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22 Facts About Your Favorite Pixar Movies

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©2015 Disney * Pixar. All Rights Reserved.

For more than 20 years, the brilliant filmmakers at Pixar have been winning over audiences (of all ages) with their lineup of clever animated films that truly are fun for the whole family. From Toy Story to The Good Dinosaur, here are 22 things you might not have known about your favorite Pixar movies.

1. TOY STORY’S WOODY WASN’T ORIGINALLY A COWBOY.

In Toy Story, the original Woody was a ventriloquist’s dummy. Executives at Disney, which co-produced the film, requested that he be changed to something else, as ventriloquist’s dummies were usually associated with horror movies, and they didn’t want their cute family movie to be terrifying. (Good call.)

2. IT TOOK JUST ONE WORD TO GET THE GREEN LIGHT FOR FINDING NEMO

“You had me at ‘fish.’” That is precisely what John Lasseter, Pixar’s chief creative officer, told writer-director Andrew Stanton following his exhaustive pitch for his passion project.

3. WALL·E AND R2-D2 ARE PLAYED BY THE SAME ACTOR.

The “voice” of WALL·E is legendary sound designer Ben Burtt. Burtt is best known for his work on Star Wars (you can go ahead and thank him for R2-D2’s distinctive chatter), though he’s worked on little-known films like E.T. the Extra-Terrestrial and the Indiana Jones series as well.

4. THE ORIGINAL PITCH FOR MONSTERS, INC. WAS TO HAVE A GROWN MAN BE HAUNTED BY THE MONSTERS HE DREW AS A KID.

On Jeff Goldsmith’s Creative Writing podcast, Monsters, Inc. director Pete Docter recounted his original pitch: “My idea was that what it was about was a 30-year-old man who is like an accountant or something, he hates his job, and one day he gets a book with some drawings in it that he did when he was a kid from his mom. He doesn’t think anything of it and he puts it on the shelf and that night, monsters show up. And nobody else can see them. He thinks he’s starting to go crazy, they follow him to his job, and on his dates ... and it turns out these monsters are fears that he never dealt with as a kid ... And each one of them represents a different kind of fear. As he conquers those fears, the guys who he slowly becomes kind of friends with, they disappear ... It’s this bittersweet kind of ending where they go away, and so not much of that stayed.” 

5. RATATOUILLE SPARKED A RUN ON PET RATS.

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Convincing the public that rats make trendy pets is no easy task, but Pixar was able to do so with 2007's Ratatouille. According to the British pet chain Pets at Home, their rat sales shot up by 50 percent following the film’s release. Hopefully the pet owners knew better than to let their rats near the cooking supplies.

6. THE INCREDIBLES WAS THE FIRST PIXAR MOVIE COMPRISED ONLY OF CG HUMAN BEINGS.

Copies of the medical school text Gray’s Anatomy were given to the digital sculptors to help them figure out how the human body moves. Live action footage of Pixar animators walking was also used.

7. THE STATION AGENT INSPIRED UP.

Who would’ve thought a Peter Dinklage-led indie movie would’ve inspired one of Pixar’s most celebrated films? “We looked at how other people have dealt with the subject matter,” Docter told Movie Retriever. "We looked at The Station Agent, a great, simple, character-based story of a guy who’s much like Carl, who comes out of his shell. Casablanca is a similar kind of story ... Movies that had a beautiful simplicity to them and a focus on character.”

8. A MISTAKE ALMOST DELETED TOY STORY 2.

As we’ve written about previously, Toy Story 2 faced a pretty major hurdle when a stray computer command entered by an anonymous mischief-maker deleted 90 percent of the work done on the film a year before it was set to come out. Luckily, the film’s supervising technical director, Galyn Susman, had a copy of the film that she’d been working on from home, and disaster was averted.

9. THE CO-WRITER/DIRECTOR OF CARS DIED DURING THE FILM'S PRODUCTION.

Cars is dedicated to Joe Ranft, a longtime collaborator of John Lasseter, Pixar’s chief creative officer, and his co-writer and co-director on the film. Ranft died in a car accident on August 16, 2005, while Cars was still in production. Tim Burton’s Corpse Bride (2005), which Ranft executive produced, is also dedicated to him.

10. MAKING RILEY'S EMOTIONS SHINE IN INSIDE OUT WAS A BUDGET-BUSTING ENDEAVOR.

In discussing the best way to animate Joy in Inside Out, production designer Ralph Eggleston came up with an idea … but it wasn’t cheap. “We worked on the idea of [Joy] being effervescent or sparkly for champagne bubbles, for about eight months,” Eggleston said. “And it got to the point where we couldn’t afford to do it. There was just no way … None of the other characters had it, because we just couldn’t afford it. When John saw it on Joy he said, 'That’s great. Put it on all the characters.' You could hear the core technical staff just hitting the ground, the budget falling through the roof. But it was all good. They found a way to make it work.”

11. PIXAR HAD A HARD TIME GETTING REAL TOYS ON SHELVES.

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Hasbro and Mattel both turned down the toy license for the Toy Story franchise, believing that they wouldn’t have enough time to put a toy line together in the 11 months they had before the film came out. Small, Canada-based company Thinkway Toys got the license instead and created Woody and Buzz toys; Pixar tried to get them to manufacture Sid’s nightmare-inducing “Mutant Toys“ (a.k.a. a baby doll head with Erector set spider legs), but for some reason they passed on the idea.

12. THE INCREDIBLES USED FOUR TIMES AS MANY LOCATIONS AS ANY OTHER PIXAR MOVIE.

It also featured 781 visual effects shots and, at 121 minutes, The Incredibles is the longest Pixar movie to date.

13. CARS WAS PAUL NEWMAN’S FINAL FILM. AND HIS HIGHEST-GROSSING.

Cars marks the final film of Paul Newman, who in addition to being an actor/entrepreneur/philanthropist also became a racing enthusiast after starring in the 1969 racing drama Winning. Cars is also the highest-grossing film of Newman’s career (not adjusted for inflation).

14. BEN BURTT CREATED A RECORD NUMBER OF SOUNDS FOR WALL·E.

Ben Burtt created a library of 2400 sounds for WALL·E, the largest number of all of his films by far. Among the raw sounds Burtt used in WALL·E are: An electric toothbrush, shopping carts banging together, a Nikon camera shutter (for WALL·E’s eyebrow movements), Burtt sneezing while a vacuum cleaner was running (WALL·E sneezing), and a hand-cranked generator of the sort used in the John Wayne film Island in the Sky.

15. TOY STORY 3’S “LOTS-O’-HUGGIN’” BEAR GOT DISNEY SUED.

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In 2014, Disney was sued by New Jersey company Diece-Lisa Industries (DLI) over Toy Story 3’s evil bear antagonist, named “Lots-O’-Huggin’” a.k.a. “Lotso.” DLI, which had been selling their own “Lots of Hugs” toy bears since 1995, argued that their ability to market their own product was substantially affected by Toy Story 3’s use of such a similar toy. Further, DLI alleged that Disney knew about their “Lots of Hugs” toys before Toy Story 3, as they previously licensed their “hugging technology" to a Disney affiliate company.

16. INSIDE OUT'S RILEY REFUSED TO EAT DIFFERENT VEGETABLES IN DIFFERENT COUNTRIES.

In order to reach the widest audience possible, Pixar regularly makes tweaks to its films when introducing them to international audiences. In the case of Inside Out, they made a lot of them—28 graphic changes to 45 shots, to be precise. “We learned that some of our content wouldn’t make sense in other countries," director Pete Docter explained. One notable example is the veggies Riley finds distasteful: If you watch the movie in Japan, instead of turning her nose up at broccoli, Riley refuses to eat green bell peppers. Another change is the sport being played in Riley's dad's head; Not all countries are familiar with hockey, so it's changed to soccer in some versions.

17. RANDY NEWMAN WON HIS FIRST-EVER OSCAR FOR THE MONSTERS, INC. SONG, "IF I DIDN’T HAVE YOU."

It was Randy Newman's first Oscar win out of 16 nominations. In 2011, he won his second Oscar for "We Belong Together" from Toy Story 3. To date, Newman has earned 20 Academy Award nominations.

18. FINDING NEMO’S POPULARITY LED TO POPULATION STRESS FOR CLOWNFISH.

Children were so taken with the adorable Nemo following the release of the film that the demand for clownfish as pets instantly skyrocketed. Excessive capture and sale of the ocean dwellers led to a steep decline in the organic population of the species; some natural habitats, such as the waters surrounding Vanuatu, saw a 75 percent drop in clownfish numbers

19. TOY STORY 2 WAS ORIGINALLY A DIRECT-TO-VIDEO SEQUEL.

Seeing dollar signs after their 1994 Aladdin sequel, The Return of Jafar, pulled an estimated $100 million profit, Disney originally wanted Toy Story 2 to bypass a theatrical release and go directly to DVD. However, during production it became clear that Toy Story 2 was good enough—and, importantly, expensive enough (direct-to-video movies are typically done on the cheap to maximize profits, and “cheap” isn’t something Pixar does)—that a full theatrical release was the better option. With less than a year to go before release, the Toy Story 2 team had to retool their story to add an extra 12 minutes of footage.

20. CARS BROUGHT A NEW STANDARD OF REALISM TO ANIMATED FILMS.

Cars was the first Pixar feature to utilize a technique known as “ray tracing,” which properly renders the way light passes through and collides with surfaces. More simply, it enables artists to accurately depict reflections without having to go through and “paint” them individually. Ray tracing takes up a massive amount of computer power; as a result, each frame (or about 1/24th of a second) of Cars took an average of 17 hours to render. Some frames took up to a week.

21. THE FINAL BALLOON COUNT IN UP WAS 10,297.

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You can stop counting now: the film’s effects artists, Jon Reisch and Eric Froemling, have done the work for you. “The entire canopy is filled with balloons,” Reisch recalled to Tech Radar. “We didn’t just simulate the outer shell.” Yep, beneath the outer layer of balloons you see tugging the house are several more layers, each as carefully animated as the first.

22. DELAYS WITH THE GOOD DINOSAUR MEANT THERE WAS NO PIXAR MOVIE IN 2014.

Since the release of Cars in 2006, Pixar has been diligent about releasing one movie per year. The one notable exception was in 2014, when delays with The Good Dinosaur forced the studio to push back the film’s release date to 2015. Originally, it was Bob Peterson at the helm of The Good Dinosaur, but in 2013, the studio replaced him. “All directors get really deep in their films," Pixar president Ed Catmull said. "Sometimes you just need a different perspective to get the idea out. Sometimes directors ... are so deeply embedded in their ideas it actually takes someone else to finish it up. I would go so far as to argue that a lot of live-action films would be better off with that same process."

It wasn't the first time Pixar made a director switch in the midst of a production; Peterson’s removal was the fourth time it had happened at Pixar. But the change in director led to a delay in the schedule, forcing Pixar to release zero movies in 2014 and two of them in 2015. (The Good Dinosaur was released five months after Inside Out.)

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10 Fun Facts About Johnny Bravo
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In the early 1990s, Ted Turner committed himself to building an animation empire. In 1991, Turner Entertainment purchased Hanna-Barbera, the animation house responsible for classic toons like Scooby-Doo, The Flintstones, Space Ghost, and countless others. And with the launch of Turner’s Cartoon Network in 1992, all of those classic cartoons would have a permanent home. That took care of the nostalgia crowd, but the network was also anxious to create unique, original content to get the younger generation hooked on this 24/7 world of animation.

On July 14, 1997, Cartoon Network debuted a show that would become a cornerstone of that move toward fresh content: Johnny Bravo. To celebrate the 20th anniversary of the muscle-bound greaser with the golden pompadour, here are 10 facts about Johnny Bravo.

1. JOHNNY BRAVO IS A TAKE ON ITS CREATOR'S FULL NAME.

Though it’s easy to assume that the name "Johnny Bravo" came from Greg Brady’s alter ego on The Brady Bunch, it’s actually a take on creator Van Partible’s full name, which is Efram Giovanni Bravo Partible.

2. BRAVO’S VOICE IS A MIX OF YOUNG AND OLD ELVIS.

When Partible told the eventual voice of Johnny Bravo, Jeff Bennett, that he wanted the character to sound like Elvis, Bennett only had one question: Old or young? Bennett explained that they’re basically two unique voices, with a younger Elvis sounding much faster and more energetic, while the elder Presley would require Bennett to deepen and “slow it down.”

Partible asked for something more in the middle, resulting in the signature Bravo voice. While Partible heard a lot of Elvis impersonators for the role, he said Bennett was the only one to go beyond imitation and become an actual character. 

3. JOHNNY BRAVO’S BIGGEST SUPPORTERS AT CARTOON NETWORK WERE WOMEN.

After Partible’s initial pitch, Cartoon Network was going to pass on Johnny Bravo for not being “cartoony” enough. That is until three prominent women at the network—Ellen Cockrill, Janet Mazotti, and Julie Kane-Ritsch—fought for the show to get picked up.

It may sound strange for the chauvinistic Bravo to have their support, but as Partible mentioned in his blog, “I think it's because they know Johnny Bravos in their lives and can relate. They also enjoy watching him get his comeuppance.”

4. THE SHOW GREW FROM PARTIBLE’S SENIOR THESIS PROJECT.

While studying animation at Loyola Marymount University, Partible created a short animated film for his senior thesis project called Mess o’ Blues. The short focuses on a character not too far off from an Elvis impersonator, who looks like a much thinner Bravo with jet black hair and one of The King’s trademark white jumpsuits.

The film was sent to Hanna-Barbera, which was on the lookout for new talent after the launch of Cartoon Network. After receiving acclaim from the studio, Partible was brought in to pitch a series based on the film. Partible expanded on the initial project, including a redesign and rebranding of the main character into Johnny Bravo.

To this day, there’s been no official release of Mess o’ Blues, though some snippets of footage do exist.

5. PARTIBLE BASED THE SHOW’S STYLE ON AL HIRSCHFELD ILLUSTRATIONS.

One of the most striking things about Johnny Bravo—especially when compared to its contemporaries—is its minimalist character designs. The lines and extraneous details are kept to a minimum—so much so that Bravo himself often has a face that consists of large black circles for sunglasses and a few simple lines for a nose. In Bravo’s world, mouths seem to come and go as needed.

This was all part of Partible’s vision, as he was inspired by the work of famed illustrator Al Hirschfeld, who was most famous for his caricatures of Broadway stars and big screen celebrities. In particular, Bravo’s head and trademark hair were a take on Hirschfeld’s caricature of actor Richard Davalos for an illustration he did in 1995 that looked back at Arthur Miller’s A View From the Bridge. The hairdo's vertical lift was the perfect complement to Bravo's faux-greaser panache. 

6. JOHNNY BRAVO WAS ON-THE-JOB TRAINING FOR PARTIBLE.

When Cartoon Network accepted Partible’s pitch for Johnny Bravo, there was only one problem: Partible had never worked on a full-fledged TV show before. “My new producer, Larry Huber, told me that this was going to be a type of graduate school where I was going to learn how to make cartoons from the ground up in the studio system,” Partible wrote on his blog.

The initial deal that Partible signed on for was a “step deal,” which he described as, “I was going to be under careful watch and evaluated after every step of production to see if they wanted to continue to go forward.”

The experience turned out to be a blessing. At the time, Cartoon Network was looking to experiment, and Partible’s youth and inexperience were something the network was willing to gamble on. Looking to capture the unique style of upstart creators, the company let Partible do the cartoon his own way. 

7. THE LEGENDARY JOE BARBERA WAS PART OF THE WRITERS’ ROOM.

The goal for Hanna-Barbera during this time was to create new shows that still felt like the classic series the studio put out in the ’60s and ’70s. It’s pretty easy to achieve that when one half of the company’s namesake—Joe Barbera—agreed to take a hands-on approach to Johnny Bravo during the mid-’90s.

Though he wasn’t a full-time member of the show’s staff, Partible described Barbera's role in his blog:

“So, once a week, we would get a visit from Mr. B, pick his brain, and come up with jokes. He seemed to enjoy the goofy banter we had in the room.”

Barbera became a literal part of the show when he briefly appeared in the episode “Bravo Dooby Doo” when Johnny, Scooby, and the gang team up to unmask the ghoul of the week. When Partible screened the episode for Barbera, the legendary cartoonist fell asleep, only to be startled awake when Bravo and Thelma screamed his name toward the end of the show.

8. THE SHOW WAS AN EARLY BREAK FOR SETH MACFARLANE AND BUTCH HARTMAN.

The influence Johnny Bravo had on audiences is well documented, but the show’s production also helped launch the careers of two household names of animation: Family Guy’s Seth MacFarlane and The Fairly OddParents creator Butch Hartman.

MacFarlane was a writer and storyboard artist on Bravo during its first year, while Hartman performed the same duties but also directed 10 episodes of the show in 1997. MacFarlane and Hartman also worked on other Cartoon Network shows for Hanna-Barbera before going off to create their own series in the late ’90s and early 2000s.

9. JOHNNY BRAVO LED TO ONE OF FAMILY GUY’S MOST MEMORABLE CHARACTERS.

In the episode “Johnny Bravo Meets Adam West,” the famed former Batman comes to Johnny's aid after Mamma Bravo goes missing (in reality, she's about one minute late getting home from grocery shopping). The episode was written by Hartman and MacFarlane, which is where the future Family Guy creator first met the man who would eventually become the mayor of Quahog.

The experience on Bravo—highlighted by West’s surreal, self-aware performance—inspired MacFarlane to bring the actor aboard Family Guy years later. In an interview with The A.V. Club, MacFarlane expanded on his choice:

"I wrote on a show called Johnny Bravo when I was at Hanna-Barbera, and he guest-starred as himself. He was so funny, and he's got this way about him. I think he likes playing into what he's known for, even on a casual basis. He's a really fun guy to work with, and genuinely gets comedy. It's not the type of situation where you just bring somebody in to make fun of themselves."

10. THERE WAS TALK OF A BRAVO MOVIE STARRING THE ROCK IN 2002.

When Johnny Bravo was in the middle of its Cartoon Network run, Warner Bros. wanted to make the jump from animation to live-action with a movie adaptation of the show, and there were rumors that they wanted Dwayne “The Rock” Johnson as Johnny. The Rock is apparently a huge Johnny Bravo fan, which caught the attention of producers Marty Adelstein and Neal Moritz.

Plans obviously fell through, and since then, no serious news on a renewed effort to make a Johnny Bravo movie has surfaced. Moritz and Johnson have since teamed up on the Fast and the Furious franchise.

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13 Crowning Facts About Princess Mononoke
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Princess Mononoke sounds like a charming foreign family film. And that would be a fair assumption, if you were going off director Hayao Miyazaki’s previous hits like Kiki’s Delivery Service and My Neighbor Totoro. But Princess Mononoke was neither cuddly nor innocent. The movie’s violent tale of Ashitaka, an exiled prince trying to keep the peace between warring animals and humans, was a stark departure from Miyazaki’s previous work. It was also his most commercially and critically successful movie to date when it opened in 1997.

The film’s phenomenal profits in Japan helped carry it over to America, where Miyazaki was known only among hardcore animation geeks. Today he enjoys a more established international reputation, and it’s all largely thanks to Princess Mononoke and Spirited Away, which was released four years later. To celebrate the film's 20th anniversary, discover the movie’s unlikely inspirations and secret leprosy subplots with these 13 fascinating facts.

1. HAYAO MIYAZAKI PLANNED TO RETIRE AFTER IT WAS DONE.  

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Before he even began work on Princess Mononoke, Hayao Miyazaki was a little burnt out. Production on his previous movie, Porco Rosso, had been difficult and he was not satisfied with the results. Princess Mononoke wound up being a three-year commitment, so after it was complete, he announced his intention to retire. But it didn’t stick. He returned with one of his most widely praised movies, Spirited Away, in 2001 and made another four movies after that. In fact, all Miyazaki really did with this declaration was establish the first in a long-running series of retirement fake-outs. He ended his latest “retirement” late last year.

2. HE CHANNELED HIS ANGER OVER THE YUGOSLAV WARS INTO THE MOVIE.

The bloody break-up of Yugoslavia had begun while Miyazaki was making Porco Rosso, and it stuck with him as he started work on his next film. “The war happened ... and I learned that mankind doesn’t learn,” he told Empire Magazine. “After that, we couldn’t go back and make some film like Kiki’s Delivery Service. It felt like children were being born to this world without being blessed. How could we pretend to them that we’re happy?” He instead decided to take a risk and introduce kids to Ashitaka's combat-driven world.

3. HE WAS INSPIRED BY JOHN FORD WESTERNS.

The movie’s production notes reveal that Miyazaki wanted his frontier community of Tatara Ba (or “Iron Town”) to look like it “could be at the edge of any wilderness” in the world. So he turned to one of his favorite directors: John Ford. Miyazaki used classic Ford westerns like My Darling Clementine to inform the look and feel of Tatara Ba, a town full of “characters from outcast groups and oppressed minorities who rarely, if ever, appear in Japanese films.”

4. THE MOVIE WAS ONLY 10 PERCENT COMPUTER GENERATED.

Despite the success of Toy Story in 1995, Miyazaki remained wary of computer-generated animation. “Computers are really just an electronic pen or pencil, and I like regular pencils better,” the director told Hollywood.com. As a result, just 10 percent of Princess Mononoke is CGI. The vast majority of the movie is comprised of hand-drawn cels—about 144,000 of them.

5. IT BROKE BOX OFFICE RECORDS IN JAPAN.

When Princess Mononoke hit theaters, E.T. had been the reigning champion of the Japanese box office for more than a decade. But Miyazaki’s animated epic set a new record with its 18.25 billion yen, or about $134 million, haul. Unfortunately, the movie didn’t stay on the throne for long. Titanic arrived mere months later and reset the bar yet again with 18.35 billion yen ($135 million).

6. IT WAS THE FIRST ANIMATED MOVIE TO WIN BEST PICTURE AT THE JAPANESE OSCARS.

Princess Mononoke didn’t just break commercial records. In 1998, it became the first animated film to be nominated for and win the top prize at the Japanese Academy Awards. (Miyazaki claimed this award again four years later for Spirited Away.) This is a milestone the U.S. Academy Awards have yet to achieve—and they’ve been around much longer. The Japanese Academy Awards began in 1978 as opposed to the Oscars, which started in 1929.

7. NEIL GAIMAN TWEAKED THE SCRIPT FOR AMERICAN AUDIENCES.

After Miramax picked up the movie for U.S. distribution, the studio hired British fantasy writer Neil Gaiman to adapt the script for English-speaking audiences. Gaiman had to add dialogue explaining Japanese cultural references that likely wouldn’t register with audiences, such as the significance of Ashitaka cutting his hair. He also altered characters so they translated better abroad. For instance, in the original Japanese script, Jigo complains that a bowl of soup tastes like “water,” which is a cutting insult in Japan. That’s hardly a burn by American standards, though, so Gaiman made it “donkey piss.” Finally, he swapped out words that were difficult to translate—although he insisted he wasn’t the one who changed “sake” to “wine.”

8. THE STUDIO WANTED QUENTIN TARANTINO TO ADAPT IT.

JEAN-PHILIPPE KSIAZEK/AFP/Getty Images

Miramax head Harvey Weinstein originally asked Quentin Tarantino to take a stab at adapting the script, but the director passed on the offer and recommended Gaiman instead. Why? Apparently Tarantino’s mom is a massive Gaiman fan.

9. MIYAZAKI SENT HARVEY WEINSTEIN DEMANDS VIA SAMURAI SWORD.

Weinstein wanted to seriously scale back Princess Mononoke’s 134-minute running time for the U.S. release, but Miyazaki didn’t want a single frame altered. So, the legend goes, Miyazaki sent a samurai sword to Weinstein’s office with a two-word message: “No cuts.” The story is mostly correct, except for one key detail. “Actually, my producer did that,” Miyazaki said in an interview with The Guardian. “I did go to New York to meet this man, this Harvey Weinstein, and I was bombarded with this aggressive attack, all these demands for cuts. I defeated him.”

10. PIXAR'S JOHN LASSETER WAS AN ENORMOUS FAN.

When Miramax began marketing its English-language version of Princess Mononoke, they called on a number of big names to sell the movie and its director to American audiences. The star-studded voice cast—which included Claire Danes, Billy Crudup, Billy Bob Thornton, Minnie Driver, Gillian Anderson, and Jada Pinkett Smith—was one component. But Pixar’s emerging wunderkind John Lasseter was another. The director of Toy Story heaped praise on Miyazaki, saying that “throughout my career, I have been inspired by Japanese animation, but without question, I have been most inspired by the films of Hayao Miyazaki." He continued, “At Pixar, when we have a problem and can not solve it, we often watch a copy of one of Mr. Miyazaki’s films for inspiration. And it always works! We come away amazed and inspired.” Lasseter also recorded an introduction for the movie on TCM and later presented Miyazaki with an honorary Oscar in 2014 (above).

11. IT WAS ADAPTED INTO A STAGE PLAY.

Miyazaki’s Studio Ghibli apparently received numerous requests from theater groups around the world begging for permission to adapt Princess Mononoke for the stage. All of them were denied, until the UK troupe Whole Hog Theatre approached. Its version was deemed weird enough by Studio Ghibli producer Toshio Suzuki, who approved the pitch. Whole Hog Theatre sold out its limited run of Princess Mononoke in 72 hours, a full nine months before the show even opened. The production migrated to Tokyo the following year, where it played to even larger crowds.

12. IT INSPIRED A CANADIAN MUSIC VIDEO.

The Canadian indie rock band You Say Party paid homage to several Miyazaki films in its music video for “Underside.” But Princess Mononoke got perhaps the biggest shout-out due to the location. Jeremy Rubier shot the video on Yakushima, an island famous for its ancient forests. It also directly inspired the woodland setting for Princess Mononoke. See if you can spy the similarities—or any stray kodama—in the video.

13. THE MOVIE IS SECRETLY ABOUT LEPROSY.

Princess Mononoke fans have long touted a theory about the workers in Iron Town. When Ashitaka first meets them, they explain that they fled brothels for the Iron Town factory, because it’s one of the few places where they are accepted. Several are covered from head to toe in bandages. Although the Japanese script says they suffer from “gyobyo” or “an incurable disease,” the fan theory claims they’re actually afflicted with leprosy. Miyazaki finally responded to this idea in January. And his verdict? It’s all true.

Ahead of World Leprosy Day, the director confirmed that the disease and how people live with it were his inspiration. “While making Princess Mononoke, I thought I had to depict people who are ill with what’s clearly an incurable disease, but who are living as best they can,” he explained. He apparently even visited a sanatorium in Tokyo to talk with patients about their experiences.

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