Ponyo has sprouted arms and legs and races with her siblings to the surface of the sea.

BD: Your character designs are considered the epitome of the Ghibli style What's it been like to be a part of the experience there?

KK: I think I am lucky to have the same orientation as Ghibli's. My philosophy of "What I would like the animation to be" is the same as Ghibli's. With the same vision, I was able to be involved until now. But you know, the Studio is a collection of individuals; I guess I gave them a lot of influences… both good and bad. I am not sure that should be counted as an evolvement of the Studio, though.

BD: How were your experiences working on Gummi Bears, Rainbow Brite and other children's works helpful to you on Ponyo?

KK: At that time I was not yet a member of Ghibli, but worked for a different company. My involvement to these projects was not my decision, but the company's! But those days there weren't any restrictions on the number of pages to draw, so I had a lot of fun doing what I wanted to do. If you are asking how it helped on Ponyo, I cannot really say. It's nearly 25 years ago! I don't think I remember anything particular.

BD: What do you like best in Ponyo?

KK: I like the scenes where Ponyo grows her hands and feet out, becomes human in the "water of life," and jumps out with the little sisters and was seen by Koichi. Also, what I adore is where Sosuke and Ponyo call out their names and seals their bond with each other under the senior home. I cannot tell which particular scene I am proud of. My job is to make sure with the entire film is the best quality, so I cannot make a choice about a particular scene.

BD: Miyazaki said he closed down the CG department because it was ultimately counter-productive. What do you think about the format?

KK: [CG] must have its own unique way of storytelling. The way only [CG] has. I think for each film there is a technique that is most suitable for it. So using the technique (it can be 2D or [CG]) that fits is the best. I did once a character design for a [CG] film, but I left the rest to all the professionals. I know nothing!

Bill Desowitz is senior editor of AWN and VFXWorld.