Studio Ghibli Takes a Bow at Cannes with an Honorary Palme D’Or 

Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
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Studio Ghibli Takes a Bow at Cannes with an Honorary Palme D’Or 

Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)

Studio Ghibli, the Japanese anime factory of surreal ecological wonders that has for 39 years spirited away moviegoers with tales of Totoros, magical jellyfish and floating castles, was celebrated Monday by the Cannes Film Festival with an honorary Palme d'Or.

In the 22 years that Cannes has been handing out honorary Palmes, the award for Ghibli was the first for anything but an individual filmmaker or actor. (This year's other recipients are George Lucas and Meryl Streep.) Hayao Miyazaki, the 83-year-old animation master who founded Studio Ghibli in 1985 with Isao Takahata and Toshio Suzuki, didn't attend the ceremony, but he spoke in a video message taped in Japan.

“I don't understand any of this,” said Miyazaki. “But thank you.”

At Cannes, where standing ovations can stretch on end, the fervor that greeted Ghibli's emissaries — Goro Miyazaki (son of Hayao) and Kenichi Yoda — was nevertheless among the most thunderous receptions at the festival. Thierry Fremaux, Cannes' artistic director, walked across the stage of the Grand Théâtre Lumière filming the long ovation, he said, for a video to send to Miyazaki.

“With this Palme d'Or, we'd like to thank you for all the magic you've brought to cinema,” said Iris Knobloch, the president of the festival, presenting the award.

The occasion wasn't marked by any new Ghibli film but four earlier shorts that hadn't previously been shown outside Japan. “Mei and the Baby Cat Bus,” a brief follow-up to Miyazaki's 1989 “My Neighbor Totoro,” expands the Cat Bus of that classic to a whole fleet of cat conveyances, most notably the mini Baby Cat Bus.

The shorts, all of which were made for the Studio Ghibli Museum outside Tokyo, included “Mr. Dough and the Egg Princess,” a culinary-themed desert for Miyazaki's 2001 film “Spirited Away.” The other two — “House Hunting” and “Boro the Caterpillar” — make musical mini-adventures for forest creatures.

The Studio Ghibli celebration came on the heels of Miyazaki's long-awaited “The Boy and the Heron” winning the Academy Award in March for best animated film. (A documentary on its making, “Hayao Miyazaki and the Heron,” also played in Cannes.)

Miyazaki sat out that ceremony, too. Goro Miyazaki, whose own films include “From Up on Poppy Hill” and “Tales From Earthsea,” said they had to use a hotel towel to wrap the Oscar to bring home to his father. On Monday, he was relieved by the portability of the Cannes prize.

“I'm reassured seeing the Palme d'Or was in a box,” he said, grinning.



Mariah Carey Wasn't Always Sure About Making a Christmas Album

FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
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Mariah Carey Wasn't Always Sure About Making a Christmas Album

FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)
FILE - Mariah Carey performs at the New Year's Eve celebration in Times Square, Dec. 31, 2017, in New York. (Photo by Brent N. Clarke/Invision/AP, File)

Mariah Carey relishes the fact that she has become culturally synonymous with Christmas — thanks in part to the longevity of her iconic song “All I Want for Christmas Is You,” and its ubiquity every year when the holidays roll around.
But the Grammy winner admits she initially wasn’t sure about doing a Christmas record when her label pitched it. “I was a little bit apprehensive,” she recalls, reflecting on her album, “Merry Christmas,” turning 30 this month.
Ahead of her appearance at Sunday’s American Music Awards and an upcoming Christmas tour that kicks off in November, Carey spoke with The Associated Press about the advice she would give to young artists navigating fame and the use of her song, “Always Be My Baby,” in Ari Aster’s 2023 horror comedy, “Beau Is Afraid.”
The interview has been edited for clarity and brevity.
AP: What has it been like to celebrate nearly 20 years of “The Emancipation of Mimi” and reflect on this album’s legacy? CAREY: I think “The Emancipation of Mimi” is one of my albums where there were different boundaries that got pushed aside and I was really happy about that because I needed to come back, apparently. And so, it was a comeback. But it’s one of my favorite albums. And celebrating it this year and this celebration of “Mimi” was really fun because I never get to do those songs. I never do them. And this this time I did.
AP: Because of that kind of underdog feeling, you felt some artistic liberty and empowerment that maybe you hadn’t before? CAREY: Yeah, I feel like people were ready to re-embrace me. And, you know, how did I feel about that? I mean, I feel like the album “Charmbracelet” was a very good album too, but not everybody knew that album. So, you know, when “We Belong Together” came out after “It’s Like That,” which didn’t do as well but still did pretty well. Whatever.
AP: “It’s Like That” is a great song. CAREY: It’s a good song. And I love performing it. You know, I go through stages with these albums. It’s interesting.
AP: Your first Christmas album, “Merry Christmas,” is turning 30 this month. That was obviously a formative record for you and your career. Do you remember anything about its inception? CAREY: So that was the record company saying, “You should do a Christmas album.” And I was like, “I don’t know that I should at this juncture.” Because, you know, I was very young and was just starting out and I felt like people do Christmas albums later in their lives. But now people have started to do them whenever, like right at the top of their career. So, I mean, what was I feeling like? I was a little bit apprehensive and then I was like, “I love this.” And I decorated the studio and just had the best time.
AP: Chappell Roan has made headlines for speaking out about how she is grappling with sudden fame. As someone who has been in the public eye for so long, do you have advice for young artists who are dealing with this? CAREY: Well, I have been through my share of dramas and it’s not fun because you grow up thinking, “I want to be famous.” I mean, really with me, it was always, “I want to be a singer. I want to write songs.” But “I want to be famous” was right there with it. I feel like it was probably because I didn’t feel like I was good enough on my own because of the things I went through growing up. And that’s not a good way to feel, you know?
But my advice would be try your hardest to go into this industry with a love of your talent or what’s really real for you. You know, if it’s like, “I want to be famous. I want to run around with those people, whoever they are, the famous people,” then it’s probably not the best idea.
AP: Have you seen Ari Aster’s “Beau Is Afraid” with Joaquin Phoenix? CAREY: Yes. I had to approve that. I thought it was interesting the way they used my song, “Always Be My Baby.” That was interesting. I mean, it didn’t really match with the movie, but, you know, I was just being edgy by saying, “You know, okay, fine.” It was very different. I mean, I wasn’t reluctant, but I thought, “This is something way different than I’ve done ever.”