Hayao Miyazaki’s Unspoken Regret Over a Studio Ghibli Classic

Regret is a familiar companion for most, but for those who create, it can be particularly persistent. Artists, more than most, tend to dwell on the details others might never notice. When the world is watching, as it so often is for celebrated filmmakers, these private misgivings can feel all the more acute. Hayao Miyazaki, a name synonymous with animated brilliance, knows this feeling well. Despite the widespread praise for one of his most beloved works, he has admitted to harbouring a certain dissatisfaction with it.

Crafting a film is no small feat. Every frame, every line, every decision is open to scrutiny, not just from critics but from the creator themselves. The process is both exhilarating and exhausting, and it’s not uncommon for directors to look back and wish they’d taken a different path. For Miyazaki, this sense of unfinished business lingers over a particular project, even though audiences and critics alike have long since embraced it.

The Reluctant Director

In 1989, just a year after the release of his now-iconic fantasy, Miyazaki found himself at the helm of another major production. The story centres on a young witch, Kiki, who, accompanied by her cat, Jiji, leaves home to carve out a life in a new city. She sets up a courier service, navigating the awkwardness and excitement of growing up along the way. The film’s charm and warmth have made it a favourite for generations, and it even inspired a stage musical. Yet, interestingly, Miyazaki never intended to direct this particular tale. Initially, he was only meant to oversee the project as a producer. However, as he became more involved—penning the script, sketching out concepts—he realised he was too invested to step back, and so took on the director’s chair himself.

Despite the film’s success, Miyazaki has never quite shaken the feeling that something was missing. In a 1997 interview, he reflected on the circumstances surrounding its creation, noting the influence of the era in which it was made. The late 1980s in Japan were marked by economic optimism, a mood that seeped into the film’s atmosphere. Yet, for all its sincerity, he felt the story lacked a certain spark. As he put it,

“Kiki’s Delivery Service shows another side of the ’80s, that of Japanese economic prosperity. Even back then, I realised that just like the ’80s, Kiki was sincere but somewhat lacking energy. For various reasons, it was a movie I had to make. Commercially, it was a success, but it left me with a personal sense of regret.”

Between Two Worlds

It’s possible that the rapid pace of production played a part in Miyazaki’s reservations. With barely a pause after his previous film, he plunged straight into this new project. The relentless schedule may have left little room for reflection or experimentation, and perhaps that’s what he feels is missing when he looks back. Still, it’s hard to ignore the vibrancy that pulses through the story of a young witch finding her place in the world. Kiki’s journey is full of setbacks and small triumphs, and her refusal to give in to despair is a testament to the resilience at the heart of the film.

While Miyazaki may be his own harshest critic, audiences have found plenty to love in the film’s gentle humour and understated optimism. The director’s own doubts, though, offer a rare glimpse into the pressures and compromises that come with bringing a story to life, especially when the world expects nothing less than magic.