots of hand fatigued animation and lots of CG animation equally well, and it is our claiming to mix these two medias. Hand drawn blitheness and figurer graphics.”
The biggest challenges the animators faced was animating the fantastical characters and creatures assuredly. “One is when Mary enters Endor College and the headmistress appears in the h2o – that was very tough to animate. The other i 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 claiming. Each of these is merely a few moments of screen fourth dimension, but they took most two months to finish. There were many scenes like that, that were hard to breathing. Merely what I put a lot of attempt into were the scenes where Mary loses her magic ability and has to rely on simply her human ingenuity and force, and with renewed determination runs to the rescue just on her ain ability.” Yonebayashi explains further.[four]
When creating the character of Mary, Yonebayashi considered themes of transformation from within, “Initially Mary has an inferiority complex about her ginger cherry-red pilus and she was so unhappy that she would curse herself in the mirror – but eventually through her adventure they don’t thing to her. Initially she was thinking only of herself but eventually she discovered that she was able to sacrifice herself to relieve 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 ability. Simply when she really needed the power the most she was unable to employ it, she would just meet a picayune scar on her palm. Nevertheless, she would plough her palm into a fist and go along to go frontwards. We wanted to portray her conclusion. That even when she loses the magical power she is determined to go alee. We thought that this was important and would resonated with a lot of audiences.”
In December 2016, Studio Ponoc unveiled the showtime teaser of
Mary and the Witch’due south Flower. The release date was set for July 8, 2017.
In January 2017, Hayao Miyazaki visited Ponoc’south offices to see his former collaborators, who have dubbed the studio as the “next generation of Ghibli”. “On Arrietty, Mr. Miyazaki often told me that I did not understand anything while looking at my
genga” Yonebayashi humorously explained. “Merely this time, he only came to conversation.”
Additionally, the catastrophe credits contained a “Thank y’all” message addressed to Hayao Miyazaki. For this reason, the film is sometimes described as “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 At that place) and Yûki Amami (Granmamare in [[Ponyo]]). They also hired popular voice talent
every bit Peter, who non only appeared in the mega-blockbuster
Your Proper noun, but besides voiced Sho in
The Secret Globe of Arrietty, Markl in
Howl’s Moving Castle
and Boh in
Mary and The Witch’south Bloom
grossed $ii.4 million in the United States and Canada, and $38.half-dozen meg in other territories (including $27.six million in Nihon, $3.8 million in S Korea, $two.9 one thousand thousand in People’s republic of china and $2.six million in France), for a worldwide total of $41 meg.
In Japan, the film opened at 2nd place, grossing ¥428 1000000 ($3.9 1000000) during its opening weekend; this was an increase compared to Yonebayashi’s previous film,
When Marnie Was There
(2014), which had grossed ¥378.86 1000000 in its first weekend.
In the United States, the film held a special Thursday dark preview on January xviii, 2018, where it grossed $1.2 million from 573 theaters. It and then stayed at 161 theaters over the weekend and grossed $329,097, bringing its four-solar day gross to $1.v million. Critical response
On review aggregator Rotten Tomatoes, the film has an approving rating of 86% based on 69 reviews, and an boilerplate rating of 6.9/ten. The website’s critical consensus reads, “Mary and The Witch’s Flower 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 flick 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 iv and stated that “the total lack of inner conflict in Mary might be why Mary and The Witch’southward Bloom-as transportive and entertaining every bit it is-feels a little slight”. Notwithstanding, Moira Macdonald of The Seattle Times noted that although the picture show “isn’t quite a masterpiece” and “the screenplay needs a smoothen”, she concluded that the film is “a joy to look at: a visual chance, and a continuation of a remarkable legacy”.
Composer Muramatsu Takatsugu, who also scored Yonebayashi’southward last film
When Marnie Was There, is in charge of the soundtrack for
Mary and The Witch’due south Flower. Joshua Messick, one of the world’due south leading performers of the Hammered Dulcimer, participated in the score recording.
|Character||Japanese Voice histrion||English Voice actor|
|Mary||Hana Sugisaki||Ruby Barnhill|
|Madam Mumblechook||Yuki Amami||Kate Winslet|
|Doctor 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 Slap-up-Aunt Charlotte)||Hikari Mitsushima||Teresa Gallagher|
|Zebedee||Kenichi Endō||Rasmus Hardiker|
|Low-cal Fairy||Saori Hayami||Rebecca Louise Kidd|
|Director, Screenplay||Hiromasa Yonebayashi|
|Animation Manager||Takeshi Inamura|
|Assistant Drawing Director||Akira Inoue, Akihiko Yamashita|
|Art Managing director||Tomotaka Kubo|
|CG Managing director||Yū Karube|
|Key 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 Test||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 Sun, 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 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 Moving ridge 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’southward Flower” Production Committee (Japan Television set Network, Toho, Dentsu, Hakuhodo DY Media Partners, Walt Disney Japan, Lawson, KADOKAWA, Color, Yomiuri Television Broadcasting, Kenon, Amuse, DN Dream (Partners, LINE, Yomiuri Shimbun, Sapporo Telly, Miyagi TV, Shizuoka Daiichi TV, Chukyo TV, Hiroshima Goggle box, Fukuoka)|
|Special Sponsors||Morinaga Milk Industry, JA Common Aid|
Morinaga Milk Manufacture
– A special Television receiver commercial was broadcast nationwide, and a necktie-in packaged product was released in late June 2017. Morinaga Milk Manufacture 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 drawn by director Hiromasa Yonebayashi to all applicants for the sponsor’due south special site’southward quiz. Original appurtenances were given out past lottery to the right answers, and from the end of June Telly commercials.
Human Observation Variety Monitoring
– A Telly special called
Incommunicable Voice Actor Audition
was circulate on July xiii, 2017. Actors Sugisaki and Kamiki besides as Yuki Kaji participated in the part of Flanagan hosted the outcome.
“Exclusive Interview – Mary and The Witch’s Bloom director Hiromasa Yonebayashi and producer Yoshiaki Nishimura”, Flickering Myth.
“Hiromasa Yonebayashi on Mary and the Witch’s Bloom: “We desire to make films that give people courage”, BFI.
“Mary and the Witch’southward Flower: Picture show Creation”, Buta Connection
“Interview: The Producer and Managing director of Mary and The Witch’s Flower”, Anime News Networks.
“Mary and the Witch’due south Bloom” Official Soundtrack, YesAsia.
Hammered Dulcimer on “Mary and the Witch’s Flower”
Mary and the Witch’s Flower