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featured in the international news media (major earthquakes and nuclear plant meltdowns excluded). When an animated feature film in Japan shattered fifteen-year-old box office records the international press took note. Suddenly, there on CNN was Hayao Miyazaki being touted as Japan’s preeminent filmmaker. There were shots of long lines of Japanese people waiting to see Princess Mononoke even weeks after it had opened. The foreign press found it odd that adults would go and see an animated film, further boosting its box office numbers. Then people who hadn’t seen the film wondered why the foreign press was so interested and decided that they should see the film. The big box office numbers became even bigger box office numbers.

      Requests for interviews from foreign (non-Japanese) news agencies began to come in. It began with the entertainment-industry publications that covered most film releases in Japan. Then came the international wire services wanting to know about the big box office numbers, and finally the big American and European networks and print media. They all wanted to know why Japanese people would wait in line week after week to see an animated film that was not targeted at children. CNN, NBC, the BBC, TF1, Arte, and CBS all called. Time magazine, Newsweek, the New York Times and the Washington Post called for interviews. The attention was not necessarily unwanted. But it was unexpected. Ghibli had no one designated to handle requests from the foreign press.

      I suppose because I spoke English better than anyone else in the company it became my job to field questions from the foreign press. We had assumed that once Ghibli’s films were being distributed in foreign countries the film distribution companies in those countries would handle the press there. We didn’t expect immediate foreign-press questions about Princess Mononoke’s release in Japan. I had not yet learned the all-important art of not answering every question someone asked.

      I have always had a respectful but possibly naïve view of the press and of journalists. One of my college roommates became a reporter for the New York Times, and no one in the world worked harder at it or took it more seriously than he did. He did exhaustive research. He worked through the night without sleep to finish an article. He never published anything until he was sure of the facts. To me every reporter who managed to get a job with a major news publication or network was like that. I believed that any reporter with a byline must without doubt possess the work ethic, the morals, and the spare-no-effort grit and determination of a Bob Woodward or a Carl Bernstein (as portrayed on-screen by Dustin Hoffman and Robert Redford). Apparently this is not strictly true.

      I also learned that though I am pretty good at talking to other gaijin, I am not very good at talking to gaijin who are members of the press, particularly when I’m “on the record.” Being on the record seems to require a certain sensitivity to word usage and the ability to compress a long, difficult, and carefully thought-out answer into a space of fifteen seconds or less. Honest mistakes in speaking are fair game so you have to be careful what you say. Knowing how to not

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