Ask John: Why Do Ghibli Movies do Better on US DVD than in Theaters?

Question:
Why are American audiences willing to see Miyazaki movies on DVD, but so reluctant to catch them in theaters? Those are probably the best places to experience his work, and yet his titles are more likely to get relegated to Netflix hell than to be supported on the big screen, even when Disney finally concedes and gives his latest one a “wide” theatrical release. And what does it say about our standards when garbage like Chun-Li and Dragonball: Evolution have bigger openings than his movies?

Do parents [and man-children] really want to endure another weekend of that talking gerbil movie meant to cash in on that talking chipmunk movie meant to cash in on that CG Garfield movie meant to cash in on that Scooby Doo movie? Do they really only want to see pedestrian CG movies where the anthropomorphic animal characters crack bad jokes or make long trips to exotic places where they act quirky for an hour and a half? I can’t tell one Pixar or Dreamworks movie from another, but I definitely feel something different from each Miyazaki or Takahata movie. And to add insult to injury, the Miyazaki wannabes like Treasure Planet, Stardust, Coraline, and The Great Mouse Detective are watched more than than the real thing.

I know part of the problem with the lack of theatrical Ghibli movies State-side has been bad marketing. But after enough DVDs of the company’s work have been out by now, there should at least be some anticipation for a new flick. Have the fans complaining about how Disney’s mishandled the product in the past not chosen to put their money where their mouths are when the company gets it (mostly) right this time? Or are Americans just equating Miyazaki movies with Disney’s 2D straight-to-video sequels?

Answer:
I may be misperceiving the American marketplace, but I honestly don’t see an unreasonable discrepancy between the success of Studio Ghibli films on American DVD and in American theaters. That’s not to say that a discrepancy doesn’t exist. Rather, I suspect that there are logical reasons for the disparity. I don’t believe that American consumers consciously wait for Ghibli movies on DVD, or prefer them on DVD. Home video is simply more accessible and, in terms of children’s entertainment, more economical than theatrical screenings.

I’m not a parent, and I don’t frequently discuss parental concerns with people who are parents of young children. However, I do guess that parents who take their children to see theatrical children’s films are influenced by advertising and word of mouth. A film like G-Force draws crowds because children demand to see it, and parents tell each other over the water cooler that they’ve taken their kids to the picture, or plan to. The latest high-profile kids’ film like G-Force or G.I. Joe is difficult to overlook and difficult to escape from, especially for parents of young children. Studio Ghibli movies aren’t remotely as familiar to mainstream American theater goers, despite being much better known now than they were several years ago. It should be noted that Ponyo’s opening weekend gross was the biggest opening weekend so far for a Ghibli film in America. Yet while mainstream American family films are literally unavoidable for many patrons, Ghibli films don’t have the same degree of “must see” urgency for typical American movie goers.

Mainstream theater goers get roped into the high profile features by the insistent demands of children, or the compelling desire to keep up with the conversations of neighbors and co-workers. As a result, Ghibli films fare better on American DVD, after their theatrical lifespan, because mainstream consumers discover these films on DVD. Furthermore, especially since Disney markets its DVD releases of Ghibli films as family entertainment, purchasing a DVD that will be watched repeatedly is much more cost efficient for consumers than paying to see the film once in theaters. Hardcore anime fans may turn out to see the latest Ghibli film’s theatrical opening. But hardcore anime fans don’t make up an especially large number of paying movie goers. Average, mainstream Americans that have limited time and money to go to theaters naturally prioritize the high profile films, filling in the gaps with DVD. Cineastes may realize that a big screen is the ideal venue for a Ghibli film, but for mainstream Americans the choice is one between an obscure 2D film or the heavily promoted 3D or live action film that “everyone” else is watching and talking about.

As much as Ghibli films are respected in America, that respect is still nearly entirely isolated within the anime fan community, film appreciation community, and the critical media including newspapers and serious-minded magazines. The average American man-on-the-street still probably isn’t familiar with the name “Hayao Miyazaki,” nor does the typical American movie goer have a lot of interest in a 2D animated film not based on a high profile American TV series or toy line. Disney’s domestic Ghibli DVDs are commonly available in a variety of stores where average American consumers shop. Ghibli movies in American theaters have limited advertising and limited distribution. And movie attendees have to make a special trip out just for a movie. You can pick up a Ghibli DVD for the kids while shopping and doing the daily routine. Seeing a Ghibli movie in an American theater requires advance planning and a special trip to the theater.

Placed in perspective, I think that anime fans worldwide should be pleased and grateful that Ghibli films have gained as much traction in America as they have, so far, rather than feel disappointed that they don’t fare better in American theatrical release than they do. Given the differences in the practical cost and availability of theatrical screenings compared to retail DVD releases, it shouldn’t be surprising at all to see Ghibli films do better on American DVD than in theaters. Ghibli movies may be universally accessible, but they’re not made for mainstream Americans they way films like Street Fighter, Dragonball: Evolution, G-Force, or Coraline are. Ghibli films also aren’t “event” movies for mainstream Americans the way films like the latest Pixar movie or franchise spin-off films like Hannah Montana, Transformers, or G.I. Joe are. Apart from a loose similarity to the “Little Mermaid” fairy tale and a cast of high profile heard-but-not-seen voice actors, a film like Ponyo has nothing to attract the attention and money of American moviegoers beyond the promise of an excellent film. So the hardcore followers support the film during its theatrical release while mainstream Americans invest in mainstream films and pick up Ghibli movies later on DVD.