Mary and the Witch’s Flower
Meari to Majo no Hana) is an Japanese blithe characteristic films and produced by Studio Ponoc and directed past Hiromasa Yonebayashi and produced Yoshiaki Nishimura.
Information technology premiere in
on July 8, 2017, by Toho while the English language-language dubbed and subtitled version was released meantime in the Us on January 19, 2018, by GKIDS.
The film began life post-obit the retirement of Hayao Miyazaki and the shutting downward of the production side of Studio Ghibli in 2014. Hiromasa Yonebayashi, managing director of
The Undercover World 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 15, 2015, to produce this film. Additionally, lxxx% 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 Little Broomstick
by Mary Stuart (1916 – 2014). It was originally released in Nihon on 1975 every bit
Pocket-sized Magic Broom
(Translation by Kyoko Kakegawa / illustration 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 past Kadokawa.
The moving picture was publicly announced with its poster visual on December xiv, 2016, and its pb voice actor
was announced 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 experience performing in previous Studio Ghibli works.
Rainbow of Magic
Residents of Red Manor
Behind the Scenes
Mary Smith moves into the northern English country estate of her Great Aunt Charlotte. The bored, friendless daughter tries to make herself useful through chores, but repeatedly messes up. A local boy named Peter teases her for her clumsiness and wild reddish hair. Tib-cat and Gib-cat, Peter’s cats, lead Mary to some mysterious glowing flowers. The gardener identifies the flowers as “fly-by-nighttime”; legend has information technology that witches covet the flower for its magical power. The next 24-hour interval, Gib-cat disappears. Tib-cat leads Mary to a broomstick simply she accidentally bursts a fly-past-night bulb on it. The seedling releases magical power, making the broomstick come up to life and enabling Mary to ride information technology like a witch. The Footling Broomstick whisks Mary away to a circuitous of buildings in the clouds, known equally
Head mistress Madam Mumblechook assumes Mary is a new student with Tib-cat equally her familiar, and takes her on a tour of the college. She introduces Mary to
Md Dee, the higher’s renowned chemistry instructor. Mary finds herself able to perform advanced spells such equally invisibility. Madam and Doctor Dee become convinced that Mary is a prodigy considering of her operation too as her ruby pilus, which is a distinguishing characteristic among the best witches.
Mary admits that her magical ability comes from fly-past-night, and that Tib-cat belongs to Peter. Madam’s mental attitude changes then but she lets Mary return home in one case 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-past-night bulbs to her. She and Tib-cat quickly fly dorsum to Endor with the bulbs, but Madam and Md 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’southward 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 Picayune Broomstick takes Mary to an isolated cottage on a tiny island that seems to exist 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 sometime home, and she used to be a red-haired educatee who excelled at Endor. One twenty-four hours Charlotte found fly-by-dark on the campus, leading Madam and Md Dee to obsessively pursue a project to use the flower 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 return dwelling, but 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 book to Peter, and he uses information technology to undo the failed experiment and all of Madam and Medico Dee’south research.
Mary and Peter wing home, with her throwing away her last bulb and saying she does non demand magic.
- Mary Smith (メアリ・スミス ,
- The redheaded, blue eyed, freckled xi-year old protagonist of this tale. She is curious and innocent in the means of the world. She’s forlorn and unsure of herself when she beginning moves to her Aunt Charlotte’south Ruby-red Estate.
- Mary’s take a chance begins when she discovers a mysterious glowing flower called the “fly-past-dark”. The magic released from these flowers empowers Mary’due south broom, which allows her to take flight where she ends up traveling to
Endor University. Shenanigans ensues.
- Peter (ピータ ,
- A 12-year old newspaper boy who resides at the grounds of the Cerise Manor. He flees with Mary to the Endor University. He holds a dark undercover.
- One of Peter’southward cats who lives in Red Manor. He has black fur and emerald light-green eyes. He enjoys Mary’s company.
- A grey female cat owned by Peter.
Residents of Red Manor
- Charlotte (シャーロット ,
- The kindly mistress of the Ruby-red Manor and Mary’s great aunt. She watches over Mary.
- Flanagan (フラナガン ,
- Managing director 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’south life.
- The housekeeper who works at the Red Manor. A person Mary relies on for emotional support.
- The gardener in the Cherry Manor. 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 principal and a main antagonist of Endor Academy. A stern and intimidating adult female who seeks Mary for her transformation magic experiments.
Behind the Scenes
At the end 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 film for Ghibli, hoping to movement away from a project similar
When Marnie Was There
to a more action-based film like [[Ponyo]].
On April 15, 2015, Yoshiaki Nishimura, producer on
The Tale of the Princess Kaguya
When Marnie Was There, all the same an employee of Ghibli and the designated successor of Toshio Suzuki, established a new company, Studio Ponoc. “Ponoc” is Serbo-Croatian discussion, roughly translating to “midnight” to signify “the beginning of a new 24-hour interval.”
In Feb 2016, Nishimura and Yonebayashi, returning from the 88th Academy Awardsfor
When Marnie Was There, notice out that Studio Ghibli’south production offices was completely empty and would not exist returning. Presently thereafter, equally what many had suspected: Yonebayashi would direct a third feature moving picture, merely within 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 start 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 brand to rely on, the upstart studio would need to grow from its ain collection of talent.
Following Miyazaki’s method of adapting children’s books, Yonebayashi decided on adapting
The Fiddling Broomstick
by Mary Stuart. When asked what inspired them to adapt this book, Nishimura responds:
“Well, in that location are three reasons: commencement, 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 about the internal thoughts and emotions of a girl. But Director Yonebayashi’s speciality is really dynamic action, which he learned as an animator under director Hayao Miyazaki, something he adult into a existent talent. I thought “which motif volition let the kind of fantasy setting we’re looking for?” I read a lot of young adult literature and fantasy looking for stories, and almost all of these stories involving magic feature characters using magic to solve hard problems, but in this book – in “The Little Broomstick” – the main character, Mary, says “I’thousand going to open this door just I won’t utilise magic – no matter how much fourth dimension it’ll take, I’ll exercise it on my ain, without magic” and I thought “this should be the heroine we use for our film”.”
“The second reason is, this theme of not using magic to solve a problem – it fit into the situation 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 picture show on our own. So the feeling that we needed to stand on our own two feet was function of it.”
“Lastly, in that location is 1 other motif in The Little Broomstick – the magic flower, the fly-by-nighttime. This is the bloom that gives magic ability to normal humans. Nosotros treated this as Prometheus Burn down – something that humans shouldn’t really accept, something that wreaks destruction if they go also close to it. That relates to the challenges we face in this present mean solar day, in our own lives.”
Mary and the Witch’s Flower
is an adaptation of British writer Mary Stewart’s 1971 children’due south volume
The Piffling Broomstick. It was kickoff published in 1975 in Japan and re-released with a new translation by Kadokawa in 2017 to accompany the flick’s release. The film’south screenplay is by Riko Sakaguchi (The Tale of Princess Kaguya) and manager Hiromasa Yonebayashi.
Pre-production began in a building in Musashino, Tokyo, Japan in December 2015. Ponoc’south performance began smoothly, starting with advertising support from JR Nishi Japan, regional subsidiary of the JR runway group. The studio also hired Yoshiyuki Momose, one of the pillars of Studio Ghibli. Around this fourth dimension, Yonebayashi broke the news to Miyazaki that he was moving forrard with the picture show’s production. “He was happy,” Yonebayashi explained. “Miyazaki isn’t someone who shows their feelings easily, so it was surprising.”[iii]
“I would like to create films inherited from the spirit of Ghibli” elaborated Nishimura. “At that place are a lot of studios that make adept films, but few that are responsible and reverberate on the image and values they convey through their productions. Information technology is for this reason that we felt compelled to create our ain studio.”
They would endeavour to utilize the 3 points that Miyazaki taught them:
- A picture show must be fun.
- It must be interesting.
- It must brand a profit in guild to be able to make another ane.
“This time we wanted to brand a picture show with a protagonist who acts earlier thinking… This applies to starting a new studio as well; it was important we take action without thinking also much.”
The film’south production was composed of 80% of Ghibli’southward production staff. Much of the motion-picture show’southward style and storytelling was greatly affected by Ghibli. According to Director Yonebayashi, “We employed lots of hand fatigued animators for Mary and nosotros are confident that nosotros fully employed their force and power for the manus drawn animation. With the short films nosotros are trying to apply lots of hand drawn blitheness and lots of CG blitheness too, and information technology is our challenge to mix these two medias. Paw fatigued blitheness and computer 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 water – that was very tough to animate. The other one was when the animals are freed, transformed back into their original brute shapes and freed, escaping the cave where they were imprisoned. At that place were so many unlike animals, each with slightly dissimilar movement, so that was a real challenge. Each of these is only a few moments of screen time, but they took about ii months to cease. At that place were many scenes like that, that were hard to animate. But what I put a lot of endeavour 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 but on her own ability.” Yonebayashi explains further.[iv]
When creating the graphic symbol of Mary, Yonebayashi considered themes of transformation from inside, “Initially Mary has an inferiority complex nearly her ginger cherry hair and she was so unhappy that she would expletive herself in the mirror – but eventually through her adventure they don’t matter to her. Initially she was thinking only of herself merely eventually she discovered that she was able to cede herself to save other people. That was the theme when I was designing these aspects.”
“Also at that place is a symbol on Mary’s palm that indicates when she is granted power, enormous ability. But when she really needed the power the most she was unable to employ it, she would just see a little scar on her palm. Even so, she would plow her palm into a fist and proceed to get frontwards. Nosotros wanted to portray her determination. That even when she loses the magical power she is determined to become ahead. We idea that this was important and would resonated with a lot of audiences.”
In Dec 2016, Studio Ponoc unveiled the commencement teaser of
Mary and the Witch’s Bloom. The release engagement was fix for July viii, 2017.
In January 2017, Hayao Miyazaki visited Ponoc’s offices to see his former collaborators, who take dubbed the studio equally the “next generation of Ghibli”. “On Arrietty, Mr. Miyazaki ofttimes told me that I did non sympathize annihilation while looking at my
genga” Yonebayashi humorously explained. “But this time, he just came to conversation.”
Additionally, the ending credits contained a “Thank you” message addressed to Hayao Miyazaki. For this reason, the flick is sometimes described as “the 2nd Studio Ghibli” or the successor to Studio Ghibli.
Vocalization 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 voice talent
as Peter, who not only 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’south Bloom
grossed $ii.4 million in the Us and Canada, and $38.6 one thousand thousand in other territories (including $27.6 million in Japan, $iii.8 1000000 in South korea, $2.nine million in China and $2.half-dozen million in France), for a worldwide total of $41 million.
In Japan, the film opened at second place, grossing ¥428 one thousand thousand ($3.9 1000000) during its opening weekend; this was an increase compared to Yonebayashi’due south previous film,
When Marnie Was In that location
(2014), which had grossed ¥378.86 one thousand thousand in its first weekend.
In the United States, the film held a special Thursday nighttime preview on January eighteen, 2018, where it grossed $1.2 million from 573 theaters. It then stayed at 161 theaters over the weekend and grossed $329,097, bringing its four-twenty-four hour period gross to $1.5 million. Critical response
On review aggregator Rotten Tomatoes, the film has an approval rating of 86% based on 69 reviews, and an average rating of 6.ix/10. The website’s disquisitional consensus reads, “Mary and The Witch’due south Bloom honors its creator’s Studio Ghibli roots with a gentle, beautifully animated story whose simplicity is rounded out past its entrancing visuals.” On Metacritic, the film has a weighted boilerplate score of 73 out of 100, based on 19 critics, indicating “more often than not favorable reviews”.
Shelia O’Malley of RogerEbert.com gave the moving-picture show a rating of iii stars out of four and stated that “the full lack of inner disharmonize in Mary might be why Mary and The Witch’s Flower-as transportive and entertaining as it is-feels a little slight”. However, Moira Macdonald of The Seattle Times noted that although the picture “isn’t quite a masterpiece” and “the screenplay needs a shine”, she ended that the film is “a joy to look at: a visual adventure, and a continuation of a remarkable legacy”.
Composer Muramatsu Takatsugu, who too scored Yonebayashi’s terminal film
When Marnie Was There, is in accuse of the soundtrack for
Mary and The Witch’s Flower. Joshua Messick, one of the earth’due south leading performers of the Hammered Dulcimer, participated in the score recording.
|Character||Japanese Voice histrion||English language Vocalism histrion|
|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 Corking-Aunt Charlotte)||Hikari Mitsushima||Teresa Gallagher|
|Zebedee||Kenichi Endō||Rasmus Hardiker|
|Lite Fairy||Saori Hayami||Rebecca Louise Kidd|
|Director, Screenplay||Hiromasa Yonebayashi|
|Blitheness Director||Takeshi Inamura|
|Assistant Drawing Manager||Akira Inoue, Akihiko Yamashita|
|Art Manager||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-betwixt 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, Sunday 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 Lord’s day, 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 Moving picture, Video Studio, JCSTAFF, Aiken, Shinei Video, Studio Takurake, Nakamura Productions, Colour, etc.|
|Special Cheers||Hayao Miyazaki, Isao Takahata, Toshio Suzuki|
|Production Commission||“Mary and the Witch’s Flower” Product Committee (Japan Telly Network, Toho, Dentsu, Hakuhodo DY Media Partners, Walt Disney Nippon, Lawson, KADOKAWA, Color, Yomiuri Television Dissemination, Kenon, Amuse, DN Dream (Partners, LINE, Yomiuri Shimbun, Sapporo Television receiver, Miyagi Telly, Shizuoka Daiichi TV, Chukyo TV, Hiroshima TV, Fukuoka)|
|Special Sponsors||Morinaga Milk Industry, JA Common Aid|
Morinaga Milk Industry
– A special TV commercial was circulate nationwide, and a necktie-in packaged production was released in late June 2017. Morinaga Milk Manufacture sponsored special preview screenings in three cities – Tokyo, Nagoya and Osaka.
JA Common Assist
– From June 1, 2017, to July 31, 2017, a personalized visual was drawn by director Hiromasa Yonebayashi to all applicants for the sponsor’s special site’s quiz. Original goods were given out by lottery to the correct answers, and from the terminate of June TV commercials.
Homo Observation Variety Monitoring
– A TV special called
Incommunicable Voice Actor Audition
was circulate on July 13, 2017. Actors Sugisaki and Kamiki as well as Yuki Kaji participated in the role of Flanagan hosted the outcome.
“Exclusive Interview – Mary and The Witch’southward Flower director Hiromasa Yonebayashi and producer Yoshiaki Nishimura”, Flickering Myth.
“Hiromasa Yonebayashi on Mary and the Witch’s Flower: “Nosotros want to make films that give people courage”, BFI.
“Mary and the Witch’s Flower: Film Creation”, Buta Connection
“Interview: The Producer and Managing director of Mary and The Witch’southward Bloom”, Anime News Networks.
“Mary and the Witch’south Flower” Official Soundtrack, YesAsia.
Hammered Dulcimer on “Mary and the Witch’s Flower”
Mary and the Witch’southward Flower