Japan’s Studio Ghibli has announced a unique approach to the release of Hayao Miyazaki’s final film, “The Boy and the Heron” (Japanese title: Kimitachi wa Do Ikiruka, which translates to “How Do You Live”). The studio has decided not to release any trailers or promotional materials ahead of the film’s debut in Japan on July 14. This decision has generated significant buzz, as the film is one of the most anticipated releases in Japanese cinema in recent years. However, details about the film remain scarce, with no U.S. or international release dates announced yet.
Ghibli has described the film as “a grand fantasy” loosely inspired by Genzaburo Yoshino’s 1937 novel “How Do You Live?”. The novel is a coming-of-age story that explores the emotional and philosophical development of a young boy following his father’s death. Despite the high anticipation, the studio has only released one enigmatic poster for the film back in December. No further information about the plot, voice cast, setting, or characters has been disclosed. In a recent interview with Japanese magazine Bungei Shunji, Ghibli’s longtime lead producer Toshio Suzuki, who is considered Miyazaki’s right-hand man, confirmed that no additional details would be revealed before the film’s release.
Suzuki explained the absence of marketing by saying, “As part of company operations, over the years Ghibli has wanted people to come see the movies we’ve made. So we’ve thought about that and done a lot of different things for that purpose — but this time we were like, ‘Eh, we don’t need to do that.’” He added, “Doing the same thing you’ve done before, over and over, you get tired of it. So we wanted to do something different.”
This decision aligns with Studio Ghibli’s long-standing philosophy of prioritizing a pure experience of its works over commercial considerations. The studio has historically restricted the amount of merchandise that could be licensed and made from its characters to prevent over-exposure and maintain their magic. When Ghibli launched its first theme park last year, it limited advanced media access to ensure that the attraction would not become too popular, thereby preserving the gentle appreciation of nature it was designed to generate for visitors.
In the interview, Suzuki contrasted Ghibli’s approach with the typical marketing methods of Hollywood. “There’s an American movie — ah, I almost said the title out loud! — coming out this summer around the same time [as How Do You Live?],” he said. “They’ve made three trailers for it, and released them one at a time. If you watch all three, you know everything that’s going to happen in that movie. So how do moviegoers feel about that? There must be people, who, after watching all the trailers, don’t want to actually go see the movie. So, I wanted to do the opposite of that.”
Suzuki also revealed that it was a compliment from Miyazaki about the first poster that ultimately convinced him to adopt such a bold, minimalist approach to the film’s release. “I’ve been involved with our movies since Nausicaä of the Valley of the Wind (1984), but this was the first time Hayao Miyazaki genuinely praised me. ‘Suzuki-san, this is amazing. This is the best poster you’ve ever made,’ he said. I felt like that was a hint, so I decided, ‘Let’s go with just this one poster for the marketing.’ So, no trailers or TV commercials at all … No newspaper ads either. Deep down, I think this is what moviegoers latently desire.”
The only promotional material released for “The Boy and the Heron” is the poster, which has intrigued fans and critics alike. The decision to forego traditional marketing methods is a testament to Studio Ghibli’s confidence in the film’s ability to draw audiences based on its reputation and the anticipation surrounding Miyazaki’s final work.
As the release date approaches, the lack of promotional content has only heightened the sense of mystery and excitement. Fans of Studio Ghibli and Miyazaki are eagerly awaiting the opportunity to experience the film without any preconceived notions or spoilers. This approach not only preserves the film’s magic but also aligns with the studio’s ethos of creating art that speaks for itself.
In a world where marketing and promotional campaigns often reveal too much, Studio Ghibli’s decision to keep “The Boy and the Heron” shrouded in mystery is a refreshing change. It allows audiences to experience the film with fresh eyes and an open mind, free from the influence of trailers and advertisements. As the release date draws near, the anticipation continues to build, making “The Boy and the Heron” one of the most eagerly awaited films of the year.
Source: Bungei Shunji, Studio Ghibli
