![]() ![]() One would be in the middle moving through the snow down the hill.Īn adolescent viewer asked “What directors, authors, writers, artists, and painters inspired you?”Ī: So many that I’m inspired by. In making a film about a mom raising kids, I based it on my upbringing and childhood.Ī child asked “What’s your favorite part of the movie?”Ī: I have a lot of favorite scenes. Q: Did you grow up in the city or country?Ī: The background is based on the Toyama countryside that I grew up in till the age of 18. The background reflects her emotions, not just the dialogue but you see it in the background and layout. After the movie, a baby was born to the couple – he’s five months now.Ī question was asked about specific photorealistic backgrounds in the film, but the answer seemed to be a general one about the backgrounds throughout the film.Ī: The background really reflects the mother, her feelings, emotions, the storm, when she’s going through a tough time. She said that Hosoda thought about his mother a lot and how his wife wanted a child. The translator said the film was focused on raising a child. ![]() Some people think it’s hard to believe the same person directed both Summer Wars and Wolf Children.Īn audience member asked about his inspiration for the film. How hard it is to raise a child and show it in a simpler way. With this film, I zoom in closer to mother and child. With Summer Wars, I showed the relationship of the family bond. It’s rare to see a family drama in the action genre. Kids who read picture books see that wolves are caught and punished so I’m sure a lot of kids feel for the wolf.Īnother audience member pointed out Hosoda’s “naturalistic, soft family take on loud-scale stories” and asked: “What draws you to that approach?”Ī: Summer Wars was more action-oriented. In picture books wolves are solitary and portrayed as bad guys, so you have that impression as well. “Okami” means “big god.” Some shrines have statues of wolves. 13 years of raising a child is impossible in live-action, unless you take 13 years to make it.Īn audience member asked about the symbolism of the wolf in Japanese mythology.Ī: Wolves do play a big part in Japanese culture. This is from the mother’s perspective and is very rare. Lots of animation shows the child’s perspective. Hosoda, conducted two days after the screening, will follow.Įric Beckman opened the Q&A by asking why Hosoda had made that rare film to show the process of a mother raising a child.Ī: So kids can appreciate how hard it is to raise a child. Since I wasn’t in a good position to make a useable recording, I transcribed most of it by hand with some of it paraphrased based on my notes. Hosoda took questions from festival director Eric Beckman and members of the audience. FUNimation is distributing the film and will dub it into English with a possible theatrical release later this year.Īt the Q&A after the first screening, Mr. It’s one of those rare animated works that focuses on the struggles of a single mother and the process of rearing children under difficult circumstances. One can argue that Wolf Children is the most emotionally mature work yet by Hosoda as it chronicles the efforts of a young widowed mother to raise her two children, a girl, Yuki, and a boy, Ame, whose father was part wolf, while protecting them from possible persecution by human society because of their tendency to revert to wolf form at inopportune moments. Like Miyazaki’s work, his films are equally accessible to children, teen and adult audiences, with an emotional depth and command of character that are comparable to the best of Miyazaki and a strong sense of place, with richly designed settings that are often quite breathtaking. Hosoda makes films that are hits with critics and award ceremonies while also attracting large, appreciative audiences the world over. As with his two preceding features, Wolf Children, shown in a Japanese-language version with English subtitles, was a big hit with the festival audience and cemented the director’s growing reputation as the preeminent director of theatrical animation in Japan today, the obvious spiritual heir to Hayao Miyazaki, who threatens to retire after each film he makes. Mamoru Hosoda, director of The Girl Who Leapt Through Time (2006), Summer Wars (2010), and the first two Digimonmovie shorts (1999-2000), appeared at the New York International Children’s Film Festival on Mato present his newest animated feature, Wolf Children, and take questions from the audience afterward. ![]()
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