Off to work, but I got through almost the whole first page. If someone can get this into the OP it would be appreciated. Feel free to share elsewhere, please just give translation credit where it is due. I will continue on this when I get home later.
"On June 17th (1992), in Tokyo's Yurakucho, at Toho Inc.'s headquarters, a private showing for screenplay writer, producer, and director Hayao Miyazaki's newest film "Porco Rosso" was held. Inside the leaflet that was passed out was Miyazaki's "Memo of Porco Rosso/Production Memorandum." In there, it was written that Miyazaki felt he must make a film that not just children could enjoy, but also their mothers. Not just that, Miyazaki wrote that first and foremost, he couldn't forget that this movie is for middle-aged men who needed some sort of a pick-me-up.
(From the leaflet) "Full of pride and freedom, with no gimmicks -- a story that is simple, with characters who have clear motives. The male characters are cheerful and lighthearted, and the female characters are incredibly charming, and enjoying life. Also, the brightness and beauty of the world is limitless. This is the kind of movie I intended to make." It seems to be a bit of an unthinkable movie.
That day, Nintendo's Miyamoto (who was scheduled to talk with Miyazaki), several editors, as well as myself attended the screening. I cried three times, and laughed out loud 14.
After the screening, Miyamoto said that "while I can't put my finger on exactly what was great, I thought the movie was interesting."
Miyamoto: It was interesting. I can't really tell you part-for-part, but there wasn't a boring moment during the 90 minute screening. I was watching without thinking, and feeling like I was floating on water -- it was nice.
Miyazaki: Because that is the kind of movie it is.
Miyamoto: (Porko Rosso's various air-battle scenes touched me) and I think that in games currently we can't get that kind of feeling-of-speed
although I think the method has to be hidden in a corner somewhere (laughs).
Miyazaki: I made this movie without a scenario. There was no great epiphany, either. As I was making it, my fear was about whether or not the wrap would fit around the whole thing, everything that ended up going in there, and it was pretty tiring to make.
Miyamoto: As for me, it is all just chatting, everything. I don't establish a scenario. Before the Labor Standard's were made more strict, I would be at the office at 2 in the morning, talking and mulling over ideas with various people, saying "yeah, tomorrow, let's do that." and going home, then doing the same thing day after day. Wondering what I would be doing the next day made going to the office the next morning very exciting, seeing just how much I could get done on a game in a day. As staff gets larger and larger, I worry that every member will come each day looking to do their part.
Miyazaki: When working on a large group project, you have your nucleus, you have those who are following after the nucleus, those who are covering for others, and it can't be helped that from that a rank is established. The quality of your finished product will be somewhat determined by the number of people you have in the nucleus. Getting a big group and working as a whole and putting each person's power together --- this is a lie. You will have lots of absentminded people in your group. Due to that, sure, you might quickly run two, three steps ahead --- but this will soon slow to a crawl, or you will end up with your eyes off of your goal, and things will come to a halt. That what is called the "bar-full of mouths". (laughs) When you get a group of people to work on something, it is the same for anyone.
Miyamoto: In our world, the number of people who can close up a project at the end, so to speak, are few --- and by not properly closing up a project you will end up with something else, something different. It is certainly a worry."