Development

Every summer, Hayao Miyazaki spent his vacation at a mountain cabin with his family and five girls who were friends of the family. The idea for Spirited Away came about when he wanted to make a film for these friends. Miyazaki had previously directed films such as My Neighbor Totoro and Kiki's Delivery Service, which were for small children and teenagers, but he had not created a film for ten-year-old girls. For inspiration, he read shōjo manga magazines like Nakayoshi and Ribon the girls had left at the cabin, but felt they only offered subjects on "crushes" and romance. When looking at his young friends, Miyazaki felt this was not what they "held dear in their hearts" and decided to produce the film about a girl heroine whom they could look up to instead. Writer and director Hayao Miyazaki used shōjo manga magazines for inspiration to direct Spirited Away. Miyazaki wanted to produce a new film for years, he previously wrote two project proposals, but they were rejected. The first one was based on the Japanese book Kirino Mukouno Fushigina Machi, and the second one was about a teenage heroine. Miyazaki's third proposal, which ended up becoming Sen and Chihiro Spirited Away, was more successful. The three stories revolved around a bathhouse that was based on a bathhouse in Miyazaki's hometown. Miyazaki thought the bathhouse was a mysterious place, and there was a small door next to one of the bathtubs in the bathhouse. Miyazaki was always curious to what was behind it, and he made up several stories about it; one of which was the inspiration for the bathhouse in Spirited Away. Jiufen, a town in Taiwan, is often cited as an inspiration for the spirit world's design, though this has been debunked. Production of Spirited Away commenced in 2000 on a budget of ¥1.9 billion (US$15 million). Disney invested 10% of the cost for the right of first refusal for American distribution.[16] As with Princess Mononoke, Miyazaki and the Studio Ghibli staff experimented with computer animation. With the use of more computers and programs such as Softimage, the staff learned the software, but kept the technology at a level to enhance the story, not to "steal the show". Each character was mostly hand-drawn, with Miyazaki working alongside his animators to see they were getting it just right. The biggest difficulty in making the film was to reduce its length. When production started, Miyazaki realized it would be more than three hours long if he made it according to his plot. He had to delete many scenes from the story, and tried to reduce the "eye-candy" in the film because he wanted it to be simple. Miyazaki did not want to make the hero a "pretty girl." At the beginning, he was frustrated at how she looked "dull" and thought, "She isn't cute. Isn't there something we can do?" As the film neared the end, however, he was relieved to feel "she will be a charming woman." The Takahashi Korekiyo residence in the Edo-Tokyo Open Air Architectural Museum was one of Miyazaki's inspirations in creating the spirit world's buildings. Miyazaki based some of the buildings in the spirit world on the buildings in the real-life Edo-Tokyo Open Air Architectural Museum in Koganei, Tokyo, Japan. He often visited the museum for inspiration while working on the film. Miyazaki had always been interested in the Pseudo-Western style buildings from the Meiji period that were available there. The museum made Miyazaki feel nostalgic, "especially when I stand here alone in the evening, near closing time, and the sun is setting – tears well up in my eyes." Another major inspiration was the Notoyaryokan, a traditional Japanese inn located in Yamagata Prefecture, famous for its exquisite architecture and ornamental features. While some guidebooks and articles claim that the old gold town of Jiufen in Taiwan served as an inspirational model for the film, Miyazaki has denied this. The Dōgo Onsen is also often said to be a key inspiration for the Spirited Away onsen/bathhouse.