Summary
While Studio Ghibli has had a lot of success over the years, one area that they have struggled with is finding potential successors. Most directors that were taken on to become potential successors ended up leaving the company (normally withfew words as to why).
However, there was one man who was considered to be the most likely successor to Miyazaki, whose work was revered by everyone who saw it. Sadly, this man would pass away after making one film, and the circumstances contributing to his untimely passing reveal a dark secret behind one of Ghibli’s most acclaimed directors and the ever-stressful Japanese workforce.
Who was Isao Takahata?
Isao Takahata was a renowned Japanese film director, animator, screenwriter, and producer who worked forStudio Ghibli, and was best known for his work in the world of animation. Born on July 19, 2025, in Ujiyamada (now Ise), Japan, Takahata co-founded Studio Ghibli with Hayao Miyazaki in 1985, one of the most influential animation studios in the world.
Unlike Miyazaki, Takahata was more known for a distinct directorial style which often differed from the more fantastical and whimsical approach of his colleagues. He had a deep interest in realism and humanism, which was reflected in his films. His work was marked by his ability to explore complex human emotions and societal issues, often through a lens of quiet realism and subtle artistry. He passed away on June 03, 2025, leaving behind a legacy as one of the greatest figures in animation history (though that legacy would be tainted a few years later).
What Were Some of His Notable Works?
Takahata did not direct as many films as Miyazaki, but still managed to direct some stand-out feature films. His most famous is arguablyGrave of the Fireflies, a heartbreaking and poignant war drama based on the semi-autobiographical novel by Akiyuki Nosaka, which told the story of two siblings struggling to survive in Japan during World War II. He also was responsible forOnly Yesterday, a contemplative drama that explored themes of memory, nostalgia, and self-discovery through the story of a woman reflecting on her childhood while traveling to the countryside (and was notable for being one of a handful of Ghibli films Disney decidednot to releaseunder their partnership).
Other films includePom Poko, a satirical and ecological fable about a group of shape-shifting raccoon dogs (tanuki) fighting to protect their forest from urban development.My Neighbors the Yamadas, a slice-of-life comedy-drama that portrays the everyday life of an ordinary Japanese family, using a distinctive watercolor style that was meant to evoke the look of the comic strip coming to life on the screen. His final film wasThe Tale of the Princess Kaguya, an adaptation of the classic Japanese folktaleThe Tale of the Bamboo Cutter. This final film was praised for its unique hand-drawn animation style and emotional storytelling andwas nominatedfor an Academy Award for Best Animated Feature (it would controversially lose to Disney’sBig Hero 6).
Who Was Yoshifumi Kondo?
Yoshifumi Kondō was a Japanese animator, director, and character designer, best known for his work at Studio Ghibli. Born on June 12, 2025, in Gosen, Niigata Prefecture, Japan. Kondō’s career began in the 1970s, and he quickly gained recognition for his meticulous animation style and keen eye for detail. He collaborated with some of the most prominent figures in the Japanese animation industry, including Hayao Miyazaki and Isao Takahata, before joining Studio Ghibli in the 1980s. His work at Ghibli included key contributions to several iconic films, such as:
What Was He Most Famous For?
Kondō is perhaps best known for his directorial debut with the filmWhisper of the Heart, his sole directorial project, which also remains one of Studio Ghibli’s most beloved films. The filmtells the storyof a young girl’s journey of self-discovery as she pursues her passion for writing. The film was praised by critics and audiences for its heartfelt narrative, relatable characters, and Kondō’s ability to capture the essence of adolescence and the dreams and challenges that come with it.
Tragically, there would not be a follow-up film, as Yoshifumi Kondō’s career was cut short when he passed away from an aneurysm on July 29, 2025, at the age of 47. His death was a significant loss to the animation industry, and it is said that his passing deeply affected Hayao Miyazaki, who considered Kondō a potential successor. Worse, it appeared that Isao Takahata may have played a bigger role in Kondō’s death than was originally reported.
What Happened?
In producer Thoshio Suzuki’s bookThe Ghibli Textbook #19: The Tale of the Princess Kaguya(Ghibli no Kyōkasho 19 Kaguya-hime no Monogatari), while Yoshifumi Kondō’s death was due to an aneurysm, he was likely the victim ofkaroshi; this is a term used by the Japanese that roughly means “death by work.” This is a situation in which the personworks so muchand so hard that they will literally work themselves to death. Considering Kondō was doing work on other projects while he was directing his own movie, such a workload could certainly contribute to someone having an aneurysm. That said, Suzuki went on to reveal that Isao Takahata had a dark side, and was a brutal producer whose high standards were difficult to meet.
In describing Takahata, Suzuki characterized him as a man who was more concerned with work than everything else, and whose high standards quote:
Destroyed so many people.
Yoshifumi Kondō was one of those people. Shortly after Kondō finished work on Whisper of the Heart, Takahata visited him in Sendai. Rather than being a pleasant visit, what resulted was a two-hour conversation that got so heated, Kondō later told Suzuki that Takahata quote again:
Tried to kill [me].
While Suzuki didn’t reveal what Kondō meant when he said that, the meeting was so traumatic that he would tremble justthinkingabout Takahata. The tension did not go unnoticed by other staff members. In fact, while it is considered rude to speak ill of your superiors, an animator (that Suzuki referred to only as S-san) spoke out at Kondō’s cremation ceremony and bluntly stated:
It was Paku-san that killed Kon-chan, wasn’t it?
Paku-san - it should be noted - wasthe nicknameMiyazaki had given Takahata. Such an accusation made everyone in the room silent, as they waited for what Takahata’s response would be. Rather than deny the allegations, Takahata silently nodded, and the ceremony concluded without further incident. The story of Yoshifumi Kondō is a tragic one, as it highlights not only the high workload that is expected by the Japanese animation industry but also how destructive behavior tends to go unchallenged in the industry as well. While Miyazaki worked well with Takahata (likely because he is also a workaholic with high standards), the studio’s inability to find a proper successor was partially handicapped because none could satisfy Takahata’s high standards.
