Podcasts about Studio Ghibli

The catbus is here and we're off to explore the (friendly) haunted forest! This week we're worshipping the ancient woodland spirit and face of Studio Ghibli — our good, personal friend, Totoro! But heads up, Adam and Dom have completely different takes on this one, so if you're looking for a real Siskel & Ebert type disagreement, this is the episode for you. Next week, we take to the skies with KIKI'S DELIVERY SERVICE (1989). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Behind the Microphone Creating My Neighbor Totoro Creating the Characters The “Totoro” Experience Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Starting Point by Hayao Miyazaki Grave of the Fireflies (BFI Film Classics) by Alex Dudok de Wit The Art of My Neighbor Totoro: A Film by Hayao Miyazaki Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Miyazakiworld by Susan Napier Totoro's Limited Animation Team Guillermo Del Toro - 2013 Studio Ghibli Masterclass - TIFF Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we shoot from the hip. With topics abound, we talk everything from Studio Ghibli to slasher films, from the Backrooms to Breaking Bad, from the etymology of the cocktail to real life fight clubs. This one's got (mostly) everything.Plus! Rob gives us a very rare double review! A podcast first! Look at us, still doing new things after all these years...And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our patreon, where you can access our brand new exclusive podcast: No5talgia! That's right, an entire, brand new, exclusive podcast for our specialist supporters. Last week we broke down top 5 anime films and this week we'll release our top 5 horror movie weapons!! Make sure you sign up for our live watch-a-longs, happening Tuesdays throughout 2026. We got Twin Peaks alternating with nostalgic movies all year. Free to sign up! Links in our linktree.Twin Peaks Tuesdays!Monthly Movie Watchalongs!EtsyLinktreeYoutubeAralessThe Franchise Doctors - OUT NOW!Half-Assed Podcast Networksongs at the end: Rodney Mullen - Wizdumb & Hash AdamsInstagram:@ruining_your.childhood@feral_williams@aralessbmn@madshroommc@blackmagicnoize206@strangeloopanimation

O Studio Ghibli é conhecido por seu encanto e poesia, mas por trás das florestas mágicas e dos espíritos ancestrais há uma crítica ácida ao capitalismo, à guerra e à exploração do trabalho. Neste episódio, mergulhamos no Japão do pós-guerra, no milagre econômico e na contradição entre resistir ou ser absorvido pela indústria cultural. Para nos guiar nessa jornada, recebemos Felipe Chuck Dias (editor do Cinescrito, 3 Minutos Podcast)Contatos CinescritoBlog: ⁠https://www.cinescrito.com/⁠Twitter: ⁠⁠⁠https://x.com/oChuck_⁠Instagram: ⁠⁠⁠https://www.instagram.com/cinescrito_/ContatosMande sua contribuição filosófica, política, sugestão, reclamação ou elogios para o nosso SAC Nerd! Nosso debate não para por aqui.E-mail: comunasnerd@gmail.comX: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/comunasnerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/comunasnerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/comunasnerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠http://tiktok.com/@comunasnerd

I don't know about you but after last week's topics I really needed some fun and joyful content so this week for Mood for News we are covering only POSITIVE popculture news stories from the last couple of weeks. We start with the latest deets from Dua Lipa and Callum Turner's wedding festivities in Palermo, Sicily. Then we talk about New Zealander Tim Payne being classed the 'main character' for the 2026 FIFA World Cup. I fangirl about Hudson William's iconic acceptance speech at the Canadian Screen Awards. Noah Cyrus and Frankie Jonas got the cutest matching Ponyo tattoos ever and I reveal why I haven't really watched Studio Ghibli so far and lastly Mattell is releasing full length Barbie movies on YouTube, this is not a drill!!Tell me what childhood film traumatised you and most importantly - let me know what you think!Instagram - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@moodforfeud⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@moodforfeud ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ko-fi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ all funds go towards upgrading my podcast gear!⁠⁠Also, for those interested the tea I mention is Twinings New York Breakfast - Caramel flavoured black tea.Timestamps00:00 Intro03:15 Dua Lipa and Callum Turner tie the knot12:14 Tim Payne is FIFA main character18:56 Hudson Williams acceptance speech22:15 Noah Cyrus and Frankie Jonas matching tattoo25:25 Barbie movies are on YouTube28:16 Personal faves Intro/Outro MusicYarWritten by Ryan SkeltonProduced by Ras & Sakunera#DuaLipa #CallumTurner #DuaLipaWedding #DuaLipaCallumTurner #SicilianWedding #PalermoWedding #DuaLipaBride #DuaLipaBottegaVeneta #DuaLipaMarried #CharliXCXWedding #TroySivan #JoeAlwyn #EltonJohn #DuaLipa2026 #CelebWedding2026 #MarkRonson #DonatellaVersace#HudsonWilliams #HeatedRivalry #CanadianScreenAwards #HeatedRivalryCSA #ShaneHollander #ConnorStorrie #IlyaRozanov #GayHockeyRomance #HeatedRivalrySeason2 #CanadianScreenAwards2026 #HeatedRivalryRecord #GayBottomEyes #BestDramaSeries #CraveOriginal#TimPayne #NoPayneNoGain #FIFAWorldCup2026 #AllWhites #NewZealand #WorldCup2026 #TimPayneViral #ElScarso #ValenScarsini #WellingtonPhoenix #WorldCupMainCharacter #TimPayneInstagram #NewZealandFootball #WorldCup2026Viral #UnderdogWorldCup #FIFA2026#NoahCyrus #FrankieJonas #PonyoTattoo #NoahCyrusFrankieJonas #FrankieJonasNoahCyrus #StudioGhibli #Ponyo #MatchingTattoos #JonasBrothers #MileyCyrus #DisneyKids #PonyoLovesSosuke #CelebTattoo #DisneyChannel #NoahCyrusCrush#PopCulturePodcast #TrendingTopics #CelebDrama #PopCulture2026 #EntertainmentNews #WeeklyRecap #HotTakes #Podcast2026 #ViralMoments2026 #WhatEveryoneIsTalkingAbout

This week, we pay tribute to one of the most devastating (and life-affirming) movies ever made. It's our very first Takahata film, and… it's a doozy. We simply couldn't do a Studio Ghibli series without honoring this masterpiece. **Please be aware that this episode includes some distressing themes around children and violence. We tried our best to celebrate the brilliance of the film but inevitably the conversation turned dark at times. Next week, we get a (much-needed) big, fuzzy hug from MY NEIGHBOR TOTORO (1988). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Grave of the Fireflies (BFI Film Classics) by Alex Dudok de Wit Studio Ghibli: An Industrial History by Reyna Denison Animerica Isao Takahata & Akiyuki Nosaka Interview Studio Ghibli Movies Isao Takahata Interview Anime New Network Hirokatsu Kihara Interview Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

With the 2026 FIFA World Cup just around the corner, Dan Orlowitz re-joins the Krewe to preview Japan's tournament outlook. We break down Samurai Blue's final roster, key players to watch, group-stage matchups, and what a successful World Cup would look like for Japan. Plus, Dan shares his predictions for the tournament's biggest surprises, disappointments, and who he thinks will be lifting the trophy when it's all said and done. Whether you're a diehard soccer fan or a once-every-four-years World Cup viewer, this episode is the perfect primer before kickoff. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past KOJ Sports-Related Episodes ------ Bridging Communities Through MLB Players Trust ft. Amy Hever & Chris Capuano (S6E18) Japanese Soccer on the World Stage ft. Dan Orlowitz (S6E6) Meet the J.League ft. Dan Orlowitz (S6E4) Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16) The Life of a Sumotori ft. 3-Time Grand Champion Konishiki Yasokichi (S4E10) Talking Sumo ft. Andrew Freud (S1E8) ------ About Dan Orlowitz ------ Dan's Socials & Writings J-Talk Podcast ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

In the latest episode of Heroic Purgatory: An Asian Cinema Podcast, John and Jason move to the countryside for a friendly chat with magical owls and bus-sized orange cats. That's right, we are covering My Neighbor Totoro, the 1988 Hayao Miyazaki film who's titular character became the logo for the newly minted Studio Ghibli. Though often viewed as a "children" film, Totoro is not all about laughs and cuddles. We discuss the more tragical underpinnings of the story and how it reflects the ambivalent Japanese society of Miyazaki's youth. Enjoy! Website: https://www.heroic-purgatory.com/2026/06/s6e6-my-neighbor-totoro-1988.html Follow the show on BlueSky: https://bsky.app/profile/heroicpurgatory.bsky.social Follow Jason: https://bsky.app/profile/filmnohito.bsky.socia Follow John: https://bsky.app/profile/jmhimara.bsky.social

British singer and songwriter Paris Paloma, a very sharp and thoughtful young artist who considers grief, politics, creativity, love, art, Greek mythology, and power structures in her music and in interviews, has opened for Florence & the Machine, played Glastonbury, and lent her voice to the Tolkien universe. She has built a community – her fairies –over the past few years, from her first EP, 2021's cemeteries and socials (you want dark? Folk-horror-pop? She's got you) to what will be her latest album, The Fatal Flaw, due out in September 2026. [View the artwork for the single “Good Boy”] Paris Paloma offers the anti-AI song  “Miyazaki”, about the unstoppable human need to create – and yes, named after the legendary Studio Ghibli director Hayao Miyazaki. Plus, she plays an intimate version of her feminist anthem, “Labour”, (which she played with the Resistance Revival Chorus on the Late Show with Stephen Colbert in 2025), in-studio.  Set list: 1. Labour 2. Miyazaki 3. Stem the Flow Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Anime and manga are a global phenomenon, and their popularity continues to grow. Many of these stories are populated by supernatural beings called yōkai. Even though yōkai can be portrayed as ghosts, demons, or monsters, they're rarely purely good or evil. We trace the history of yōkai from ancient folklore to Studio Ghibli films and shows like Dan Da Dan. I talk with scholars Kaitlyn Ugoretz, Deborah Shamoon, and Michael Dylan Foster about why these supernatural beings have captured people's imaginations, how they became central to modern pop culture, and the role they play in Japan even in times of national emergency. Deborah's book, “Text and Image: Making Meaning in Manga and Comics” is available in the Fall. Kaitlyn's YouTube channel is Eat Pray Anime. Michael Dylan Foster wrote several books on yōkai To support the show, you can donate on Patreon where you get access to the ad-free version and our companion show Between Imaginary Worlds.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

What happens when an Ai agent is given one goal, trained on the right inputs, and left to run for 13 hours?In this episode of Capability Amplifier, Dan and I walk through exactly that. While sitting in the audience at Abundance360, I built an Ai agent designed to win Peter Diamandis's $3.5 million sci-fi film competition. The agent produced five fully edited three-minute trailers - complete with original scripts, character designs, mood boards, voiceovers, soundtracks, sound effects, and final edits. Total production cost: $48.Dan watched every film live during the conversation. His reactions - and his observations about the timeless nature of storytelling, Shakespeare's technique of starting in the middle, and why asking "who does this hurt?" is the fastest way to kill creative opportunity - give this episode a depth that goes well beyond the technology itself.We also cover the broader picture: what this speed and accessibility means for entrepreneurs, creators, and anyone who has ever had a story to tell but thought the barrier to entry was too high.The core message from both is clear: the tools are no longer the obstacle. Great storytelling is still the moat. And the window to get ahead of this is open right now.In this episode, Dan and I cover:How Mike built an Ai agent at Abundance360 with a single mission - win a $3.5 million film competitionThe "cheat code" of training an agent on the judge's known preferences before startingA full walkthrough of all five Ai-generated film trailers with Dan reacting in real timeWhy Dan says Shakespeare's storytelling technique shows up in all five filmsThe $48 total production cost reveal and what it signals for the future of filmmakingThe five-day production of a full one-man musical show using Ai and real performance combinedDan's warning: the question "who does this hurt?" stops creativity before it startsMike's 10% time compounding framework and how it changes decision-makingWhy the moat in creative work is now the storytelling and the wrangler - not the toolsWhat comes next with Ai agents - breakthroughs Mike previews for a future episodeNote: The observations and experiments shared in this episode reflect Mike Koenigs's personal experience with Ai filmmaking tools. Results will vary based on tools used, prompts, and creative direction applied. This is not a guarantee of any specific outcome.TIMESTAMPS00:00 - Introduction and the Abundance360 setup explained02:40 - Why the barrier to professional filmmaking has collapsed04:58 - How Mike built and trained the Ai agent to win the competition08:50 - Automated mood boards, character design, and pre-production09:55 - Film 1: "The Seed" - a Studio Ghibli-style story about growth and hope12:03 - Film 2: "The Memory Weaver" - memory, loss, and preserving legacy14:37 - Film 3: "The Star Maker" - grief, space, and building light in the dark17:07 - Film 4: "Symphony of Life" - learning to hear what nature has been saying19:24 - Film 5: "Architect of Dreams" - finally building something worth keeping21:59 - The $48 total production cost reveal and what it means27:22 - Why consumers with new capabilities disrupt every industry35:38 - The 10% time compounding framework and Dan's three wins a day method Discover More

Get in, losers, we're going to Laputa! This week we take flight with Pazu, Sheeta, and a gang of pirates with some seriously questionable motives to find the mythical land in the clouds where cool robots take care of birds (and shoot lasers). It's the first true Ghibli film, and, man, does it set the bar pretty high. Also... what the hell is going on with the English dub of this film? Next week, it's our very first Takahata film, GRAVE OF THE FIREFLIES. Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Creating Castle in the Sky Scoring Miyazaki Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Starting Point by Hayao Miyazaki Studio Ghibli: An Industrial History by Rayna Denison Sharing a House with the Never-Ending Man by Steve Alpert The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Miyazakiworld by Susan Napier Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

✨ - Check out the Part of Your Broadway World Podcast

Einen schönen Samstagabend wünschen wir euch! Willkommen zu Folge 233 von Hokago – dem Anime-Podcast. Heute haben wir wieder etwas Besonderes für euch: Wir kennen alle die berühmten Filme von Studio Ghibli, doch manche Werke stehen nicht ganz so sehr im Rampenlicht wie Das wandelnde Schloss. In dieser Folge sprechen wir über „Arrietty – Die wundersame Welt der Borger“ und erzählen euch, warum uns dieser wunderschöne Ghibli-Film so begeistert hat. Freut euch auf unsere Eindrücke, Hintergründe und Gedanken zu einem oft unterschätzten Anime-Film. Wie hat euch Arrietty gefallen? Schreibt uns gerne eure Meinung dazu!

Calling all Tolmekians: it's a series premiere!!!! Today we take flight with the Princess of the Valley of the Wind for our new Studio Ghibli series. What a dream (of madness)! For the next few months we'll be fully devoted to the works of Miyazaki, Takahata, and the entire Ghibli collective. We hope you'll join us in the Sea of Decay! The water is fine (it's only mildly acidic and poisonous). Next week, it's the first true Studio Ghibli film, CASTLE IN THE SKY (1986). Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Nausicaä Continues On Behind the Microphone The Works of Hayao Miyazaki: The Japanese Animation Master by Gael Berton Starting Point by Hayao Miyazaki Sharing a House with the Never-Ending Man by Steve Alpert Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy Hideaki Anno Wants to Remake Nausicaä of the Valley of the Wind The Sydney Morning Herald Mai Fujisawa Interview A Real Glider A Real Glider Part 2 Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Almost exactly one year after Season 6's Expo 2025 deep dive with Sachiko Yoshimura, the Krewe closes the loop with two people who were actually there. Lea Disimone & Bridget McCarthy served as Youth Ambassadors at the US Pavilion during Expo 2025 Osaka, and they share what the program was really like from the inside, from a day in the life to the lasting impact it left on them. Two New Orleans connections, one world's fair, and a conversation worth the wait. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, Threads: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past KOJ Episodes ------ Expo 2025: Japan on the World Stage ft. Sachiko Yoshimura [S6E2] Hanging Out In Hyogo ft. Rob Dyer of The Real Japan [S5E14] Checking Out Miyagi ft. Ryotaro Sakurai (Guest Host, William Woods) [S5E5] Explore Matsue ft. Nicholas McCullough [S4E19] Travel Hiroshima ft. Joy Jarman-Walsh [S4E4] Travel Aomori ft. Kay Allen & Megan DeVille [S3E17] Hungry For Travel ft. Shinichi of TabiEats [S3E15] Henro SZN: Shikoku & the 88 Temple Pilgrimage ft. Todd Wassel [S3E12] ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

Strap in. The anime world did not come to play this week. Let's talk about it.Bigtime updates on Kagurabachi, Studio Ghibli, Gigantic (from the mind of the creator of Gantz), The Book of Human Insects, Bocchi the Rock, and Omniscient Reader's Viewpoint, which is one of the greatest manhwa of all time.If you enjoy the show, please rate, review, like, and subscribe to Sakura Society | An Anime Appreciation Podcast — and any other podcasts you love. It takes seconds, costs nothing, and means everything to us creators. (The algorithm only accepts 5 stars, just so you know.)Stay up to date with Brendan on Bluesky | Instagram | TikTok | TwitterJoin our Discord — a community full of anime and culture fans just like youFollow our Spotify playlistOur amazing sponsors:Audio-Technica — the best in audio equipmentIced Tea Aesthetics — anime streetwear done right (use code SAKURASOCIETY5 at checkout to save $5)Japan Crate — Japanese snacks and treats delivered to your door (use code ATEBIT15 at checkout to save 15% + get free shipping)

Somehow, Sam Raimi has returned! SEND HEPL! The latest from our man R.O.C. Sandstorm is finally out on Blu-Ray and VOD, and we could not resist opening up the Necronomicon once again. It may not exactly qualify as an Evil Dead film, but… someone does in fact die! And Dylan O'Brien's character may or may not be evil!! Also… Linda Liddle innocent! Next week, we are launching our Studio Ghibli series with NAUSICAÄ OF THE VALLEY OF THE WIND (1985)! Join the conversation on our Discord at https://discord.com/invite/RssDc3brsx and get more Eye of the Duck on our Patreon show, After Hours https://www.patreon.com/EyeoftheDuckPod References: Special Features Commentary Track Constructing the Boar Hunt Survival Instinct SOS: Sounds of Survival Fangoria Vol. 2 #30 Production History Sam Raimi Reddit AMA Letterboxd Sam Raimi Interview Comicbook.com Mark Swift & Damian Shannon Interview Elements of Madness Zainab Azizi Interview No Film School Zainab Azizi Interview Art of VFX Everett Burrell Interview The Wrap Sam Raimi Interview Forbes Rachel McAdams & Dylan O'Brien Interview Fangoria Danny Elfman Interview Jeff Probst Not in Send Help Credits:  Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich. This episode was edited by Michael Gaspari. This episode was researched by Parth Marathe. Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shop The "Adam's Blu-Ray Corner" theme was produced by Chase Sterling. Assistant programming and digital production by Nik Long. Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the Discord. Learn more at eyeoftheduckpod.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

SUNANDBASS Recordings proudly presents its next release, welcoming a new talent to the label: Fonts from Tokyo, Japan, with a brand new single, All Good, Alright? / Hold On Me. This release marks another exciting addition to the SUNANDBASS Recordings catalogue, bringing a fresh sound and a continued forward-thinking approach. With previous releases on Integral and Halogenix's Gemini, Fonts has quickly been making a name for himself with his techy yet soulful productions, and we're very excited to present his next release as he joins the SUNANDBASS family. Fonts played at our label party in Tokyo with the Human Elements crew. That performance and time spent together sparked the relationship with the artist, and now we're proud to present this transnational talent with his brand new single. On the A-side, All Good, Alright? showcases Fonts's signature soulful style in full dancefloor form, lush pads and techy synth patches cutting through crisp drums and mesmerising vocal sampling. The track channels the spirit of La Cinta beach in Sardinia: open-air, euphoric, and alive, without ever losing the introspective musicality that defines his compositional voice. It speaks to Fonts's ability to compose deeply expressive music that also moves a crowd. Hold On Me takes the release into deeper territory, where Fonts's classical training becomes the foundation rather than the background. Growing up immersed in classical music, and drawing on the textural, emotionally layered world of Studio Ghibli soundtracks, he weaves these influences, Western and Japanese, formal and filmic, into something distinctly his own. Thoughtfully crafted drum arrangements and signature vocal chops ground it firmly in drum & bass, while the emotional architecture reaches far beyond it. We're honoured to welcome Fonts to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

SUNANDBASS Recordings proudly presents its next release, welcoming a new talent to the label: Fonts from Tokyo, Japan, with a brand new single, All Good, Alright? / Hold On Me. This release marks another exciting addition to the SUNANDBASS Recordings catalogue, bringing a fresh sound and a continued forward-thinking approach. With previous releases on Integral and Halogenix's Gemini, Fonts has quickly been making a name for himself with his techy yet soulful productions, and we're very excited to present his next release as he joins the SUNANDBASS family. Fonts played at our label party in Tokyo with the Human Elements crew. That performance and time spent together sparked the relationship with the artist, and now we're proud to present this transnational talent with his brand new single. On the A-side, All Good, Alright? showcases Fonts's signature soulful style in full dancefloor form, lush pads and techy synth patches cutting through crisp drums and mesmerising vocal sampling. The track channels the spirit of La Cinta beach in Sardinia: open-air, euphoric, and alive, without ever losing the introspective musicality that defines his compositional voice. It speaks to Fonts's ability to compose deeply expressive music that also moves a crowd. Hold On Me takes the release into deeper territory, where Fonts's classical training becomes the foundation rather than the background. Growing up immersed in classical music, and drawing on the textural, emotionally layered world of Studio Ghibli soundtracks, he weaves these influences, Western and Japanese, formal and filmic, into something distinctly his own. Thoughtfully crafted drum arrangements and signature vocal chops ground it firmly in drum & bass, while the emotional architecture reaches far beyond it. We're honoured to welcome Fonts to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

It's the phenomenal 2004 Studio Ghibli, Hayao Miyazaki directed based on the book of the same name flick Howl's Moving Castle.How could Joe & Adam forget this? Doesn't matter; they're glad they did so they got to rewatch it and talk about: the choice between watching subtitled Ghiblis vs English dub versions, the joyful little side characters that invariably pop up in a Miyazaki flick and bindels, plus a sort of connected but not really side chat about The Last Samurai.Got a film you forgot you forgot? Join our growing Discord community and tell us all about it: https://discord.gg/b3CUUdPRf7Or send us an email at moviesyouforgotyouforgot@gmail.com with your thoughts, episode suggestions, or just some light praise.You can also follow Adam @errorofways on Letterboxd; he rates and reviews the films he watches. Also, be a pal: tell your chums, rate us, review us, shout our name into the void - whatever helps spread the word.

1989 brings us back to Studio Ghibli and we are talking about Kiki's Delivery Service! We had Sean of Movie Dumpster hop on his broom stick and fly around with us while we talked about this beautiful animated feature. 

Fernando Velázquez, compositor de algunas de las bandas sonoras más reconocidas del cine español, da un nuevo paso en su carrera con Los Estunmen, su primera ópera.Autor de la música de Lo imposible, El orfanato, Ocho apellidos vascos o Un monstruo viene a verme, el compositor debuta en el universo operístico con un proyecto impulsado por el Teatro Real y el Gran Teatre del Liceu.En El ojo crítico repasamos su trayectoria, sus premios y este nuevo reto creativo.Junto a Fernando, también hemos contado con la historia de amor de Siri Husvedt y Paul Auster con Historias de Fantasmas, el último libro que nos recomienda Lara Hermoso y Vicente Monroy nos vuelve a adentrar en el Studio Ghibli, el estudio de animación que cambió el cine en Japón, premio Princesa de Asturias de Comunicación y Humanidades.Escuchar audio

In this episode, we're talking book-to-screen adaptations and why Hollywood's leaning so hard into novels right now (in 2025 alone, book-based titles drove more than 9 billion global views, making up nearly 20% of all hours watched on Netflix). Sara dives into Apple TV's brand-new Margot's Got Money Troubles starring Elle Fanning, Nick Offerman, Nicole Kidman, and Michelle Pfeiffer, plus three buzzy reads: the gothic romantasy The Knight and the Moth by Rachel Gillig, the Victorian fae competition The Rose Bargain by Sasha Peyton Smith, and the timeless Studio Ghibli favorite Howl's Moving Castle by Diana Wynne Jones. Nicole shares three 5-star reads from April: Saoirse by Charlene Hurtubise, Good People by Patmeena Sabit, and Trespasses by Louise Kennedy. We also cover two upcoming adaptations we cannot wait for: The Other Bennett Sister miniseries on BBC / BritBox (premiering May 6) and The Nightingale film starring the Fanning sisters (February 2027).

Hablamos de "Yo no moriré de amor" junto a su autora y directora, Marta Matute. Una película que retrata cómo una familia debe reorganizar su vida para cuidar a la madre con alzhéimer. En la segunda parte del programa, viajamos con María Carou hasta Washington para descubrir la nueva exposición de Joan Miró en el museo de arte moderno The Phillips Collection. Cerramos con una mirada al cine de animación. Ana Gil nos acerca al universo de Studio Ghibli, distinguido con el Premio Princesa de Asturias, y Guillermo Busutil recorre la historia y la evolución de este género cinematográfico.Escuchar audio

Programa completo del 'No son horas' con Gemma Ruiz. Hoy hemos conocido la historia de los castrati gracias al médico y divulgador científico Pedro Gargantilla. Y junto a Raúl Shogun, nuestro librero de cabecera, hemos repasado la historia de Studio Ghibli.

Nuestro librero de cabecera, Raúl Shogún nos habla de la historia de Studio Ghibli. ¡Muy interesante!

Hybe Entertainment anunció operativos contra productos no oficiales —o piratas— durante la gira “Arirang” de BTS por Norteamérica. Ante esto, vendedores ambulantes se reunieron y organizaron un bazar alternativo en otros puntos cercanos al Estadio GNP.Las bicicletas y los scooters eléctricos ya deberán emplacarse en la Ciudad de México, de acuerdo con el anuncio del Gobierno capitalino.Se detectó un caso de gusano barrenador del ganado en Topilejo, en la alcaldía Tlalpan, Ciudad de México.Estados Unidos e Irán se están acercando a un acuerdo para poner fin a la guerra. Al menos eso han reportado medios internacionales como CNN o Axios, de acuerdo con una fuente familiarizada con las negociaciones.Tres personas con sospecha de tener hantavirus fueron evacuadas por motivos médicos del crucero MV Hondius.Studio Ghibli ganó el Premio Princesa de Asturias de Comunicación y Humanidades 2026.En Francia, las universidades comenzaron a ofrecer comidas de tan solo un euro a todos los estudiantes.Para enterarte de más noticias, suscríbete aquí a nuestro newsletter y síguenos en redes sociales. Estamos en todas las plataformas como Te lo cuento. Hosted on Acast. See acast.com/privacy for more information.

This fortnight, another all-superhero special, as we cover the fourth season of Invincible (13:27) and the epic Alivens Vs Avengers crossover comic (27:46). Plus bonus chat about Golden Rage from Image Comics, and Alastair's Studio Ghibli retrospective continues with Nausicaä of the Valley of the Wind.

Send us a Question!MOVIE DISCUSSION: Legacy XP CoachingParyss Bryanne: Instagram // Tiktok // YouTube // SnapchatPixel Paryss: Instagram // Tiktok // YouTube // TwitchParyss Bryanne joins Melvin to talk My Neighbor Totoro! The two kick-off Ani-May with a much-beloved Studio Ghibli classic! Nostalgia, curiosity, and a whole lotta whimsy fill this episode from start to finish! Tune in now! Topics:Editor's Note: No Patreon Exclusive discussion! But, I do intend to trim this episode down from its original 1:35:43 length, so if you want to hear the UNCUT version, tune in on Patreon here!Paryss shares about her love of Undertale, her desire to see people grow through Legacy XP Coaching, and how she's wrestling with horror media.Paryss, "[My Nieghbor Totoro] does such a good job of taking you back into the shoes of a child."Where do Paryss and Mel rank My Neighbor Totoro against other Miyazaki/Ghibli movies?On big emotions, and how emotions become more complicated as an adult.Enduring against melancholic nostalgia.Melvin, "Did you kinda just feel like [My Neighbor Totoro] was, like, really heavenly?"Talking Totoro, and wondering if he actually exists.Getting into the ending.Recommendations:The Village (2004) (Movie)Lucid Blocks (2026) (Video Game) Support the showSupport on Patreon for Unique Perks! Early access to uncut episodes Vote on a movie/show we review One-time reward of two Cinematic Doctrine Stickers & PinsSocial Links: ThreadsWebsiteInstagramLetterboxdFacebook Group 

Studio Ghibli recibe el foco de El Ojo Crítico tras la concesión del Premio Princesa de Asturias de Comunicación y Humanidades, un reconocimiento que confirma su impacto cultural y artístico a nivel internacional. El programa analiza el legado creativo del estudio japonés, referente mundial de la animación y creador de películas que han marcado a varias generaciones.Para profundizar en la narrativa y el universo cinematográfico de Ghibli, participan Marta García Villar y Álvaro López Martín, autores del libro Mi vecina Miyazaki. Studio Ghibli. La animación japonesa que lo cambió todo. Además, Jonay Armas analiza la dimensión musical de sus producciones y el valor emocional de sus bandas sonoras.Escuchar audio

We continue our series on Studio Ghibli & Hayao Miyazaki with an introduction to and examination of the first few minutes of Nausicaa of the Valley of the Wind; a true masterpiece.

This episode continues the season of fantasy movies with the iconic Studio Ghibli movie PRINCESS MONONOKE.  Please send any and all feedback to anotherlookpod@gmail.com.  Please follow us on Instagram @anotherlookpod, and rate/review/subscribe where ever you get your podcasts.   This episode is dedicated to a very huge loss we experienced since we recorded this episode.  This goes out to our friend and amazing human Logan Roush.  We love you man.

This week we're talking book-to-screen adaptations and why Hollywood is leaning into novels harder than ever. Sara dives into Apple TV's new series Margot's Got Money Troubles starring Elle Fanning, Nick Offerman, Nicole Kidman, and Michelle Pfeiffer, plus three buzzy reads: the gothic romantasy The Knight and the Moth by Rachel Gillig, the Victorian fae competition The Rose Bargain by Sasha Peyton Smith, and the timeless Studio Ghibli favorite Howl's Moving Castle by Diana Wynne Jones. Nicole shares her three 5-star reads from April: Saoirse by Charlene Hurtubise, Good People by Patmeena Sabit, and Trespasses by Louise Kennedy. Plus, two upcoming adaptations we cannot wait for: The Other Bennett Sister miniseries on BBC / BritBox (premiering May 6) and The Nightingale film starring the Fanning sisters (February 2027).ICYMI: Catch our full author interview with Rufi Thorpe on Margot's Got Money Troubles: https://podcasts.apple.com/us/podcast/margots-got-money-troubles-a-deep-dive-with-author/id1744436935?i=1000695626466Follow Reeding Between the Lines:Instagram: @reedingpodYouTube: @reedingbetweenthelinesApple Podcasts: https://podcasts.apple.com/us/podcast/reeding-between-the-lines/id1744436935#BookPodcast #ReedingBetweenTheLines #BookToScreen #BookAdaptations #Bookstagram #BookTok #ReadingCommunity #TBR #MargotsGotMoneyTroubles #RufiThorpe #TheKnightAndTheMoth #RoseBargain #HowlsMovingCastle #TheNightingale #KristinHannah #RachelGillig #BookLovers #BookRecommendations

The Boy and the Heron - Ep. 393 This week, Normies Like Us spreads its wings for The Boy and the Heron, Hayao Miyazaki's stunning return and conclusion to filmmaking. Join your hosts as they discuss grief, fantasy, war, talking birds, mysterious towers, and whether the master still has movie magic left in the tank. Is this a fitting swan song, a new classic, or one beautiful fever dream? Find out on this heartfelt, head-scratching, bird-brained episode of Normies Like Us! Insta @Normies_Like_Us https://www.instagram.com/normies_like_us/ @jacob https://www.instagram.com/_j__a___c___o__b_/ @Mike_Has_Insta https://www.instagram.com/mike_has_insta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

This show is in partnership with the "Shine with Joy Foundation." With SHINE, your generosity will fuel their mission of empowering Black women in STEM, improving maternal healthcare equity, and spreading joy through Yoga and community programs. You can donate today on shinewithjoy.com or go straight to their donation page ⁠⁠⁠here⁠⁠⁠, and help make tomorrow a better place. In this episode of AOTB, Novo and Philip (philipchurch.com) discuss the history of Anime in the west and how it compares to its original source material, featuring Dragonball and DragonballZ, Cowboy Bebop, Death Note, Pokemon, Akira, Films of Studio Ghibli, and unique honorable mentions, focusing on the past, present, and future of the medium and the differences (and similarities) therein, ultimately trying to answer this very simple question: Is the Anime We Get in the West Diluted, Overly Edited, or Just Watered-Down?You can also support us with a donation @novodeproductions on paypal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Support our colleagues at:Philipchurch.comCheck out more at www.novodeproductions.com, follow us @_novo_de, @aotb.podcast, @aotbpodcast, and if you'd like to sponsor us, partner with us, or guest on the show, you can contact us at novodeproductions@gmail.com.This Episode is also brought to you by:Novel "Til the Bitter [End]emic" - Available now on Amazon. Til The Bitter [End]emic is a novel about discovery; about what we do, who we become, and what we realize is truly important when we're faced with insurmountable odds, the same kind that makes us face our own mortality.Short story - "Cancel Culture Lotto" - available now on Amazon.Zencastr - our go-to tool to record our podcast with multiple guests remotely. With Zencastr, you can record separate audio and video tracks, and it's all backed up on a secured cloud so you never lose your hard work. It's reliable, easy to use, and there's nothing to download. So go to⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠zencastr.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use promo code: artofthebeholder, and get 30% off your first three months with a PRO account. So create your ⁠⁠⁠⁠⁠⁠⁠podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ today! #madeonzencastr⁠⁠⁠⁠.Note: Only the intro music is by A-CO; all other music or sound effects is stock from various outlets.

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Jim Hill and Drew Taylor break down the biggest animation and industry stories coming out of CinemaCon 2026, including Drew's early look at DreamWorks' Forgotten Island. They also dig into a surprisingly strong box office weekend, Studio Ghibli's return to theaters, and some truly unexpected developments in the world of Willy Wonka. Along the way, the two share insights on theatrical windows, upcoming animated projects, and what's really happening behind the scenes in Hollywood animation. HIGHLIGHTS • Super Mario Brothers Galaxy nears $750M worldwide as the franchise crosses $2B total • Pixar's Hoppers continues a solid run, with digital and physical release plans coming soon • Paramount commits to a 45-day theatrical window while Steven Spielberg pushes for longer exclusivity • Studio Ghibli Fest 2026 lineup revealed, including Ponyo, Spirited Away, and anniversary screenings • Warner Bros. Animation developing anime-inspired Scooby-Doo series Go-Go Mystery Magic • Drew shares his spoiler-free reactions to DreamWorks' Forgotten Island after CinemaCon screening • Netflix's Charlie vs. the Chocolate Factory sets up a darker, heist-style Wonka story • Updates on Disney Animation's Hexed, including casting and creative changes HOSTS • Jim Hill (@JimHillMedia) • Drew Taylor (@DrewTailored) FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR This episode is brought to you by UnlockedMagic.com - your go-to source for discounted Disney and Universal theme park tickets. Plan smarter, save money, and make your next trip more magical. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Hill and Drew Taylor break down the biggest animation and industry stories coming out of CinemaCon 2026, including Drew's early look at DreamWorks' Forgotten Island. They also dig into a surprisingly strong box office weekend, Studio Ghibli's return to theaters, and some truly unexpected developments in the world of Willy Wonka. Along the way, the two share insights on theatrical windows, upcoming animated projects, and what's really happening behind the scenes in Hollywood animation. HIGHLIGHTS • Super Mario Brothers Galaxy nears $750M worldwide as the franchise crosses $2B total • Pixar's Hoppers continues a solid run, with digital and physical release plans coming soon • Paramount commits to a 45-day theatrical window while Steven Spielberg pushes for longer exclusivity • Studio Ghibli Fest 2026 lineup revealed, including Ponyo, Spirited Away, and anniversary screenings • Warner Bros. Animation developing anime-inspired Scooby-Doo series Go-Go Mystery Magic • Drew shares his spoiler-free reactions to DreamWorks' Forgotten Island after CinemaCon screening • Netflix's Charlie vs. the Chocolate Factory sets up a darker, heist-style Wonka story • Updates on Disney Animation's Hexed, including casting and creative changes HOSTS • Jim Hill (@JimHillMedia) • Drew Taylor (@DrewTailored) FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR This episode is brought to you by UnlockedMagic.com - your go-to source for discounted Disney and Universal theme park tickets. Plan smarter, save money, and make your next trip more magical. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

For this "ReScreen" episode, Michael does a rewatch of the 1995 animated film "Whisper of the Heart" from the acclaimed Studio Ghibli from Japan. What are some of his memories of seeing this film previously and thoughts after seeing the film again? Check it out and see!Be a part of the conversation!E-mail the show at screennerdspodcast@gmail.comFollow the show on Twitter @screennerdspodLike the show on Facebook (Search for Screen Nerds Podcast and find the page there)Follow the show on Instagram and Threads just search screennerdspodcastCheck out the show on Bluesky just search screennerdspodcastBe sure to check out the podcast on Apple Podcasts, Spotify, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!)Want to share your thoughts on the podcast? Send me an e-mail!Thanks to Frankie Creel for the artwork

How'd a 1971 country-pop anthem about West Virginia... inspire a 1995 anime classic about teens in Tokyo? We kick off a season about great movie needle-drops with the tale of WHISPER OF THE HEART — the anime that helped drive John Denver's "Take Me Home Country Roads" into Japanese culture. Guests include the song's co-writer Bill Danoff, plus rare interviews with Studio Ghibli cofounder Toshio Suzuki and his daughter Mamiko — the movie's lyricist. The audio documentary podcast MUBI Podcast returns with a sequel to our super-popular season diving deep into the grooves of classic movie "needle drops."  Titled NEEDLE ON THE RECORD - SIDE TWO, in each episode host Rico Gagliano  tells the story of a film that fused music and image to make magic — and sometimes, change popular culture. Guests include director Gurinder Chadha and musician Bally Sagoo on BEND IT LIKE BECKHAM's bhangra bangers, and movie star Jack O'Connell on THIS IS ENGLAND, the ska-fueled drama that introduced him to audiences.YUKI'S SUN is now streaming almost globally as a part of the Drawn to Life: Animated Films collection on MUBI. FLOW is now streaming on MUBI in the UK and Ireland. To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.WHISPER OF THE HEART will return to cinemas with an exclusive IMAX re-release across the US and Canada from April 21, newly remastered in 4K. Tickets are available here.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

Georgia Gove is back on Podzooky, now a returning pro-zooky at this point, to talk about the excellent Studio Ghibli film Porco Rosso. We really get into some deep animation and Ghibli discussions, talk a lot about Sky Pirates and, of course, talk about Porco Rosso's best friend: Frankenstein. This one really takes to the skies!

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Hey there, and a very happy Saturday! This is your Disney News for Saturday, April 11th, 2026. I hope your weekend is off to a magical start! - Tokyo Disneyland is set to unveil a magical new Studio Ghibli attraction, featuring immersive journeys through films like "Spirited Away" and "My Neighbor Totoro." - Walt Disney World in Orlando is committing to sustainability with a large-scale solar panel project to significantly power the park operations and reduce its carbon footprint. - Tinker Bell at Disneyland, California is getting a magical makeover with new LED wings that offer a vibrant, nighttime color-changing display for Pixie Hollow visitors. - Disney+ will release "The Muppet Show: Reimagined," introducing new storylines and humor while bringing back the antics of Kermit and Miss Piggy for fans new and old. Have a magical day and tune in again tomorrow for more updates.

With NASA's Artemis II mission sending humans around the Moon for the first time since the 70s, we're bringing back one of our favorite episodes from 2024. The Krewe sat down with Dr. Kate Kitagawa of JAXA for a fascinating look at Japan's role in the global space race: from SLIM's pinpoint lunar landing to Japan's partnership in the Artemis program and beyond. If the Moon is on your mind right now, this one's for you. ++++++ OG Show Notes ++++++ Prepare for lift off as the Krewe sits down with returning guest Dr. Kate Kitagawa of JAXA to look deep into the past, present, and future of Japan's space program! From pencil rockets & SLIM landers to international collaborative efforts, discover Japan's role in exploring the far reaches of outer space. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, Threads: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Past Episodes with Dr. Kate Kitagawa ------ The Age of Lady Samurai (S01E12) ------ Links about JAXA & Dr. Kate Kitagawa ------ JAXA (English) on Twitter JAXA (Japanese) on Twitter JAXA on Instagram JAXA (English) on Facebook JAXA (Japanese) on Facebook JAXA Website (Japanese) JAXA Website (English) ISAS (English) on Twitter ISAS (Japanese) on Twitter ISAS on Instagram JAXA on YouTube JAXA Space Education Center Website (English) MMX Game Lunarcraft Game SLIM The Pinpoint Moon Landing Game Kate's Book "The Secret Lives of Numbers" Kate's Website ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!